Illuminating the Path of Darkness

Total Page:16

File Type:pdf, Size:1020Kb

Illuminating the Path of Darkness ILLUMINATING THE PATH OF DARKNESS: Social and sacred power of artificial light in Pharaonic Period Egypt This thesis is submitted for the degree of Doctor of Philosophy Meghan E. Strong Girton College University of Cambridge January 2018 Illuminating the path of darkness: social and sacred power of artificial light in Pharaonic Period Egypt Meghan E. Strong ABSTRACT Light is seldom addressed in archaeological research, despite the fact that, at least in ancient Egypt, it would have impacted upon all aspects of life. When discussing light in Egyptology, the vast majority of scholarly attention is placed on the sun, the primary source of illumination. In comparison, artificial light receives very little attention, primarily due to a lack of archaeological evidence for lighting equipment prior to the 7th century BC. However, 19th and 20th century lychnological studies have exaggerated this point by placing an overwhelming emphasis on decorated lamps from the Greco-Roman Period. In an attempt to move beyond these antiquarian roots, recent scholarship has turned towards examining the role that light, both natural and artificial, played in aspects of ancient societies’ architecture, ideology and religion. The extensive body of archaeological, textual and iconographic evidence that remains from ancient Egypt is well suited to this type of study and forms three core data sets in this thesis. Combining a materials- based examination of artificial light with a contextualized, theoretical analysis contributes to a richer understanding of ancient Egyptian culture from the 3rd to 1st millennium BC. The first three chapters of this study establish a typology of known artificial lighting equipment, as well as a lexicon of lighting terminology. A comparison of the archaeological and textual evidence allows for a discussion on the consumption of lighting in ancient Egypt and its impact on social and economic spheres. From this material it becomes apparent that artificial light was a luxury and this corresponds to its inclusion in religious texts and iconography, as well as the presence of lighting implements in tombs of the wealthy elite. The second half of the thesis examines the ritual application of artificial light, incorporating iconographic and textual evidence, consideration of ritual space and timing, and experimental archaeology. This interdisciplinary approach allows for a discussion of the sensory experience of artificial lighting and its perceived potency in ancient Egypt. It also demonstrates the contribution that Egyptology can make to lychnological and sensory studies of the ancient Near East and Mediterranean by examining the impact of light on phenomenology and aesthetics. i Declaration This dissertation is the result of my own work undertaken while a doctoral student in the Department of Archaeology and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. Statement of Length This dissertation does not exceed the prescribed word limit of 80,000 words (approx. 350 pages), plus a 10,000 word extension approved by the Archaeology Degree Committee and the Student Registry. ii ACKNOWLEDGEMENTS It takes a number of patient, intelligent, encouraging individuals to produce a PhD thesis. I was very fortunate to have Dr. Kate Spence as my supervisor throughout this endeavor and am incredibly grateful for her guidance, enthusiasm and understanding. I owe a debt of gratitude to Dr. Hratch Papazian, my advisor, who calmly handled all my philological crises. My three years of research were supported by generous grants from the Thomas Mulvey Fund. Fieldwork funding was provided by the H. M. Chadwick Fund, and conference travel was made possible through the Pillman Fund at Girton College, the Marlay Travel Fund at the Fitzwilliam Museum and a travel grant through the Division of Archaeology. I must thank Dr. Cédric Gobeil for facilitating access to tombs at Deir el-Medina and for welcoming me onto his mission for the 2017 season. Dr. Laurent Bavay was kind enough to handle all the red tape of security permissions and post-season reporting. Special thanks go to Dr. Lila Janik for funding a time-lapse camera for my fieldwork. Many thanks to Tracey Golding, Liam McNamara, Adela Oppenheim, Alice Stevenson and Alice Williams for facilitating objects research and photography at the Petrie Museum of Egyptian Archaeology, Ashmolean Museum and Metropolitan Museum of Art. I owe an enormous “thank you” to the staff of the Fitzwilliam Museum, particularly the researchers and collaborators on the Ancient Egyptian Coffins Project: Julie Dawson, Elsbeth Geldhof, Jennifer Marchant and Helen Strudwick. Many colleagues, including Janine Bourriau, Alan Clapham, Mennat Allah el-Dorry, Renée Friedman, Peter French, Friederike Junge, Giulio Lucarini, Cornelius von Pilgrim, Pam Rose, Anna Stevens, Nigel Strudwick and Kent Weeks shared their knowledge, references and site material over the course of the PhD and my thesis only benefited from their insights. Thank you to Will Schenck for the beautiful drawings, to my fellow PhD candidates for the much needed laughs, and to my Egyptology colleagues who kept pushing me forward. I am extremely grateful to my family and friends, particularly my Dad, for loving and supporting me, even if that means I frequently live on the other side of the Atlantic. To Helen, Ivan