The quest for immortality: treasures of ancient Egypt (original) (raw)
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Neste texto defendemos a existência de dois motivos recorrentes principais no Livro dos Mortos: o movimento e o alimento/oferenda. O exemplar estudado, o Papiro de Ani, é datado da XIX Dinastia. O primeiro motivo é um representativo do deus Osíris; o segundo, de seu duplo, o deus Rê. Assim, apresentamos a nossa cartografia do além demarcando o nosso pensamento sobre as localizações do Campo de Juncos e do Campo de Oferendas no universo dos mortos, associando-os aos motivos recorrentes elencados e, respectivamente, aos deuses Rê e Osíris.
The ABCs of Painting in the Mid-Eighteenth Dynasty: Terminology and Meaning
s Egyptological career can hardly be contained within any single descriptor, and we are all grateful for this whether we read her contributions on language, law, women, or ethnicity -or whether we benefit from her career project, the Demotic Dictionary. It is with sincere admiration and appreciation of Jan's dedication to our field and its breadth that I venture to submit this discussion that combines art, social history, and philology.
ARTISTS AND PAINTING IN ANCIENT EGYPT
This article discusses the methodological and technological methods that are used in Egyptian painting. Given the wide-range of surfaces that were adorned with pigment, the major issues, techniques, and problems associated with flat painting will be explored. The study of Egyptian painting is typified by the plurality of approaches available to the researcher. The most traditional and often-used approach, stylistic analysis that traces similarities between groups of paintings and painted forms to create a typology as well as to date works of art. This type of analysis is utilized in art history to outline the qualities and forms of an artwork characteristics which are connected to historical, cultural or religious trends and, sometimes, to identify the style of particular artists, their workshops, techniques and work processes. In aesthetics, the nature and significance of works of specific media, periods, genres or styles are studied. Painting is also examined according to its magical function in specialized contexts (temple, tomb, palace, house) and how it intersected with the living, the dead, and the gods. The transmission of models, issues of center-periphery, gender, and the analysis of the ‘other’ have also received scholarly attention. The role of iconography is consistently explored in painting, both in terms of its meaning and function within sacred space and its communicative aspects. The interplay between text and image is examined particularly within the context of literary theory. Technological examinations have elucidated the properties of pigment, binders and resin and offer some important applications for dating and artistic workshop practices. The article examines the pros and cons of each approach and suggests future applications in the study of ancient Egyptian painting.
AN EGYPTIAN ROYAL PECTORAL AGAIN
This paper reviews the questions surrounding the dating of an inlaid silver pectoral with gold leafed cloisions and carnelian and glass inlays in the Egyptian collection of the Museum of Fine Arts, Boston and discusses the evidence for the late Middle Kingdom to early Second Intermediate for the piece and its function. Period. While this date was subsequently challenged, a review of available data even in the light of the questions raised, along with new evidence, supports the original dating.
The tomb of the second High Priest of Amun under the reign of Thutmose IV, Amenhotep Sise (TT 75), is one of the few Theban tombs that can be nominally ascribed to its artistic author, the "painter of Amun Userhat", who signed his work through a double self-portrait in assistenza. The study of the painted decoration of the tomb leads to the conclusion that this painter was deeply involved in the royal projects of his time in Karnak and even might have been one of the designers of the decorative programme of the Festival Courtyard of Thutmose IV, and, as such, was hired by his chief in the administration of the estate of Amun in Thebes, the Second High Priest of Amun, Amenhotep Sise, to work in his own private funerary monument.
The Future of Spatial Technologies in Egyptology
Joyful in Thebes: Egyptological Studies in Honor of Betsy M. Bryan, Edited by Richard Jasnow and Kara Cooney, Lockwood Press , 2015
Over the past few decades, spatial technologies, including satellite imagery, GPS, and Geographic Information Systems (GIS) software, and (more recently) 3D modeling have substantially transformed archaeology and these developments are having an increasing influence in Egyptology. As tools of spatial visualization and analysis become more affordable, accessible, and easily integrated into archaeological research, we argue that more explicit consideration of their roles and impacts specifically within Egyptology is advisable. In honor of Professor Betsy Bryan, the following work presents a brief summary of select spatial technologies and potential applications in Egyptology. For each, current applications, some of the major resources available, and possible future uses are discussed. We do not intend to provide a comprehensive review of all pertinent technologies, but instead a brief introductory description of a few key innovations. Our contribution is offered in recognition of the role Dr. Bryan has played as a mentor and inspiration to us and her broad view of Egyptology as contributing to and benefiting from a wide range of scholarly approaches and perspectives.