Egyptian Museum Cairo Research Papers (original) (raw)

British Museum Studies in Ancient Egypt and Sudan 10 (2008): 1-37.
This essay examines the conceptual development of Egyptian museums from the mid-nineteenth to the early twenty-first century. It is particularly concerned with the narrative themes and poetic structures through which colonial and postcolonial identities have been negotiated in modern Egypt. Over the past 150 years, Egyptian museum display has retained much of its traditional architecture based on Victorian aesthetics, but a new archaeological narrative has emerged in the past 50 years that redefines the colonial characterization of Egypt. This narrative integrates the full span of Egyptian history into a single identity, and in so doing it joins the independent present to the indigenous past. To contextualize the Egyptian museum condition, day-to-day museology and issues of audience are also addressed, and a directory to the complete museums of Egypt is included. https://webarchive.nationalarchives.gov.uk/ukgwa/20190801114604/https://www.britishmuseum.org/research/publications/online_journals/bmsaes/issue_10/doyon.aspx

- by Wendy Doyon
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- Egyptology, Museum Studies, Cultural Heritage, Egyptian Archaeology

When the October 21, 1898, the letter bearing the n°534 of
registration of the Service des Antiquités, signed by the
Director General Victor Loret during his term as from 1897 to
1899, left the Palace of Giza to be delivered, six days later at
the Museum of Samos, a new link came strengthen the
already intimate relationships between Egypt and Greece

Uno de los más impresionantes ejemplos de estatuaria del Reino Nuevo (c. 1539-1077 a.C.) se conserva en la sala 14, en la planta baja, del المتحف المصري Al-Matḥaf Al-Miṣrī, el “Museo de Antigüedades Egipcias” en la ciudad de القاهرة al-Qāhira “El Cairo”. La obra en cuestión, que analizaré brevemente en este texto, es un grupo escultórico que representa al segundo faraón de la dinastía XX: Ramsés III (c. 1187-1157 a.C.) siendo coronado por los dioses Horus y Seth. A pesar de ser una obra de gran formato y de cabal importancia iconológica y simbólica, ya que es la única escultura en bulto que representa la coronación de un faraón que ha sobrevivido hasta nuestros días, desgraciadamente, no se encuentra mucha información sobre ella, tanto en materiales de difusión, divulgación o en publicaciones académicas especializadas. Tal vez, una de las razones de esta “fortuna crítica”, se deba a que es una pieza que se integró al acervo del Museo de Antigüedades Egipcias en un período de cambio –entre 1895 y 1896, cuando las colecciones se encontraban albergadas en el palacio del Khedive Isma'il Pasha (1830-1895) en الجيزة‎ al-Jīzah, “Guiza” después de que el museo de بولاق Būlāq “Bulaq” se inundase- y que fue sujeta a un proceso de “restauración intensiva” que si bien armonizó la composición escultórica, también omitió -y creó- varios detalles que pudiesen proporcionar más datos sobre esta pieza. Sin embargo, si se sabe dónde y cómo observar, es posible obtener información y deducir parte del contexto original de esta obra. Para tal efecto, es necesario “desglosar” cada una de sus partes utilizando técnicas de investigación de la historia del arte y la egiptología, como a continuación se procede.

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.

- by Andrew Bednarski
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- Archaeology, Egyptology, Museum Studies, Egyptian Museum Cairo