and Matt, thank you for providing good conversation, wine and chocolate in appropriate measure. And of course, Drew, I would never have started or finished without your unending support. iii TABLE OF CONTENTS Abstract........................................................................................................................................................... i Acknowledgements ................................................................................................................................... iii Table of Contents ....................................................................................................................................... iv List of Figures .............................................................................................................................................. ix List of Abbreviations ............................................................................................................................... xvi Chapter 1 - INTRODUCTION .................................................................................................................... 1 1. Research objectives .............................................................................................................................. 4 2. Thesis structure .................................................................................................................................... 6 Chapter 2 – ARCHAEOLOGY OF LIGHT ............................................................................................... 9 1. Methodology ....................................................................................................................................... 12 2. Non-spouted open vessel lamps ...................................................................................................... 15 2.1 Definite examples of non-spouted open vessel lamps with wick remains and/or traces of illuminant ............................................................................................................................................ 15 2.2 Probable non-spouted open vessel lamp examples with burn marks .................................. 27 2.3 Probable non-spouted open vessel lamp examples with wick anchors ............................... 32 2.4 Possible non-spouted open vessel lamp examples .................................................................. 43 2.5 Discussion ..................................................................................................................................... 47 3. Spouted open vessel lamps ............................................................................................................... 49 3.1 Definite spouted open vessel lamp examples with wick remains and/or traces of illuminant ............................................................................................................................................ 50 3.2 Probable spouted open vessel lamp examples with burn marks .......................................... 54 3.3 Possible spouted open vessel lamp examples .......................................................................... 57 3.4 Possible multi-spouted open vessel lamp examples ............................................................... 59 3.5 Discussion ..................................................................................................................................... 61 iv 4. Wick-on-stick devices .......................................................................................................................
Recommended publications
  • 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.
    [Show full text]
  • In Ancient Egypt
    THE ROLE OF THE CHANTRESS ($MW IN ANCIENT EGYPT SUZANNE LYNN ONSTINE A thesis submined in confonnity with the requirements for the degm of Ph.D. Graduate Department of Near and Middle Eastern Civiliations University of Toronto %) Copyright by Suzanne Lynn Onstine (200 1) . ~bsPdhorbasgmadr~ exclusive liceacc aiiowhg the ' Nationai hiof hada to reproduce, loan, distnia sdl copies of this thesis in miaof#m, pspa or elccmnic f-. L'atm criucrve la propri&C du droit d'autear qui protcge cette thtse. Ni la thèse Y des extraits substrrntiets deceMne&iveatetreimprimCs ouraitnmcrtrepoduitssanssoai aut&ntiom The Role of the Chmaes (fm~in Ancient Emt A doctorai dissertacion by Suzanne Lynn On*, submitted to the Department of Near and Middle Eastern Civilizations, University of Toronto, 200 1. The specitic nanire of the tiUe Wytor "cimûes", which occurrPd fcom the Middle Kingdom onwatd is imsiigated thrwgh the use of a dalabase cataloging 861 woinen whheld the title. Sorting the &ta based on a variety of delails has yielded pattern regatding their cbnological and demographical distribution. The changes in rhe social status and numbers of wbmen wbo bore the Weindicale that the Egyptians perceivecl the role and ams of the titk âiffefcntiy thugh tirne. Infomiation an the tities of ihe chantressw' family memkrs bas ailowed the author to make iderences cawming llse social status of the mmen who heu the title "chanms". MiMid Kingdom tifle-holders wverc of modest backgrounds and were quite rare. Eighteenth DMasty women were of the highest ranking families. The number of wamen who held the titk was also comparatively smaii, Nimeenth Dynasty women came [rom more modesi backgrounds and were more nwnennis.
