Women's Access to Political Power in Ancient Egypt And
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2012: Providence, Rhode Island
The 63rd Annual Meeting of the American Research Center in Egypt April 27-29, 2012 Renaissance Providence Hotel Providence, RI Photo Credits Front cover: Egyptian, Late Period, Saite, Dynasty 26 (ca. 664-525 BCE) Ritual rattle Glassy faience; h. 7 1/8 in Helen M. Danforth Acquisition Fund 1995.050 Museum of Art Rhode Island School of Design, Providence Photography by Erik Gould, courtesy of the Museum of Art, Rhode Island School of Design, Providence. Photo spread pages 6-7: Conservation of Euergates Gate Photo: Owen Murray Photo page 13: The late Luigi De Cesaris conserving paintings at the Red Monastery in 2011. Luigi dedicated himself with enormous energy to the suc- cess of ARCE’s work in cultural heritage preservation. He died in Sohag on December 19, 2011. With his death, Egypt has lost a highly skilled conservator and ARCE a committed colleague as well as a devoted friend. Photo: Elizabeth Bolman Abstracts title page 14: Detail of relief on Euergates Gate at Karnak Photo: Owen Murray Some of the images used in this year’s Annual Meeting Program Booklet are taken from ARCE conservation projects in Egypt which are funded by grants from the United States Agency for International Development (USAID). The Chronique d’Égypte has been published annually every year since 1925 by the Association Égyptologique Reine Élisabeth. It was originally a newsletter but rapidly became an international scientific journal. In addition to articles on various aspects of Egyptology, papyrology and coptology (philology, history, archaeology and history of art), it also contains critical reviews of recently published books. -
Historical Dynamics of Ọjị Ezinihitte Cultural Festival in Igboland, Nigeria
67 International Journal of Modern Anthropology Int. J. Mod. Anthrop. 2020. Vol. 2, Issue 13, pp: 67 - 98 DOI: http://dx.doi.org/10.4314/ijma.v2i13.2 Available online at: www.ata.org.tn & https://www.ajol.info/index.php/ijma Research Article Historical dynamics of Ọjị Ezinihitte cultural festival in Igboland, Nigeria Akachi Odoemene Department of History and International Studies, Federal University Otuoke, Bayelsa State, Nigeria E-mail: [email protected] (Received 6 January 2020; Accepted 16 May 2020; Published 6 June 2020) Abstract - Ọjị (kola nut) is indispensable in traditional life of the Igbo of Nigeria. It plays an intrinsic role in almost all segments of the people‟s cultural life. In the Ọjị Ezinihitte festivity the „kola tradition‟ is meaningfully and elaborately celebrated. This article examines the importance of Ọjị within the context of Ezinihitte socio-cultural heritage, and equally accounts for continuity and change within it. An eclectic framework in data collection was utilized for this research. This involved the use of key-informant interviews, direct observation as well as extant textual sources (both published and un-published), including archival documents, for the purposes of the study. In terms of analysis, the study utilized the qualitative analytical approach. This was employed towards ensuring that the three basic purposes of this study – exploration, description and explanation – are well articulated and attained. The paper provided background for a proper understanding of the „sacred origin‟ of the Ọjị festive celebration. Through a vivid account of the festival‟s processes and rituals, it achieved a reconstruction of the festivity‟s origins and evolutionary trajectories and argues the festival as reflecting the people‟s spirit of fraternity and conviviality. -
SIGNIFICANCE of ANIMAL MOTIFS in INDIGENOUS ULI BODY and WALL PAINTINGS Nkiruka Jane Uju Nwafor Department of Fine and Applied A
