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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. -
House of Eternity: Tomb of Nefertari
- - - OUSE OF ETERNITY The Tomb of Nefertari John K. McDonald The Getty Conservation Institute and the J. Paul Getty Museum Los Angeles Cover/title page: Detail a/Queen Nefertari 0/'1 the north wall of Chamber G. All photographs are by Guillermo Aldana unless credited otherwise. The Getty Conservation Institute works internationally to further the appreciation and preservation of the world's cultural heritage for the enrichment and use of present and future generations. This is the first volume in the Conservation and Cultural Heritage series, which aims to provide in a popular format information about selected culturally significant sites throughout the world. © 1996 The J. Paul Getty Trust All rights reserved Printed in Singapore Library of Congress Cataloging-in-Publication Data McDonald. John K. House of eternity: the tomb of Nefertari I John K. McDonald. p. cm. ISBN 0-89236-415-7 1. Nefertari. Queen. consort of Rameses II. King of Egypt-Tomb. 2. Mural painting and decoration. Egyptian. 3. Tombs-Egypt. 4. Valley of the Queens (Egypt) I. Title. DT73· v34M35 1996 932-dc20 96-24123 C1P Contents Foreword 5 Introduction Dynasties of Ancient Egypt II Nefertari: Radiant Queen A Letter from Nefertari The Queen's Titles and Epithets 19 The Valley of the Queens Ernesto Schiaparelli 25 Conveyance to Eternal Life: The Royal Tombs of Egypt Tomb Paints and Materials 33 The Tomb Builders' Village 37 After Nefertari's Burial 41 Resurrection and Recurrent Risks 47 The King of the Dead and His Divine Family Divine Guidance 55 Among the Immortals: A Walk through the "House of Eternity" The Texts in the Tomb III Conclusion 116 Acknowledgments II HOUSE OF ETER ITY an honored and < > beloved queen, still in the prime of earthly existence, set off upon a voyage to the netherworld, in quest of eternal life. -
Ancient Egyptian ACTIVITY SHEET for YOUNG VISITORS
ArchaeologyArchaeology & History Ancient Egyptian ACTIVITY SHEET FOR YOUNG VISITORS This sheet belongs to Name: MUMMIES Start at the door Standing at the door, look at the mummy nearest to you on your left. This is the coffin of theLady Diafawer. Take a look at the body inside the coffin. It has been mummified. The Egyptians believed a dead person would need their body in another life. Because of this people went to a lot of trouble to stop it from rotting in the tomb. They took out some parts of the body and then a salty mixture is put all over the body to dry and preserve it. This salty mixture is called Natron. The body was left for up to 70 days until it was quite dry. The body was then washed and bandaged up with sweet smelling spices. Q. How would you go about preserving the body by mummification? Write your answer in the box below. Answer: . THE EGYPTIANS BELIEVED THE BODY HAD TO BE PROTECTED! Go down the steps on your left. Look in the large display case in front of you. One section in this case has lots of amulets and pendants. Amulets were a type of good luck charm which the Egyptians believed would protect against evil. These were found inside the bandages of ancient mummies. Find the “Eye of Horus” (number 1. on the panel). This is also called the “Wedjat Eye”. The left eye of Horus was a very popular symbol of protection. The scarab beetle was another popular amulet. It was placed with the deceased in the tomb as a symbol of new life. -
Ancient Egypt: Symbols of the Pharaoh
Ancient Egypt: Symbols of the pharaoh Colossal bust of Ramesses II Thebes, Egypt 1250 BC Visit resource for teachers Key Stage 2 Ancient Egypt: Symbols of the pharaoh Contents Before your visit Background information Resources Gallery information Preliminary activities During your visit Gallery activities: introduction for teachers Gallery activities: briefings for adult helpers Gallery activity: Symbol detective Gallery activity: Sculpture study Gallery activity: Mighty Ramesses After your visit Follow-up activities Ancient Egypt: Symbols of the pharaoh Before your visit Ancient Egypt: Symbols of the pharaoh Before your visit Background information The ancient Egyptians used writing to communicate information about a person shown on a sculpture or relief. They called their writing ‘divine word’ because they believed that Thoth, god of wisdom, had taught them how to write. Our word hieroglyphs derives from a phrase meaning ‘sacred carvings’ used by the ancient Greek visitors to Egypt to describe the symbols that they saw on tomb and temple walls. The number of hieroglyphic signs gradually grew to over 7000 in total, though not all of them were used on a regular basis. The hieroglyphs were chosen from a wide variety of observed images, for example, people, birds, trees, or buildings. Some represent the sounds of the ancient Egyptian language, but consonants only. No vowels were written out. Also, it was not an alphabetic system, since one sign could represent a combination of two or more consonants like the gaming-board hieroglyph which stands for the consonants mn. Egyptologists make the sounds pronounceable by putting an e between the consonants, so mn is read as men. -