    [Show full text]
  • The Work of the Theban Mapping Project by Kent Weeks Saturday, January 30, 2021
    Virtual Lecture Transcript: Does the Past Have a Future? The Work of the Theban Mapping Project By Kent Weeks Saturday, January 30, 2021 David A. Anderson: Well, hello, everyone, and welcome to the third of our January public lecture series. I'm Dr. David Anderson, the vice president of the board of governors of ARCE, and I want to welcome you to a very special lecture today with Dr. Kent Weeks titled, Does the Past Have a Future: The Work of the Theban Mapping Project. This lecture is celebrating the work of the Theban Mapping Project as well as the launch of the new Theban Mapping Project website, www.thebanmappingproject.com. Before we introduce Dr. Weeks, for those of you who are new to ARCE, we are a private nonprofit organization whose mission is to support the research on all aspects of Egyptian history and culture, foster a broader knowledge about Egypt among the general public and to support American- Egyptian cultural ties. As a nonprofit, we rely on ARCE members to support our work, so I want to first give a special welcome to our ARCE members who are joining us today. If you are not already a member and are interested in becoming one, I invite you to visit our website arce.org and join online to learn more about the organization and the important work that all of our members are doing. We provide a suite of benefits to our members including private members-only lecture series. Our next members-only lecture is on February 6th at 1 p.m.
    [Show full text]
  • Temples and Tombs Treasures of Egyptian Art from the British Museum
    Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators this is max size of image at 200 dpi; the sil is low res and for the comp only. if approved, needs to be redone carefully American Federation of Arts Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators American Federation of Arts © 2006 American Federation of Arts Temples and Tombs: Treasures of Egyptian Art from the British Museum is organized by the American Federation of Arts and The British Museum. All materials included in this resource may be reproduced for educational American Federation of Arts purposes. 212.988.7700 800.232.0270 The AFA is a nonprofit institution that organizes art exhibitions for presen- www.afaweb.org tation in museums around the world, publishes exhibition catalogues, and interim address: develops education programs. 122 East 42nd Street, Suite 1514 New York, NY 10168 after April 1, 2007: 305 East 47th Street New York, NY 10017 Please direct questions about this resource to: Suzanne Elder Burke Director of Education American Federation of Arts 212.988.7700 x26 [email protected] Exhibition Itinerary to Date Oklahoma City Museum of Art Oklahoma City, Oklahoma September 7–November 26, 2006 The Cummer Museum of Art and Gardens Jacksonville, Florida December 22, 2006–March 18, 2007 North Carolina Museum of Art Raleigh, North Carolina April 15–July 8, 2007 Albuquerque Museum of Art and History Albuquerque, New Mexico November 16, 2007–February 10, 2008 Fresno Metropolitan Museum of Art, History and Science Fresno, California March 7–June 1, 2008 Design/Production: Susan E.