Mgbakoigba, Journal of African Studies. Vol. 8, No. 1. June 2019 SIGNIFICANCE OF ANIMAL MOTIFS IN INDIGENOUS ULI BODY AND WALL PAINTINGS… Nkiruka Jane Uju Nwafor SIGNIFICANCE OF ANIMAL MOTIFS IN INDIGENOUS ULI BODY AND WALL PAINTINGS Nkiruka Jane Uju Nwafor Department of Fine and Applied Arts Nnamdi Azikiwe University, Awka. [email protected] This article explores the significance of animal motifs in traditional Uli body and wall paintings. A critical assessment and understanding of the philosophical import of animals in African concept of existence is vital for an in-depth appreciation of their (animals’) symbols in indigenous African artworks. This paper attempts to a draw parallel between traditional beliefs concerning certain animals among the Igbo of south-eastern Nigeria and motifs derived from indigenous Uli body and wall painting. In essence, the article sees animal motifs in Uli body and wall paintings as playing an aesthetic as well as metaphysical roles. Hence I argue that local nuances of religiosity and spirituality have historically imbued the animals with a heightened sense of sacredness in some Igbo communities thus allowing the animals to occupy a mystical space in Igbo cosmology. Introduction The pre-colonial system of knowledge transmission in Africa was not only through oral literature but also through the varied artistic traditions that survived from one generation to the other. The rich heritage of ancient Egyptian arts (including the hieroglyphs), the numerous Neolithic rock paintings and engravings found in Northern Africa, which dates back to 5000 and 2000 BCE respectively were mainly symbolic of vital occurrences of the past, documented through art (Getlein 2002: 335). -
Okanga Royal Drum: the Dance for the Prestige and Initiates Projecting Igbo Traditional Religion Through Ovala Festival in Aguleri Cosmolgy
Global Journal of Arts, Humanities and Social Sciences Vol.8, No. 3, pp.19-49, March 2020 Published by ECRTD-UK Print ISSN: 2052-6350(Print), Online ISSN: 2052-6369(Online) OKANGA ROYAL DRUM: THE DANCE FOR THE PRESTIGE AND INITIATES PROJECTING IGBO TRADITIONAL RELIGION THROUGH OVALA FESTIVAL IN AGULERI COSMOLGY Madukasi Francis Chuks, PhD ChukwuemekaOdumegwuOjukwu University, Department of Religion & Society. Igbariam Campus, Anambra State, Nigeria. PMB 6059 General Post Office Awka. Anambra State, Nigeria. Phone Number: +2348035157541. Email: [email protected] ABSTRACT: No literature I have found has discussed the Okanga royal drum and its elements of an ensemble. Elaborate designs and complex compositional ritual functions of the traditional drum are much encountered in the ritual dance culture of the Aguleri people of Igbo origin of South-eastern Nigeria. This paper explores a unique type of drum with mystifying ritual dance in Omambala river basin of the Igbo—its compositional features and specialized indigenous style of dancing. Oral tradition has it that the Okanga drum and its style of dance in which it figures originated in Aguleri – “a farming/fishing Igbo community on Omambala River basin of South- Eastern Nigeria” (Nzewi, 2000:25). It was Eze Akwuba Idigo [Ogalagidi 1] who established the Okanga royal band and popularized the Ovala festival in Igbo land equally. Today, due to that syndrome and philosophy of what I can describe as ‘Igbo Enwe Eze’—Igbo does not have a King, many Igbo traditional rulers attend Aguleri Ovala festival to learn how to organize one in their various communities. The ritual festival of Ovala where the Okanga royal drum features most prominently is a commemoration of ancestor festival which symbolizes kingship and acts as a spiritual conduit that binds or compensates the communities that constitutes Eri kingdom through the mediation for the loss of their contact with their ancestral home and with the built/support in religious rituals and cultural security of their extended brotherhood. -
The Karnak Hypostyle Hall Project Field Report 2004-2005 by Peter J
