UCLA Encyclopedia of Egyptology
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Celtic Egyptians: Isis Priests of the Lineage of Scota
Celtic Egyptians: Isis Priests of the Lineage of Scota Samuel Liddell MacGregor Mathers – the primary creative genius behind the famous British occult group, the Hermetic Order of the Golden Dawn – and his wife Moina Mathers established a mystery religion of Isis in fin-de-siècle Paris. Lawrence Durdin-Robertson, his wife Pamela, and his sister Olivia created the Fellowship of Isis in Ireland in the early 1970s. Although separated by over half a century, and not directly associated with each other, both groups have several characteristics in common. Each combined their worship of an ancient Egyptian goddess with an interest in the Celtic Revival; both claimed that their priestly lineages derived directly from the Egyptian queen Scota, mythical foundress of Ireland and Scotland; and both groups used dramatic ritual and theatrical events as avenues for the promulgation of their Isis cults. The Parisian Isis movement and the Fellowship of Isis were (and are) historically-inaccurate syncretic constructions that utilised the tradition of an Egyptian origin of the peoples of Scotland and Ireland to legitimise their founders’ claims of lineal descent from an ancient Egyptian priesthood. To explore this contention, this chapter begins with brief overviews of Isis in antiquity, her later appeal for Enlightenment Freemasons, and her subsequent adoption by the Hermetic Order of the Golden Dawn. It then explores the Parisian cult of Isis, its relationship to the Celtic Revival, the myth of the Egyptian queen Scota, and examines the establishment of the Fellowship of Isis. The Parisian mysteries of Isis and the Fellowship of Isis have largely been overlooked by critical scholarship to date; the use of the medieval myth of Scota by the founders of these groups has hitherto been left unexplored. -
The Foot of Sarapis
THE FOOT OF SARAPIS I. PRIMARY MONU\MENTS Anyone who collects the monuiments associated with Mithras, as F. Cumont did, or with the " Egyptian " gods, as T. A. Brady is doing, or with the " Syrian " gods, as F. R. Walton is doing, will come upon a curious type of monument-the grotesque, snake-entwined, bust-crowned, gigantic Foot of Sarapis. In no other ancient or modern cult, so far as we are aware, is there anything quite like these objects. The fact that it was a symbol on Imperial Roman coinage indicates that in its own day as well the Foot of Sarapis was felt to be distinctive. In mnodernscholarly writings there is no lack of references to these monuments (we have tried to record all references). It happens, however, that no one has had in hand at one timie the materials necessary for a passable study of any one of them, let alone a study of all together. The accidental discovery, in 1936, of another Foot, the first and only example known in Athens, and the largest known anywhere, led us to collect evidence on the others. One would expect to find that ntumerous examples had survived. Writing in 1820, H. Meyer knew only one example of such feet carved in the round. The number has increased slowly. In the present study we have tried to assemble all the feet in the round which are positivelv attested as being associated with Sarapis. and we have found onlv five. Dotubtless some few more exist unpublished, but not, we believe, more than a fev. -
Contents Introduction to the Touch Tour
Contents Introduction to the Touch Tour................................2 Description and plan of Room 4 ............................4 1. Seated statue of Amenhotep III .........................6 2. Lion statue of Amenhotep III ..............................8 3. Sarcophagus ...................................................... 10 4. Statue of King Senwosret III ............................11 5. Left arm from a colossal statue of Amenhotep III .......................................................... 13 6. Seated statue of the goddess Sekhmet ........14 7. Block statue of Amenhotep ............................. 16 8. Boat sculpture of Queen Mutemwia ............. 18 9. Colossal scarab beetle .................................... 