Egyptian Writing Systems and Grammar
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Jssea 42 (2015-2016) 71
Demotic and Hieratic Scholia in Funerary Papyri and their Implications for the Manufacturing Process1 Foy Scalf Abstract: Many ancient Egyptian papyrus manuscripts inscribed with funerary compositions contain annotations within the text and margins. Some of these annotations relate directly to the production process for illustrating and inscribing the manuscripts by providing instructions for scribes and artists. Two overlooked examples, pKhaemhor (MMA 25.3.212) and pRyerson (OIM E9787), allow for new interpretations of parallel texts previously considered as labels or captions. An analysis of the corpus of scholia and marginalia demonstrates specific manufacturing proclivities for selective groups of texts, while simultaneously revealing a wide variety of possible construction sequences and techniques in others. Résumé: Plusieurs manuscrits anciens de papyrus égyptiens sur lesquels sont inscrites des compositions funéraires contiennent des annotations dans le texte et dans les marges. Certaines de ces annotations sont directement liées au processus de production relatif à l’illustration et à l’inscription des manuscrits en donnant des instructions destinées aux scribes et aux artistes. Deux exemples négligés, le pKhaemhor (MMA 25.3.212) et le pRyerson (OIM E9787), permettent de nouvelles interprétations de textes parallèles précédemment considérés comme des étiquettes ou des légendes. Une analyse du corpus des scholia et marginalia démontre des tendances de fabrication spécifiques pour des groupes particuliers de textes, tout en révélant simultanément une grande variété de séquences et de techniques de construction dans d'autres cas. Keywords: Book of the Dead – Funerary Papyri – Scholia – Marginalia – Hieratic – Demotic Mots-clés: Livre des Morts – Papyrus funéraire – Scholia – Marginalia – hiératique – démotique The production of illustrated funerary papyri in ancient Egypt was a complex and expensive process that often involved the efforts of a team of skilled scribes and artisans. -
The Geography and History of Ancient Egypt
05_065440 ch01.qxp 5/31/07 9:20 AM Page 9 Chapter 1 Getting Grounded: The Geography and History of Ancient Egypt In This Chapter ᮣ Exploring the landscape of Egypt ᮣ Unifying the two lands ᮣ Examining the hierarchy of Egyptian society he ancient Egyptians have gripped the imagination for centuries. Ever since TEgyptologists deciphered hieroglyphs in the early 19th century, this won- derful civilisation has been opened to historians, archaeologists, and curious laypeople. Information abounds about the ancient Egyptians, including fascinating facts on virtually every aspect of their lives – everything from the role of women, sexuality, and cosmetics, to fishing, hunting, and warfare. The lives of the ancient Egyptians can easily be categorised and pigeonholed. Like any good historian, you need to view the civilisation as a whole, and the best starting point is the origin of these amazing people. So who were the ancient Egyptians? Where did they come from? This chapter answers these questions and begins to paint a picture of the intricately organ- ised culture that developed, flourished, and finally fell along the banks of the Nile river.COPYRIGHTED MATERIAL Splashing in the Source of Life: The Nile The ancient Egyptian civilisation would never have developed if it weren’t for the Nile. The Nile was – and still is – the only source of water in this region of north Africa. Without it, no life could be supported. 05_065440 ch01.qxp 5/31/07 9:20 AM Page 10 10 Part I: Introducing the Ancient Egyptians Ancient Egypt is often called the Nile valley. This collective term refers to the fertile land situated along the banks of the river, covering an area of 34,000 square kilometres. -
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. -
Cuneiform and Hieroglyphs 11
The Unicode® Standard Version 13.0 – Core Specification To learn about the latest version of the Unicode Standard, see http://www.unicode.org/versions/latest/. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trade- mark claim, the designations have been printed with initial capital letters or in all capitals. Unicode and the Unicode Logo are registered trademarks of Unicode, Inc., in the United States and other countries. The authors and publisher have taken care in the preparation of this specification, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. © 2020 Unicode, Inc. All rights reserved. This publication is protected by copyright, and permission must be obtained from the publisher prior to any prohibited reproduction. For information regarding permissions, inquire at http://www.unicode.org/reporting.html. For information about the Unicode terms of use, please see http://www.unicode.org/copyright.html. The Unicode Standard / the Unicode Consortium; edited by the Unicode Consortium. — Version 13.0. Includes index. ISBN 978-1-936213-26-9 (http://www.unicode.org/versions/Unicode13.0.0/) 1. -
