Mechanical Engineering in Ancient Egypt, Part 53: Farming Tools
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Book Reviews
Book Reviews Mary Ann Eaverly. Tan Men/Pale Women. Color and ing polarization of male and female that was a key or- Gender in Archaic Greece and Egypt, a Comparative ganizing principle of ancient Athenian society” (156). Approach (Ann Arbor: The University of Michigan One now needs to examine her evidence in greater Press, 2013). ISBN 978-0-11911-0. Pp x + 181. detail, and I will do so by concentrating primarily on the Egyptian evidence because of the focus of this jour- The title of the book is doubtless based on a Eu- nal. Whereas it is true that the visual depiction of skin rocentric visual perception of ancient Egyptian works tones of men is generally darker than that of women of art and images on Attic black figure vase painting, in ancient Egyptian art, the use of reds and yellows in which color employed for the skin of men is per- can not be “considered opposites” (9). The Egyptian ceptibly darker than that used for women (surpris- lexicon contains four color-words. Among these is dSr, ingly, neither G. Robins, “The Image of the Queen” which I will employ instead of “red” in this review, en- nor L. Troy, “The Religious Role of the Queens,” in compassing all of the ranges of hue and value repre- C. Ziegler, ed., Queens of Egypt from Hetepheres to Cleopa- sented by the red-orange-yellow bands of the Western tra [Paris, 2008], 116–33 and 152–73, respectively, color spectrum. There is no identifiable Egyptian word address this issue). As such the author examines the for either orange or yellow (J. -
A Comparison of the Polychrome Geometric Patterns Painted on Egyptian “Palace Façades” / False Doors with Potential Counterparts in Mesopotamia
A comparison of the polychrome geometric patterns painted on Egyptian “palace façades” / false doors with potential counterparts in Mesopotamia Lloyd D. Graham Abstract: In 1st Dynasty Egypt (ca. 3000 BCE), mudbrick architecture may have been influenced by existing Mesopotamian practices such as the complex niching of monumental façades. From the 1st to 3rd Dynasties, the niches of some mudbrick mastabas at Saqqara were painted with brightly-coloured geometric designs in a clear imitation of woven reed matting. The possibility that this too might have drawn inspiration from Mesopotamian precedents is raised by the observation of similar geometric frescoes at the Painted Temple in Tell Uqair near Baghdad, a Late Uruk structure (ca. 3400-3100 BCE) that predates the proposed timing of Mesopotamian influence on Egyptian architecture (Jemdet Nasr, ca. 3100-2900 BCE). However, detailed scrutiny favours the idea that the Egyptian polychrome panels were an indigenous development. Panels mimicking reed mats, animal skins and wooden lattices probably proved popular on royal and religious mudbrick façades in Early Dynastic Egypt because they emulated archaic indigenous “woven” shelters such as the per-nu and per-wer shrines. As with Mesopotamian cone mosaics – another labour-intensive technique that seems to have mimicked textile patterns – the scope of such panels became limited over time to focal points in the architecture. In Egyptian tombs, the adornment of key walls and funerary equipment with colourful and complex geometric false door / palace façade composites (Prunkscheintüren) continued at least into the Middle Kingdom, and the template persisted in memorial temple decoration until at least the late New Kingdom. -
Ancient Egypt: Nebamun
Ancient Egypt: Nebamun Nebamun hunting in the marshes From Thebes, Egypt Late 18th Dynasty, around 1350 BC Visit resource for teachers Key Stage 2 Ancient Egypt: Nebamun 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: Nebamun goes hunting Gallery activity: Animals Gallery activity: Find the evidence Gallery activity: What to wear in ancient Egypt After your visit Follow-up activities Ancient Egypt: Nebamun Before your visit Ancient Egypt: Nebamun Background information The wall paintings on display in Room 61 come from an ancient tomb. The tomb was built for an ancient Egyptian called Nebamun, who lived in the city of Thebes around 1325 BC. Nebamun was a scribe in charge of grain collection for the