Egyptian Art and Archaeology

Second Interim Report on the Naqada III – First Intermediate Period Stratification at Mendes: 2006-2009

by Matthew J. Adams

Delta Reports 2, ed. D.B. Redford (Oxford: Oxbow Books, in press, 2012)

The Lecherous Pseudo-Anubis of Josephus and the ‘Tomb of 1897’ at Akhmim

by David Klotz

Published in A. Gasse, F. Servajean, C. Thiers (eds), CENiM 5 : Et in Ægypto et ad Ægyptum, Recueil d’études dédiées à Jean-Claude Grenier, CENIM (Montpellier, 2012), vol. 2, pp. 383-396.

The Life-Cycle of an Artefact

by Paul Roberts

Egyptian Cosmetic Palettes

by Paul Roberts

A sun-shade temple of princess Ankhesenpaaten in Memphis?

by Stephane Pasquali

Published in Journal of Egyptian Archaeology 97, London, 2011, p. 216-222.

Publication of the Amarna period block MRAH inv. 4491, part of a sloping balustrade perhaps from a sun-shade temple of... more Publication of the Amarna period block MRAH inv. 4491, part of a sloping balustrade perhaps from a sun-shade temple of Princess Ankhesenpaaten in Memphis. The inscription is noteworthy for containing a unique instance of the re-carving of the name of Aten from form IIa to either IIb or III. There follows an excursus on the Memphite ‘Horizon of Aten’.

Un nouveau relief du grand intendant de Memphis, Ipy, et le temple de Ptah du terrain-bʿḥ

by Stephane Pasquali

Published with Beatrix Gessler-Löhr in Bulletin de l'Institut français d'archéologie orientale 111, Le Caire, 2011, p. 281-299.

Abstract :
Publication of a decorated block from Ipy’s tomb (temp. Tutankhamun-Horemhab). The tomb is located in... more Abstract :
Publication of a decorated block from Ipy’s tomb (temp. Tutankhamun-Horemhab). The tomb is located in Saqqara; however, its whereabouts is currently unknown. This study includes translation and analysis of the inscriptions; discussion of the Ptah Temple of the bʿḥ-land; consideration of the location of Ipy’s two tombs; stylistic analysis and dating of the block and Ipy’s tomb stelae from Saqqara.


Publication d’un fragment de relief provenant de la tombe d’Ipy (époque Toutânkhamon-Horemheb)qui reste à redécouvrir à Saqqâra. L’étude se compose comme suit : traduction et analyse des inscriptions ; discussion à propos du temple de Ptah du terrain-bʿḥ et de la question des deux tombes d’Ipy ; étude stylistique et datation du relief ainsi que des stèles provenant de sa tombe de Saqqâra.

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Keywords: Amarna – Amenhotep III (time of ) – Amenhotep Huy (father of Ipy) – Ay (time of ) – carvingtechniques – dating criteria – Fan-bearer to the Right of the King – flabellum – Gold of Honour – “handkerchief ” – High Steward of Memphis – Horemhab (Saqqara tomb of ) – Ipy (location of tombs) – Maya (Overseer of the Treasury) – Memphis – Nahuher (brother of Maya) – offering bearers – Post-AmarnaPeriod – Ptah (outside of Inebu, near Memphis) – Memphite royal mortuary temples – Saqqara – TT 136 – Tutankhamun (time of, stylistic features) – wigs and garments.

The Egyptian Interest in Mycenaean Greece

by Jorrit Kelder

Published in the Annual of Ex Oriente Lux (JEOL), 2010

Connections between Egypt and the Mycenaean world have often been understood in terms of indirect exchange, via... more Connections between Egypt and the Mycenaean world have often been understood in terms of indirect exchange, via middlemen on Cyprus and in the Levant. This view is mainly informed by the relative paucity of Mycenaean pottery found in Egypt, especially when compared to the large amounts of Mycenaean pottery found on Cyprus and the Levant. It will be argued in this article that connections between Egypt and Mycenae were of direct, diplomatic nature and that various different missions can be identified over the course of the 15th to 13th centuries BC. Moreoever, it is argued that, as a result of these connections, Mycenaeans may well have settled in the land of the Nile -serving the Pharaoh in different capacities. To that purpose, the article presents a range of archaeological, iconographical and textual evidence coming both from Egypt and the Mycenaean world.