    [Show full text]
  • T U T a N K H a M
    Veldmeijer Tutankhamun’s Footwear Tutankhamun’s Footwear Studies of Ancient Egyptian Footwear The discovery of Tutankhamun’s tomb by Howard Carter in 1922 is Studies of Ancient Egyptian Footwear one of the most significant archaeological discoveries of all time. It took Carter and his team 10 years to clear the contents of the tomb and among the objects found was a large collection of shoes and sandals. The Tutankhamun’s Footwear footwear is analysed here in detail for the first time since the discovery using Carter’s records and Harry Burton’s excellent photographs along with the author’s analyses of the objects, all of which are housed in the Egyptian Museum, Cairo and the Luxor Museum. Several specialists contributed to the volume discussing the different materials (gold, vegetable fibre, birch bark, glass and faience, leather, gemstones) that were used in the footwear. Tutankhamun’s footwear is compared with other finds in order to be able to put it in a broader context. The footwear from the tomb of Yuya and Tjuiu, the King’s great-grandparents, are, therefore, analysed as well. In addition to the analysis, footwear in texts and two- and three-dimensional art is considered. André J. Veldmeijer (assistant director for Egyptology at the Netherlands Flemish Institute Cairo) studied archaeology at Leiden University (The Netherlands) and received his PhD from Utrecht University (The Netherlands). He has worked in Egypt since 1995 as a leather, footwear and cordage specialist for various missons (including Amarna, Berenike, Dra’ Abu el-Naga, Elephantine, Hierakonpolis and Qasr Ibrim) and has also worked in several collections all over the world.
    [Show full text]
  • Sphinx Sphinx
    SPHINX SPHINX History of a Monument CHRISTIANE ZIVIE-COCHE translated from the French by DAVID LORTON Cornell University Press Ithaca & London Original French edition, Sphinx! Le Pen la Terreur: Histoire d'une Statue, copyright © 1997 by Editions Noesis, Paris. All Rights Reserved. English translation copyright © 2002 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2002 by Cornell University Press Printed in the United States of America Library of Congress Cataloging-in-Publication Data Zivie-Coche, Christiane. Sphinx : history of a moument / Christiane Zivie-Coche ; translated from the French By David Lorton. p. cm. Includes bibliographical references and index. ISBN 0-8014-3962-0 (cloth : alk. paper) 1. Great Sphinx (Egypt)—History. I.Tide. DT62.S7 Z58 2002 932—dc2i 2002005494 Cornell University Press strives to use environmentally responsible suppliers and materials to the fullest extent possible in the publishing of its books. Such materi­ als include vegetable-based, low-VOC inks and acid-free papers that are recycled, totally chlorine-free, or partly composed of nonwood fibers. For further informa­ tion, visit our website at www.cornellpress.cornell.edu. Cloth printing 10 987654321 TO YOU PIEDRA en la piedra, el hombre, donde estuvo? —Canto general, Pablo Neruda Contents Acknowledgments ix Translator's Note xi Chronology xiii Introduction I 1. Sphinx—Sphinxes 4 The Hybrid Nature of the Sphinx The Word Sphinx 2.
    [Show full text]
  • Ranke, the Art of Ancient Egypt and Breasted, Geschichte Aegyptens (1936), 41-2; Smith, Hist
    NON-ROYAL STATUES PREDYNASTIC PERIOD Woman with child Ivory. 801-110-000 Woman with child on hip, late Predynastic, in Berlin, Ägyptisches Museum, 14441. Capart, Primitive Art in Egypt 168 fig. 131; Erman and Ranke, Aegypten und aegyptisches Leben im Altertum Taf. 12 [1]; Schäfer and Andrae, Kunst (1925), 574 Abb. 171 [5]; (1930), 606-7 Abb. 176 [4]; (1942), 626 Abb. 176 [4]; Scharff, Die Altertümer der Vor- und Frühzeit Ägyptens ii, 50-1 [79] Taf. 16; Ranke, The Art of Ancient Egypt and Breasted, Geschichte Aegyptens (1936), 41-2; Smith, Hist. Eg. Sculp. 1-2 fig. 4 [left]; Wolf, Kunst Abb. 18; Hornemann, Types v, pl. 1246; Wiesner, J. Ägyptische Kunst 26 Abb. 1; id. in Äg. Mus. (1991), No. 5 [b] fig. on 1; Vilímková, M. Starove9ký Egypt fig. 15; Priese, Das Ägyptische Museum. Wegleitung (1989), 11 Abb. 1; Wenig, Die Frau pl. 4; D. W[ildung] in Phillips, T. (ed.), Africa. The Art of a Continent Cat. 1.2 fig. 801-110-002 Mother with child, late Predynastic, in Berlin, Ägyptisches Museum, 17600. Schäfer and Andrae, Kunst (1925), 574 Abb. 171 [2, 3]; (1930), 606 Abb. 176 [2, 3]; (1942), 626 Abb. 176 [2, 3]; Scharff, Die Altertümer der Vor- und Frühzeit Ägyptens ii, 50 [78] Taf. 16; Ranke, The Art of Ancient Egypt and Breasted, Geschichte Aegyptens (1936), 45-6; Hamann, Äg. Kunst 76, 78 Abb. 83; Smith, Hist. Eg. Sculp. 1-2 fig. 4 [middle]; Wolf, Kunst 53 Abb. 17; id. Die Kultur Ägyptens 50 Abb. 48; id. Frühe Hochkulturen. Ägypten, Mesopotamien, Ägäis 22 Abb.