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. -
Egyptian Hieroglyphs CEEG 0909 a Workbook for an Introduction to Egyptian Hieroglyphs
An Introduction to Egyptian Hieroglyphs CEEG 0909 A Workbook for An Introduction to Egyptian Hieroglyphs C. Casey Wilbour Hall 301 christian [email protected] April 9, 2018 Contents Syllabus 2 Day 1 11 1-I-1 Rosetta Stone ................................................. 11 1-I-2 Calligraphy Practice 1 { Uniliterals ..................................... 13 1-I-4 Meet Your Classmates ............................................ 16 1-I-5 The Begatitudes ............................................... 17 1-I-6 Vocabulary { Uniliterals & Classifiers ................................... 19 Day 2 25 2-I-1 Timeline of Egyptian Languages ...................................... 25 2-I-2 Calligraphy Practice 2 { Biliterals ..................................... 27 2-I-3 Biliteral Chart ................................................ 32 2-I-4 Vocabulary { Biliterals & Classifiers .................................... 33 2-II-3 Vocabulary { Household Objects ...................................... 37 Day 3 39 3-I-1 Calligraphy Practice 3 { Multiliterals & Common Classifiers ....................... 39 3-I-2 Vocabulary { Multiliterals & Classifiers .................................. 43 3-I-3 Vocabulary { Suffix Pronouns, Parts of the Body ............................. 45 3-I-4 Parts of the Body .............................................. 47 3-II-3 Homework { Suffix Pronouns & Parts of the Body ............................ 48 Day 4 49 4-I-1 Vocabulary { Articles, Independent Pronouns, Family, Deities ...................... 49 4-I-4 Gods and Goddesses ............................................ -
Concretismo and the Mimesis of Chinese Graphemes
Signmaking, Chino-Latino Style: Concretismo and the Mimesis of Chinese Graphemes _______________________________________________ DAVID A. COLÓN TEXAS CHRISTIAN UNIVERSITY Concrete poetry—the aesthetic instigated by the vanguard Noigandres group of São Paulo, in the 1950s—is a hybrid form, as its elements derive from opposite ends of visual comprehension’s spectrum of complexity: literature and design. Using Dick Higgins’s terminology, Claus Clüver concludes that “concrete poetry has taken the same path toward ‘intermedia’ as all the other arts, responding to and simultaneously shaping a contemporary sensibility that has come to thrive on the interplay of various sign systems” (Clüver 42). Clüver is considering concrete poetry in an expanded field, in which the “intertext” poems of the 1970s and 80s include photos, found images, and other non-verbal ephemera in the Concretist gestalt, but even in limiting Clüver’s statement to early concrete poetry of the 1950s and 60s, the idea of “the interplay of various sign systems” is still completely appropriate. In the Concretist aesthetic, the predominant interplay of systems is between literature and design, or, put another way, between words and images. Richard Kostelanetz, in the introduction to his anthology Imaged Words & Worded Images (1970), argues that concrete poetry is a term that intends “to identify artifacts that are neither word nor image alone but somewhere or something in between” (n/p). Kostelanetz’s point is that the hybridity of concrete poetry is deep, if not unmitigated. Wendy Steiner has put it a different way, claiming that concrete poetry “is the purest manifestation of the ut pictura poesis program that I know” (Steiner 531). -
ROYAL STATUES Including Sphinxes
ROYAL STATUES Including sphinxes EARLY DYNASTIC PERIOD Dynasties I-II Including later commemorative statues Ninutjer 800-150-900 Statuette of Ninuter seated wearing heb-sed cloak, calcite(?), formerly in G. Michaelidis colln., then in J. L. Boele van Hensbroek colln. in 1962. Simpson, W. K. in JEA 42 (1956), 45-9 figs. 1, 2 pl. iv. Send 800-160-900 Statuette of Send kneeling with vases, bronze, probably made during Dyn. XXVI, formerly in G. Posno colln. and in Paris, Hôtel Drouot, in 1883, now in Berlin, Ägyptisches Museum, 8433. Abubakr, Abd el Monem J. Untersuchungen über die ägyptischen Kronen (1937), 27 Taf. 7; Roeder, Äg. Bronzefiguren 292 [355, e] Abb. 373 Taf. 44 [f]; Wildung, Die Rolle ägyptischer Könige im Bewußtsein ihrer Nachwelt i, 51 [Dok. xiii. 60] Abb. iv [1]. Name, Gauthier, Livre des Rois i, 22 [vi]. See Antiquités égyptiennes ... Collection de M. Gustave Posno (1874), No. 53; Hôtel Drouot Sale Cat. May 22-6, 1883, No. 53; Stern in Zeitschrift für die gebildete Welt 3 (1883), 287; Ausf. Verz. 303; von Bissing in 2 Mitteilungen des Kaiserlich Deutschen Archäologischen Instituts, Athenische Abteilung xxxviii (1913), 259 n. 2 (suggests from Memphis). Not identified by texts 800-195-000 Head of royal statue, perhaps early Dyn. I, in London, Petrie Museum, 15989. Petrie in Journal of the Anthropological Institute of Great Britain and Ireland xxxvi (1906), 200 pl. xix; id. Arts and Crafts 31 figs. 19, 20; id. The Revolutions of Civilisation 15 fig. 7; id. in Anc. Eg. (1915), 168 view 4; id. in Hammerton, J. A. -