20 1 Introduction to the Touch Tour This tour of the Egyptian Sculpture Gallery is a specially designed Touch Tour for visitors with sight difficulties. This guide gives you information about nine highlight objects in Room 4 that you are able to explore by touch. The Touch Tour is also available to download as an audio guide from the Museum’s website: britishmuseum.org/egyptiantouchtour If you require assistance, please ask the staff on the Information Desk in the Great Court to accompany you to the start of the tour. The sculptures are arranged broadly chronologically, and if you follow the tour sequentially, you will work your way gradually from one end of the gallery to the other moving through time. Each sculpture on your tour has a Touch Tour symbol beside it and a number. 2 Some of the sculptures are very large so it may be possible only to feel part of them and/or you may have to move around the sculpture to feel more of it. If you have any questions or problems, do not hesitate to ask a member of staff. -
Davoli the Temple of Soknopaios and Isis Nepherses at Soknopaiou Nesos (El-Fayyum) 51-68
Université Paul Valéry (Montpellier III) – CNRS UMR 5140 « Archéologie des Sociétés Méditerranéennes » Équipe « Égypte Nilotique et Méditerranéenne » (ENiM) CENiM 9 Cahiers de l’ENiM Le myrte et la rose Mélanges offerts à Françoise Dunand par ses élèves, collègues et amis Réunis par Gaëlle Tallet et Christiane Zivie-Coche * Montpellier, 2014 © Équipe « Égypte Nilotique et Méditerranéenne » de l’UMR 5140, « Archéologie des Sociétés Méditerranéennes » (Cnrs – Université Paul Valéry – Montpellier III), Montpellier, 2014 Françoise Dunand à sa table de travail, à l’Institut d’histoire des religions de l’Université de Strasbourg, dans les années 1980 (d. r.). TABLE DES MATIÈRES Volume 1 Table des matières I-III Abréviations bibliographiques V-VIII Liste des contributeurs IX Introduction Gaëlle Tallet et Christiane Zivie-Coche D’une autre rive. Entretiens avec Françoise Dunand XI-XIX Gaëlle Tallet Bibliographie de Françoise Dunand XXI-XXVII I. La société égyptienne au prisme de la papyrologie Adam Bülow-Jacobsen Texts and Textiles on Mons Claudianus 3-7 Hélène Cuvigny « Le blé pour les Juifs » (O.Ka.La. Inv. 228) 9-14 Arietta Papaconstantinou Egyptians and ‘Hellenists’ : linguistic diversity in the early Pachomian monasteries 15-21 Jean A. Straus Esclaves malfaiteurs dans l'Égypte romaine 23-31 II. Le ‘cercle isiaque’ Corinne Bonnet Stratégies d’intégration des cultes isiaques et du culte des Lagides dans la région de Tyr à l’époque hellénistique 35-40 Laurent Bricault Les Sarapiastes 41-49 Paola Davoli The Temple of Soknopaios and Isis Nepherses at Soknopaiou Nesos (El-Fayyum) 51-68 Michel Reddé Du Rhin au Nil. Quelques remarques sur le culte de Sarapis dans l’armée romaine 69-75 III. -
Tuna El-Gebel 9
Tuna el-Gebel 9 Weltentstehung und Theologie von Hermopolis Magna I Antike Kosmogonien Beiträge zum internationalen Workshop vom 28.–30. Januar 2016 herausgegeben von Roberto A. Díaz Hernández, Mélanie C. Flossmann-Schütze und Friedhelm Hoffmann Verlag Patrick Brose Tuna el-Gebel - Band 9 Antike Kosmogonien Der Workshop wurde gefördert von: GS DW Graduate School Distant Worlds Der Druck wurde ermöglicht durch: Umschlag: Vorderseite: Foto privat Rückseite: © National Aeronautics and Space Administration (https://map.gsfc.nasa.gov/media/060915/060915_CMB_Timeline600nt.jpg) Tuna el-Gebel - Band 9 Weltentstehung und Theologie von Hermopolis Magna I Antike Kosmogonien Beiträge zum internationalen Workshop vom 28. bis 30. Januar 2016 herausgegeben von Roberto A. Díaz Hernández, Mélanie C. Flossmann-Schütze und Friedhelm Hoffmann Verlag Patrick Brose Vaterstetten Reihe „Tuna el-Gebel“ herausgegeben von Mélanie C. Flossmann-Schütze, Friedhelm Hoffmann, Dieter Kessler, Katrin Schlüter und Alexander Schütze Band 1: Joachim Boessneck (Hg.), Tuna el-Gebel I. Die Tiergalerien, HÄB 24, Hil- desheim 1987. (Gerstenberg Verlag) Band 2: Dieter Kessler, Die Paviankultkammer G-C-C-2, mit einem Beitrag zu den Funden von Hans-Ulrich Onasch, HÄB 43, Hildesheim 1998. (Gersten- berg Verlag) Band 3: Dieter Kessler, Die Oberbauten des Ibiotapheion von Tuna el-Gebel. Die Nachgrabungen der Joint Mission der Universitäten Kairo und München 1989–1996, Tuna el-Gebel 3, Haar 2011. (Verlag Patrick Brose) Band 4: Mélanie C. Flossmann-Schütze / Maren Goecke-Bauer / Friedhelm Hoff- mann / Andreas Hutterer / Katrin Schlüter / Alexander Schütze / Martina Ullmann (Hg.), Kleine Götter – Große Götter. Festschrift für Dieter Kessler zum 65. Geburtstag, Tuna el-Gebel 4, Vaterstetten 2013. (Verlag Patrick Brose) Band 5: Birgit Jordan, Die demotischen Wissenstexte (Recht und Mathematik) des pMattha, 2 Bände, Tuna el-Gebel 5, Vaterstetten 2015. -