    [Show full text]
  • 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.
    [Show full text]
  • Contents Introduction to the Touch Tour
    Contents Introduction to the Touch Tour................................2 Description and plan of Room 4 ............................4 1. Seated statue of Amenhotep III .........................6 2. Lion statue of Amenhotep III ..............................8 3. Sarcophagus ...................................................... 10 4. Statue of King Senwosret III ............................11 5. Left arm from a colossal statue of Amenhotep III .......................................................... 13 6. Seated statue of the goddess Sekhmet ........14 7. Block statue of Amenhotep ............................. 16 8. Boat sculpture of Queen Mutemwia ............. 18 9. Colossal scarab beetle .................................... 20 1 Introduction to the Touch Tour This tour of the Egyptian Sculpture Gallery is a specially designed Touch Tour for visitors with sight difficulties. This guide gives you information about nine highlight objects in Room 4 that you are able to explore by touch. The Touch Tour is also available to download as an audio guide from the Museum’s website: britishmuseum.org/egyptiantouchtour If you require assistance, please ask the staff on the Information Desk in the Great Court to accompany you to the start of the tour. The sculptures are arranged broadly chronologically, and if you follow the tour sequentially, you will work your way gradually from one end of the gallery to the other moving through time. Each sculpture on your tour has a Touch Tour symbol beside it and a number. 2 Some of the sculptures are very large so it may be possible only to feel part of them and/or you may have to move around the sculpture to feel more of it. If you have any questions or problems, do not hesitate to ask a member of staff.
    [Show full text]
  • Bulletin De L'institut Français D'archéologie Orientale
    MINISTÈRE DE L'ÉDUCATION NATIONALE, DE L'ENSEIGNEMENT SUPÉRIEUR ET DE LA RECHERCHE BULLETIN DE L’INSTITUT FRANÇAIS D’ARCHÉOLOGIE ORIENTALE en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne BIFAO 114 (2014), p. 455-518 Nico Staring The Tomb of Ptahmose, Mayor of Memphis Analysis of an Early 19 th Dynasty Funerary Monument at Saqqara Conditions d’utilisation L’utilisation du contenu de ce site est limitée à un usage personnel et non commercial. Toute autre utilisation du site et de son contenu est soumise à une autorisation préalable de l’éditeur (contact AT ifao.egnet.net). Le copyright est conservé par l’éditeur (Ifao). Conditions of Use You may use content in this website only for your personal, noncommercial use. Any further use of this website and its content is forbidden, unless you have obtained prior permission from the publisher (contact AT ifao.egnet.net). The copyright is retained by the publisher (Ifao). Dernières publications 9782724708288 BIFAO 121 9782724708424 Bulletin archéologique des Écoles françaises à l'étranger (BAEFE) 9782724707878 Questionner le sphinx Philippe Collombert (éd.), Laurent Coulon (éd.), Ivan Guermeur (éd.), Christophe Thiers (éd.) 9782724708295 Bulletin de liaison de la céramique égyptienne 30 Sylvie Marchand (éd.) 9782724708356 Dendara. La Porte d'Horus Sylvie Cauville 9782724707953 Dendara. La Porte d’Horus Sylvie Cauville 9782724708394 Dendara. La Porte d'Hathor Sylvie Cauville 9782724708011 MIDEO 36 Emmanuel Pisani (éd.), Dennis Halft (éd.) © Institut français d’archéologie orientale - Le Caire Powered by TCPDF (www.tcpdf.org) 1 / 1 The Tomb of Ptahmose, Mayor of Memphis Analysis of an Early 19 th Dynasty Funerary Monument at Saqqara nico staring* Introduction In 2005 the Metropolitan Museum of Art, New York, acquired a photograph taken by French Egyptologist Théodule Devéria (fig.