city. The tomb would have been built before Nebamun died as a safe place for his mummified body and some of his belongings, all of which he believed he would need in the afterlife. The tomb was created by cutting rooms, passages and a grave shaft into a rocky hillside on the west bank of the River Nile. The tomb walls were then plastered; firstly with a thick layer of plaster made from mud and straw and then with a thin layer of fine plaster to make a smooth top surface on which to paint. A team of artists would have worked in the tomb, first sketching the outline of the different scenes (which covered all the walls of the tomb) and then painting on the colour and details. -
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. -
In the Tomb of Nefertari: Conservation of the Wall Paintings
IN THE TOMB OF NEFERTAR1 IN THE TOMB OF NEFERTARI OF CONSERVATION THE WALL PAINTINGS THE J.PAUL GETTY MUSEUM AND THE GETTY CONSERVATION INSTITUTTE 1992 © 1992 The j. Paul Getty Trust Photo Credits: Guillermo Aldana, figs. I, 2, 4, 8-17, 30, 34-36, 38, cover, 401 Wilshire Boulevard, Suite 900 endsheets, title page, copyright page, table of contents; Archives of Late Egyp Santa Monica, California 90401 -1455 tian Art, Robert S. Bianchi, New York, figs. 18, 20, 22-27, 31-33,37; Cleveland Museum of Art, fig. 29; Image processing by Earthsat, fig. 7; Metropolitan Kurt Hauser, Designer Museum of Art, New York, figs. 6, 19, 28; Museo Egizio, Turin, figs. 5, 21 (Lovera Elizabeth Burke Kahn, Production Coordinator Giacomo, photographer), half-title page. Eileen Delson, Production Artist Beverly Lazor-Bahr, Illustrator Cover: Queen Nefertari. Chamber C, south wall (detail), before treatment was completed. Endsheets: Ceiling pattern, yellow five-pointed stars on dark blue Typography by Wilsted & Taylor, Oakland, California ground. Half-title page: Stereo view of tomb entrance taken by Don Michele Printing by Westland Graphics, Burbank, California Piccio/Francesco Ballerini, circa 1904. Title page: View of Chamber K, looking Library of Congress Catalogmg-in-Publication Data north. Copyright page: Chamber C, south wall, after final treatment-Table of In the tomb of Nefertari : conservation of the wall paintings, Contents page: Chamber C, south wall (detail), after final treatment. Tomb of p. cm. Nefertari, Western Thebes, Egypt. "Published on the occasion of an exhibition at the J. Paul Getty Published on the occasion of an exhibition atthej. -
A Comparative Study with the Opet Festival- Masashi FUK
DISTRIBUTION OF LIFE FORCE IN THE FESTIVAL OF THE VALLEY -A Comparative Study with the Opet Festival- Masashi FUK.AYA * Among known festivals celebrated in ancient Thebes, many Egyptologists agree that the Festivals of the Valley and of Opet are the most important. This is verified by many historical documents, which juxtapose the two festivals in texts and pictorial depictions on a great scale. Thus, it is significant to compare the two festivals to obtain better insight into their detailed religious context and new perspectives for further research, which has not been pursued, particularly for the Valley Festival, since the 1950's. This article intends to shed light on the Valley Festival, focusing on the socio-religious function by an analogy with the Opet Festival, research of which has gained modest but not negligible progress in the last two decades. The most distinct feature of the Valley Festival was that it supplied not only a formal setting for the renewal of kingship and royal ancestral cult, but also a private setting for the common people to hold a banquet in their family tombs. These two dimensions were closely linked through the figure of Amen, who distributed offerings to convey his godly power in both spheres. According to records from the private tombs, the people received various offerings from the temples where the procession of Amen made a stop during the Valley Festival. Yet the distribution of temple offerings is not attributed only to the Valley Festival, but also to many other festivals. What distinguishes the Valley Festival then? By focusing on the differences in ideologies between the Valley and the Opet Festivals, this paper will explore how the god (or king) and the people were interrelated during the festivals in different manners. -