Ancient Egypt Memory Game
Ancient Egypt Memory Game The jewelry of ancient Egypt can tell us a lot about what was important to ancient Egyptian people. Jewelry like diadems, rings, hairpins, necklaces, earrings, pendants, and bracelets often contained important symbols and images of gods and goddesses. By looking closely at these symbols and images, we are able to discover some of the ideas of the artists who made them, and learn about the hopes and beliefs of the ancient Egyptians who wore the jewelry. Discover more about seven ancient Egyptian gods and goddesses, and other important symbols by playing the memory game and matching each picture to its description. You can find out more about ancient Egyptian jewelry by visiting Glencairn Museum's online exhibit on Google Arts and Culture or booking a ticket to visit the Museum and exhibition in-person! Instructions to make the game: 1. Print the cards on thick, plain paper or cardstock. 2. Cut out each card along the solid outline, and through the middle on the dotted line. 3. Color the images if you like! Instructions to play the game: 1. You can play this game alone, or with others! 2. Shuffle all the cards and lay them out, face down. 3. Turn over any two cards. If you have found a matching image and description, keep the cards and go again. Keep going until they do not match. Use the answer sheet to check if needed. 4. If the cards do not match, flip them back over. It is the next player's turn. Watch and remember the cards that they flip. -
Art Masterpiece: Egyptian Art and Symbolism: “Cartouche” of Tuthmosis III - 1479-25 B.C
Art Masterpiece: Egyptian Art and Symbolism: “Cartouche” of Tuthmosis III - 1479-25 B.C. Artist: Unknown Keywords: Shenu/Cartouche, Hieroglyphics, Culture, Shen/Oval Ring, and Subtractive Art Technique Grade: 5th Activity: Students will create a cartouche of their name using ancient Egyptian hieroglyphs & symbols on a gold & black scratch board Egyptian Art and the Meaning of its Symbols: Shenu is the ancient name for Cartouche (French). A Cartouche is an oval frame which surrounds hieroglyphs that make up the name of an Egyptian God or person of royalty. The oval ring, “Shen”, encompassing the cartouche, is a symbol of eternity. It has the magical power to protect the name that is written inside it. Hieroglyphs are characters in which symbols represent objects (such as tools, animals, or boats) and ideas (such as motion, time, and joy). In the Egyptian tradition, the oval represents a cocoon, from where all life begins. In Egyptian teachings, the Sun-god Ra was born out of this Cartouche forever binding him to universal creation, the source from which all love comes. The ancient Greeks first used the term hieroglyph (meaning "sacred carving") to describe these decorative characters. There were between 700 and 800 basic symbols in ancient Egypt, today there are hundreds more. Subtractive Art Technique Process: The subtractive process requires you to take something away from a particular material; much like a sculptor would do when working with marble, clay or wood. If you use an eraser with charcoal, it is also subtractive, because as you try to achieve the right balance of shading and value, you remove more/less of the charcoal. -
Ancient Egypt Ancient Egypt a Selection of Pottery, Jewellery and Grave Goods Excavated in Egypt Between the Eighteenth and Twentieth Centuries
Ancient Egypt Ancient Egypt A selection of pottery, jewellery and grave goods excavated in Egypt between the Eighteenth and Twentieth Centuries. Some were found by famous archaeologists such as Flinder Petrie and others were brought back by independent individuals. Top Shelf These food and storage jars are evidence of the Stone Age people who lived in Egypt before the time of the pharaohs. They were farmers who grew barley and domesticated cattle and lived in simple mud hut villages by the fertile River Nile. Pots like this were used to store some of the staple foods of the Ancient Egyptian diet including barley, wheat, beans, lentils, dates and figs. People in Egypt were among the first people to make pottery, beginning in about 4000 BC. Silt and clay from beside the River Nile provided the materials for these early potters. They made the pots by hand, creating long coils of clay, then spiralling them round to build up the walls of the pot. Many pots of this period have a tapering narrow base, and were designed to fit into a stand or small hole in the ground. The beautiful spiral patterns give the impression of a vessel carved from stone, and are similar to designs found in early Egyptian rock carvings. Pots like this were often buried with their owners in brick- lined graves. Early Egyptian (Pre-Dynastic) food and storage jars Earlier than 3,000 BC. Canterbury Museums reference Ancient Egypt Middle Shelf L-R The Ancient Egyptians loved jewellery, and both men and women decorated themselves with rings and earrings. -
