Books by Mykola Tarasenko
Preface text about ten people who are either already engaged in Egyptology or are students or you... more Preface text about ten people who are either already engaged in Egyptology or are students or young scholars interested in this discipline. Among them are Mykola Tarasenko (head of the Centre), Olha Zapletniuk (Swansea University, UK), Daria Ziborova, Dinara Hereikhanova and Nataliya Bondarenko. The Centre has a number of goals, prominent among them being academic cooperation with Western Egyptological institutions. It will be grateful for any support in its development.
The monograph is devoted to ancient Egyptian objects of the 21st Dynasty, which are kept in the m... more The monograph is devoted to ancient Egyptian objects of the 21st Dynasty, which are kept in the museum institutions of Ukraine (Odesa, Kyiv, Poltava, Lviv, and Zolochiv). The book presents previously unknown facts and archival documents concerning the fate of antiquities originating from the “Second mummy cache” (Bāb el-Gusūs) discovered in 1891 in the Deir el-Bakhri area. In 1893, the Egyptian government donated some of the finds to 17 foreign countries, including the Russian Empire, which received Lot 6. The circumstances related to the stay of the antiquities of Lot 6 in Odesa in 1894-1895, their further fate and the current place of storage are considered.
В монографії зібрані переклади давньоєгипетських літературних творів, релігійних та храмових текс... more В монографії зібрані переклади давньоєгипетських літературних творів, релігійних та храмових текстів українською мовою. В збірнику представлено перші переклади давньоєгипетських творів, які були зроблені І. Франком і Л. Українкою з європейських мов ще наприкінці XIX ст. Подано розділ, присвячений літературі Середнього царства, з видання «Історія Стародавнього Сходу» Б. Тураєва (1938 р., переклад з російської), в якому надані повні або часткові переклади класичних давньоєгипетських літературних і дидактичних творів. Опубліковано переклади літературних творів, виданих у 1960-ті роки видатним українським істориком та культурним діячем діаспори М. Антоновичем, який мав фахову єгиптологічну освіту. Зібрані переклади низки текстів, опублікованих українськими єгиптологами в ХХІ столітті (М. Тарасенко, О. Заплетнюк). Вперше опубліковано українські переклади різноманітних давньоєгипетських творів, виконані молодою генерацією українських єгиптологів: Д. Зіборовою, Д. Герейхановою, Н. Бондаренко, В. Мотою. Монографія також містить вступні розділи Миколи Тарасенка та Дар’ї Зіборової та біографічний екскурс Алли Атаманенко про Марка Антоновича – першого перекладача давньоєгипетських текстів українською мовою.
The monograph contains translations of ancient Egyptian literary works, religious and temple texts into Ukrainian. The collection presents the first translations of ancient Egyptian works made by Ivan Franko and Lesia Ukrainka from European languages in the late nineteenth century. The section on the literature of the Middle Kingdom is taken from Boris Turaev’s “History of the Ancient East” (1938, translated from Russian), which provides full or partial translations of classic ancient Egyptian literary and didactic works. Translations of literary works published in the 1960s by the prominent Ukrainian historian and cultural figure of the diaspora Marko Antonovych, who had a professional Egyptological education, have been published. Translations of several texts published by Ukrainian Egyptologists in the 21st century (Mykola Tarasenko, Olha Zapletniuk) are collected Ukrainian translations of various ancient Egyptian works by the younger generation of Ukrainian Egyptologists Daria Ziborova, Dinara Hereikhanova, Nataliia Bondarenko, and Valeriia Mota were published for the first time. The monograph also contains introductory chapters by Mykola Tarasenko and Daria Ziborova, as well as a biographical excursion by Alla Atamanenko of Marko Antonovych, the first translator of ancient Egyptian texts into Ukrainian. The publication is oriented for scholars in Oriental studies, historians, literary scholars, and students of historical and cultural studies.
The monograph is the first special study and a complete catalogue of ancient Egyptian shabti figu... more The monograph is the first special study and a complete catalogue of ancient Egyptian shabti figurines in the collection of the Odesa Archaeological Museum of the National Academy of Sciences of Ukraine. This group of objects makes up more than a sixth of the total number of Egyptian artifacts in the museum (115 items). Shabti of the Odesa collection date from the 17th Dynasty to the Late Period, and according to the material of manufacture, they are represented by works of stone, wood, faiance and clay. Some of the shabti have preserved inscriptions with the names and titles of their owners, and the text of the 6th Chapter of the Book of the Dead is also inscribed on seven shabtis. The monograph includes museum data, parameters, description, photographs, hieroglyphic transcription, transliteration and annotated translation of the inscriptions present on the shabti.
Carlisle (Pennsylvania): Pendici Publishing, 2023
The emergence of an important Egyptian coffin lid in Kyiv, Ukraine has occasioned a careful analy... more The emergence of an important Egyptian coffin lid in Kyiv, Ukraine has occasioned a careful analysis of styles produced in Thebes during the 25th Dynasty. Marshalling a large body of comparative data, the authors present a method by which stylistic features can be coded and graphically portrayed for purposes of chronological seriation. Proceeding from a discussion of the individual features of the “Kyiv Lid” to a consideration of its position in time, the authors, Tarasenko and Elias, furnish diagrammatic seriation matrices in which the temporal positions of over 100 coffins are shown.
Historians of Egyptian art from the later Third Intermediate Period to the rise of the 26th Dynasty, will greatly benefit from the chronological arguments and methodological insights of this scholarly work.
The collection of articles is based on the materials of the International Scientific Round Table ... more The collection of articles is based on the materials of the International Scientific Round Table “Pre-Islamic Near East: History, Religion, Culture” (Kyiv, December 10, 2020), which was organized by the A. Yu. Krymskyi Institute of Oriental Studies of the National Academy of Sciences of Ukraine. The collection includes articles on the problems of history, religion, culture, worldview, archeology, source studies and reception of the civilizations of the Ancient Near East. The publication is designed for specialists in oriental studies, historians, researchers in religion and culture studies, archaeologists, students and graduate students of the humanities and anyone interested in the history of the Ancient World.
Kyiv, 2019
The present book, devoted to the ancient Egyptian objects of the 21st Dynasty in the museums of U... more The present book, devoted to the ancient Egyptian objects of the 21st Dynasty in the museums of Ukraine, reveals previously unknown facts concerning the fate of the artifacts associated with one of the most significant archaeological discoveries in Egypt - the “Second Cache of priest’s mummies” (Bāb el-Gusūs) that was discovered in 1891 at the region of Deir el-Bahri (Western Thebes).
Монографія присвячена давньоєгипетським пам’ятникам XXI ди-
настії, які зберігаються в музейних установах України (Одеса, Київ,
Полтава, Львів та Золочів). У книзі наведені раніше невідомі факти й
архівні документи, що стосуються долі старожитностей, які походять з відкритого в 1891 р. в місцевості Дейр ель-Бахрі “другого тайника мумій” (Бāб ель-Гусӯс). Частина знахідок у 1893 р. була подарована єгипетським урядом 17 іноземним державам, серед яких була Російська імперія, що отримала лот № 6. Розглянуто обставини, пов’язані з перебуванням старожитностей лота № 6 в Одесі в 1894–1895 рр., їхню подальшу долю та сучасне місце зберігання. Книга розрахована на істориків-орієнталістів, музейних працівників та музеєзнавців, студентів гуманітарних факультетів і всіх, хто цікавиться історією та культурою Стародавнього Єгипту.