Cwiek, Andrzej. Relief Decoration in the Royal
Andrzej Ćwiek RELIEF DECORATION IN THE ROYAL FUNERARY COMPLEXES OF THE OLD KINGDOM STUDIES IN THE DEVELOPMENT, SCENE CONTENT AND ICONOGRAPHY PhD THESIS WRITTEN UNDER THE SUPERVISION OF PROF. KAROL MYŚLIWIEC INSTITUTE OF ARCHAEOLOGY FACULTY OF HISTORY WARSAW UNIVERSITY 2003 ACKNOWLEDGMENTS This work would have never appeared without help, support, advice and kindness of many people. I would like to express my sincerest thanks to: Professor Karol Myśliwiec, the supervisor of this thesis, for his incredible patience. Professor Zbigniew Szafrański, my first teacher of Egyptian archaeology and subsequently my boss at Deir el-Bahari, colleague and friend. It was his attitude towards science that influenced my decision to become an Egyptologist. Professor Lech Krzyżaniak, who offered to me really enormous possibilities of work in Poznań and helped me to survive during difficult years. It is due to him I have finished my thesis at last; he asked me about it every time he saw me. Professor Dietrich Wildung who encouraged me and kindly opened for me the inventories and photographic archives of the Ägyptisches Museum und Papyrussammlung, and Dr. Karla Kroeper who enabled my work in Berlin in perfect conditions. Professors and colleagues who offered to me their knowledge, unpublished material, and helped me in various ways. Many scholars contributed to this work, sometimes unconsciously, and I owe to them much, albeit all the mistakes and misinterpretations are certainly by myself. Let me list them in an alphabetical order, pleno titulo: Hartwig -
Augustus in Egypt. the Varying Images of the First Roman Emperor
Christoph Klose, Lukas C. Bossert, William Leveritt (eds.) | Fresh Perspectives on Graeco-Roman Visual Culture. Proceedings of an International Conference at Humboldt-Universität, Berlin, 2nd–3rd September 2013 | 2015 | urn:nbn:de:kobv:11-100229177 Augustus: Caesar and god. Varying Images of the first Roman Emperor Jodie Martyndale-Howard The University of Nottingham hy is it that Rome’s first Emperor can be seen to adorn Egyptian artand architecture as Pharaoh throughout the province? How might the context W of such images help our understanding of the population make-up and rea- sons behind such portrayals? These are the questions I wish to answer through exploring the varying images of the first Roman emperor. Whenever Augustus is mentioned images of power such as the Prima Porta are first to come to our minds.1 As one of the most well-known Imperial statues it is often our first thought regarding portraits of the young, militarily successful leader of the Roman world. It is this image which has been seen throughout modern scholarship as the epitome of the traits Augustus wished his subjects to see, and therefore the one which resonates most strongly in our minds as the defining image of the emperor.2 Yet various scholars who address provincial images pay little or no attention to Egypt and the array of portrayals available.3 This may be because of the peculiar nature of Egypt: for some Classicists, it is Egyptologists who should be researching the images and wrestling with the complex iconographic system that had developed through centuries of Pharaonic and Ptolemaic rule; the other side believe it to be the remit of Classicists, who can use such images to understand how the province was ruled. -
1 Egyptian Culture 2 Geography of Egypt 3 4 the Gift of the Nile 5
