The Monuments of Upper Egypt, and to Supply Him with Such Information As Will Best Enable Him to Understand Their Meaning
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Survey and Salvage Epigraphy of Rock-Cut Graffiti and Inscriptions in the Area of Aswan Report on the Season in Autumn 2012 and Spring 2013
Survey and Salvage Epigraphy of Rock-Cut Graffiti and Inscriptions in the Area of Aswan Report on the Season in Autumn 2012 and Spring 2013 by Linda Borrmann (German Archaeological Institute Cairo) 1) Introduction 2) The site of the Royal Stelae south of Aswan a. Setting b. Stelae c. Further inscriptions d. Preliminary results 3) Rock art in Wadi Berber on the West Bank of Aswan a. Setting b. Rock art c. Landscape and spatial recording 1) Introduction From October 23, 2012 until December 05, 2012 and from March 03, 2013 until March 07, 2013 work on surveying and salvage epigraphy on rock inscriptions and rock art in the Aswan area was continued in the framework of the joint project between the German Archaeological Institute (DAI) and the Ministry of State for Antiquities (MSA).1 During this field season work on a group of New Kingdom royal stelae situated south of the town of Aswan (behind the workshop "Turquoise Joaillerie") and at a rock art site in Wadi Berber on the West Bank of Aswan was completed. 1 Members of the team were: Dr. Fathy Abu Zeid (head of the mission, MSA), Dr. Abd el Hakim Karrar (head of the mission, MSA), Prof. Dr. Stephan Seidlmayer (head of the mission, DAI Cairo), Linda Borrmann M.A. (field director, DAI Cairo), Adel Kelany (field director, MSA), Rebecca Döhl M.A. (sub-project “Rock Art in Wadi Berber”), Shazli Ali Abd el Azim, Alexander Juraschka, Anita Kriener M.A., Mahmoud Mamdouh Mokhtar, Ahmed Mohamed Hassan Mohamed, Heba Saad Harby, Elisabeth Wegner (members of the collaborative team), Mohamed Abdu Ali, Salah el Deen Ismael Abd el Raof, Yosra Khalf Allah el Zohry, Ahmed Mohamed Ahmed (trainees of the MSA). -
Graffiti-As-Devotion.Pdf
lsa.umich.edu/kelsey/ i lsa.umich.edu/kelsey/ lsa.umich.edu/kelsey/ iii Edited by Geoff Emberling and Suzanne Davis Along the Nile and Beyond Kelsey Museum Publication 16 Kelsey Museum of Archaeology University of Michigan, 2019 lsa.umich.edu/kelsey/ iv Graffiti as Devotion along the Nile and Beyond The Kelsey Museum of Archaeology, Ann Arbor 48109 © 2019 by The Kelsey Museum of Archaeology and the individual authors All rights reserved Published 2019 ISBN-13: 978-0-9906623-9-6 Library of Congress Control Number: 2019944110 Kelsey Museum Publication 16 Series Editor Leslie Schramer Cover design by Eric Campbell This book was published in conjunction with the special exhibition Graffiti as Devotion along the Nile: El-Kurru, Sudan, held at the Kelsey Museum of Archaeology in Ann Arbor, Michigan. The exhibition, curated by Geoff Emberling and Suzanne Davis, was on view from 23 August 2019 through 29 March 2020. An online version of the exhibition can be viewed at http://exhibitions.kelsey.lsa.umich.edu/graffiti-el-kurru Funding for this publication was provided by the University of Michigan College of Literature, Science, and the Arts and the University of Michigan Office of Research. This book is available direct from ISD Book Distributors: 70 Enterprise Drive, Suite 2 Bristol, CT 06010, USA Telephone: (860) 584-6546 Email: [email protected] Web: www.isdistribution.com A PDF is available for free download at https://lsa.umich.edu/kelsey/publications.html Printed in South Korea by Four Colour Print Group, Louisville, Kentucky. ♾ This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). -
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. -
Modern Egyptomania and Early Egyptology: the Case of Mariette's 1867 Egyptian Temple
Nineteenth-Century Contexts An Interdisciplinary Journal ISSN: 0890-5495 (Print) 1477-2663 (Online) Journal homepage: http://www.tandfonline.com/loi/gncc20 Modern Egyptomania and Early Egyptology: The Case of Mariette’s 1867 Egyptian Temple Carole Jarsaillon To cite this article: Carole Jarsaillon (2018): Modern Egyptomania and Early Egyptology: The Case of Mariette’s 1867 Egyptian Temple, Nineteenth-Century Contexts, DOI: 10.1080/08905495.2018.1484610 To link to this article: https://doi.org/10.1080/08905495.2018.1484610 Published online: 02 Jul 2018. Submit your article to this journal View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=gncc20 NINETEENTH-CENTURY CONTEXTS https://doi.org/10.1080/08905495.2018.1484610 Modern Egyptomania and Early Egyptology: The Case of Mariette’s 1867 Egyptian Temple Carole Jarsaillon Ecole du Louvre, Paris, France Certainly, as an archaeologist, I would be inclined to blame these useless displays that do not do science any good; but if the Museum thus presented appeals to