Вещь в контексте погребального обряда / Artifact in the Contest of Funeral Rites. Proceedings of the International Conference / ed. by S.A. Yatsenko & E.V. Kupriyanova, Moscow: RSUH Publ., 2020 (in Russian), 2020
There you can read the Proceedings of the 4th archaeological conference devoted to the various as... more There you can read the Proceedings of the 4th archaeological conference devoted to the various aspects of necropolses studies and burial rituals. Fist conference was in Chelyabinsk in January 2915, second - in St-Petersburg in November 2016, third - in Ufa in November 2018. The collection present 25 articles of archaologists and specialist on religions' history from Russia, Kazakhstan, Ukraine and Kyrgyzstan.
В монографии впервые специально рассмотрены иллюстрации древнеегипетской Книги мёртвых с изображе... more В монографии впервые специально рассмотрены иллюстрации древнеегипетской Книги мёртвых с изображением папирусного свитка. В документах т. н. «фиванской редакции» (Новое царство) свёрнутый свиток в руке умершего спорадически изображается на виньетках глав 21, 41, 42, 96 и 103. На виньетках 1-й главы, показывающей похоронную процессию, в руках жреца, читающего заупокойные заклинания, вырисован развёрнутый свиток. В поздней традиции Книги мёртвых изображение папируса в руке человека характерно для глав 1, 25 и 52/44 (?), 90 и 94, а в нескольких случаях на виньетках главы 94 свиток показан в руке бога Тота, покровителя писцов. Будучи связанным с апотропеическими и магическими функциями, мотив папирусного свитка продолжает существование в погребальном искусстве Египта и в Римский период, но обретает новую, синкретическую форму. В монографии вводится в научный оборот ряд сцен из числа виньеток Книги мёртвых и предметов египетского погребального искусства из собраний европейских музеев.
Among the numerous deities in the ancient Egyptian mythology, whose nature and function are still... more Among the numerous deities in the ancient Egyptian mythology, whose nature and function are still vague and obscure, are mś.w Bdšt – ‘Children of Weakness’. These beings are twice mentioned in the Book of the Dead chapter 17. The text fragments contain two local versions of the myth with mś.w Bdšt – Hermopolitan (Urk. V: Abs. 1), and Heliopolitan (Urk. V: Abs. 22). Since the last text describes the combat between Re and the ‘Children of Weakness’, the same is likely to be reflected on the vignette, which depicts the battle of Re against mś.w Bdšt, metaphorically shown in the form of a serpent. This book is a comprehensive study of the ‘Children of Weakness’ myth and the scene depicting the cat, cutting off the head of the serpent under the branches of the išd-tree found on the number of Book of the Dead chapter 17 vignettes.
Збірник наукових праць є публікацією матеріалів круглих столів «Єгипет та країни Близького Сходу:... more Збірник наукових праць є публікацією матеріалів круглих столів «Єгипет та країни Близького Сходу: ІІІ тис. до н.е. – І тис. н.е.» (2011 р.) та «Доісламський Близький Схід: історія, релігія, культура» (2013 р.), організованих Інститутом сходознавства ім. А.Ю. Кримського НАН України та кафедрою історії стародавнього світу та середніх віків Київського національного університету імені Тараса Шевченка. У збірнику представлені статті, присвячені різноманітним проблемам історії, релігії, культури, світогляду, археології, джерелознавства та історіографії цивілізацій стародавнього Близького Сходу. Видання розраховане на сходознавців, спеціалістів-істориків, релігієзнавців, культурологів, археологів, студентів і аспірантів гуманітарних спеціальностей, та всіх хто цікавиться історією стародавнього світу.
In the Chapter 1 («The Semantic and Iconography of the Sonnenlaufszene: Book of the Dead Ch. 16»)... more In the Chapter 1 («The Semantic and Iconography of the Sonnenlaufszene: Book of the Dead Ch. 16») of the book the solar images of the BD 16 vignettes are discussed.
In § 1.1. («Chapter 16 in the structure of the Book of the Dead») the main principles of the iconography and the list of sources (manuscripts and Theban Tombs paintings) with BD 16 images are given.
Typologically these vignettes can be divided into stages of Sunrise and Sunset. In the first case (§ 1.2. «The Sunrise scene / BD 16A») the central place of composition occupies the Dd-pillar as representation of Osiris (metaphorically the Otherworld or Lower world), whereof a life-symbol (anx) «grows» with hands levitating the Sun disc into the morning sky (sometimes life-symbol passes Sun disc to p.t-sky symbol with the human hands).
In the second case (§ 1.3. «The Sunset scene / BD 16B») a figure of the solar falcon-god (Re-Horachty) sitting on the sign of the West (Imnty) is placed in the center of the pictures. The main peculiarity of the given compositions is the «stage» division of the cosmic domains, so that is horizontal model of Space. The vignette of BD 16B in the рInh-jj pLondon ВМ ЕА 10472 is remarkable. On the lower part of this composition are the human bA-souls symbolizing the Underworld to which the Sun-god goes down every night; above the goddess Isis and Nephtis are depicted on bended knees; they symbolized a border of the Otherworld (Duat) and the earthly world; still above – baboons, greeting the Sun rising in the morning; and than the people of Egypt and foreigners; and in the very top of the composition (sky domain) the images of winged cobras are shown. A central for the picture is the figure of Solar falcon-deity passes over all of these three cosmic domains, Duat (Underworld), the Earth and the Sky. Such a «stage» division of the Universe (common for the BD 16 vignettes) we could meet on a great number of Egyptian monuments.
In the Chapter 2 («The «two lions» composition (Rw.tj-scene) of the Book of the Dead Ch. 17 in the Art of the 19 − 21st Dynasties») the BD 17 vignettes of a so-called Rw.tj-scene are analyzed on different sources (a general excurse is given in § 2.1 «Rw.tj-scene in the sources of the 19 − 21st Dynasties»): BD vignettes (§ 2.2. «Rw.tj-scene in the Book of the Dead»), tombs decoration and coffin paintings (§ 2.3. «Rw.tj-scene on the tombs and coffins decoration»).
The Rw.tj-scene appeared first as a vignette of BD 17 at the beginning of 19th Dynasty. Its iconographical construction is the image of two lions sitting back to back and holding above themselves the symbol of Ax.t-horizon, and in many cases also the symbol of p.t-sky sign, placed upper. The sky-sign could be submitted in the common «hieroglyphic» form and in the «bent» form of arc. Sometimes, the sign of «horizon» could be combined with a symbol of life (anx). A man (deceased) in adoration pose is usually represented before the lions and his bA-soul shown sitting on the roof of the tomb.