Fouillée par Georges Legrain entre 1903 et 1907, la Cachette de Karnak a livré un très grand nombre d’objets parmi lesquels les centaines de statues en pierre sont les mieux connus. Pourtant, plus d’un siècle après, de nombreuses questions restent posées tant sur le déroulement des fouilles elles-mêmes et leurs résultats précis que sur le destin post-fouille des objets découverts alors. La présente recherche a pour but d’éclaircir certains points particuliers de cette histoire complexe. Nous avons tenté, en un premier temps, de dresser un tableau aussi clair que possible de la question des numéros de fouilles attribués par Legrain lui-même, les « numéros K » et, ainsi, de mieux comprendre le déroulement chronologique des fouilles. Dans un second temps nous avons cherché à mieux cerner le devenir des objets en nous attachant en particulier au cas du Musée du Caire. En étudiant les registres de ce musée, on a pu reconstituer un peu de l’histoire de certains des objets de la Cachette et en identifier qui n’avaient pas été reconnus comme tels.
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Excavated between 1903 and 1907 by Georges Legrain, the Karnak Cachette has provided a large amount of items, among which hundreds of stone statues are the better known. However more than a century later, many questions are still hanging, both on the history and results of these excavations and on the fate of the objects once discovered. This research is an attempt to clarify some special points of this complex history. We have tried, in a first time, to clarify the question of the excavation numbers given par Legrain himself, the so-called « K numbers » and, in this way, to have a better understanding of the chronology of the excavations. In a second time we have tried to better understand what has then happened to these finds with the Cairo Museum as a case study. Scrutinizing the Museum registers, we have been able to reconstitute a part of the history of some of the objects of the Cachette and to identify some of them which haven’t been before.

- by Emmanuel Jambon
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- History of Egyptology, Egyptian Museum Cairo, Karnak (Cachette), Georges Legrain
- by Gema Menendez
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- Deir el-Medina, Thebes, Egyptian Museum Cairo, Deir el-Medina Studies

This paper aims to shed the light on a rare terracotta figurine at Gallery No. 39 in the Egyptian Museum in Cairo. The artistic features of the figurine clearly suggest that it goes back to the Ptolemaic and Roman eras. The most eye-catching feature of this terracotta is that it has never been studied or published before. Furthermore, this piece was selected carefully by the researcher to represent irrigation which referring to different aspects of daily life at that time. The researcher selected a terracotta of a male depicted by the artist while practicing their professions or carrying tools that refer to the nature of the profession they practice. In fact, this piece was selected because depicting males in the terracotta art was very rare compared to the figurines of women that represented a remarkably common feature of the terracotta art during the Greek and Roman eras, most important of which – of course – are Tanagra figurines.

- by Mostafa Zayed
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- Women, Ancient Greek and Roman Art, Terracotta Figurines, Egyptian Museum Cairo

In this work, Elisa Fiore Marochetti presents documents from these the Cairo Museum and the Egyptian Museum at Turin and gives an architectonic and decorative reconstitution of an unknown monument. The mostly unpublished blocks and fragments, presented here as the General Catalogue of the Turin Museum, follow a general introduction to the geographical, religious, and historical setting of Gebelein and of the chapel before Mentuhotep’s reunification of the land.

- by Elisa Fiore Marochetti
- •
- Egyptian Museum Cairo, Mentuhotep, Egyptian Museum, Turin, Gebelein

This paper assembles for the first time two fragments, Bologna Museo Archeologico KS 1840 and Cairo Egyptian Museum JE 42880, which originally belonged to the same statue. While the upper part of the statue, Bologna KS 1840, is already known from several publications, the
lower part, Cairo JE 42880, remains so far unpublished. The texts from both are reassembled here, analysed and discussed. The naophorous statue belonged to an individual named Wahibre, who very likely lived at the end of the Twenty-sixth Dynasty in the western Delta of Egypt.
Indeed, Wahibre and his parents held during their life several specific regionally sacerdotal titles related to the Fourth (Hm nTr N.t-Jh.t), Fifth (xrp-Hw.wt (N.t); Hm nTr Hr aA m Hw.t-N.t (?); xnd (n.t) Rs-N.t), Sixth (Hm ¡r wr-wAD.tj), and Thirteenth (Hm nTr Hapj) provinces of Lower Egypt

Terracotta figurines – as a part of minor arts – have been produced and widely used throughout the long period of Graeco Roman dominance over Egypt. They were cheaply made of fired Nile clay and display a wealth of motifs unparalleled in any other terracotta workshops from the ancient world, so this paper aims to shed the light on a rare terracotta figurine at Gallery No. 39 in the Egyptian Museum in Cairo. The artistic features of the figurine clearly suggest that it goes back to the Roman era. This terracotta figurine was never studied or published before. Furthermore, this piece was selected carefully by the author to represent kyphosis old man who porter the lantern which refers to different aspects of the daily life at that time. The author compares this figurine to other one's, all depicting men while practicing their professions or carrying tools that refer to the nature of their profession.
Key words: Terracotta - Grotesque – Kyphosis - Old Man – Lantern – Roman Era - Faiyum.

