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J!opujdf/!/!/ Kiev RUSSIA GERMANY CZECH REPUBLIC UKRAINE FRANCE Zurich AUSTRIA Bern LUX. Innsbruck HUNGARY Kishinev Nantes Cluj Odessa Frunze SWITZERLAND MOLDOVA Geneva SLOVENIA Pecs Arad ROMANIA Clermont-Ferrand Milano Venezia Ljubljana Zagreb Lyon CROATIA Timisoara Braila Bordeaux "" Turin Banja Luka Bucharest Genova BOSNIA Belgrade Sarajevo Toulouse Constanta Bayonne Firenze SERBIA Monaco Split Bilbao Marseille Sofia Varna ANDORRA ITALY Burgas MONTENEGRO BULGARIA Valladolid Zaragoza Skopje Rome Tirane Bari MACEDONIA Salamanca Barcelona Xanthi Istanbul Zonguldak Baku Madrid Naples ALBANIA TURKMENISTAN PORTUGAL Bursa TURKEY Valencia Larisa " GREECE SPAIN Palma Ankara Palermo Lisbon Cordoba Izmir Tabriz Sevilla Catania Athens Malaga Algers Annaba Tunis Antalya Adana Mashhad Aleppo Vallelta Khania Tangier Gibraltar Nicosia Mosel Tehran Oran Batna MALTA Gafsa SYRIA Sfax Iraklion CYPRUS Bakhtaran Beirut Casablanca Rabat LEBANON Damascus IRAN Tripoli Esfahan TUNISIA Jerusalem Baghdad MOROCCO Amman Ouargla Misratah Banghazi Alexandria ISRAEL Marrakech Al Basrah Canary JORDAN Kerman Cairo Suez IRAQ Shiraz Islands Timimoun Bam LIBYA Beni Suef Kuwait El-Minya ALGERIA Bandar Abbas Layoun Sabhah Reggane SAUDI ARABIA BAHRAIN ! WESTERN Marzuq QATAR EGYPT Riyadh Abu Zaby SAHARA Djanet Al Jawf Al Madinah (Medina) Aswan U. A. E. Taoudenni Muscat Aozou Makkah (Mecca) Al Khaluf Atar Tessalit Port Sudan Araouane NIGER MAURITANIA Bilma OMAN MALI Faya-Largeau SUDAN Atbarah Nouakchott Tombouctou Agades Al Ghaydan Salalah Gao Khartoum ERITREA Sanaa Tahoua Asmara SENEGAL Kayes Zinder CHAD YEMEN Al Mukalla Niamey Al Fashir Taizz Bamako Mekele Ouagadougou Katsina Bissau Maiduguri N’Djamena BURKINA Zaria Djibouti GUINEA Kaduna Kankan BENIN T Berbera Tamale O Conakry G Abuja Addis Abbaba Korhogo O Freetown Moundou Ndele SOMALIA Asela SIERRA LEONE IVORY COAST Ibadan NIGERIA Wau GHANA CENTRAL AFRICAN REPUBLIC ETHIOPIA LIBERIA Man Porto Novo Goba Monrovia Bossangoa Abidjan Accra Lome CAMEROON Juba Bangui Bangassou Malabo Yaounde Ebolowa Gulu PANTONE 305-7 PANTONE 305-1 PANTONE 228-5 PANTONE 228-8 Sfmjfg!gspn!uif!Upnc!pg!Nfouvfnifu Egyptian, Thebes, Third Intermediate Period, Dynasties 25–26, ca. 660 B.C. Limestone with polychrome 14 x 18 in. (35.6 x 45.7 cm) J!xpoefs/!/!/ Museum purchase, M.H. de Young Memorial Museum 51.4.2 Ancient Civilizations Object Information Sheet 6th Grade 12 relief, a man cleans blue-finned fish. Along Sfmjfg!gspn!uif!Upnc! the lower sfhjtufs, a male and female are sfhjtufs; a band shown balancing baskets on their heads. The on a wall in which images are drawn EGYPT woman carries grapes in her basket, and the or carved to tell pg!Nfouvfnifu man carries cucumbers, loaves of bread, and a story a large head of lettuce. Can you tell which is F IS H which? Egyptian art portrays women with light Meet... C LE AN IN skin and men with dark skin. This difference in Who: G D ETAIL skin color is a sign of the division of labor between Mentuemhet or Governor Ment men and women. In Egypt, men worked outside in the sun, while women Role: worked mostly indoors. Egyptian artists wanted to create the most detailed view of a figure. To An Egyptian official who built do so, they drew the head and feet in profile and the body turned towards a tomb that contained this the viewer. Likewise, Egyptian artists did not try to