In the § 2.4 («The semantic of the Rw.tj-scene») the different interpretations of this scene known in Egyptology are discussed. According to A. Wiedemann, K. Sethe, H. Schäfer, I. G. Livshits and R. T. Rundle Clark, the sources of this scene lions image and iconography goes back to the Old Kingdom hieroglyphic where the signs of a «double lion» / are known. They are fixed in the verb xnz «to pass» and as a determinative for the name of the god of Earth Aker [Pyr. § 2254d]. It is considered, that lions act as zoomorphic equivalents of the «Horizon Mountains» symbols in the semantic of hieroglyphs for the word Ax.t «horizon». According to this understanding the interpretation of the BD 17 lions as an image of a chthonic deity Aker was offered (K. Sethe, H. Schäfer, W. Spiegelberg, S. Schott, H. Bonnet and B. Bruyère).
Other researchers (M. Heerma van Voss, M. Saleh, H. Milde) recognized a supreme Leontopolis lion-form deity Ruti in the lions of BD 17. And the last widespread point of view on the nature of lions from BD 17 vignette is their identification with Shu and Tefnut (B. A. Turaev, Chr. Jacq, S. Morenz, С. de Wit, A. Piankoff, O. Goelet).
The identification of these lions is very inconvenient, especially if it is remembered that the Egyptian signatures for the figures are completely unequal. As a whole all listed hypotheses are reduced to chthonic and spatial understanding of the sense of composition.
According to author analysis the Rw.tj-scene synthesizes in its semantics spatial and temporal elements and follows a certain circuit of the spatial orientation consisting in necessity to follow East / West, West / East direction, connected with solar representations. In the papyrus scrolls this «system of coordinates» is precisely adhered to «artificial» opposition left / right. In the case of a tomb decoration the Egyptian builders probably had an opportunity to arrange compositions directly in a real spatial orientation in cardinal points in view of the architectural plan and ideological installations (proved by the decoration of the +Hwty-mc tomb TT 32).
The Supplement 2.1 represent the Rw.tj-scene images on the scarabs.
The Chapter 2.1 («Appendix: The dual «eternity» of Ancient Egyptians») discussed the history of research in Egyptology of the two terms for «eternity» determination – nHH and Dt. Notwithstanding for a century of active discussions on these words and their nature, the question still being debatable till now. The main Western and Russian hypotheses on the nHH and Dt from the beginning of 20th to the beginning of 21st centuries are analyzed. And among them those of W. Westendorf, J. Assmann, E. Hornung and O. Berlev – the scholars of great authority in Egyptology.
The subject of the first part of the Chapter 3 («The Illustrative Tradition of the Book of the Dead Ch. 42 in the New Kingdom») is the analysis of the ways of construction, interconnection with the text, and iconographic classification of the BD 42 vignettes (general remarks in § 3.1 («The problem of the BD 42 vignettes typology»).
Despite the variety in BD 42 vignettes in the New Kingdom / 21st Dyn., on the basis of iconographical and stylistic features, I could identify two basic types of such pictures and also some subtypes are . The first type of vignettes is drawn as friezes (the «disrupt» friezes), and the second type comprises the full-size vignettes. We designate them as Types А and B.
The Type A vignettes of the BD 42 (§ 3.2. «Type «А» of the BD 42 vignettes») are subdivided into five (two basic and three additional) subtypes, subjected to a plot of image and iconography. These vignettes are related with the title of the chapter, intended to avoid «slaughtering in Heracleopolis» (the pictures pBerlin P. 3027 («Zaubersprüche für Mutter und Kind») by A. Erman and the latest studies of J. Walker, J. Assmann and T. DuQuesne and ohthers are discussed in final. A brief review of the «Gliedervergottung» lists evolution is given.
РЕЦЕНЗИЯ:
https://istina.msu.ru/media/publications/article/fed/13e/7744666/Ladyinin_Tarasenko_VDI_4_2014.pdf
Papers by Mykola Tarasenko
“Niemand kann alleine kämpfen” “Nobody can struggle alone” “Ніхто не може боротися наодинці”: an Egyptological volume on behalf of Ukraine / ed. by M. Tarasenko, L. Morenz, J. Baines / Bonner Ägyptologische Beiträge. Bd. 14. Berlin., 2024
Preface text about ten people who are either already engaged in Egyptology or are students or you... more Preface text about ten people who are either already engaged in Egyptology or are students or young scholars interested in this discipline. Among them are Mykola Tarasenko (head of the Centre), Olha Zapletniuk (Swansea University, UK), Daria Ziborova, Dinara Hereikhanova and Nataliya Bondarenko. The Centre has a number of goals, prominent among them being academic cooperation with Western Egyptological institutions. It will be grateful for any support in its development.
ХХV Сходознавчі читання А. Кримського: Матеріали міжнародної наукової конференції, 10 листопада 2022 р. – Київ – Львів – Торунь: Liha-Pres., 2022
Shìdnij svìt, 2022
The paper provides an analysis of the iconography and semantics of two ancient Egyptian amulets-p... more The paper provides an analysis of the iconography and semantics of two ancient Egyptian amulets-pendants made of “Egyptian faience” found in the Scythian female burial No. 1 of mound No. 8 of the Pisochynsky burial ground (Kharkiv region). The burial dates to the end of the 4th century BC. Currently, these objects are stored in the basement of the M. F. Sumtsov Kharkiv Historical Museum (inv. nos. M-2759 and M-2760). Faience amulets were suspended from earrings in the form of a ring made of gold wire. They made up a single ensemble of the headdress of the buried woman, together with a rich headdress decorated with gold plates. Amulets have different sizes and differences in style, but schematically depict the same zoomorphic creature. This is a picture of a pig. In ancient Egypt, amulets in the shape of a pig did not become widespread and are known from finds of the New Kingdom and the Late Period. In the Late Period, one of the centers of their production was the Greek settlement of Naukratis, which produced various products from “Egyptian faience” for export. They are known both in the Mediterranean and Black Sea regions. Despite considerable sketchiness, the amulets from the Pisochynsky burial ground can be reliably identified precisely as the image of a pig, which is proved by comparison with the amulet inv. no. AN1896-1908-EA.889, Oxford, Ashmolean Museum. The authors believe that the population of Forest-Steppe and Steppe Scythia did not know the authentic meaning of these and similar Egyptian amulets. They could be perceived as images of the Otherworld creatures, which, firstly, introduced them into the circle of priestly attributes, and secondly, gave them a meditative function in the funeral rite.
M. K. Jakobsen (ed.), Sociolinguistics: Past, Present and Future Perspectives. New York: Nova. , 2022
The article considers the semantics of the expression m-ḫt mni=f – “after he moored”, which is us... more The article considers the semantics of the expression m-ḫt mni=f – “after he moored”, which is used in the title of Spell 17 in the Ancient Egyptian Book of the Dead. The verb mni can be literally translated as “to moor” and “to arrive at the port”, “to moor a ship/boat”. In a metaphorical sense, this verb replaced the word “to die”, although the consonant verb in the literal sense of “to die” is also known. According to some Egyptologists, mni as “to moor” and mni as “to die” are two different words that were just consonants. The article will show that this is one and the same verb, which, depending on the context, had either the direct meaning “to moor” or the metaphorical meaning “to die”. At the same time, the metaphorical meaning endowed this lexeme with a special semantic meaning that would be reconstructed on the basis of the Egyptian ideas of the nature of death.
