Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
2021, Ancient Egypt Magazine, vol. 21, No.5
I n the course of history, various peoples have left an aesthetic imprint on the fields of architecture, sculpture, goldsmithing, painting or decorative arts as a result of their internal development and their vision of the world, all of which would come to shape their own culture. However, as kingdoms and empires expanded and came into contact with each other, cultural exchanges gave rise to hybridizations of all kinds, especially notable in the field of the arts. This fact is especially evident in the expansion of Pharaonic Egypt beyond the Second Cataract, in the region of present-day Nubia, formerly known as Kush, and which was home to three successive kingdoms-Kerma (2600-1520 BC), Napata (1000-300 BC) and Meroë (300 BC-300 AD)-creating one of the most exciting hybrid cultures in human history.. Thus, while most books on the history of Egyptian art have traditionally focused on the study of the northern, pharaonic culture, there is also a rich and little known Sudanese heritage to explore-a legacy resulting from the contact between two peoples who were tacit partners, friends and rivals. And there is one particular discovery that stands out: a treasure that caught the attention of the world even before the discovery of Tutankhamun's tomb. Housed in the Ägyptisches Museum in Berlin, the jewellery collection of the mighty Queen Amanishakheto takes visitors back to a land where pharaonic Egypt met tribal Africa-a world of alliances, wars, intrigues and luxury.
The Treasure of the Egyptian Queen Ahhotep and International Relations at the Turn of the Middle Bronze Age (1600–1500 BCE) , 2022
The burial of Queen Ahhotep represents one of the most significant finds in Near Eastern Archaeology. A gilded coffin and a trove of magnificent jewels and precious objects belonging to a queen named Ahhotep was discovered at Dra Abu el-Naga, in Western Thebes by Auguste Mariette in 1859. Many of the objects associated with the burial bore the names of Kings Ahmose and Kamose of the end of the Second Intermediate Period and the beginning of the New Kingdom (1600–1500 BC) and reflected the influence of the Aegean and of Nubia. Despite its importance, the treasure has never been fully published and much new research on the various aspects of the find have not been collected into a combined study until now. The volume details the circumstances of the treasure’s discovery, its history of display and publication, both the technical and artistic aspects of the individual elements of the material, a review of the history and burial practices of the period. The volume also tackles the analysis of the Aegean influence on the elements of the treasure and the Eastern Mediterranean relations at the turn of the Middle Bronze Age (1600–1500 BC). As appendices there are also maps, chronological tables, lists of the treasure and selected images.
Miniaci, Lacovara (eds), The Treasure of the Egyptian Queen Ahhotep and International Relations at the Turn of the Middle Bronze Age (1600–1500 BCE), MKS 11, London 2022, 2022
The burial of Queen Ahhotep represents one of the most significant finds in Near Eastern Archaeology. A gilded coffin and a trove of magnificent jewels and precious objects belonging to a queen named Ahhotep was discovered at Dra Abu el-Naga, in Western Thebes by Auguste Mariette in 1859. Many of the objects associated with the burial bore the names of Kings Ahmose and Kamose of the end of the Second Intermediate Period and the beginning of the New Kingdom (1600–1500 BC) and reflected the influence of the Aegean and of Nubia. Despite its importance, the treasure has never been fully published and much new research on the various aspects of the find have not been collected into a combined study until now. The volume details the circumstances of the treasure’s discovery, its history of display and publication, both the technical and artistic aspects of the individual elements of the material, a review of the history and burial practices of the period. The volume also tackles the analysis of the Aegean influence on the elements of the treasure and the Eastern Mediterranean relations at the turn of the Middle Bronze Age (1600–1500 BC). As appendices there are also maps, chronological tables, lists of the treasure and selected images. Table of Contents: Kevin M. Cahail, The Internal Chronology of the Second Intermediate Period: A Summary of Old Theories and New Discoveries Anna-Latifa Mourad, Chronology of the Eastern Mediterranean Area Gianluca Miniaci, The Discovery of Queen Ahhotep’s Burial at Dra Abu el-Naga (Thebes) in the Nineteenth Century AD: Between Tale and Archaeological Evidence Gianluca Miniaci, The original Inventory List of the Queen Ahhotep ‘Treasure’ from Mariette’s Papers (BIF Paris, Fonds Maspero, Ms. 4052) Gianluca Miniaci, Notes on the Journal d’Entrée Entries for Queen Ahhotep’s Assemblage Marilina Betrò, A Note to Carter Manuscripts and the Discovery of Ahhotep’s Coffin (Cairo CG 28501) Yasmin El Shazly, The Display History of the Ahhotep Treasure Marilina Betrò, The Identity of Ahhotep and the Textual Sources Peter Lacovara, The Treasure of Ahhotep in Archaeological Context Ellen Morris, Daggers and Axes for the Queen: Considering Ahhotep’s Weapons in their Cultural Context Miriam Colella, Queen Ahhotep’s Lion Heads and the Inclusion of Gaming Pieces in the Funerary Costumes of Second Intermediate Period-early Eighteenth Dynasty Peter Lacovara, The Flies of Ahhotep Margaret Maitland, Daniel M. Potter, Lore Troalen, The Burial of the ‘Qurna Queen’ Sara E. Cole, The Aegean and Egypt during the Fifteenth (Hyksos) Dynasty (c. 1650-1550 BC) and Beyond Sarah C. Murray, Aegean Consumption of Egyptian Material Culture in the Sixteenth Century BC: Objects, Iconography, and Interpretation Beth Ann Judas, The Aegeanizing Elements Depicted on the Objects from the Burial of Ahhotep Shelley Wachsmann, Ahhotep’s Metal Ship Models