    [Show full text]
  • THE CEREMONIAL CANOPIED CHARIOT of TUTANKHAMUN (JE61990 and JE60705): a TENTATIVE VIRTUAL RECONSTRUCTION*
    1 THE CEREMONIAL CANOPIED CHARIOT OF TUTANKHAMUN (JE61990 and JE60705): A TENTATIVE VIRTUAL RECONSTRUCTION* BY NOZOMU KAWAI, YASUSHI OKADA, TAKESHI OISHI, MASATAKA KAGESAWA, AKIKO NISHISAKA, AND HUSSEIN KAMAL† The Japan International Cooperation Agency (JICA) and the Ministry of Tourism and Antiquities, Arab Republic of Egypt, have been conducting the Grand Egyptian Museum Joint Conservation Project (GEM-JC) since November 2016, after having completed two phases of cooperation to improve conservation techniques at the Grand Egyptian Museum Conservation Center (GEM-CC). The GEM- CC conservation specialists will have their skills enhanced through this experience and GEM-CC's capacity and efficiency as an important conservation centre will also be improved. It is expected that GEM-CC staff will ultimately complete all conservation activities and treatments. Among the 72 target objects for the GEM-JC Project, designated to be transferred from the Egyptian Museum in Tahrir Square to the Grand Egyptian Museum in Giza and jointly conserved by Egyptian and Japanese conservators, five chariots were selected. In particular, the ‘second state chariot’ (GEM 4940; JE61990; Carter no. 122; A1 of Littauer and Crouwel1) (fig.1) was chosen as the lead object, with Japanese and Egyptian experts working jointly on all aspects of the treatment, including remedial conservation, as a model for the conservation of the other chariots. In the course of the project, we confirmed that this particular chariot originally had a canopy (GEM 4539; JE60705; Carter no. 123) (fig. 2) attached to the chariot body, as first proposed by Edwin Brock in 2012.2 However, it is impossible to join these two artifacts together because of their fragile condition, and it has been decided to display them separately.
    [Show full text]
  • Who Was Who at Amarna
    1 Who was Who at Amarna Akhenaten’s predecessors Amenhotep III: Akhenaten’s father, who ruled for nearly 40 years during the peak of Egypt’s New Kingdom empire. One of ancient Egypt’s most prolific builders, he is also known for his interest in the solar cult and promotion of divine kingship. He was buried in WV22 at Thebes, his mummy later cached with other royal mummies in the Tomb of Amenhotep II (KV 35) in the Valley of the Kings. Tiye: Amenhotep III’s chief wife and the mother of Akhenaten. Her parents Yuya and Tjuyu were from the region of modern Akhmim in Egypt’s south. She may have lived out her later years at Akhetaten and died in the 14th year of Akhenaten’s reign. Funerary equipment found in the Amarna Royal Tomb suggests she was originally buried there, although her mummy was later moved to Luxor and is perhaps to be identified as the ‘elder lady’ from the KV35 cache. Akhenaten and his family Akhenaten: Son and successor of Amenhotep III, known for his belief in a single solar god, the Aten. He spent most of his reign at Akhetaten (modern Amarna), the sacred city he created for the Aten. Akhenaten died of causes now unknown in the 17th year of his reign and was buried in the Amarna Royal Tomb. His body was probably relocated to Thebes and may be the enigmatic mummy recovered in the early 20th century in tomb KV55 in the Valley of the Kings. Nefertiti: Akhenaten’s principal queen. Little is known of her background, although she may also have come from Akhmim.
    [Show full text]