For burial complexes of the 7th – 6th c. BC on the territory of Forest-Steppe Scythia some types ... more For burial complexes of the 7th – 6th c. BC on the territory of Forest-Steppe Scythia some types of beads are quite common. These are usually referred to as being made of “Egyptian” faience. They are mainly
represented by beads of various shapes, as well as less common conical-shaped “beads-rosettes”. The site of production of the former is difficult to establish, but for the latter, the territory of Transcaucasia is determined. Their appearance and wide distribution in the Northern Black Sea region is associated with the nomadic Scythians, who advanced in the late 7th c. BC – first half of the 6th c. BC to the Ukrainian Forest-Steppe through the Caucasus after the completion of the Asiatic campaigns. Exceptionally important finds for this period objects imported from Egypt of rare types for the territory of Scythia. They were found in Skorobir – in one of the biggist burial grounds of the Bilsk fortefied settlement (Vorskla basin), as well as material excavated from of the Lyubotyn fortified settlement (Siversky Donets basin). Among them are Egyptian necklaces – amulets and a bead of the 6th c. BC. Some objects could have come to the Forest-Steppe from Greek centres, while others probably belonged to Scythian warriors who received them as a military trophy. At present, these are the only such early finds in the Northern Black Sea region, complementing the set of imported pieces that ended up in the Dnipro Left Bank during the Scythian Archaic Period. Discovered in female burials of the 6th c. BC, Egyptian amulets prove that already in this period they were perceived by the population of Scythia as sacred symbol – an attribute of priests, whose functions in barbarian society were most likely performed by women – representatives of the social elite.
Rukopisna ta knižkova spadŝina Ukraïni
Предметом статті є ідентифікація двох аркушів давньоєгипетського сувою на чотирьох фотографіях з ... more Предметом статті є ідентифікація двох аркушів давньоєгипетського сувою на чотирьох фотографіях з фондів Інституту рукопису Національної бібліотеки України імені В. І. Вернадського (фонд XXIV, № 2702). З'ясовано, що на цих світлинах представлений папірус № 147822 Національного Музею у Варшаві (т. зв. «папіру с Битомський»). Фотографії цього сувою з фондів Інституту рукопису дозволяють визначити ім'я його першого власника й припустити, що цей манускрипт був привезений з Єгипту до Польщі графом Олександром Браницьким і до Другої світової війни зберігався в його бібліотеці в Суха-Бескидзькій. Оскільки О. Браницький був одним із піонерів фотографії в Польщі, знімки цього папірусу, можливо, були зроблені ним власноруч. Ключові слова: фотографії, давньоєгипетський папірус, О. Браницький, «папірус Битомський». У центрі уваги цієї статті постане проблема ідентифікації двох аркушів давньоєгипетського папірусу на фотографіях з фондів Інституту рукопису Національної бібліотеки України імені В. І. Вернадського (надалі -ІР НБУВ). У фонді XXIV («Уманська збірка») цього Інституту за № 2702 зберігаються чотири чорно-білі фотографії давньоєгипетського сувою 2 . В каталозі вони позначені як «фотокопії єгипетської писемності на папірусі з бібліотеки Браницького в Суха-Бескидзькій (кінець ХІХ століття)». На оригінальному конверті для їхнього зберігання польською мовою зазначено, 1 Стаття написана за матеріалами доповідей, виголошених на конференціях: «ХІХ сходознавчі читання А. Кримського» (м. Київ, Інститут сходознавства ім. А. Ю. Кримського НАН України, 16 жовтня 2015 р.) [1, с. 77-78] та «Язык(и) древнеегипетской культуры: проблемы переводимости» (м. Москва, Центр єгиптології ім. Б. О. Тураєва, 11-12 листопада 2015 р.). 2 Ми вдячні Н. М. Зуб, співробітниці Інституту сходознавства ім. А. Ю. Кримського НАН України, яка привернула нашу увагу до цих фотодокументів. © М. О. Тарасенко, 2016 1 © ІР НБУВ, фото автора. 2 © ІР НБУВ, фото автора. 3 Ми завдячуємо їхньому прочитанню д-ру М. Долинській (Dr. Monika Dolińska, Warsaw). 4 © ІР НБУВ, фото автора. 5 © ІР НБУВ, фото автора. 6 Фото за: ru.wikipedia.org/wiki/Корчак_(герб).
Pre-Islamic Near East: History, Religion & Culture. Vol. 2 / Доісламський Близький Схід: історія, релігія, культура. Вип. 2. , 2021
In 2020, it was 120 years anniversary of Serhiy Donich, the only Egyptologist in Soviet Ukraine i... more In 2020, it was 120 years anniversary of Serhiy Donich, the only Egyptologist in Soviet Ukraine in the second quarter of the 20th century. He was born in 1900 at Dzegam of Yelisavetgrad province (Tavluz district, Azerbaijan). In 1921 he entered the University of Kamyanets-Podilsky and at the same time worked at the astronomical Observatory. In the summer of 1923 he moved to Odessa. Here, working at the Odessa University Observatory, he began to study Oriental and African languages, and Egyptology became the main subject of his interest. The second half of the 1920s and 1930s was the time of his most productive research activity. At this time he established contacts with other Soviet and Western Egyptologists. In 1929 he became a member of the Egyptological Section at Leningrad University and underwent an internship at the State Hermitage Museum. From 1927 to 1945 Donich worked as the head of the Department of “Ancient Egypt” at the Odessa Historical and Archaeological Museum (Odessa Archaeological Museum now). During this time he processed the Egyptian collection, made its inventory and created a card catalog of identifications of more than 600 artifacts, created the new exhibitions, conducted tours, participated in archaeological expeditions, published articles in three languages in Odessa, Moscow, and Leningrad. With the beginning of World War II, Donich was drafted to the Red Army in 1941, but was taken prisoner soon, escaped, and returned to Odessa, where he returned to work at the museum. In 1945, S. Donich was arrested and unjustifiably sentenced to 10 years for allegedly assisting the Romanian administration in removing cultural property from the Historical and Archaeological Museum. His criminal case was soon reconsidered, and in 1946 he was released under an amnesty. Later, the scholar worked in a number of Odessa libraries, and in the last years of his life he returned to work at the Observatory. After a long break, in 1958 his Egyptological article was published in Moscow, which gave hope for the resumption of research activity, but at that time the scholar was already terminally ill. He died on December 26, 1958. Serhiy Donich was rehabilitated in 1997.
Shìdnij svìt, 2021
The article provides a publication of an ancient Egyptian offering table from the collection of t... more The article provides a publication of an ancient Egyptian offering table from the collection of the Odessa Archaeological Museum of the NAS of Ukraine (inv. no. 52971). The object entered the museum in 1938 and is still in the current exposition. The first translation of its text and prosopographic analysis were made by S. V. Donich. He concluded that the offering table belonged to a queen named Isis and dated it to the New Kingdom. Later, O. D. Berlev studied the table, believing that Isis is the name of the goddess, and the object itself dates back to the 26 th Dynasty. The article presents translations of the text on the offering table made by these Egyptologists, and offers the author's annotated translation of the inscriptions, analysis of the visual program of its design, dating, origin of the text and semantic load of the object. It is said that the offering table belonged to a woman named Isis, who was a member of the elite of ancient Egyptian society, but most likely did not belong to the royal family. Despite following the tradition of design characteristic of the New Kingdom (type C 4 according to R. Hölzl), the offering table should still be dated to the 26 th Dynasty. Its text consists of two formulas-of libation and incense, and goes back to the motifs already known from the Pyramids Texts of the Old Kingdom. The primary source for it was probably the liturgical texts of the temple rituals of the New Kingdom, such as the "Liturgy of Amenhotep I", which were written on a certain hieratic papyrus. Attention is drawn to the fact that the last words of both formulas written on the gutter for liquid pouring of the altar: wab-"purity, purification" and cnTr Hs.w mr.w-"incense, praised and loved", have a separate conceptual meaning, ascending to the solar-lunar representations, reflected in the formulas, and finalize the ritual, textual, and semantic programs of the object.