show qfstqfdujwf. qfstqfdujwf; drawing or painting the painted wall relief Notice how the fish pictured at the right of the relief appear to float. If the distance between objects as the human eye sees distances artist showed the fish in perspective, lying on the ground, you would not be When: able to see all the details. Around 2,660 years ago Next to the lower figures are ijfsphmzqijdt. Hieroglyphics ijfsphmzqijdt; is a type of writing that uses pictures or symbols to represent a form of writing that uses pictures Where: ideas or sounds. The hieroglyphic writing next to the male or symbols to Thebes, a city located on the figure in the lower register reads, “produce for the temple represent ideas, Nile in Upper Egypt scribe of the domain of Amun.” The writings next to the sounds or objects woman read, “grapes for the fourth prophet of Amun.” What: This title refers to Governor Ment, who was also known Offering food to the god Amun as the fourth prophet of the god Amun. Like the Assyrian Winged Genius, this wall painting An official for the king, Governor Ment held was not simply decorative. It served as an fufsobm offering H fufsobm; lasting IE R O forever, never many titles and responsibilities. He was governor of from Governor Ment to the god Amun. The food pictured on G LY PH ending Upper Egypt, mayor of Thebes, and fourth of DE qspqifu; qspqifu the panel was also a source of nourishment for the Governor’s TAIL Bnvo; a god associated with things someone who Bnvo. In short, he controlled the army, politics, and ka, or soul. Tomb paintings were believed to create a place of eternal can tell the future hidden such as the wind. Amun was later religion in Upper Egypt. If you were alive at the time, comfort for the spirit of the dead. Governor Ment had plenty of servants and known as Amun-Re, the king of the gods. like the figures in this painting, you probably would food in the living world, and he planned to enjoy the same comforts after have been under his control. Governor Ment was also death. If you were an Egyptian, what kind of objects would you have painted responsible for restoring old temples and funding large on the walls of your tomb to make sure you enjoyed eternal comfort? Governor Ment needed many artists to restore building projects. His tomb, where this relief was found, This sfmjfg tells us about more than just what Governor Ment needed sfmjfg; A relief is formed by carving the old temples around Thebes and complete away stone or other materials to create his new building projects. Many of the artists was one of the largest tombs built for a non-royal in the afterlife. It also tells us about Egyptian society. Egyptian society had a a shape. The height between the carved he employed lived in this village, called Deir citizen. By studying this tomb painting, we can learn very strict class system. In a class system, poor people are considered to be el-Medina. This is now a famous archaeological image and the background can be in about Governor Ment and Egyptian society. at the very bottom. Then come those who earn a middle income, and finally site. Governor Ment’s tomb is located less than either high or low relief. In a high relief, a mile away from this village. Notice in the Governor Ment built his burial tomb near Thebes. the rich are at the top. In a strict class system it is hard for poor people to the carving is so deep that the