The Building Stones of Ancient Egypt – a Gift of Its Geology Dietrich D
African Earth Sciences 33 (2001) 631–642 www.elsevier.com/locate/jafrearsci The building stones of ancient Egypt – a gift of its geology Dietrich D. Klemm a,*, Rosemarie Klemm b a Institut f€ur Allgemeine und Angewandte Geologie der Ludwig-Maximilians-Universitat Munchen, Luisenstrasse 37, D-80333 M€unchen, Germany b Institut fu€r A€gyptologie der LMU, Meiserstr 10, D-80333 Mu€nchen, Germany Received 1 February 2001; accepted 31 July 2001 Abstract Building stones and clay-rich Nile mud were ancient Egypt’s main raw construction materials. While the mud was easily accessible along the Nile river valley, the immense quantities of the different stone materials used for construction of the famous pyramids, precious temples and tombs needed a systematic quarrying organization, well arranged transport logistics over extreme distances and a high standard of stone masonry. The petrography, occurrence, and main applications of the 11 most popular stone types used in ancient Egypt are described in this contribution. Rough estimates of the scale of this mining activity, based on the volume of many different ancient quarry sites, all over Egypt, reveal that the monuments known today represent only a small fraction of the amount of building stones mined during the long, ancient Egyptian history. Ó 2002 Published by Elsevier Science Ltd. Keywords: Building stones; Nile mud; Monuments and temples; Petrography; Mining logistics 1. Introduction its legendary reputation as the ‘‘land of milk and honey’’. Nile mud bricks alone do not resist weathering forces for Ancient Egypt was regarded by Evers (1929) as the very long and thus, most of the villages, private and noble ‘‘state out of stone’’ because stone was the most impor- buildings of ancient Egypt have been lost, with only tant raw material used during the different periods of scarce exceptions waiting to be uncovered by the spate of Pharaonic Egypt until Graeco-Roman and Arab times. -
The Egyptian Ankh Ankh: the Symbolic Representation of Both
The egyptian Ankh From : One Light Many Windows https://culturalsymbolism.wordpress.com/tag/cross-symbols/ Ankh: The symbolic representation of both Physical and Eternal life. It is known as the original cross, which is a powerful symbol that was first created by Africans in Ancient Egypt. More info The Ankh was, for the ancient Egyptians, the symbol (the actual Hieroglyphic sign) of life but it is an enduring icon that remains with us even today as a Christian cross. It is one of the most potent symbols represented in Egyptian art, often forming a part of decorative motifs. The ankh seems at least to be an evolved form of, or associated with the Egyptian glyph for magical protection, sa. However, what the sign itself represents is often disputed. For example, Sir Alan Gardiner thought that it showed a sandal strap with the loop at the top forming the strap, but if so, the symbolism is obscure and so his theory has found little real favor early on. However, this interpretation seems to have received some acceptance among modern writers. It would seem that the ancient Egyptians called that part of the sandal ‘nkh (exact pronunciation unknown). Because this word was composed of the same consonants as the word “life”, the sign to represent that particular part of the sandal, was also used to write the word “life”. Another theory holds that the ankh was symbolic of the sunrise, with the loop representing the Sun rising above the horizon, which is represented by the crossbar. The vertical section below the crossbar would then be the path of the sun. -
Chapter6 the Egyptian Pantheon