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The monograph contains translations of ancient Egyptian literary works, religious and temple texts into Ukrainian. The collection presents the first translations of ancient Egyptian works made by Ivan Franko and Lesia Ukrainka from European languages in the late nineteenth century. The section on the literature of the Middle Kingdom is taken from Boris Turaev’s “History of the Ancient East” (1938, translated from Russian), which provides full or partial translations of classic ancient Egyptian literary and didactic works. Translations of literary works published in the 1960s by the prominent Ukrainian historian and cultural figure of the diaspora Marko Antonovych, who had a professional Egyptological education, have been published. Translations of several texts published by Ukrainian Egyptologists in the 21st century (Mykola Tarasenko, Olha Zapletniuk) are collected Ukrainian translations of various ancient Egyptian works by the younger generation of Ukrainian Egyptologists Daria Ziborova, Dinara Hereikhanova, Nataliia Bondarenko, and Valeriia Mota were published for the first time. The monograph also contains introductory chapters by Mykola Tarasenko and Daria Ziborova, as well as a biographical excursion by Alla Atamanenko of Marko Antonovych, the first translator of ancient Egyptian texts into Ukrainian. The publication is oriented for scholars in Oriental studies, historians, literary scholars, and students of historical and cultural studies.
Historians of Egyptian art from the later Third Intermediate Period to the rise of the 26th Dynasty, will greatly benefit from the chronological arguments and methodological insights of this scholarly work.
Монографія присвячена давньоєгипетським пам’ятникам XXI ди-
настії, які зберігаються в музейних установах України (Одеса, Київ,
Полтава, Львів та Золочів). У книзі наведені раніше невідомі факти й
архівні документи, що стосуються долі старожитностей, які походять з відкритого в 1891 р. в місцевості Дейр ель-Бахрі “другого тайника мумій” (Бāб ель-Гусӯс). Частина знахідок у 1893 р. була подарована єгипетським урядом 17 іноземним державам, серед яких була Російська імперія, що отримала лот № 6. Розглянуто обставини, пов’язані з перебуванням старожитностей лота № 6 в Одесі в 1894–1895 рр., їхню подальшу долю та сучасне місце зберігання. Книга розрахована на істориків-орієнталістів, музейних працівників та музеєзнавців, студентів гуманітарних факультетів і всіх, хто цікавиться історією та культурою Стародавнього Єгипту.
In § 1.1. («Chapter 16 in the structure of the Book of the Dead») the main principles of the iconography and the list of sources (manuscripts and Theban Tombs paintings) with BD 16 images are given.
Typologically these vignettes can be divided into stages of Sunrise and Sunset. In the first case (§ 1.2. «The Sunrise scene / BD 16A») the central place of composition occupies the Dd-pillar as representation of Osiris (metaphorically the Otherworld or Lower world), whereof a life-symbol (anx) «grows» with hands levitating the Sun disc into the morning sky (sometimes life-symbol passes Sun disc to p.t-sky symbol with the human hands).
In the second case (§ 1.3. «The Sunset scene / BD 16B») a figure of the solar falcon-god (Re-Horachty) sitting on the sign of the West (Imnty) is placed in the center of the pictures. The main peculiarity of the given compositions is the «stage» division of the cosmic domains, so that is horizontal model of Space. The vignette of BD 16B in the рInh-jj pLondon ВМ ЕА 10472 is remarkable. On the lower part of this composition are the human bA-souls symbolizing the Underworld to which the Sun-god goes down every night; above the goddess Isis and Nephtis are depicted on bended knees; they symbolized a border of the Otherworld (Duat) and the earthly world; still above – baboons, greeting the Sun rising in the morning; and than the people of Egypt and foreigners; and in the very top of the composition (sky domain) the images of winged cobras are shown. A central for the picture is the figure of Solar falcon-deity passes over all of these three cosmic domains, Duat (Underworld), the Earth and the Sky. Such a «stage» division of the Universe (common for the BD 16 vignettes) we could meet on a great number of Egyptian monuments.
In the Chapter 2 («The «two lions» composition (Rw.tj-scene) of the Book of the Dead Ch. 17 in the Art of the 19 − 21st Dynasties») the BD 17 vignettes of a so-called Rw.tj-scene are analyzed on different sources (a general excurse is given in § 2.1 «Rw.tj-scene in the sources of the 19 − 21st Dynasties»): BD vignettes (§ 2.2. «Rw.tj-scene in the Book of the Dead»), tombs decoration and coffin paintings (§ 2.3. «Rw.tj-scene on the tombs and coffins decoration»).
The Rw.tj-scene appeared first as a vignette of BD 17 at the beginning of 19th Dynasty. Its iconographical construction is the image of two lions sitting back to back and holding above themselves the symbol of Ax.t-horizon, and in many cases also the symbol of p.t-sky sign, placed upper. The sky-sign could be submitted in the common «hieroglyphic» form and in the «bent» form of arc. Sometimes, the sign of «horizon» could be combined with a symbol of life (anx). A man (deceased) in adoration pose is usually represented before the lions and his bA-soul shown sitting on the roof of the tomb.
In the § 2.4 («The semantic of the Rw.tj-scene») the different interpretations of this scene known in Egyptology are discussed. According to A. Wiedemann, K. Sethe, H. Schäfer, I. G. Livshits and R. T. Rundle Clark, the sources of this scene lions image and iconography goes back to the Old Kingdom hieroglyphic where the signs of a «double lion» / are known. They are fixed in the verb xnz «to pass» and as a determinative for the name of the god of Earth Aker [Pyr. § 2254d]. It is considered, that lions act as zoomorphic equivalents of the «Horizon Mountains» symbols in the semantic of hieroglyphs for the word Ax.t «horizon». According to this understanding the interpretation of the BD 17 lions as an image of a chthonic deity Aker was offered (K. Sethe, H. Schäfer, W. Spiegelberg, S. Schott, H. Bonnet and B. Bruyère).
Other researchers (M. Heerma van Voss, M. Saleh, H. Milde) recognized a supreme Leontopolis lion-form deity Ruti in the lions of BD 17. And the last widespread point of view on the nature of lions from BD 17 vignette is their identification with Shu and Tefnut (B. A. Turaev, Chr. Jacq, S. Morenz, С. de Wit, A. Piankoff, O. Goelet).
The identification of these lions is very inconvenient, especially if it is remembered that the Egyptian signatures for the figures are completely unequal. As a whole all listed hypotheses are reduced to chthonic and spatial understanding of the sense of composition.