Une volonté de s' approprier symboliquement les qualités de l'autruche serait à l'origine de certains jeux graphiques dans l'art rupestre du Sahara oriental. - Les Cahiers de l'AARS, 13, 2009: 81-84.

by Julien d'Huy

http://aars.fr/

L’homme qui voyait l’autruche rapide, vigilante, belliqueuse, a sans doute envié ces qualités, au point de vouloir se... more L’homme qui voyait l’autruche rapide, vigilante, belliqueuse, a sans doute envié ces qualités, au point de vouloir se les approprier. C’est ce qui explique toute une série de jeux graphiques dans l’art rupestre du Sahara oriental, où l’on peut par ailleurs voir l’une des sources de la symbolique égyptienne de l’oiseau.

The man who had seen a fast, watchful, warlike ostrich, doubtless envied these qualities, to the point of wanting to appropriate them. That explains a whole series of graphic games in the rock art of Eastern Sahara, where we can besides see one of the sources of the Egyptian symbolism of this bird.

Du Sahara au Nil: la faible représentation d'animaux dangereux dans l'art rupestre du désert Libyque pourrait être liée à la crainte de leur animation. - Les Cahiers de l'AARS, 13, 2009: 85-98.

by Julien d'Huy

Co-authored with Jean-Loïc Le Quellec
http://aars.fr/

Fuyant l’aridification de leur territoire pour rejoindre les régions plus clémentes de la vallée du Nil, peut-être en... more Fuyant l’aridification de leur territoire pour rejoindre les régions plus clémentes de la vallée du Nil, peut-être en empruntant ce qui allait devenir la piste d’Abū Ballās, les habitants du Djebel el-’Uweynāt et du Gilf Kebīr auraient emporté avec eux leur crainte de représenter des animaux dangereux.

Fleeing the increasing aridity of their territory in order to reach the more favourable regions of the Nile valley, perhaps following what was to become the Abu Ballas track, the inhabitants of the Djebel el-‘Uweinat and the Gilf Kebir may have taken with them their fear of representing dangerous animals.

From the Sahara to the Nile - The low representation of dangerous animals in the rock art of the Libyan desert could be linked to the fear of their animation. - Translated by Geoffrey Kolbe. - Les Cahiers de l'AARS, 13, 2009: 85-98.

by Julien d'Huy

Traduction de l'article "Du Sahara au Nil - La faible représentation d'animaux dangereux dans l'art rupestre du désert Libyque pourrait être lié à la crainte de leur représentation" - Cahiers de l'AARS 13: 85-98.

English translation of the paper "Du Sahara au Nil - La faible représentation d'animaux dangereux dans l'art rupestre du désert Libyque pourrait être lié à la crainte de leur représentation" - Cahiers de l'AARS 13: 85-98.

Fleeing the increasing aridity of their territory in order to reach the more favourable regions of the Nile valley,... more Fleeing the increasing aridity of their territory in order to reach the more favourable regions of the Nile valley, perhaps following what was to become the Abu Ballas track, the inhabitants of the Djebel el-‘Uweinat and the Gilf Kebir may have taken with them their fear of representing dangerous animals.

New evidence for a closeness between the Abu Râ’s shelter (Eastern Sahara) and Egyptian beliefs. - Sahara, 20, 2009: 125-126.

by Julien d'Huy

Sahara, 20, 2009: 125-126.
www.saharajournal.com/

Anklets and the Social Construction of Gender in the Late Bronze and Early Iron Age Southern Levant

by Jack Green

In: S. Hamilton, R.D.Whitehouse & K.I.Wright (eds.) 'Archaeology and Women: Ancient and Modern Issues'. Walnut Creek, CA: Left Coast Press. Pp. 283-311 (2007)

This study examines personal adornment and more specifically the wearing of anklets in the Late Bronze and Early Iron... more This study examines personal adornment and more specifically the wearing of anklets in the Late Bronze and Early Iron Age Southern Levant. Traditional interpretations of anklets have suggested that they were principally markers of ethnic identity and status. Whilst these interpretations are not ruled out, new evidence suggests they can also be understood as markers of gender and age. The combined study of burial data from Tell es-Sa’idiyeh (Jordan) and other sites, along with iconographic evidence from Egypt and the Levant, suggests that the wearing of anklet pairs may have been a female-gendered practice, at least in adulthood. The wearing of single anklets was less common, and may relate to the adornment of high status males. Characteristics of the anklets themselves can be compared to associated age categories. This suggests that the addition and removal of anklets to/from the body was closely linked to physical development from infancy into adulthood, perhaps marked by ‘rites of passage’ throughout life – and finally in the arena of death and burial. It is concluded that the social reproduction of gender- and age-related values through the wearing of anklets, played a potentially significant role in structuring symbolic oppositions between men and women, and between adults and children.