- by Mostafa Zayed
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- Graeco-Roman Egypt, Terracotta Figurines, Grotesque, Egyptian Museum Cairo

In P. Piacentini and G. Pinna (eds), Nuova Museologia, 23 (2010): 6-13.

- by Wendy Doyon
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- Egyptology, Museum Studies, Cultural Heritage, Egyptian Archaeology

A large stone pithos in the Egyptian Museum Cairo is the subject of this short article. Found in the Karnak cachette by Legrain, it is made of travertine ("Egyptian alabaster"), was inscribed by Hatshepsut, and shows erasure and restoration of the name Amun to indicate that the vessel stood in the Karnak temple through the Amarna period and thereafter. The storage jar is discussed in relation to a pottery pithos depicted in the tomb of Senenmut (TT 71).

Museums around the world have holdings of Egyptian coffins that draw in visitors with their intricate, iconographically rich, and often colorful decoration. While some of these coffins are masterpieces of carpentry, paint, and gilding, attesting to the glory and power of a wealthy state, others come from lower socioeconomic groups. Still others are so damaged that they only hint at their former glory and opulence. These latter coffins have been stripped of significant layers of decoration, robbed of the gold, bronze, and glass inlays used by royalty and the highest elite of ancient Egypt. Many of these plundered coffins speak to a less prosperous moment in Egypt’s long history, when kings and priests accessed the funerary assemblages of their predecessors, reusing some of them with new decoration and inscriptions in an effort to maintain their own appearance of wealth during a time of crisis and scarcity. Nevertheless, it is the incongruous combination of such exquisitely made works of art in this current battered state that provides the most insight into how kings and high priests adapted to Egypt’s fluctuating social, political, and religious crises. Some of these coffins they refashioned for elites of their time; others, they used to rebury kings, albeit without their golden coverings.

- by Caroline Arbuckle MacLeod and +1
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- Egyptology, Ancient Egyptian Art and Archaeology, Ancient Egypt, Egyptian Museum Cairo

This paper explores 32 inscribed objects from foundation deposits of the Temple of Thutmose III, Djeserakhet, at Deir el-Bahari. They contain ointment jars, chisels, saws, axes, surveyor’s stakes, ‘Opening of the Mouth’ adzes, a grinder, and a model of a rocker. They are kept at the Egyptian Museum in Cairo and the museum database records that they were found at Sheikh Abd el-Qurna; however, the method of acquisition is unknown. This paper evaluates these pieces of information in light of the inscriptions on these objects and other objects from foundation deposits for the same king from the same site, Djeserakhet (which are scattered in different museums around the world), to reconstruct their archaeological context. This paper also notes the current museum inventory numbers of these objects to create a network of the entire group. It closely scrutinizes these objects, their inscriptions, the techniques used for engraving them, and the addressed deity

The provenance of a little-used stone of a bust of Thutmose III---today divided between Cairo and New York but found at Deir el-Bahari---is identified as Gebel el-Rokhan, east of Edfu. The original function of remains of wood where the... more

- by Mostafa Zayed
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- Graeco-Roman Egypt, Roman Egypt, Terracotta Figurines, Egyptian Museum Cairo
- by Aude Semat
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- Architecture, History of Museums, Architectural History, Modern Egypt

Бойко-Гагарін А.С., Макаренко М.М. Щодо дизайну вхідного квитка у музей // Збірник наукових праць міжнародної науково-практичної конференції "Музеї та реставрація у контексті збереження культурної спадщини: актуальні виклики сучасності"... more

- by Andrii Boiko-Haharin . Андрій Бойко-Гагарін and +1
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- Museum learning, Museum Studies, Digital Museum, Online Museum