Mechanical Engineering in Ancient Egypt, Part II: Jewellery Industry (Pectorals)
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How to Make an Egyptian Diorama
How to Make an Egyptian Diorama http://www.wikihow.com/Make‐a‐Diorama A diorama is a small model of a real‐life scene that has lifelike details and a realistic background. Since we are reading, “The Curse of the Pharaohs”, you will be creating an Egyptian themed tomb as though you were an ancient Egyptian King or Queen. Steps for creating your Egyptian Tomb 1. Choose a tomb scene to re‐create in a shoebox. 2. Make sketches of how you want your diorama to look. Plan the front, back, sides, and top. Make the inside of the diorama look as deep and 3 dimensional as you can. Make a list of the things you will need to make your diorama. Use a variety of materials. 3. Make a base for the model out of a shoebox. Make sure your box is sturdy. 4. Find small figures to go along with your scene or make them out of clay, printouts, pipe cleaners, plasticine or other materials. Use your imagination. 5. Be creative. Anything you can find (cotton balls, leaves, twigs, etc.) will work. 6. Hang flying objects with clear string such as monofilament used for fishing line, if you have it. 7. Write a caption for your diorama. In your caption include the book you read and author. 8. You will also put an Egyptian‐styled Curse to warn others not to disturb your tomb. Tips • Put bigger items in the back, leaving the scene easy to see. • The most important object of your diorama should be centered or just a bit off center to draw the viewers attention to it first. -
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. -
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. -
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. -
In the XVIII Dynasty of Egypt – New Kingdom C. 1400 BC
Four Surveyors of the Gods: In the XVIII Dynasty of Egypt – New Kingdom c. 1400 B.C. John F. BROCK, Australia Key words: Ancient Egypt, New Kingdom, 18th Dynasty, Cadastre Scribes, Amenhotep-si-se, Djeserkereseneb, Khaemhat, Menna, Theban tombs. SUMMARY I have often heard it said, and even seen it written, that no one actually knows who the surveyors of ancient Egypt were ! This could not be more distant from the facts ! In reality, even though the harpedonaptae (“rope stretchers”) who were the surveyor’s assistants were not individually known, the master surveyors were not only well known but each even had his own tomb adorned with wall paintings and hieroglyphics of a biographical nature attesting to their achievements and status during their lives in the service of the King. Ironically, the four well testified Royal Surveyors, or Scribes of the Fields, as they were officially titled, are all from the Eighteenth Dynasty of the New Kingdom (around 1400 B.C.). This is the period of the ancient culture most renowned for producing such notable characters as the Thutmoses (four main ones), Akhenaten, Nefertiti, Tutankhamun, Hatshepsut, and Horemheb, the great general. It is not surprising that to this very active, and somewhat turbulent era, we can attribute the four Royal Scribe Surveyors, Amenhotep-si-se, Djeserkareseneb, Khaemhat and Menna, through whose funerary monumentation we can take a colourful and exciting trip back nearly 3500 years to experience Royal surveying – Egyptian style ! In the following paper you will meet these four surveyors, see and hear about their lives and families from their biographical tomb paintings and inscriptions, as well as finding out some more information regarding the most colourful and legendary times in which they lived, where they were interred and under whose Pharaohnic rule they worked and were buried. -
The Allure of Ancient Egyptian Jewelry
Aegyptiaca. Journal of the History of Reception of Ancient Egypt The Allure of Ancient Egyptian Jewelry Yvonne J. Markowitz Rita J. Kaplan and Susan B. Kaplan Curator Emerita of Jewelry, Museum of Fine Arts, Boston For centuries, the West has been attracted to the exotic lands of the East and the cultures of the ancient world. One of the most intriguing is ancient Egypt, an African civilization that flourished during the third through the first millennium BC. In its prime, it was respected, revered, and sometimes feared. Neighboring lands were in awe of its powerful leadership, majestic architectural wonders, imposing statuary, and sophisticated decorative arts with its curious iconography and even stranger hieroglyphics. For many, Egypt held the key to understanding the world’s deepest mysteries. It was the Phoenicians (ca. 1500-300 BC), a seafaring people who lived along the Mediterranean coast in city-states now part of Lebanon, Syria, and northern Israel, who first capitalized on the fascination with all things Egyptian, especially those small objects that were easily shipped and traded. Early entrepreneurs, they served as middlemen stopping at ports in North Africa, Cyprus, Crete, the Cyclades, mainland Greece, and parts of Mesopotamia. Among the goods they bartered were raw materials, Phoenician-made glass, and an array of Egyptian adornments composed of beads and amulets fabricated from metal, stone, faience, and glass. Amuletic forms that especially resonated with Phoenician trading partners were representations of household gods, the healing (sacred) eye of Horus, and the scarab. The latter was a potent symbol of rebirth and rejuvenation based on the life-cycle of the dung beetle (scarabaeus sacer) whose activities the Egyptians associated with the life-giving sun. -