Mechanical Engineering in Ancient Egypt, Part 54: Bread, Beer, Wine and Perfume Industries
International Journal of Emerging Engineering Research and Technology Volume 5, Issue 6, 2017, PP 1-13 ISSN 2349-4395 (Print) & ISSN 2349-4409 (Online) Mechanical Engineering in Ancient Egypt, Part 54: Bread, Beer, Wine and Perfume Industries Galal Ali Hassaan Emeritus Professor ,Department of Mechanical Design & Production, Faculty of Engineering, Cairo University, Giza, Egypt (Emeritus Professor) Corresponding Author: Galal Ali Hassaan, Emeritus Professor, Department of Mechanical Design & Production, Faculty of Engineering, Cairo University, Giza, Egypt Received Date: 26-08-2017 Accepted Date: 11-09-2017 Published Date: 09-10-2017 ABSTRACT The evolution of mechanical engineering in ancient Egypt is investigated in this research paper through studying the production of bread, beer, wine and perfume. Examples from historical eras between the 1st and 20th Dynasties are presented, analysed and aspects of quality and innovation are outlined in each one. The leadership of the ancient Egyptians in the four industries studied in the paper was pointed out and illustrated. The application of remarkable mechanical technology is focused in the production of bread, wine and perfume. Keywords: Mechanical engineering, ancient Egypt, bread production, beer production, wine production, perfume production INTRODUCTION flour from raw grain but sometimes also with malt and with yeast [3]. This is the 54th paper in a scientific research aiming at presenting a deep insight into the McGovern et. al. (1997) presented an Early history of mechanical engineering during the Dynastic wine jar from the Royal tomb of Den, ancient Egyptian civilization. The paper handles the 7th King of the 1st Dynasty. They presented the production of bread, beer and wine during also some designs of wine jars from Near East the Predynastic and Dynastic Periods of the [4]. -
Creativity and Innovation in the Reign of Hatshepsut
iii OccasiOnal prOceedings Of the theban wOrkshOp creativity and innovation in the reign of hatshepsut edited by José M. Galán, Betsy M. Bryan, and Peter F. Dorman Papers from the Theban Workshop 2010 The OrienTal insTiTuTe OF The universiTy OF ChiCaGO iv The Oriental Institute, Chicago © 2014 by The university of Chicago. all rights reserved. Published 2014. Printed in the united states of america. series editors Leslie Schramer and Thomas G. Urban with the assistance of Rebecca Cain Series Editors’ Acknowledgment Brian Keenan assisted in the production of this volume. Cover Illustration The god amun in bed with Queen ahmes, conceiving the future hatshepsut. Traced by Pía rodríguez Frade (based on Édouard naville, The Temple of Deir el Bahari Printed by through Four Colour Imports, by Lifetouch, Loves Park, Illinois USA The paper used in this publication meets the minimum requirements of american national standard for information services — Permanence of Paper v table of contents Preface. José M. Galán, Spanish National Research Council, Madrid ........................................... vii list of abbreviations .............................................................................. xiii Bibliography..................................................................................... xv papers frOm the theban wOrkshOp, 2010 1. innovation at the Dawn of the new Kingdom. Peter F. Dorman, American University of Beirut...................................................... 1 2. The Paradigms of innovation and Their application -
Come My Staff, I Lean Upon You: an Iconographic and Contextual Study of Sticks and Staves from 18Th Dynasty Egypt