1 Egyptian Culture 2 Geography of Egypt Nile River is the longest river in the world The Nile creates a ribbon of water in a parched desert 3 4 The Gift of the Nile The predictable flooding of the Nile creates rich soil good for crops The Nile provides a reliable transportation system that promotes trade The desert acted as a natural barrier 5 Environmental Challenges if floods were a few feet below normal 1000’s of ppl starved if floods were higher than normal homes were destroyed desert acted as a natural barrier, but caused Egyptians to live on a small area and have little contact with others, did not have to deal with the constant attacks like the Fertile Crescent. 6 Upper and Lower Egypt Egyptians traveled along the Nile from the mouth to the First Cataract: churning rapids, the cataract area made it impossible to travel to the North past that pt Between the 1st Cataract and the Mediterranean lay 2 different regions Because of its elevation being higher the river area to the South is called Upper Egypt, it is the skinny strip of land from the 1st Cataract to the point where the river starts to fan out into many branches 7 Upper Egypt 8 Upper and Lower Egypt To the North, near the sea, Lower Egypt includes the Nile delta: the 100 miles before the river enters the Mediterranean. The delta is a broad marshy, triangular area of land formed by deposits of silt at the mouth of the river 9 Lower Egypt 10 Egypt unites into a Kingdom 10 Egypt unites into a Kingdom by 3200 BC the villages of Egypt were under the rule of two separate kingdoms, Lower Egypt and Upper Egypt it is believed that a ruler named Scorpion King started uniting Egypt, but it was finished by Narmer Narmer created a combination crown to represent his rule 11 Crowns 12 Pharaohs Rule as Gods In Mesopotamia kings were considered to be representatives of the gods. -
The Birth of Moses
1. THE BIRTH OF MOSES We arrived at Cairo International Airport just after nightfall. Though weary from a day of flying, we were excited to finally set foot on Egyptian soil and to catch a glimpse, by night, of the Great Pyramid of Giza. It took an hour and fifteen minutes to drive from the airport, on the northeast side of Cairo, to Giza, a southern suburb of the city. Even at night the streets were congested with the swelling population of twenty million people who live in greater Cairo. Upon checking into my hotel room, I opened the sliding door to my balcony, and stood for a moment, in awe, as I looked across at the pyramids by night. I was gazing upon the same pyramids that pharaohs, patriarchs, and emperors throughout history had stood before. It was a breathtaking sight. Copyright © by Abingdon21 Press. All rights reserved. 9781501807886_INT_Layout.indd 21 3/10/17 9:00 AM Moses The Pyramids and the Power of the Pharaohs Some mistakenly assume that these pyramids were built by the Israelite slaves whom Moses would lead to freedom, but the pyramids were already ancient when Israel was born. They had been standing for at least a thousand years by the time Moses came on the scene. So, if the Israelites were not involved in the building of these structures, why would we begin our journey—and this book—with the pyramids? One reason is simply that you should never visit Egypt without seeing the pyramids. More importantly, though, we begin with the pyramids because they help us understand the pharaohs and the role they played in Egyptian society. -
Mechanical Engineering in Ancient Egypt, Part 61: Symbols Industry in the Third Intermediate and Late Periods
International Journal of Engineering and Techniques - Volume 3 Issue 6, Nov - Dec 2017 RESEARCH ARTICLE OPEN ACCESS Mechanical Engineering in Ancient Egypt, Part 61: Symbols Industry in the Third Intermediate and Late Periods Galal Ali Hassaan Department of Mechanical Design & Production, Faculty of Engineering, Cairo University, Giza, Egypt Email: [email protected] Abstract: th This paper is the 57 research paper in a series investigating the evolution of mechanical engineering in ancient Egypt. It tries to achieve this purpose through investigating the symbols industry during the Third Intermediate and Late Periods. It outlines the design and application of symbols by the ancient Egyptians. The symbols used are highlighted with reference to material and present location if known. Features of the symbol-based products are outlined as characteristics of Mechanical Engineering in ancient Egypt. Keywords — Mechanical engineering; ancient Egypt; symbols industry, 