object is background the lush green land along the banks Thebes is a city located on the Nile River in southern ever become rich because they are forced to take low-paying jobs. The almost separated from the background. of the Nile River. This photograph shows the In this example, the difference between Egypt. When this relief was made 2,660 years ago, stark contrast of the Egyptian landscape. lowest and largest part of Egyptian society was made up of servants, like the background and the figure is shallow, Egypt’s power was beginning to those seen here, and farmers, who grew the foods the servants carry. The or a low relief. weaken. In 671 B.C. all of Egypt, artisans who made such scenes were also part of the lower tier of society. including Thebes, fell to the Assyrian These men and women provided goods and services for Governor Ment Empire. and other officials. The top officials, in turn, served the king. In Egypt, the This painted wall panel depicts king was considered a god; he owned all of the land and controlled all of the three figures who are busy doing people through officials such as Governor Ment. With such an important job, everyday tasks. At the top of the do you think the king ever took a vacation? J!opujdf/!/!/ Kiev RUSSIA GERMANY CZECH REPUBLIC UKRAINE FRANCE Zurich AUSTRIA Bern LUX. Innsbruck HUNGARY Kishinev Nantes Cluj Odessa Frunze SWITZERLAND MOLDOVA Geneva SLOVENIA Pecs Arad ROMANIA Clermont-Ferrand Milano Venezia Ljubljana Zagreb Lyon CROATIA Timisoara Braila Bordeaux "" Turin Banja Luka Bucharest Genova BOSNIA Belgrade Sarajevo Toulouse Constanta Bayonne Firenze SERBIA Monaco Split Bilbao Marseille Sofia Varna ANDORRA ITALY Burgas MONTENEGRO BULGARIA Valladolid Zaragoza Skopje Rome Tirane Bari MACEDONIA Salamanca Barcelona Xanthi Istanbul Zonguldak Baku Madrid Naples ALBANIA TURKMENISTAN PORTUGAL Bursa TURKEY Valencia Larisa " GREECE SPAIN Palma Ankara Palermo Lisbon Cordoba Izmir Tabriz Sevilla Catania Athens Malaga Algers Annaba Tunis Antalya Adana Mashhad Aleppo Vallelta Khania Tangier Gibraltar Nicosia Mosel Tehran Oran Batna MALTA Gafsa SYRIA Sfax Iraklion CYPRUS Bakhtaran Beirut Casablanca Rabat LEBANON Damascus IRAN Tripoli Esfahan TUNISIA Jerusalem Baghdad MOROCCO Amman Ouargla Misratah Banghazi Alexandria ISRAEL Marrakech Al Basrah Canary JORDAN Kerman Cairo Suez IRAQ Shiraz Islands Timimoun Bam LIBYA Beni Suef Kuwait El-Minya ALGERIA Bandar Abbas Layoun Sabhah Reggane SAUDI ARABIA BAHRAIN ! WESTERN Marzuq QATAR EGYPT Riyadh Abu Zaby SAHARA Djanet Al Jawf Al Madinah (Medina) Aswan U. A. E. Taoudenni Muscat Aozou Makkah (Mecca) Al Khaluf Atar Tessalit Port Sudan Araouane NIGER MAURITANIA Bilma OMAN MALI Faya-Largeau SUDAN Atbarah Nouakchott Tombouctou Agades Al Ghaydan Salalah Gao Khartoum ERITREA Sanaa Tahoua Asmara SENEGAL Kayes Zinder CHAD YEMEN Al Mukalla Niamey Al Fashir Taizz Bamako Mekele Ouagadougou Katsina Bissau Maiduguri N’Djamena BURKINA Zaria Djibouti GUINEA Kaduna Kankan BENIN T Berbera Tamale O Conakry G Abuja Addis Abbaba Korhogo O Freetown Moundou Ndele SOMALIA Asela SIERRA LEONE IVORY COAST Ibadan NIGERIA Wau GHANA CENTRAL AFRICAN REPUBLIC ETHIOPIA LIBERIA Man Porto Novo Goba Monrovia Bossangoa Abidjan Accra Lome CAMEROON Juba Bangui Bangassou Malabo Yaounde Ebolowa Gulu PANTONE 305-7 PANTONE 305-1 PANTONE 228-5 PANTONE 228-8 Dbopqjd!Kbs!pg!Qb.fg.ifsj.ofgfs Egyptian, Late Dynastic Period, 747–332 B.C.