those for whom it is designed, if they come back often and in so doing get inoculated with a taste for the study and, I was going to say, the love of Egyptian antiquities, then I will have achieved my goal. (Mariette 1864,8)1 In stating his experience of the dichotomy between decorative displays and scientific accu- racy, the French Egyptologist Auguste Mariette located the heart of the dilemma which had pervaded the field of Egyptology since its establishment at the beginning of the nine- teenth century: the tension between Egyptology and “Egyptomania.” The term “Egyptol- ogy” defines the historical science that studies ancient Egypt, including within it various disciplines such as archaeology, history, or philology, and often held as beginning with Jean-François Champollion’s ground-breaking discovery: the first steps in the decipher- ment of hieroglyphs in 1822. -
Vasemania: Neoclassical Form and Ornament
VOLUME: 4 WINTER, 2004 Vasemania: Neoclassical Form and Ornament: Selections from The Metropolitan Museum of Art at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture Review by Nancy H. Ramage 1) is a copy of a vase that belonged to Ithaca College Hamilton, painted in Wedgwood’s “encaustic” technique that imitated red-figure with red, An unusual and worthwhile exhibit on the orange, and white painted on top of the “black passion for vases in the 18th century has been basalt” body, as he called it. But here, assembled at the Bard Graduate Center in Wedgwood’s artist has taken all the figures New York City. The show, entitled that encircle the entire vessel on the original, Vasemania: Neoclassical Form and and put them on the front of the pot, just as Ornament: Selections from The Metropolitan they appear in a plate in Hamilton’s first vol- Museum of Art, was curated by a group of ume in the publication of his first collection, graduate students, together with Stefanie sold to the British Museum in 1772. On the Walker at Bard and William Rieder at the Met. original Greek pot, the last two figures on the It aims to set out the different kinds of taste — left and right goût grec, goût étrusque, goût empire — that sides were Fig. 1 Wedgwood Hydria, developed over a period of decades across painted on the Etruria Works, Staffordshire, Britain, France, Italy, Spain, and Germany. back of the ves- ca. 1780. Black basalt with “encaustic” painting. The at the Bard Graduate Center. -
Great Waterworks in Roman Greece Aqueducts and Monumental Fountain Structures Function in Context
Great Waterworks in Roman Greece Aqueducts and Monumental Fountain Structures Function in Context Access edited by Open Georgia A. Aristodemou and Theodosios P. Tassios Archaeopress Archaeopress Roman Archaeology 35 © Archaeopress and the authors, 2017. Archaeopress Publishing Ltd Gordon House 276 Banbury Road Oxford OX2 7ED www.archaeopress.com ISBN 978 1 78491 764 7 ISBN 978 1 78491 765 4 (e-Pdf) © Archaeopress and the authors 2018 Cover: The monumental arcade bridge of Moria,Access Lesvos, courtesy of Dr Yannis Kourtzellis Creative idea of Tasos Lekkas (Graphics and Web Designer, International Hellenic University) Open All rights Archaeopressreserved. No part of this book may be reproduced, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com © Archaeopress and the authors, 2017. Contents Preface ��������������������������������������������������������������������������������������������������������������������������������������������� iii Georgia A. Aristodemou and Theodosios P. Tassios Introduction I� Roman Aqueducts in Greece �������������������������������������������������������������������������������������1 Theodosios P. Tassios Introduction II� Roman Monumental Fountains (Nymphaea) in Greece �����������������������������������������10 Georgia A. Aristodemou PART I: AQUEDUCTS Vaulted-roof aqueduct channels in Roman -
Th1rzne CEEK
HESPERIA 68.2, I999 "'ADYTO N ," "OPI STHO DOO S," AND THE INNER ROO/ OFr TH1rznECEEK/ T EMPLED For Lucy Shoe Meritt We know very little of what took place inside a Greek temple. Sacrifice, the focal act of communal religious observance,was enacted outside, on an open-air altar usually opposite the main, east, facade of the temple, while the interior contained objects dedicated to the deity, including a cult statue. In form most Greek temples had a single main interior room, or cella; some had an additional small room behind it, accessible only from the cella. Such a subdivision of interior space suggests that the inner chamber served a special function. This study is designed to ascertain why some temples had inner rooms and how these chambers were used, questions that shed light on the nature of the temple itself. Examination of termi- nology used for temple interiors and of archaeological