3 rd Intermediate Period, Late Period inscriptions including too many symbols and I. INTRODUCTION another coffin decorated at the feet area by Ankh and Was sceptre symbols [2]. This is the 61 paper in a series of research Moore (2014) in her Master of Arts Thesis papers aiming at exploring the role of ancient about the non-royal female Egyptian coffins in the Egyptians in the evolution of mechanical Third Intermediate Period presented the coffin of engineering. The paper focuses on the symbols Meresamun fully decorated and inscribed with Sun- industry in ancient Egypt during the Third disk, Shen, Wadjet eye, Was sceptre, Nekhbet, Djed Intermediate and Late Periods. and Tiet symbols. She presented also a coffin for Teeter (2003) presented a limestone statue Ankh-Teh fully decorated and inscribed including for Hathor from the Third Intermediate Period with some symbols such as: Crook, Flail, Sun-disk, Swty, engravings of scenes using some symbols of ancient Nekhbet, Sesen and Ba. -
Sales 2017 Thinking Symbols.Pdf
Pultusk Academy of Humanities ACTA ARCHAEOLOGICA PULTUSKIENSIA Vol. VI Thinking Symbols Interdisciplinary Studies Edited by Joanna Popielska-Grzybowska & Jadwiga Iwaszczuk Department of Archaeology and Anthropology PUŁTUSK 2017 Scientific Editors: Joanna Popielska-Grzybowska, Jadwiga Iwaszczuk Proof-reading in English by Jo B. Harper & Joanna Popielska-Grzybowska DTP by Jadwiga Iwaszczuk Graphics by Jadwiga Iwaszczuk Cover design by Jakub Affelski All rights reserved © Copyright 2017 by the Pultusk Academy of Humanities, 2017 Second edition Publisher: Pultusk Academy of Humanities ul. Daszyńskiego 17, 06-100 Pułtusk tel./fax (+48 23) 692 50 82 e-mail: [email protected] Internet: www.ah.edu.pl ISBN 978-83-7549-311-5 Realised on behalf of the publisher: Przedsiębiorstwo Poligraficzno-Wydawnicze “Graf” – Janusz Janiszewski 04-663 Warszawa ul. Błękitna 87A tel. 501 376 898 e-mail: [email protected] Contents Preface .....................................................................................................................................7 *** James Cogswell, Cosmogonic Tattoos: epistemic limits and the will to adorn ..................9 Sebastian Szymański, Music as a symbol of communication ............................................ 17 *** Lidia Ambroziak, Mind maps in creative knowledge gaining process by students ...........19 Ivan Badanjak, Codex Gigas as the symbol of the occult ...................................................25 Nicholas Campion, Astrology: the survival of an ancient symbolic language ................... -
Pyramids on the Nile
2 Pyramids on the Nile MAIN IDEA WHY IT MATTERS NOW TERMS & NAMES SCIENCE AND TECHNOLOGY Many of the monuments built • delta • pyramid Using mathematical knowledge by the Egyptians stand as a •Narmer •mummification and engineering skills, Egyptians testament to their ancient • pharaoh •hieroglyphics built magnificent monuments to civilization. • theocracy • papyrus honor dead rulers. SETTING THE STAGE To the west of the Fertile Crescent in Africa, another river makes its way to the sea. While Sumerian civilization was on the rise, a sim- ilar process took place along the banks of this river, the Nile in Egypt. Yet the Egyptian civilization turned out to be very different from the collection of city-states in Mesopotamia. Early on, Egypt was united into a single kingdom, which allowed it to enjoy a high degree of unity, stability, and cultural continu- ity over a period of 3,000 years. The Geography of Egypt TAKING NOTES Summarizing Use a web From the highlands of East Africa to the Mediterranean Sea, the Nile River flows diagram to summarize northward across Africa for over 4,100 miles, making it the longest river in the Egyptian achievements. world. (See the map on page 36.) A thin ribbon of water in a parched desert land, the great river brings its water to Egypt from distant mountains, plateaus, and lakes in present-day Burundi, Tanzania, Uganda, and Ethiopia. Egypt’s settlements arose along the Nile on a narrow strip of land made fer- Eggyptian tile by the river. The change from fertile soil to desert—from the Black Land to Achievements the Red Land—was so abrupt that a person could stand with one foot in each.