Música, Sexo y las "Puellae Gaditanae" (Blog Post).

by Ángel Román Ramírez

Las "Puellae Gaditanae" o muchachas músicas gaditanas del siglo II a.C., en relación con la prostitución... more Las "Puellae Gaditanae" o muchachas músicas gaditanas del siglo II a.C., en relación con la prostitución sagrada o con el "Papiro Erótico" de Turín.

“Nuove considerazioni su una statua da Qaw el-Kebir al Museo delle Antichità Egizie di Torino”, in Vicino & Medio Oriente XV, Roma 2011, pp. 249-270.

by Ingrid Melandri

La Música en el antiguo Egipto (II). - Blog Post.

by Ángel Román Ramírez

Se hace referencia a la posible “música polifónica” de Egipto aunque se debe mostrar cautela a la hora de establecer... more Se hace referencia a la posible “música polifónica” de Egipto aunque se debe mostrar cautela a la hora de establecer resultados concluyentes. Es interesante un fresco de la tumba de la V Dinastía en Saqqara: un grupo formado por dos arpistas, dos “flautistas”, dos “clarinetistas” y seis quirónomos en el que se puede observar que uno de los arpistas pellizca una cuerda con la mano izquierda, mientras que la derecha aparece con los dedos extendidos. En ese caso, nos podríamos preguntar si en realidad aquel podría estar tocando dos notas diferentes al mismo tiempo.

La Música en el antiguo Egipto (I). - Blog Post.

by Ángel Román Ramírez

La historia de las culturas de los pueblos demuestra que la manera más natural de cantar es al unísono, o bien de... more La historia de las culturas de los pueblos demuestra que la manera más natural de cantar es al unísono, o bien de manera heterofónica (instrumentos y voces realizan la misma línea melódica) en el instante en que aparece un instrumentario "poli-fónico": arpas, liras, cítaras..., en definitiva, instrumentos de cuerda que producen más de un sonido; y también de viento como el doble aulós –especie de antiguo “clarinete” de dos tubos– o instrumentos de percusión como los de membrana o los de madera, los cuales, en función del modo en que se interpretasen, producirían dos, o a lo sumo tres “alturas” diferentes (...).

Древнеегипетский праздник Опет в эпоху Хатшепсут: ритуал и символика [The Opet Festival in Ancient Egypt in the Epoch of Hatshepsut: Ritual and Symbolism]

by Alexandra Mironova

Vestnik drevney istorii (Journal of Ancient History) 4, 2009, p. 124-137 (in Russian)

The author analyzes the pictorial programme and texts of the Red Chapel and funerary temple of Hatshepsut in Deir... more The author analyzes the pictorial programme and texts of the Red Chapel and funerary temple of Hatshepsut in Deir el-Bahari trying to reconstruct the order of the Opet Festival in the epoch of Hatshepsut and interpret the religious symbolism of the rites. She comes to the conclusion that the journey from Karnak to Luxor and back refers to the night journey of the solar deity related in the Book of Amduat. The procession of Opet may also be connected with the pharaoh's afterlife journey, as is implied by certain motifs associated with Osiris in the festival scenes and the setting of the Opet episodes in the temple of Deir el-Bahari.

The Relationship between the Space and the Scenery of an Egyptain Temple: Scenes of the Opet Festival and the Festival of Hathor at Karnak and Deir el-Bahari under Hatshepsut and Thutmose III

by Alexandra Mironova

e-journal 'Mosaikjournal', 1, 2010 (in English)

The article deals with the problem of interpreting the Egyptian temple space and its correlation with the festive... more The article deals with the problem of interpreting the Egyptian temple space and its correlation with the festive scenes depicted in the temple area. The author considers the relief scenes of the Opet Festival and the Festival of Hathor presented in the temples of Deir el-Bahari and Karnak. It will be shown that the symbolic meaning of the temple space could be extrapolated on the graphic program of the festival and thus, on its ritual program. The main symbolic idea of the festivals studied was the night subterranean travel of the sun-god and the pharaoh, who passed trough the stages of renewal, in order to ressurect on the eastern horizon or (in the case of the pharaoh) arrive to the north - the place of the circumpolar stars.

The Scene of 'Going Round the Wall' on the North Wall of the Portico of the Birth

by Marta Sankiewicz

Co-authored with Andrzej Ćwiek
Polish Archaeology in the Mediterranean XVIII (Reports 2006) (2008), 290-294.

Cosmological Frames on the Lunettes in the Temple of Hatshepsut at Deir el-Bahari

by Marta Sankiewicz

Proceedings of the Fifth Central European Conference of Egyptologists. Egypt 2009: Perspective of Research. Pułtusk 22-24 June 2009, J. Popielska-Grzybowska, J. Iwaszczuk (eds.), Pułtusk 2009.