According to author analysis the Rw.tj-scene synthesizes in its semantics spatial and temporal elements and follows a certain circuit of the spatial orientation consisting in necessity to follow East / West, West / East direction, connected with solar representations. In the papyrus scrolls this «system of coordinates» is precisely adhered to «artificial» opposition left / right. In the case of a tomb decoration the Egyptian builders probably had an opportunity to arrange compositions directly in a real spatial orientation in cardinal points in view of the architectural plan and ideological installations (proved by the decoration of the +Hwty-mc tomb TT 32).
The Supplement 2.1 represent the Rw.tj-scene images on the scarabs.
The Chapter 2.1 («Appendix: The dual «eternity» of Ancient Egyptians») discussed the history of research in Egyptology of the two terms for «eternity» determination – nHH and Dt. Notwithstanding for a century of active discussions on these words and their nature, the question still being debatable till now. The main Western and Russian hypotheses on the nHH and Dt from the beginning of 20th to the beginning of 21st centuries are analyzed. And among them those of W. Westendorf, J. Assmann, E. Hornung and O. Berlev – the scholars of great authority in Egyptology.
The subject of the first part of the Chapter 3 («The Illustrative Tradition of the Book of the Dead Ch. 42 in the New Kingdom») is the analysis of the ways of construction, interconnection with the text, and iconographic classification of the BD 42 vignettes (general remarks in § 3.1 («The problem of the BD 42 vignettes typology»).
Despite the variety in BD 42 vignettes in the New Kingdom / 21st Dyn., on the basis of iconographical and stylistic features, I could identify two basic types of such pictures and also some subtypes are . The first type of vignettes is drawn as friezes (the «disrupt» friezes), and the second type comprises the full-size vignettes. We designate them as Types А and B.
The Type A vignettes of the BD 42 (§ 3.2. «Type «А» of the BD 42 vignettes») are subdivided into five (two basic and three additional) subtypes, subjected to a plot of image and iconography. These vignettes are related with the title of the chapter, intended to avoid «slaughtering in Heracleopolis» (the pictures pBerlin P. 3027 («Zaubersprüche für Mutter und Kind») by A. Erman and the latest studies of J. Walker, J. Assmann and T. DuQuesne and ohthers are discussed in final. A brief review of the «Gliedervergottung» lists evolution is given.
РЕЦЕНЗИЯ:
https://istina.msu.ru/media/publications/article/fed/13e/7744666/Ladyinin_Tarasenko_VDI_4_2014.pdf
Papers by Mykola Tarasenko
represented by beads of various shapes, as well as less common conical-shaped “beads-rosettes”. The site of production of the former is difficult to establish, but for the latter, the territory of Transcaucasia is determined. Their appearance and wide distribution in the Northern Black Sea region is associated with the nomadic Scythians, who advanced in the late 7th c. BC – first half of the 6th c. BC to the Ukrainian Forest-Steppe through the Caucasus after the completion of the Asiatic campaigns. Exceptionally important finds for this period objects imported from Egypt of rare types for the territory of Scythia. They were found in Skorobir – in one of the biggist burial grounds of the Bilsk fortefied settlement (Vorskla basin), as well as material excavated from of the Lyubotyn fortified settlement (Siversky Donets basin). Among them are Egyptian necklaces – amulets and a bead of the 6th c. BC. Some objects could have come to the Forest-Steppe from Greek centres, while others probably belonged to Scythian warriors who received them as a military trophy. At present, these are the only such early finds in the Northern Black Sea region, complementing the set of imported pieces that ended up in the Dnipro Left Bank during the Scythian Archaic Period. Discovered in female burials of the 6th c. BC, Egyptian amulets prove that already in this period they were perceived by the population of Scythia as sacred symbol – an attribute of priests, whose functions in barbarian society were most likely performed by women – representatives of the social elite.
The monograph contains translations of ancient Egyptian literary works, religious and temple texts into Ukrainian. The collection presents the first translations of ancient Egyptian works made by Ivan Franko and Lesia Ukrainka from European languages in the late nineteenth century. The section on the literature of the Middle Kingdom is taken from Boris Turaev’s “History of the Ancient East” (1938, translated from Russian), which provides full or partial translations of classic ancient Egyptian literary and didactic works. Translations of literary works published in the 1960s by the prominent Ukrainian historian and cultural figure of the diaspora Marko Antonovych, who had a professional Egyptological education, have been published. Translations of several texts published by Ukrainian Egyptologists in the 21st century (Mykola Tarasenko, Olha Zapletniuk) are collected Ukrainian translations of various ancient Egyptian works by the younger generation of Ukrainian Egyptologists Daria Ziborova, Dinara Hereikhanova, Nataliia Bondarenko, and Valeriia Mota were published for the first time. The monograph also contains introductory chapters by Mykola Tarasenko and Daria Ziborova, as well as a biographical excursion by Alla Atamanenko of Marko Antonovych, the first translator of ancient Egyptian texts into Ukrainian. The publication is oriented for scholars in Oriental studies, historians, literary scholars, and students of historical and cultural studies.
Historians of Egyptian art from the later Third Intermediate Period to the rise of the 26th Dynasty, will greatly benefit from the chronological arguments and methodological insights of this scholarly work.
Монографія присвячена давньоєгипетським пам’ятникам XXI ди-
настії, які зберігаються в музейних установах України (Одеса, Київ,
Полтава, Львів та Золочів). У книзі наведені раніше невідомі факти й
архівні документи, що стосуються долі старожитностей, які походять з відкритого в 1891 р. в місцевості Дейр ель-Бахрі “другого тайника мумій” (Бāб ель-Гусӯс). Частина знахідок у 1893 р. була подарована єгипетським урядом 17 іноземним державам, серед яких була Російська імперія, що отримала лот № 6. Розглянуто обставини, пов’язані з перебуванням старожитностей лота № 6 в Одесі в 1894–1895 рр., їхню подальшу долю та сучасне місце зберігання. Книга розрахована на істориків-орієнталістів, музейних працівників та музеєзнавців, студентів гуманітарних факультетів і всіх, хто цікавиться історією та культурою Стародавнього Єгипту.
In § 1.1. («Chapter 16 in the structure of the Book of the Dead») the main principles of the iconography and the list of sources (manuscripts and Theban Tombs paintings) with BD 16 images are given.
Typologically these vignettes can be divided into stages of Sunrise and Sunset. In the first case (§ 1.2. «The Sunrise scene / BD 16A») the central place of composition occupies the Dd-pillar as representation of Osiris (metaphorically the Otherworld or Lower world), whereof a life-symbol (anx) «grows» with hands levitating the Sun disc into the morning sky (sometimes life-symbol passes Sun disc to p.t-sky symbol with the human hands).
In the second case (§ 1.3. «The Sunset scene / BD 16B») a figure of the solar falcon-god (Re-Horachty) sitting on the sign of the West (Imnty) is placed in the center of the pictures. The main peculiarity of the given compositions is the «stage» division of the cosmic domains, so that is horizontal model of Space. The vignette of BD 16B in the рInh-jj pLondon ВМ ЕА 10472 is remarkable. On the lower part of this composition are the human bA-souls symbolizing the Underworld to which the Sun-god goes down every night; above the goddess Isis and Nephtis are depicted on bended knees; they symbolized a border of the Otherworld (Duat) and the earthly world; still above – baboons, greeting the Sun rising in the morning; and than the people of Egypt and foreigners; and in the very top of the composition (sky domain) the images of winged cobras are shown. A central for the picture is the figure of Solar falcon-deity passes over all of these three cosmic domains, Duat (Underworld), the Earth and the Sky. Such a «stage» division of the Universe (common for the BD 16 vignettes) we could meet on a great number of Egyptian monuments.