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    Ta lektura, podobnie ak tysiące innych, est dostępna on-line na stronie wolnelektury.pl. Utwór opracowany został w ramach proektu Wolne Lektury przez fun- dacę Nowoczesna Polska. BOLESŁAW PRUS Faraon TOM III Czy prorocy podziemne świątyni sfinksa widzieli nowego władcę Egiptu, ak obozował pod piramidami, czy dali o nim znać do królewskiego pałacu, i — w aki uczynili to sposób? — nie wiadomo. Dość, że gdy Ramzes zbliżał się do przewozu, nadostonieszy arcykapłan Herhor kazał obudzić służbę pałacową, a gdy pan przepływał Nil, wszyscy kapłani, enerałowie¹ i dostonicy cywilni uż zgromadzili się w wielkie sali. Równo ze wschodem słońca Ramzes XIII na czele drobnego orszaku wechał w pała- cowy dziedziniec, gdzie służba upadła przed nim na twarz, a gwardia sprezentowała broń przy odgłosie trąb i bębnów. Powitawszy wosko, ego świątobliwość udał się do łazienki i wziął kąpiel przesyconą wonnościami. Następnie pozwolił uporządkować boskie włosy; lecz gdy yzer napokor- nie zapytał go: czy każe ogolić głowę i — zarost? — pan odrzekł: — Nie potrzeba. Nie estem kapłanem, tylko żołnierzem. Słowa te w chwilę późnie przeszły do sali audienconalne, w godzinę obiegły pa- łac, około południa rozniosły się po mieście Memfis, a nad wieczorem znane były we wszystkich świątyniach państwa, od Tami-n-hor² i Sabne-Chetam³ na północy do Su- unu⁴ i Pilak⁵ na południu. Na tę wieść nomarchowie, szlachta, wosko, lud i cudzoziemcy szaleli z radości, ale święty stan kapłański tym gorliwie obchodził żałobę po zmarłym faraonie. Wyszedłszy z kąpieli, ego świątobliwość przywdział krótką koszulę żołnierską w czar- ne i żółte pasy, na nią złoty napierśnik, na nogi sandały przywiązane rzemieniami, a na głowę płytki hełm z kolcem.
  • The Canopic Box of N%-Aa-Rw (BM EA 8539) *

    The Canopic Box of N%-Aa-Rw (BM EA 8539) *

    THE CANOPIC BOX OF N%-aA-RW_ (BM EA 8539) * By AHMED M. MEKAWY OUDA Primary publication of the canopic box of Ns-aA-rwd, perhaps from Thebes dating to late Twenty- fifth/early Twenty-sixthD ynasties. No exact parallels exist for the texts on this box, which bears some unique epithets and unusual extensive formulations for the four protective goddesses, invoking a close relationship with Osiris and Horus, especially for Isis and Neith. The box’s owner, title, family, and status, as well as textual parallels for deities’ titles and epithets, are discussed. In the collections of the British Museum, there is a painted wooden canopic chest belonging to Ns-aA-rwd, in the form of a Pr-wr shrine with inclined roof (BM EA 8539; fig. 1).1 The museum acquired it as part of Henry Salt’s first collection, which arrived in London in 1821 and was accessioned in 1823. Each side displays a scene in which one of the four protective goddesses, Isis, Nephthys, Neith, and Selkis, are making a libation for one of the sons of Horus on the right, with four columns of hieroglyphic inscriptions on the left (fig. 2). The box (H. 44.5 cm, W. 45 cm, and D. 42 cm ) is in good condition apart from three fragmented lines on the sides of the box pertaining to Neith, Nephthys, and Isis, and a break in the sloping lid on the Nephthys side. Its provenance was not recorded, but the title of the owner (‘Singer in the interior (of the Temple) of Amun’) suggests it came from Thebes.