A. Wissing et al., Beiträge zur Altertumskunde des östlichen Mittelmeerraumes und Westasiens. Festschrift zum 65. Geburtstag von Peter Pfälzner, marru 17, Münster, 2024
Servant of Mut: Studies in honor of Richard A. Fazzini
Arts (Ancient Egyptian art studies: Art in motion, a social tool of power and resistance, edited by Kara Cooney and Alisée Devilers), 2024
Monumental rock-cut tombs decorated with wall paintings or reliefs were rare in New Kingdom colonial Nubia. Exceptions include the 18th Dynasty tombs of Djehutyhotep (Debeira) and Hekanefer (Miam), and the 20th Dynasty tomb of Pennut (Aniba). The three tombs present typical Egyptian artistic representations and inscriptions, which include tomb owners and their families, but also those living under their direct control. This paper compares the artistic and architectural features of these decorated, monumental rock-cut tombs in light of the archaeological record of the regions in which they were located in order to contextualize art within its social setting in colonized Nubia. More than expressing cultural and religious affiliations in the colony, art seems to have been essentially used as a tool to enforce hierarchization and power, and to define the borders of the uppermost elite social spaces in New Kingdom colonial Nubia.
2019
, who, although a fine Egyptologist, was not an art historian. After O'Connor's retirement, his post was downgraded to an assistant professorship of ancient Egyptian art history. Applications for the position by some of the most expert and experienced specialists in Egyptian art history were disregarded This perplexing decision begs the question: why is this important aspect of the study of Egyptology being neglected? The writer is convinced that the principal reason for this decision is that many Egyptologists regard art history as a subjective approach to study whereas, in actuality, Egyptian art history is based on a specialized form of interpretation, supported by the observational experience required for its appropriate application. Art history serves several major purposes: firstly;, providing the insights necessary for the interpretation of the earliest form of language, the pictograms that preceded the emergence of hieroglyphs; secondly, the identification and authentication of an artifact, particularly in the case of an uninscribed, often fragmentary object, and more particularly, one without a known find spot; thirdly; an examination of the culture of a given period. This article will address and discuss these issues. It should be noted that the word "art" was not in the Egyptian vocabulary, although workmanship and esthetics often attained a remarkably high level of accomplishment. decorated with pictograms that require interpretation in order to be "read". A Naqada IId Period ivory, incised knife handle in the Brooklyn Museum displays a herd of elephants trampling snakes (fig. 1). 3 Below them, a line of storks, the leader holding a snake in its beak illustrates the same dominant concept-controlling chaos-a preternatural negative phenomenon in the belief system of that ancient people. An intact ceremonial knife with an ivory handle in the Louvre (figs. 2-3) was recently interpreted as the celebration of a victory of Abydos over Hierakonpolis during the Naqada IId period, thereby laying the foundation for the establishment of the Egyptian empire. 4 On the reverse, the handle depicts a naval battle on the river Nile in which, Abydos triumphs. A fragmentary palette now in the Metropolitan Museum of Art can be considered as one of the most important artifacts of this period. It portrays Horus, the first king of Dynasty 0, astride a coiled snake (fig. 4). 5 This scene ascribes to the king supernatural power, controlling chaos, and thus endowing him with total hegemony over his people. The above deductive insights demonstrate how images may be symbolically construed. Dating and questions of authenticity have been problematic since the inception of the discipline of Egyptology and the collection of artifacts became widespread by both museums and private individuals. Examples highlighting these challenges of authentication are found in major collections, and are often disregarded even as evidence surfaces which should prompt an 3 Acc. no. 09.889.118; G. Dreyer, "Ein neues Fragment eines dekorierten Messergriffes aus Abydosin," Ola El
Journal of the Museum of Fine Arts, Boston, 1994
2008
The Heritage of Egypt At the beginning, it was water, "The Primeval Ocean", then the land appeared, "The Island of Flame", not really the meaning of fire, but the symbol for light, which starts the life out of darkness. From the water, and over the island, rise "Atum" -The Perfect Being-who created "Shw" and "Tefnut", then "Geb" and "Nut", then the first Gods who ruled the Universe from Earth before rising to the stars, leaving the universe for human kings ruling.