The American University in Cairo School of Humanities and Social Sciences Come My Staff, I Lean Upon You: an Iconographic and Contextual Study of Sticks and Staves from 18th Dynasty Egypt A Thesis Submitted to The Department of Sociology, Anthropology, Psychology and Egyptology (SAPE) In partial fulfillment of the requirements for The Degree of Master of Arts By: Nicholas R. Brown Under the Supervision of Dr. Salima Ikram First Reader: Dr. Lisa Sabbahy Second Reader: Dr. Fayza Haikal December, 2015 DEDICATION “All men dream, but not equally. Those who dream by night in the dusty recesses of their minds, wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act on their dreams with open eyes, to make them possible. This I did.” -T. E. Lawrence, Seven Pillars of Wisdom To my grandmother, Nana Joan. For first showing me the “Wonderful Things” of ancient Egypt. I love you dearly. ii ACKNOWLEDGMENTS There are many individuals and institutions to whom I would like to express my deepest gratitude and thankfulness. Without their help, encouragement, support, and patience I would not have been able to complete my degree nor this thesis. Firstly, to my advisor Dr. Salima Ikram: I am grateful for your suggesting the idea of studying sticks in ancient Egypt, and for the many lessons that you have taught and opportunities you have provided for me throughout this entire process. I am, hopefully, a better scholar (and speller!) because of your investment in my research. Thank you. To my readers Doctors Lisa Sabbahy and Fayza Haikal, thank you for taking the time to review, comment upon, and edit my thesis draft. -
Egypt: Life in Ancient Egypt
Egypt: Life in ancient Egypt Painting from the Tomb of Nebamun Thebes, Egypt 1370 BC Visit resource for teachers Ancient Egypt: Life in ancient Egypt 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: Containers Gallery activity: Everyday objects Gallery activity: Gods and goddesses Gallery activity: Good luck amulets Gallery activity: Personal adornment After your visit Follow-up activities Ancient Egypt: Life in ancient Egypt Before your visit Ancient Egypt: Life in ancient Egypt Before your visit Background information By 6000 BC people had settled in the Nile Valley. The ancient Egyptian civilisation as we refer to it began in approximately 3000 BC when political control of the Nile Valley was unified under King Narmer. This civilisation lasted until 30 BC when the Romans conquered Egypt and subsequently it became part of the Roman Empire. Ancient Egyptian life was shaped by the natural environment, especially the River Nile which was vital to the survival of the ancient Egyptians. The Nile provided, amongst other things, water for the crops, fish to catch, reeds to make papyrus and mud that could be used to make bricks for building. It was also the main travel route. The land beside the Nile provided fertile soil for farming while the geology of the surrounding desert provided natural mineral resources. The ability to read and write was not common amongst the majority of the population. Those who received an education and learnt these skills were amongst the ruling elite or government scribes. -
Merytre-Hatshepsut, Great Royal Wife and Mother of Amenhotep II the Damnatio Memoriae of Hatshepsut by Thutmose III
Thutmose III’s conquest of the Levant Royal women in the reign of Thutmose III “Foreign princesses” Merytre-Hatshepsut, great royal wife and mother of Amenhotep II The damnatio memoriae of Hatshepsut by Thutmose III The damnatio memoriae of Hatshepsut by Thutmose III Evidence → cartouche erasure, replaced with Thutmoside name → image erasure, replaced by ritual object (offering table) → dumping of Deri el-Bahri statuary at nearby quarry Initial conclusion: “The determination with which [Thutmose III] later had the queen’s name hacked out from the walls of her temple at Deir el-Bahri allows us to suspect the humiliation he must have suffered during the reign of his ambitious stepmother.” (Mysliwiec 2000, 14) “a woman of most vile character” (Gardiner 1961, 184) The damnatio memoriae proscription of Hatshepsut by Thutmose III Recent documentation → Iconoclasm no early than year 42 (Annals) → desecration of only kingly (male) representations → rarely is Thutmose III’s name carved in place of Hatshepsut’s (typically, Thutmose I or II) → Pylon VIII scenes of Thutmose III and Amunhotep II Recent conclusions: → royal succession → dismantling of powerful female roles (God’s Wife of Amun, Pharaoh) Genealogy of the early 18th Dynasty 17th Dynasty (Second Intermediate Period) 18th Dynasty (New Kingdom) = Red indicates people who ruled as kings AmenhotepAmenhotep II II Amenhotep II’s building program Amenhotep II temple to Hor-em-akhet (Horus in the horizon: the sphinx) Karnak shrine of Amenhotep II The tomb of Amenhotep II Amenhotep II as warrior