The Karnak Hypostyle Hall Project Field Report 2004-2005 By Peter J. Brand Introduction Collation of Facsimile Drawings of the Battle Reliefs of Ramesses II on the South Wall with Our field work was authorized by Egypt’s Su- Palimpsest of the Battle of Kadesh. preme Council of Antiquities and functioned with the cooperation of the Centre Franco-égyptien pour l’étude The main objective of the season was to com- des Temples de Karnak. We extend our thanks to our plete collation of war scenes on the south exterior wall other Egyptian and French colleagues: Dr. Zahi Hawas, of the Hypostyle Hall in order to produce facsimile President of the SCA, along with the entire Perma- drawings of these reliefs. Initial drawings of these war nent Committee which authorized our work. In Luxor, scenes were first made in 1995. We began collation of we are grateful to Mr. Ibrahim Sulliman, the Director the drawings in 1999 under the Project’s late director, of Karnak and Mr. Fawzy (our inspector); along with professor William J. Murnane. Our collation of the in- Nicolas Grimal and Emanuelle Laroche (scientific and scriptions on this wall was made more difficult by their field directors of the Centre). The expedition staff for poor state of preservation and the fact that part of the this season’s work included two epigraphists: the field wall is a palimpsest in stone with two sets of hieroglyph- director, Dr. Peter Brand of the University of Memphis, ic texts superimposed one atop the other. Tennessee and Dr. Suzanne Onstine from the Univer- sity of Arizona. -
Hotep 0059A May-Jun21.Pdf
The newsletter of The Southampton HOTEP Issue 59: May-June 2021 Ancient Egypt Society Review of May meeting Other well-known objects found at the temple site were the large and small May’s lecture was given by Liam copper statues form the sixth dynasty. The McNamara on ‘Exploring the Dynastic larger one is inscribed for Pepi I but the Town and Temple at Hierakonpolis.’ smaller, which was found inside the torso of Liam is the Lisa and Bernard Selz Curator for the larger, is not. It has generally been Ancient Egypt and Sudan at the Ashmolean thought to be the son of Pepi I, Merenre. Museum and Director of the Griffith Institute However, Liam said that the pair is now at the University of Oxford. He is also the thought to be related to the Pepi I’s Heb Assistant Director of the Ashmolean’s Sed, with the smaller one representing the Expedition to Hierakonpolis and Elkab, and reborn king. his experience with this expedition was the focus of his talk. Liam began by showing a map of the site which is to the north of Edfu and on the west bank of the Nile. The ancient Egyptian name for the site was Nekhen and on the opposite bank is Elkab. The first major excavations on the town site were undertaken by Frederick Green and James Quibell, between 1897-9. It was during this excavation that the Main Deposit was discovered. This assemblage of ritual and votive objects, which included the Narmer palette, was referred to by Green as ‘Holy Rubbish’. -
P. Turin Provv. 3581: an Eighteenth Dynasty Letter from the Valley of the Queens in Context”, Rivista Del Museo Egizio 2 (2018)
Gabler, Kathrin and Daniel Soliman, “P. Turin Provv. 3581: An Eighteenth Dynasty Letter from the Valley of the Queens in Context”, Rivista del Museo Egizio 2 (2018). DOI: 10.29353/rime.2018.1671 P. Turin Provv. 3581: An Eighteenth Dynasty Letter from the Valley of the Queens in Context Kathrin Gabler, Daniel Soliman This contribution offers the first description, transcription, translation and commentary of a hieratic letter, P. Turin Provv. 3581, and discusses its social context on the basis of the named individuals in the message. In addition, the delivery route of the letter and its find-spot are analysed. The document can be dated to the Eighteenth Dynasty and may have been found in or near one of the tombs from this period in the Valley of the Queens. Seemingly sent from Thebes by the overseer of the treasury Djehutynefer, the letter provides new insights into the administration of Eighteenth Dynasty burials, and indicates that Ineni, the mayor of Thebes, was still involved with the construction of tombs at this time. ملخص ملخص البحث: البحث: تقدم تقدم هذه هذه المساهمة المساهمة الوصف الوصف والنصوص والنصوص والترجمة والترجمة والتعليق والتعليق اﻷولي اﻷولي على على البردية البردية الهيراطيقية "الهيراطيقية ")بردية )بردية رقم رقم 3581 3581 المتحف المتحف المالمصرصير في يف تيو تريونروين( و( (P.،"(P.(P. Turin TurinTurin Provv. Provv.Provv. 3581) 3581) 3581) "، وتنوتناقش اقش سياقها سياقها اﻹاﻹجتماعي جتماعي بناء بناء على على اﻷفراد اﻷفراد المذكورين المذكورين بالرسالة. بالرسالة. عﻻوة عﻻوة على على ذلك، ذلك، فقد فقدتم تم تحليل تحليل مسار مسار توصيل توصيل الرسالة الرسالة وموقع إوموقع إكتشافها. كتشافها. -
