The Middle Bronze Age Egyptian griffon: whence and wither? (original) (raw)
Related papers
2012
This thesis is an introductory investigation into the iconographic and compositional developments of the fishing and fowling scene in Egyptian private tomb through the Old, Middle, and New Kingdoms. Scenes are selected from a corpus created by the author and examined to understand how the scene is used in each period and what visual elements are included or omitted. The information gathered here is synthesized to establish trends in development and used to test existing theories on the meaning and purpose of the fishing and fowling scene in private tomb decoration. The results reveal an evolving meaning, originating in the royal motif of defeating chaotic forces and ultimately morphing into an expression of transfiguration into the afterlife.
Hierakonpolis (ancient Nekhen) near Edfu, in Upper Egypt, is well known for its late Predynastic and Early Dynastic archaeological localities, which have been excavated and researched over many decades. These localities lie in the desert, west of the Nile River, adjacent to rock beds and hills that exhibit rock art and inscriptions representing a very broad span of time. While much of the rock art occurs near areas that had permanent settlement or funerary sites in the Predynastic period, there are also a number of seasonal or temporary campsites and shelters incorporating petroglyphs ranging from abstract compositions to 'fauna' and 'boats'. The themes purportedly depicted in the rock art and its close proximity to areas rich in archaeological heritage present unique research opportunities in associating the two, and many of the motifs depicted in rock art here have parallels in other media of the Predynastic period. Of the rock art recorded to date, the figural motifs have the closest affinity to specific iconography known from other aspects of Predynastic material culture such as pottery, potmarks and 'palettes'. This paper will consider a selection of the animal motifs from the site and assess their level of coherence with Predynastic iconography as it is known from these other media. This coherence is examined at a number of levels: the types of infill used to decorate the bodies of animals; to their distinctive morphologies; and finally their inclusion in compositions such as purported hunting scenes.
The Iconography and Function of Winged Gods in Egypt during the Græco-Roman Period
Journal of the Faculty of Tourism and Hotels, Alexandria University, 2015
This research analyzes the iconography and function of winged gods in Graeco-Roman Egypt. "Wind deities" appeared as winged scarabs or winged four-headed rams. Osiris was also represented in the shape of a winged scarab, a winged sun disc, or a winged mummy.Harpokrateswas figured with wings on magical stelae and gems. The winged solar disc of Horus Behdety decorates the façade of the Egyptian temples. Moreover, Seth appeared in the form of a winged god in the temple of Hibis. Bes is depictedwith wings on amulets and statuettes. The winged sphinxof Tutu was used to ward off demons. God Chnoubisis also depicted as a winged goat-headed scarab in the Egyptian art. The Greek god Eros appeared as a winged boy on the walls of Stagni tomb in KomEl-Shokafa. Hypnos, the Greek god of sleep, is depicted as a winged youth on Ariadne sarcophagus. The wings of the Egyptian gods spring from their arms or sides unlike the wings of Greek gods which spring only from their backs. The shape of the Egyptian winged gods was employed in protective and magical purposes. On the other hand, Greek gods inspired their winged iconography from their mythic roles.
Beneath the raptor’s wings : the avian composition grasping the symbol for eternity in Egypt
2008
A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources ...
Animals in Graeco-Egyptian Magical Practice
Magikon Zōon: Animal et magie dans l’Antiquité et au Moyen Âge | Animal and Magic from Antiquity to the Middle Ages , 2022
The magical texts which survive from Roman Egypt are filled with animals – from gods invoked in chimerical forms to birds used in bloody sacrifices and beasts whose bodies are stripped down to furnish ingredients. This discussion will offer an overview of these creatures, drawing primarily upon the corpus known (somewhat misleadingly) as the “Greek Magical Papyri”, and attempt to draw out some of the recurring themes and cultural beliefs which underlie these rituals.