In the Chapter 2 («The «two lions» composition (Rw.tj-scene) of the Book of the Dead Ch. 17 in the Art of the 19 − 21st Dynasties») the BD 17 vignettes of a so-called Rw.tj-scene are analyzed on different sources (a general excurse is given in § 2.1 «Rw.tj-scene in the sources of the 19 − 21st Dynasties»): BD vignettes (§ 2.2. «Rw.tj-scene in the Book of the Dead»), tombs decoration and coffin paintings (§ 2.3. «Rw.tj-scene on the tombs and coffins decoration»).
The Rw.tj-scene appeared first as a vignette of BD 17 at the beginning of 19th Dynasty. Its iconographical construction is the image of two lions sitting back to back and holding above themselves the symbol of Ax.t-horizon, and in many cases also the symbol of p.t-sky sign, placed upper. The sky-sign could be submitted in the common «hieroglyphic» form and in the «bent» form of arc. Sometimes, the sign of «horizon» could be combined with a symbol of life (anx). A man (deceased) in adoration pose is usually represented before the lions and his bA-soul shown sitting on the roof of the tomb.
In the § 2.4 («The semantic of the Rw.tj-scene») the different interpretations of this scene known in Egyptology are discussed. According to A. Wiedemann, K. Sethe, H. Schäfer, I. G. Livshits and R. T. Rundle Clark, the sources of this scene lions image and iconography goes back to the Old Kingdom hieroglyphic where the signs of a «double lion» / are known. They are fixed in the verb xnz «to pass» and as a determinative for the name of the god of Earth Aker [Pyr. § 2254d]. It is considered, that lions act as zoomorphic equivalents of the «Horizon Mountains» symbols in the semantic of hieroglyphs for the word Ax.t «horizon». According to this understanding the interpretation of the BD 17 lions as an image of a chthonic deity Aker was offered (K. Sethe, H. Schäfer, W. Spiegelberg, S. Schott, H. Bonnet and B. Bruyère).
Other researchers (M. Heerma van Voss, M. Saleh, H. Milde) recognized a supreme Leontopolis lion-form deity Ruti in the lions of BD 17. And the last widespread point of view on the nature of lions from BD 17 vignette is their identification with Shu and Tefnut (B. A. Turaev, Chr. Jacq, S. Morenz, С. de Wit, A. Piankoff, O. Goelet).
The identification of these lions is very inconvenient, especially if it is remembered that the Egyptian signatures for the figures are completely unequal. As a whole all listed hypotheses are reduced to chthonic and spatial understanding of the sense of composition.
According to author analysis the Rw.tj-scene synthesizes in its semantics spatial and temporal elements and follows a certain circuit of the spatial orientation consisting in necessity to follow East / West, West / East direction, connected with solar representations. In the papyrus scrolls this «system of coordinates» is precisely adhered to «artificial» opposition left / right. In the case of a tomb decoration the Egyptian builders probably had an opportunity to arrange compositions directly in a real spatial orientation in cardinal points in view of the architectural plan and ideological installations (proved by the decoration of the +Hwty-mc tomb TT 32).
The Supplement 2.1 represent the Rw.tj-scene images on the scarabs.
The Chapter 2.1 («Appendix: The dual «eternity» of Ancient Egyptians») discussed the history of research in Egyptology of the two terms for «eternity» determination – nHH and Dt. Notwithstanding for a century of active discussions on these words and their nature, the question still being debatable till now. The main Western and Russian hypotheses on the nHH and Dt from the beginning of 20th to the beginning of 21st centuries are analyzed. And among them those of W. Westendorf, J. Assmann, E. Hornung and O. Berlev – the scholars of great authority in Egyptology.
The subject of the first part of the Chapter 3 («The Illustrative Tradition of the Book of the Dead Ch. 42 in the New Kingdom») is the analysis of the ways of construction, interconnection with the text, and iconographic classification of the BD 42 vignettes (general remarks in § 3.1 («The problem of the BD 42 vignettes typology»).
Despite the variety in BD 42 vignettes in the New Kingdom / 21st Dyn., on the basis of iconographical and stylistic features, I could identify two basic types of such pictures and also some subtypes are . The first type of vignettes is drawn as friezes (the «disrupt» friezes), and the second type comprises the full-size vignettes. We designate them as Types А and B.
The Type A vignettes of the BD 42 (§ 3.2. «Type «А» of the BD 42 vignettes») are subdivided into five (two basic and three additional) subtypes, subjected to a plot of image and iconography. These vignettes are related with the title of the chapter, intended to avoid «slaughtering in Heracleopolis» (the pictures pBerlin P. 3027 («Zaubersprüche für Mutter und Kind») by A. Erman and the latest studies of J. Walker, J. Assmann and T. DuQuesne and ohthers are discussed in final. A brief review of the «Gliedervergottung» lists evolution is given.
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represented by beads of various shapes, as well as less common conical-shaped “beads-rosettes”. The site of production of the former is difficult to establish, but for the latter, the territory of Transcaucasia is determined. Their appearance and wide distribution in the Northern Black Sea region is associated with the nomadic Scythians, who advanced in the late 7th c. BC – first half of the 6th c. BC to the Ukrainian Forest-Steppe through the Caucasus after the completion of the Asiatic campaigns. Exceptionally important finds for this period objects imported from Egypt of rare types for the territory of Scythia. They were found in Skorobir – in one of the biggist burial grounds of the Bilsk fortefied settlement (Vorskla basin), as well as material excavated from of the Lyubotyn fortified settlement (Siversky Donets basin). Among them are Egyptian necklaces – amulets and a bead of the 6th c. BC. Some objects could have come to the Forest-Steppe from Greek centres, while others probably belonged to Scythian warriors who received them as a military trophy. At present, these are the only such early finds in the Northern Black Sea region, complementing the set of imported pieces that ended up in the Dnipro Left Bank during the Scythian Archaic Period. Discovered in female burials of the 6th c. BC, Egyptian amulets prove that already in this period they were perceived by the population of Scythia as sacred symbol – an attribute of priests, whose functions in barbarian society were most likely performed by women – representatives of the social elite.
The detailed reports by Professor Derevytskyi concerning distribution of the artifacts, bills of lading, cost estimates, and the letters confirming receipt of the artifacts were found in the Odesa archive. By March 1895, the antiquities were distributed among the following institutions of the Russian Empire:
1) Moscow University (1 coffin (Cairo J.E. 29687), 10 shabtis, 1 mummy shroud);
2) Kyiv University (1 coffin (Cairo J.E. 29634), 10 shabtis, 1 mummy shroud);
3) Kazan University (1 coffin, 9 shabtis);
4) Novorosiiskyi (Odesa) University (1 coffin (Cairo J.E. 29712), 2 shabti boxes, 9 shabtis, 1 mummy shroud);
5) Kharkiv University (1 coffin, 9 shabtis);
6) Warsaw University (1 coffin, 9 shabtis, 1 shabti box);
7) University of Yuriev (Tartu) (1 mummy-cover, 9 shabtis);
8) University of Helsingfors (Helsinki) (1 mummy-cover, 9 shabtis);
9) The Imperial Society for the Encouragement of the Arts, Saint-Petersburg (1 mummy-cover, 9 shabtis);
10) Baron Alexander von Stieglitz Central School for Technical Drawing, Saint-Petersburg (1 mummy-cover, 9 shabtis).