Reading G Uide
1 Reading Guide Introduction Pharaonic Lives (most items are on map on page 10) Bodies of Water Major Regions Royal Cities Gulf of Suez Faiyum Oasis Akhetaten Sea The Levant Alexandria Nile River Libya Avaris Nile cataracts* Lower Egypt Giza Nile Delta Nubia Herakleopolis Magna Red Sea Palestine Hierakonpolis Punt Kerma *Cataracts shown as lines Sinai Memphis across Nile River Syria Sais Upper Egypt Tanis Thebes 2 Chapter 1 Pharaonic Kingship: Evolution & Ideology Myths Time Periods Significant Artifacts Predynastic Origins of Kingship: Naqada Naqada I The Narmer Palette Period Naqada II The Scorpion Macehead Writing History of Maqada III Pharaohs Old Kingdom Significant Buildings Ideology & Insignia of Middle Kingdom Kingship New Kingdom Tombs at Abydos King’s Divinity Mythology Royal Insignia Royal Names & Titles The Book of the Heavenly Atef Crown The Birth Name Cow Blue Crown (Khepresh) The Golden Horus Name The Contending of Horus Diadem (Seshed) The Horus Name & Seth Double Crown (Pa- The Nesu-Bity Name Death & Resurrection of Sekhemty) The Two Ladies Name Osiris Nemes Headdress Red Crown (Desheret) Hem Deities White Crown (Hedjet) Per-aa (The Great House) The Son of Re Horus Bull’s tail Isis Crook Osiris False beard Maat Flail Nut Rearing cobra (uraeus) Re Seth Vocabulary Divine Forces demi-god heka (divine magic) Good God (netjer netjer) hu (divine utterance) Great God (netjer aa) isfet (chaos) ka-spirit (divine energy) maat (divine order) Other Topics Ramesses II making sia (Divine knowledge) an offering to Ra Kings’ power -
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. -
A Very Brief Introduction to Hieratic
A Very Brief Introduction to Hieratic Joshua Aaron ROBERSON rev 1.0 (Spring 2018) Contents About this document .................................................................................................. 3 General references ..................................................................................................... 4 §1 Introduction .......................................................................................................... 5 §2 Basic Strategies: Context. Mono-literals, Determinatives, and Logograms. Gestalt ... 6 §3 Abbreviated signs. Common bi- and tri-literal signs ................................................ 9 §4 Dissimilar Hieroglyphic signs with similar Hieratic forms ........................................ 12 §5 Similar Hieroglyphic signs with dissimilar Hieratic forms ........................................ 13 §6 Signs with reduced iconicity .................................................................................. 13 §7 Ligatures ............................................................................................................... 14 §8 Regnal dates ......................................................................................................... 15 §9 Numbers ............................................................................................................... 16 ROBERSON, Introduction to Hieratic. - 2 - About this document The present, short Introduction was designed as an overview of the basic principles of the Hieratic script, in conjunction with a representative -
Emojis and Ancient Egyptian Hieroglyphs
Emojis and Ancient Egyptian Hieroglyphs Emojis are often compared to Egyptian hieroglyphs because both use pictures to express meaning. However, Egyptian hieroglyphs were a writing system like the alphabet you are reading now and could be used to write anything. Instead of using letters for sounds, the ancient Egyptians used signs (pictures). Emojis are used differently. They add extra meaning to writing, a bit like how tone of voice and gestures add extra meaning when we’re speaking. You could write this paragraph using the emoji-alphabet at the top of the answer sheet, but that’s not how emojis are normally used. Aside from using signs instead of letters, there are lots of differences between the Scots and English writing systems and the ancient Egyptian one. For example, Egyptian hieroglyphs could be written either right to left or left to right and were often written in columns from top to bottom. Hieroglyphic writing didn’t use vowels. The name for this sort of writing system is an abjad. You can write out English and Scots with an abjad rather than an alphabet and still understand it without too much difficulty. For example: Ths sntnc sn’t vry hrd t rd. The biggest difference between alphabetic writing systems and the ancient Egyptian one is that in hieroglyphic writing a sign could be used in three ways. It could be used as a word (ideogram); as a sound (phonogram); or as an idea-sign (determinative) to make things easier to understand. For example, could be used as an ideogram for the word ‘bee’; as a phonogram for the first sound in ‘belief’; or as a determinative added to the end of the word ‘hive’ to distinguish it from ‘have’ and ‘heave’, which would all be written the same: hv.