Aspects of Color Choice and Perception in Ancient Egyptian Painting
Open Archaeology 2018; 4: 173–184 Original Study Meghan E. Strong* Do You See What I See? Aspects of Color Choice and Perception in Ancient Egyptian Painting https://doi.org/10.1515/opar-2018-0011 Received June 5, 2017; accepted December 13, 2017 Abstract: Color in ancient Egypt has been examined through linguistics, anthropological theory and archaeological science. In recent years, attention has focused on the application of art historical theories of reception and perception to ancient Egyptian art, but seldom on color itself. This article will examine aspects of color choice and visual perception, particularly focusing on use of the pigments yellow ochre and orpiment. Building on a growing body of art historical and archaeometric scholarship, it will demonstrate the contributions that experimental archaeology can make to the analysis and understanding of ancient Egyptian painting. Specifically, this study will examine why the Egyptian artist chose specific color combinations by taking into account the original space and lighting conditions of these paintings. Keywords: yellow pigment, art historical theory, aesthetics, visual perception, experimental archaeology, artificial light, darkness 1 Introduction The study of prehistoric and ancient Egyptian art has followed similar trajectories over the past 200 years. From the initial 19th century perception of crude Paleolithic figures as “art for art’s sake”, scholarship has evolved to appreciate the craftsmanship and aesthetic qualities of these pieces, while at the same time considering the environmental, magical, ritual and mundane aspects of Paleolithic art. Examination of ancient Egyptian art had similarly humble beginnings. The first scholar to specifically address the topic, Johann Joachim Winckelmann (1717–1768), suggested that the deficiency in the ancient Egyptian figural form must be due to the unappealing body shape of the Egyptians themselves (Winckelmann, 1764). -
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. -
Animals in Human Situations in Ancient Egyptian Ostraca and Papyri
arts Article Animals in Human Situations in Ancient Egyptian Ostraca and Papyri Azza Ezzat Writing and Scripts Center, Bibliotheca Alexandrina, Alexandria Governorate 21526, Egypt; [email protected] Abstract: It has been said that the ancient Egyptians were raised to tolerate all kinds of toil and hardship; they nevertheless also liked to amuse themselves with comic relief in their everyday life. For example, ancient Egyptian drawing can be quite accurate and at times even spirited. What scholars have described as caricatures are as informative and artistic as supposed serious works of art. Ancient Egyptians have left countless images representing religious, political, economic, and/or social aspects of their life. Scenes in Egyptian tombs could be imitated on ostraca (potsherds) that portray animals as characters performing what would normally be human roles, behaviors, or occupations. These scenes reveal the artists’ sense of comedy and humor and demonstrate their freedom of thought and expression to reproduce such lighthearted imitations of religious or funeral scenes. This paper will focus on a selection of drawings on ostraca as well as three papyri that show animals—often dressed in human garb and posing with human gestures—performing parodies of Citation: Ezzat, Azza. 2021. Animals human pursuits (such as scribes, servants, musicians, dancers, leaders, and herdsmen). in Human Situations in Ancient Egyptian Ostraca and Papyri. Arts 10: Keywords: animals; anthropomorphism; humor; parody; satire; ostraca; papyri; ancient Egypt 40. https://doi.org/10.3390/ arts10030040 Academic Editors: Branko F. van 1. Introduction Oppen de Ruiter, Chiara Cavallo and Depictions of animals in scenes of daily life are commonly found in ancient Egyptian Annetta Alexandridis tombs, mainly the Old Kingdom mastabas and the rock cut tombs of the New Kingdom Received: 14 April 2020 (Evans 2000, p. -
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 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].