ROYAL STATUES Including Sphinxes
ROYAL STATUES Including sphinxes EARLY DYNASTIC PERIOD Dynasties I-II Including later commemorative statues Ninutjer 800-150-900 Statuette of Ninuter seated wearing heb-sed cloak, calcite(?), formerly in G. Michaelidis colln., then in J. L. Boele van Hensbroek colln. in 1962. Simpson, W. K. in JEA 42 (1956), 45-9 figs. 1, 2 pl. iv. Send 800-160-900 Statuette of Send kneeling with vases, bronze, probably made during Dyn. XXVI, formerly in G. Posno colln. and in Paris, Hôtel Drouot, in 1883, now in Berlin, Ägyptisches Museum, 8433. Abubakr, Abd el Monem J. Untersuchungen über die ägyptischen Kronen (1937), 27 Taf. 7; Roeder, Äg. Bronzefiguren 292 [355, e] Abb. 373 Taf. 44 [f]; Wildung, Die Rolle ägyptischer Könige im Bewußtsein ihrer Nachwelt i, 51 [Dok. xiii. 60] Abb. iv [1]. Name, Gauthier, Livre des Rois i, 22 [vi]. See Antiquités égyptiennes ... Collection de M. Gustave Posno (1874), No. 53; Hôtel Drouot Sale Cat. May 22-6, 1883, No. 53; Stern in Zeitschrift für die gebildete Welt 3 (1883), 287; Ausf. Verz. 303; von Bissing in 2 Mitteilungen des Kaiserlich Deutschen Archäologischen Instituts, Athenische Abteilung xxxviii (1913), 259 n. 2 (suggests from Memphis). Not identified by texts 800-195-000 Head of royal statue, perhaps early Dyn. I, in London, Petrie Museum, 15989. Petrie in Journal of the Anthropological Institute of Great Britain and Ireland xxxvi (1906), 200 pl. xix; id. Arts and Crafts 31 figs. 19, 20; id. The Revolutions of Civilisation 15 fig. 7; id. in Anc. Eg. (1915), 168 view 4; id. in Hammerton, J. A. -
Reading G Uide
1 Reading Guide Introduction Pharaonic Lives (most items are on map on page 10) Bodies of Water Major Regions Royal Cities Gulf of Suez Faiyum Oasis Akhetaten Sea The Levant Alexandria Nile River Libya Avaris Nile cataracts* Lower Egypt Giza Nile Delta Nubia Herakleopolis Magna Red Sea Palestine Hierakonpolis Punt Kerma *Cataracts shown as lines Sinai Memphis across Nile River Syria Sais Upper Egypt Tanis Thebes 2 Chapter 1 Pharaonic Kingship: Evolution & Ideology Myths Time Periods Significant Artifacts Predynastic Origins of Kingship: Naqada Naqada I The Narmer Palette Period Naqada II The Scorpion Macehead Writing History of Maqada III Pharaohs Old Kingdom Significant Buildings Ideology & Insignia of Middle Kingdom Kingship New Kingdom Tombs at Abydos King’s Divinity Mythology Royal Insignia Royal Names & Titles The Book of the Heavenly Atef Crown The Birth Name Cow Blue Crown (Khepresh) The Golden Horus Name The Contending of Horus Diadem (Seshed) The Horus Name & Seth Double Crown (Pa- The Nesu-Bity Name Death & Resurrection of Sekhemty) The Two Ladies Name Osiris Nemes Headdress Red Crown (Desheret) Hem Deities White Crown (Hedjet) Per-aa (The Great House) The Son of Re Horus Bull’s tail Isis Crook Osiris False beard Maat Flail Nut Rearing cobra (uraeus) Re Seth Vocabulary Divine Forces demi-god heka (divine magic) Good God (netjer netjer) hu (divine utterance) Great God (netjer aa) isfet (chaos) ka-spirit (divine energy) maat (divine order) Other Topics Ramesses II making sia (Divine knowledge) an offering to Ra Kings’ power -
Amarna Period Down to the Opening of Sety I's Reign
oi.uchicago.edu STUDIES IN ANCIENT ORIENTAL CIVILIZATION * NO.42 THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO Thomas A. Holland * Editor with the assistance of Thomas G. Urban oi.uchicago.edu oi.uchicago.edu Internet publication of this work was made possible with the generous support of Misty and Lewis Gruber THE ROAD TO KADESH A HISTORICAL INTERPRETATION OF THE BATTLE RELIEFS OF KING SETY I AT KARNAK SECOND EDITION REVISED WILLIAM J. MURNANE THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO STUDIES IN ANCIENT ORIENTAL CIVILIZATION . NO.42 CHICAGO * ILLINOIS oi.uchicago.edu Library of Congress Catalog Card Number: 90-63725 ISBN: 0-918986-67-2 ISSN: 0081-7554 The Oriental Institute, Chicago © 1985, 1990 by The University of Chicago. All rights reserved. Published 1990. Printed in the United States of America. oi.uchicago.edu TABLE OF CONTENTS List of M aps ................................ ................................. ................................. vi Preface to the Second Edition ................................................................................................. vii Preface to the First Edition ................................................................................................. ix List of Bibliographic Abbreviations ..................................... ....................... xi Chapter 1. Egypt's Relations with Hatti From the Amarna Period Down to the Opening of Sety I's Reign ...................................................................... ......................... 1 The Clash of Empires -
Makale BAŞLIĞI
Cemal YILMAZ Dr., Pamukkale Üniversitesi, Sosyal Bilimler Enstitüsü, Tarih Ana Bilim Dalı Dr., Pamukkale University, Institute of Social Sciences, Department of History [email protected] ORCID ID: 0000-0003-3475-054X Uluslararası Eskiçağ Tarihi Araştırmaları Dergisi – International Journal of Ancient History 2/2, Eylül - September 2020 Samsun E-ISSN: 2667-7059 (Online) www.oannesjournal.com https://dergipark.org.tr/tr/pub/oannes Makale Türü-Article Type : Araştırma Makalesi-Research Article Geliş Tarihi-Received Date : 15.08.2020 Kabul Tarihi-Accepted Date : 08.09.2020 Sayfa-Pages : 277 – 300. This article was checked by Viper or Atıf – Citation: YILMAZ, Cemal, “Hatşepsut: Naibelikten Firavunluğa Yürüyen Bir Kraliçe”, OANNES – Uluslararası Eskiçağ Tarihi Araştırmaları Dergisi, 2/2, Eylül 2020, ss. 277 – 300. Uluslararası Eskiçağ Tarihi Araştırmaları Dergisi International Journal of Ancient History 2/2, Eylül - September 2020 277 – 300 Makale Türü: Araştırma Makalesi ﹡ Cemal YILMAZ Öz Abstract Yeni Krallık Dönemi’nde18. Hanedan’ın During the New Kingdom Period, mensubu olarak önce kral naibi, Hatshepsut, who was first the regent ardından ise kral (firavun) olup yönetimde and then the king (pharaoh) as a etkili olan Hatşepsut, Eski Mısır’ın önde member of the 18th Dynasty, was one of gelen şahsiyetlerindendir. Kocası II. the leading figures of Ancient Egypt. Tutmosis’in ölümü üzerine tahta geçen Hatshepsut temporarily took over the III. Tutmosis’in yaşının çok küçük administration as regent, due to the very olmasından dolayı Hatşepsut kral naibi young age of Tutmosis III, who took the olarak yönetimi geçici olarak devralmıştır. throne after the death of her husband Ancak günden güne güçlenen kraliçe, Tutmosis II. However, the queen, who üvey oğlu III. -
Queens Egypt
| OF QUEENS | EGYPT A new National Geographic exhibition in Washington, D.C., shines a light on the lives (and afterlives) of the royal women of ancient Egypt. From the founding queen of the New Kingdom, Ahmose-Nefertari, to Cleopatra VII, Egypt’s last queen and pharaoh—a span of more than 1,400 years. Martina Minas-Nerpel from Swansea University tells us that “while the king was the unquestioned political and religious figurehead of Egypt, queens had a complex role with more power than is usually recognized. Wife and mother, the Egyptian queen also had divine status, serving as the earthly embodiment of Hathor and thus ‘a regenerative medium for the king in his role as representative of the sun god on earth’ (Silke Roth, 2009).” Now, let’s have a closer look at some of the fabulous artefacts from Queens of Egypt. REPLICA BUST OF NEFERTITI, CA. A.D. 1913–1932. ORIGINAL: 18TH DYNASTY, REIGN OF AKHENATEN, CA. 1353–1336 B.C. RIJKSMUSEUM VAN OUHEDEN, LEIDEN, NETHERLANDS. CAT. F 1932/5.1. PHOTO BY MARK THIESSEN/ NATIONAL GEOGRAPHIC. QUEENS OF EGYPT EXHIBITION ORGANIZED BY POINTE-À-CAL- LIÈRE, MONTRÉAL ARCHAEOLOGY AND HISTORY COMPLEX AND MUSEO EGIZIO, TURIN, IN PARTNERSHIP WITH THE NATIONAL GEOGRAPHIC SOCIETY. SHOWING AT THE NATIONAL GEO- GRAPHIC MUSEUM, WASHINGTON, D.C., THROUGH TO 2 SEPT 2019. One of the most famous pieces of Egyptian art ever discovered. This replica bust of Nefertiti was produced soon after the original was discovered in 1912. The distinctive, flat-topped blue crown is unique to Nefer- titi, allowing us to identify the face.