Yuriev (Tartu), Helsingfors (Helsinki), St.-Petersburg). In the course of this work in 1894–1895 some
efforts were made to perform scientifical research of the material using documentation sent from the
Egyptian Service of Antiquities. In particular, attempts were made to “translate” the list of names of
the owners of the shabti-statuettes. A list of items sent to university museums in March 1895 shows
the distribution of the names of the shabtis-statues sent by the Service of Antiquities was not taken
into account. In Odessa at that time, there were no Egyptologists who would be able to do such
a job, and experts in ancient philology could not identify the shabtis by the names of the owners.
Edited by Alessia Amenta, Rogério Sousa, and Kathlyn (Kara) M. Cooney
Year: 2021
Publisher: L'ERMA di BRETSCHNEIDER
Series: Egitto Antico, 4
ISBN: 9788891320681
Binding: Paperback
Pages: 576
describes a range of earlier unknown facts derived from the archive documents from the State Archive of the Odessa Region (SAOR) (Ukraine) revealing the history as to how antiquities from the Lot VI were distributed in 1893–1895. These documents not only allow us to have a critical view on the destiny of the objects from this Lot as described
by George Daressy in 1907, but also to raise a range of new questions relating to the antiquities’ modern location and safekeeping.
by the vignettes in the Papyrus of Nakht (pLondon BM EA 10471, end of the 18th Dynasty). Stylistics and grouping of vignettes in this roll have a number of features, which are not typical for the copies of the Ramesside Period. Illustrations to the Chapter 17 in the Papyrus of Nakht demonstrate a creative moment of the illustrative frieze of this spell formation.
The hieroglyphic inscription is preserved on the front side of the shabti: «Enlightened, Osiris, the Chief of the archivists of the Treasury of the Temple of the Amun, Panefernefer, true-voiced». O. Berlev incorrectly read the name of the shabti owner no. A.149/1 as «Paneferher», but the reading as Panefernefer (PA-nfr-nfr) is correct. The owner of the shabti has a rare title «the Chief of the archivists of the Treasury of the Temple of the Amun». Besides Panefernefer, five more priests who wore this title are known. All of them lived during the 20th and 21st Dynasties and that fact indicates the functioning of this archive precisely at the time of these two dynasties. There is no data on the genealogy of Panefernefer.
There is a number of analogies to the shabti no. A.149/1: Copenhagen A.A.b.98, A.A.11 (?), Florence 6594—6596, Ipswich R. 1932—26.20; London BM EA 8906, EA 22790, Birmingham inv. no. ECM 376, Amasis Collection, inv. no. S—2058. In addition to shabtis, other objects of Panefernefer funeral assemblage are also preserved: a roll of the Book of the Dead (Vienna ÄS 3860), a shabti-box (Avignon A.82), a sarcophagus model (Berlin ÄM 6747), and two planks of the box (Berlin ÄM 777 and 779). Moreover, the name Paneferenfer is found on sources not related to his funeral inventory. This is the letter of Panefernefer to the scribe Chari (pTurin 1979) and two references on the coffins of kings Amenhotep I and Thutmose II from the mummy cache at Deir el-Bahri (TT 320), which confirm that Panefernefer took part in the mission of reburying the royal remains.
Monuments of Panefernefer kept a number of titles that provide additional prosopographic information, including his professional duties: «the divine father of the Amun», «the scribe of the double treasury of the temple of the Amun-Re, the king of the gods», «the head of the jewelry workshops of the temple of the Amun», «the head [///] Amun in Ipet-sut (Karnak temple)», «the scribe of the jewelry workshops of the temple of the Amun», «head of the works».
Most of the artifacts of Panefernefer were acquired by European collectors in the 19th century. Some of them went to museum collections in the UK, Germany, Denmark and Ukraine, and some are in private collections. Poltava shabti no. A.149/1 is the only Panofernefer’s object in Eastern Europe.
of the vignettes of chapter 42 of the Book of the Dead (BD) on three
stages of its evolution.
I. In the New Kingdom the variety of BD 42 vignettes was maximal. There
were two basic types of such pictures with some subtypes. The first type of vignettes is drawn as friezes (Type ‘A’) and the second type comprises the fullsize vignettes (Type ‘B’). The Type ‘A’ vignettes were related with the title of the spell, intended to avoid “slaughtering in Heracleopolis” (the pictures play upon these two words literally: Sa.t and Nnj-nsw). Type ‘B’ was represented as “vignettes-tables” connected with the lists of “Deification of body members” (Gliedervergottung).
II. During the Third Intermediate Period the new iconographical subtype of Type ‘A’ vignettes was formed (A2a). It was adapted to the hieratic copies of the BD.
III. In the Late BD tradition the previous forms of chapter 42 illustrations disappear and a new type of iconographic representation that inherits Type ‘B’ appears. The iconography of the vignettes is the following: frieze images of gods, placed in one or more registers. Thereby, the pictorial tradition of BD 42 demonstrates the ways of adaptation
of the graphical and textual programs of funeral rolls design, concluding
millennial way from “hieroglyphic” (vertically oriented text with adopted images in two different forms of Types ‘A’ and ‘B’ vignettes) to the canonical and “hieratic” (horizontally oriented text with new form of images closely subordinated to it or with BD 41 vignettes).
FROM ANCIENT TIMES TO EARLY NEW TIME»
Collection of abstracts of the International Scientific Conference of students, postgraduates and young scientists (October 22, 2021, Kyiv)
FROM ANCIENT TIMES TO EARLY NEW TIME»
The programme of the International Scientific Conference of students, postgraduates and young scientists (October 22, 2021, Kyiv)
Cairo Egyptian Museum with the inventory numbers JE 7638 (SR 2169). No information is recorded on its provenance and discovery. It is a long pictorial frieze, consisting of a series of vignettes from the Book of the Dead, and a short recitation mentioning the owner as Psamtik, whose mother is Ta-heret. On the basis of the inscriptions, and the stylistic iconography of the figures, the mummy bandage can be dated to the 26th Dynasty and originates from Saqqara. An interpretation of the vignettes and their origins is also proposed here.
The reviewers came to somewhat different conclusions regarding the reason for the formation of the discussed collection of negatives, specified the circumstances, time and place of their creation, differently defined individual ancient Egyptian objects and the provenance of some of them (for example, the “shabti-box” on the photonegatives (now lost) is actually a canopic box). Documents from the Scientific Archive of the National Museum of the History of Ukraine are of great importance for revising the conclusions of the monograph. An excerpt from the inventory book of negatives is published, which demonstrates that the collection was created at the Taras Shevchenko National Historical Museum in the process of preparing an exhibition of ancient Egyptian artefacts.