remains of temples with inner rooms, together with literary and epigraphical references to activities that occurred in temples, indicates a larger economic role for many temples and less secret ritual than has been assumed.1 Nomenclature is a central issue here, as naming incorporates a set of 1. This article is dedicatedto Lucy Since the 19th century, the in- Shoe Meritt, with gratitude,for her assumptions and a specific interpretation. generosityin sharingher expertisein ner room has been called 'a'UTOV (adyton, "not to be entered"), a term and enthusiasmfor Greek architecture. known from ancient sources. The usage of "adyton" in literary and In the uncommonlylong develop- epigraphical testimonia led scholars to consider the inner room a locus of ment of this article,I have received cult ritual of a chthonian or oracular nature, mysterious rites conducted exceptionalassistance from Susan within the temple. -
MOST ANCIENT EGYPT Oi.Uchicago.Edu Oi.Uchicago.Edu
oi.uchicago.edu MOST ANCIENT EGYPT oi.uchicago.edu oi.uchicago.edu Internet publication of this work was made possible with the generous support of Misty and Lewis Gruber MOST ANCIE NT EGYPT William C. Hayes EDITED BY KEITH C. SEELE THE UNIVERSITY OF CHICAGO PRESS CHICAGO & LONDON oi.uchicago.edu Library of Congress Catalog Card Number: 65-17294 THE UNIVERSITY OF CHICAGO PRESS, CHICAGO & LONDON The University of Toronto Press, Toronto 5, Canada © 1964, 1965 by The University of Chicago. All rights reserved. Published 1965. Printed in the United States of America oi.uchicago.edu WILLIAM CHRISTOPHER HAYES 1903-1963 oi.uchicago.edu oi.uchicago.edu INTRODUCTION WILLIAM CHRISTOPHER HAYES was on the day of his premature death on July 10, 1963 the unrivaled chief of American Egyptologists. Though only sixty years of age, he had published eight books and two book-length articles, four chapters of the new revised edition of the Cambridge Ancient History, thirty-six other articles, and numerous book reviews. He had also served for nine years in Egypt on expeditions of the Metropolitan Museum of Art, the institution to which he devoted his entire career, and more than four years in the United States Navy in World War II, during which he was wounded in action-both periods when scientific writing fell into the background of his activity. He was presented by the President of the United States with the bronze star medal and cited "for meritorious achievement as Commanding Officer of the U.S.S. VIGILANCE ... in the efficient and expeditious sweeping of several hostile mine fields.., and contributing materially to the successful clearing of approaches to Okinawa for our in- vasion forces." Hayes' original intention was to work in the field of medieval arche- ology. -
Egypt Reopens Historic Serapeum of Saqqara 20 September 2012
Egypt reopens historic Serapeum of Saqqara 20 September 2012 A keeper uncovers a massive granite sarcophagus in the A massive granite sarcophagus is seen in the Serapeum Serapeum of Saqqara in Cairo in 2008. Egypt on of Saqqara in 2008. Egypt on Thursday reopened the Thursday reopened the Serapeum of Saqqara, a vast Serapeum of Saqqara, a vast underground necropolis underground necropolis south of Cairo dedicated to the south of Cairo dedicated to the bulls of Apis, after 11 bulls of Apis, after 11 years and complete renovation of years and complete renovation of the historic pharaonic the historic pharaonic site. site. Egypt on Thursday reopened the Serapeum of It was closed temporarily in 2001 because of water Saqqara, a vast underground necropolis south of seepage and earth movements. Cairo dedicated to the bulls of Apis, after 11 years and complete renovation of the historic pharaonic The site contains huge subterranean galleries in site. which are contained the large tombs of some 30 sacred bulls, accompanied by steles bearing The Serapeum, whose origin dates back to around inscriptions providing information on the reigns 1400 BC, was discovered in 1851 by French under which the animals lived. Egyptologist Auguste Mariette, founder of the first department of Egyptian antiquities. Mohammed Ibrahim, the secretary of state for antiquities, said Egypt was working to open to the public other pharaonic sites in a bid to revive tourism which has been hit by political instability for more than 18 months. "Egypt has not stopped working after the revolution" that ended the regime of Hosni Mubarak in February 2011, he told reporters, adding that "this opening must be followed by others." 1 / 2 "We hope that this will help revive domestic and international tourism in Egypt," he added. -
Cartouche the Chapter Newsletter