Abstract The ancient Nubian site of Kerma was first excavated by George Reisner in the early 1900s, and the resulting finds and archaeological archive still hold much information that deserves further study. In particular, an analysis of the use of Egyptian and Egyptianizing material culture in the burials of the Classic Kerma period can further the understanding of interregional interactions between Nubia and Egypt. Rather than pointing to strong Egyptian cultural inuences on Kerman Nubians, this paper proposes that the Kerman kings and elites co-opted objects and motifs they encountered during military raids in Egyptian territory for their own purposes. The patterns in the use of the Egyptian winged sun disc motif provide a case study that demonstrates how exotic material culture was used in schemes of royal legitimation, and in turn, how the Nubian elite reacted through their own material creations. Keywords: Winged sun discs, Nubia, Kerma, Egypt, Second Intermediate Period, Interregional Interaction, hybridity, material culture Résumé L'ancien site nubien de Kerma a été fouillé par George Reisner dans les années 1900, et les découvertes et archives archéologiques qui en proviennent, contiennent encore beaucoup d'informations qui méritent une étude plus approfondie. En particulier, une analyse de l'utilisation de la culture matérielle égyptienne et égyptisante dans les sépultures de la période de Kerma Classique peut améliorer la compréhension des interactions interrégionales entre la Nubie et l'Égypte. Loin d'être une preuve de fortes inuences culturelles égyptiennes sur les Nubiens de Kerma, les rois de Kerma et les élites cooptaient des objets et des motifs qu'ils rencontraient au cours de leurs raids militaires sur le territoire égyptien. Les façons d'utiliser le motif égyptien du disque solaire ailé fournissent une étude de cas qui nous montre comment la culture matérielle exotique a été utilisée dans les systèmes de la légitimation royale, et en retour, comment l'élite nubienne a réagi à travers ses propres créations matérielles. Mots-clés : Kerma Classique, Nubie, Égypte, Deuxième Période Intermédiaire, interaction interrégionale, hybridité, culture matérielle, disque solaire ailé égyptien.
The history of ancient jewellery has increasingly become the subject of research in recent years (e.g., Entwistle and Adams 2010); however, and despite the effort of many scholars, its study is still in its early stages. The identification of regional workshops and their locations is one of the major unsolved problems. This fact is due particularly to the nature of the material: pieces of jewellery are lightweight and therefore portable with the result that a piece of jewellery found in one corner of the ancient world may have been made in another corner, no matter how and why it moved from A to B. In most cases findspots do not reveal anything about the origin of the objects. This article attempts to introduce a methodology for identifying workshops and workshop regions using the case study of Late Antique Egypt. 1 Numerous pieces of Late Antique jewellery have appeared on the art market with the information that they were found in Egypt. The circumstances of their finds are often unclear. The details provided by the art dealers at the time of the sale may or may not be correct. As a consequence, museums and private collections are full of objects allegedly found in Egypt, which are in fact objects of unknown provenance. The stated findspots cannot offer much information on the find's workshop or workshop locality. One possible way to circumvent this problem is to compare as many pieces of jewellery from, or allegedly from, Egypt with each other as possible. If these pieces of jewellery share features that do not reappear on jewellery from other regions, they may be considered regional. This article has four parts. The first part introduces selected material from archaeological excavations in order to demonstrate that certain features in Late Antique jewellery reappear exclusively on jewellery made in Egypt. The second part discusses pieces of jewellery, which were probably made in Egypt as well, but which represent the so-called koiné style-an interregional style, which may have spread from a workshop or workshop group in the Byzantine capital Constantinople (Stolz 2010). Whether representing the Egyptian or koiné style, the jewellery attributed to Egypt for various reasons in the first two parts provides a framework into which objects of unknown provenance can be fitted. The third part of this article deals with a selection of objects of unknown provenance that can be localised to Egypt by comparison. The final part briefly discusses the largest jewellery hoard ever found in Egypt: the so-called Assiût hoard. It comprises pieces of jewellery fashioned in both the Egyptian as well as the koiné styles. It, therefore, represents in microcosm the diversity in jewellery from Late Antique workshops in Egypt.
Metropolitan Museum Journal , 2012
This comprehensive study examines the famous 13th - 12th century BC vessels and jewelry found a century ago in the Egyptian Nile delta at Bubastis. New discoveries in the Egyptian Museum include Canaanite jewelry, metal scrap, and additional vessels; two of the latter are decorated, one inscribed. All vessels belong to wine services; some containers reference Bastet, Neith, Hathor, or Anat/Astarte, and, by inference, the Distant Goddess. Inscriptions name the One of Hesret (Thoth), Ramesses II, Merenptah, and Tawosret. Private names include Atumemtaneb, Amy, Ameneminet, and Meritptah; a related vessel names Sakawahikhana and the goddess Sekhmet. This expanded body of material sheds light on ramesside history and the internationalism of the period. It will also aid the study of first millennium B.C. Phoenician bowls and ivories found in the Levant, Cyprus, and Near East.
Joyful in Thebes Egyptological Studies in Honor of Betsy M. Bryan edited by Richard Jasnow and Kathlyn M. Cooney, with the assistance of Katherine E. Davis, 2015
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.