Chapter6 The Egyptian Pantheon Objectives To discover the physical characteristics of the gods and goddesses, and to identify the role each deity played in the land of the living and the land of the dead. Mystery How did the ancient Egyptians conceive and visualize their invisible gods and goddesses? Discussion and Research Projects 1. Like many other ancient cultures, the Egyptians worshipped a mul- titude of gods and goddesses. Why do you think they had so many deities? 2. Gods and goddesses can be classified into pairs of opposites. The pairs may be male and female, or represent opposite phe- nomena such as order and chaos. Make a list of the gods and god- desses that constitute pairs of opposites. 3. Classify the gods and goddesses according to their role in the land of the living and the land of the dead. The land of the living would include the natural world on earth and the sky; the land of the dead is the invisible world where the Egyptians hoped to be reborn into eternity. 4. The gods and goddesses were visualized with bodies, heads and headdresses that gave each a unique appearance. Most had human bodies with either a human, animal, bird or insect head. Which god does not fit this pattern? Mysteries of Egypt — Teacher’s Guide 5. Classify the gods and goddesses into the following categories: • bird heads • insect heads • human heads • animal heads • mythical heads • a single animal body • a combination of animal bodies • a combination of human and bird bodies 6. Classify the gods and goddesses according to what they hold in their hands: • crook and flail • feather • rod or sceptre • ankh (symbol of life) • sistrum (rattle) 7. -
What Are Hieroglyphs?
What are Hieroglyphs? Egyptian hieroglyphs or literally “sacred carvings” were in use before 3100 BC. They developed from pictures of objects or things (pictographs), and they always retained their pictorial form. Pictographs are simple drawings of objects that prehistoric peoples knew and saw around them, which they used as symbols to represent the words for the objects in their particular language. Phonograms are “sound signs” that represent the individual sounds which make up the words in a language. The Egyptian “alphabet” are pictographs that function as phonograms. Scribes were ancient Egyptian writers and carvers serving as administrators, tax gatherers and accountants. They had a high status in society and directed and supervised many others. Their duties included: • Imposition and collection of taxes • Keeping accounts • Keeping army records • Controlling the law courts • Composing and copying religious and other texts The Rosetta Stone Uncovered by Napoleon’s troops in 1799 in the Nile Delta near Rosetta, Egypt, this black basalt stone carried an inscription in three scripts – Greek, hieroglyphs, and demotic. Ceded to Britain in 1801 CE, the Rosetta Stone now resides in the British Museum. In 1822 CE, French Egyptologist Jean- François Champollion decoded its meaning and now, after nearly 2000 years, hieroglyphs can be read once again! Try these fun activities with Egyptian Hieroglyphs! 1. Decode the Egyptian Tomb wall panel into English Below is a simplified translation of the hieroglyphic alphabet into English letters historians have come up with. A. Use this alphabet key to decode the ancient Egyptian tomb wall panel on the following page. For our purposes, you will be decoding words in English written in Egyptian hieroglyphs. -
The Great Revolt of the Egyptians (205–186 BC)
The great revolt of the Egyptians (205–186 BC) Introduction With the invasion of Alexander the Great (333 BC) a Greek regime is established in Egypt, which will last until the Arab invasion a thousand years later (640 AD), first under the Macedonian dynasty of the Ptolemies, from 30 BC onwards under Roman and Byzantine emperors. For more than a millennium the land of the Nile is directed from the Greek city of Alexandria, situated on a peninsula before the coast of Egypt, a bit like New York before the coast of the US. The language spoken at the royal court and used by the royal administration is different from that spoken and understood by the overwhelming majority of the population. Although the Ptolemies were officially recognized as pharaohs by the temples and even crowned by the high priest of Memphis, although they supported Egyptian religion by subsidizing the cults and building great temples (see below, text 2), they remained fundamentally a foreign dynasty. Starting from 246 BC there are several native uprisings. During the most successful of these, all Upper Egypt revolted against Alexandria for almost twenty years (206–186 BC) under the leadership of two native pharaohs, called Hyrgonaphor (Haronnophris) and Chaonnophris. Though no monuments have been preserved of these last native Egyptian pharaohs, we are able to reconstruct the main events and even the ideological background of the revolt on the basis of a very diverse source material, both in Greek and in Egyptian. Here I will look at the revolt, mainly on the basis of the texts in English translation, from three different angles: I.