The Official Publication of the Northern California Chapter of the American Research Center in Egypt May 2021 Dr. Francesco Tiradritti The Life and Deeds of Luigi Vassalli: Painter, Patriot and Egyptologist Sunday, May 2, 3 p.m. PDT @Zoom: registration required Luigi Vassalli was born in 1812 in Milan. In 1828 he enrolled at the Brera Academy and around this period he joined the Mazzinian activism but after a failed conspiracy he was sentenced to death, only to be Cartouche pardoned but exiled. He moved in several places across Europe and later he traveled to Egypt where he began working for the local government. In 1848 Vassalli returned to his homeland to join the revolutionary movements against the Austrian Empire, but after the failure he returned to Egypt where he became a portrait painter and an archaeological guide for wealthy foreigners. Around 1858 he was appointed Inspector of excavations by the French Egyptologist Auguste Mariette, who was Director of Antiquities at this time. Vassalli assisted in excavations at Giza and Saqqara until 1860, when he returned home to give his contribution to the Expedition of the Thousand led by Giuseppe Garibaldi. After the victory he was appointed First Class Conservator at the Naples National Archaeological Museum; however, the office was soon abolished by the still pro-Borbonic museum management and Vassalli again came back to Cairo. In Egypt he made several archaeological explorations in many sites such as Tanis, Saqqara, Dendera and Edfu from 1861 to 1868. He sent many mummy remains to the Museo Civico di Storia Naturale of Milan and in 1871 he made around 150 casts from monuments exhibited in the Bulaq Museum which he brought to Florence with him. -
Greek Art – Architecture
APAH: Greek Art – Architecture Temples Evolution from shrines to temples Evolution from wood/mud-brick construction to marble Availability of marble Housed cult statues Public ritual – not private Face outward – Altar at front of temple Building as sculpture Exterior more important than interior Monuments not just buildings Built without mortise – extreme precision Reflects Greek principles: symmetry, harmony, balance, order Ideal forms Contrast to other civilizations Mathematical order – Rationality Development – complexity Temple Orders Order = Platform – Column – Entablature Doric, Ionic, Corinthian Platform – Podium Stylobate Stereobate Column (2 or 3 part) – Base, Shaft, Capital No base on Doric columns Fluting – vertical channels Doric-sharp Ionic-flat Entasis – Gradual curving (tapering) toward column top Drum – Column segment Entablature Architrave Frieze – Decorated band b/w architrave and cornice Doric Triglyphs, Metopes Ionic Open Used for reliefs Cornice – projecting crown of entablature Pediment – triangular space at the end of a building Temple Forms Elevation – drawing of building profile Cella – room Naos – room for cult statue Portico – porch Colonnade – walkway w/ columns Prostyle – in front Amphiprostyle – along ends Peripteral – around Dipteral – around twice Early Architecture Plan of Temple A (c. 625 BC) Prinias, Greece (Crete) Simple megaron Sculptural decoration Archaic Architecture Temple of Hera I (c. 550 BC) Paestum, Italy Doric order Unusual central column row Lack of central space Forced canonical break Odd -
Archaic and Classical Cult Statues in Greece
ARCHAIC AND CLASSICAL CULT STATUES IN GREECE THE SETTING AND DISPLAY OF CULT IMAGES IN THE ARCHAIC AND CLASSICAL PERIODS IN GREECE By SHERR! DAWSON, B.A. A Thesis Submitted to the School of Graduate Studies In Partial Fulfilment of the Requirements For the Degree Master of Arts McMaster Uni versity © Copyright by Sherri Dawson, June 2002 MASTER OF ARTS (2002) McMaster University (Classical Studies) Hamilton, Ontario TITLE: The Setting and Display of Cult Images in the Archaic and Classical Peri ods in Greece. AUTHOR: Sherri Dawson, B. A. (Uni versity of Alberta) SUPERVISOR: Dr. Gretchen Umholtz NUMBER OF PAGES: xii, 257. 11 ABSTRACT The focus of this thesis is on ancient archaic and classical Greek cult statues and how their placement reflects both the role of the statues themselves and the continuity in worship. Greek sanctuaries generally exhibited a strong continuity of cult in terms of building successive temples directly on top of the remains of their predecessors. The sanctuary of Hera on Samos and the sanctuary of Apollo at Didyma are two such sanctuaries in Asia Minor that exhibit this type of continuity even though their early temples were replaced by large superstructures. The temple of Athena Nike in Athens is another example of continuity, since the larger Classical temple was built on the same site as the archaic one. The Athenian Parthenon, the temple of Zeus at Olympia, the Classical Heraion at Argos and the Classical temple of Dionysos on the south slope in Athens, however, were not built on the same site as the archaic temples.