1.
Tiye
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Tiye was the daughter of Yuya and Tjuyu. She became the Great Royal Wife of the Egyptian pharaoh Amenhotep III and she was the mother of Akhenaten and grandmother of Tutankhamun. Her mummy was identified as The Elder Lady found in the tomb of Amenhotep II in 2010. Tiyes father, Yuya, was a non-royal, wealthy landowner from the Upper Egyptian town of Akhmin, Tiyes mother, Thuya, was involved in many religious cults, as her different titles attested, which suggests that she was a member of the royal family. Some suggest that the strong political and unconventional religious views might have been due not just to a strong character. Tiye also had a brother, Anen, who was Second Prophet of Amun, other Egyptologists speculated that Ay, a successor of Tutankhamun as pharaoh after the latters death, also might have been descended from Tiye. Tiye was married to Amenhotep III by the year of his reign. He had been born of a wife of his father. He appears to have been crowned while still a child, perhaps between the ages of six to twelve. They had at least seven, possibly children, 1) Sitamun- The eldest daughter. 2) Isis- Also elevated to the position of Great Royal Wife, 3) Henuttaneb- Not known to have been elevated to Queenship, though her name does appear in a Cartouche at least once. 4) Nebetah- Sometimes thought to have been renamed Baketaten during her brothers reign, 5) Crown Prince Thutmose- Crown Prince and High Priest of Ptah, pre-deceasing his father. 6) Amenhotep IV/Akhenaten- Succeeded his father as pharaoh, husband of Queen Nefertiti, father of Ankhesenamun, Sometimes identified with the mummy from KV55, and therefore Tutankhamuns father. 8) The Younger Lady from KV35- A daughter of Amenhotep III and Tiye, mother of Tutankhamun, presumably one of the already-known daughters of Amenhotep III and Tiye. 9) Baketaten- Sometimes thought to be Queen Tiyes daughter, usually based on a stelae with Baketaten seated next to Tiye at dinner with Akhenaten and Nefertiti. Her husband devoted a number of shrines to her and constructed a dedicated to her in Sedeinga in Nubia where she was worshipped as a form of the goddess Hathor-Tefnut. He also had a lake built for her in his Year 12. As the American Egyptologists David OConnor and Eric Cline note, Tiye wielded a great deal of power during both her husband’s and son’s reigns, Amenhotep III became a fine sportsman, a lover of outdoor life, and a great statesman
2.
Akhenaten
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Akhenaten known before the fifth year of his reign as Amenhotep IV, was an Ancient Egyptian pharaoh of the 18th Dynasty who ruled for 17 years and died perhaps in 1336 BC or 1334 BC. An early inscription likens the Aten to the sun as compared to stars, Akhenaten tried to bring about a departure from traditional religion, yet in the end it would not be accepted. After his death, his monuments were dismantled and hidden, his statues were terminated and he was all but lost from history until the discovery during the 19th century of the site of Akhetaten, the city he built and designed for the worship of Aten, at Amarna. DNA analysis has determined that the man buried in KV55 is the father of King Tutankhamun, the future Akhenaten was a younger son of Amenhotep III and Chief Queen Tiye. The eldest son Crown Prince Thutmose was recognized as the heir of Amenhotep III but he died relatively young, there is much controversy around whether Amenhotep IV succeeded to the throne on the death of his father Amenhotep III or whether there was a coregency. Other literature by Donald Redford, William Murnane, Alan Gardiner, in February 2014, the Egyptian Ministry for Antiquities announced what it called conclusive evidence that Akhenaten shared power with his father for at least 8 years. The evidence came from the found in the Luxor tomb of Vizier Amenhotep-Huy. A team of Spanish archeologists have been working at this tomb, Amenhotep IV was crowned in Thebes and there he started a building program. He decorated the entrance to the precincts of the temple of Amun-Re with scenes of his worshiping Re-Harakhti. He soon decreed the construction of a dedicated to the Aten in Eastern Karnak. This Temple of Amenhotep IV was called the Gempaaten, the Gempaaten consisted of a series of buildings, including a palace and a structure called the Hwt Benben which was dedicated to Queen Nefertiti. Other Aten temples constructed at Karnak during this time include the Rud-menu, during this time he did not repress the worship of Amun, and the High Priest of Amun was still active in the fourth year of his reign. The king appears as Amenhotep IV in the tombs of some of the nobles in Thebes, Kheruef, Ramose, in the tomb of Ramose, Amenhotep IV appears on the west wall in the traditional style, seated on a throne with Ramose appearing before the king. On the other side of the doorway, Amenhotep IV and Nefertiti are shown in the window of appearance with the Aten depicted as the sun disc. In the Theban tomb of Parennefer, Amenhotep IV and Nefertiti are seated on a throne with the sun disk depicted over the king, among the latter-known documents referring to Amenhotep IV are two copies of a letter from the Steward Of Memphis Apy to the pharaoh. The documents were found in Gurob and are dated to regnal year 5, third month of the Growing Season, on day 13, Month 8, in the fifth year of his reign, the king arrived at the site of the new city Akhetaten. A month before that Amenhotep IV had officially changed his name to Akhenaten, Amenhotep IV changed most of his 5 fold titulary in year 5 of his reign. The only name he kept was his prenomen or throne name of Neferkheperure, some recent debate has focused on the extent to which Akhenaten forced his religious reforms on his people
3.
Amarna Period
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The Amarna Period was an era of Egyptian history during the latter half of the Eighteenth Dynasty when the royal residence of the pharaoh and his queen was shifted to Akhetaten in what is now Amarna. Aten was not solely worshipped, but the gods were worshipped to a significantly lesser degree. The Egyptian pantheon of the equality of all gods and goddesses was restored under Akhenatens successor, Akhenaten instigated the earliest verified expression of monotheism. Scholars believe that Akhenatens devotion to his deity, Aten, offended many in power below him, religion prompted many innovations in the name and service of religion. They viewed religion and science as one and the same, previously, the presence of many gods explained the natural phenomena, but during the Amarna period there was a rise in monotheism. With people beginning to think of the origins of the universe, Amun-Re was seen as the sole creator and Sun-god. The view of god is seen through the poem entitled Hymn to the Aten, When your movements disappear and you go to rest in the Akhet. Darkness a blanket, the land in stillness, with the one who makes them at rest in his Akhet, the land grows bright once you have appeared in the Akhet, shining in the sun disk by day. When you dispel darkness and give your rays, the Two Lands are in a festival of light, from the poem, one can see that the nature of the gods daily activity revolves around recreating the earth on a daily basis. It also focuses on the present life rather than on eternity, after the Amarna reign, these religious beliefs fell out of favor. This was partly because access to Amun-Re was limited only to the king, only they were allowed to worship, and the rest were left to worship the king and his family. The royal women of Amarna have more surviving text about them than any other women from ancient Egypt and it is clear that they played a large role in royal and religious functions. These women were portrayed as being very powerful. Many of the daughters had influences as great if not greater than his wives. Nefertiti was said to be the force behind the new monotheist religion, Nefertiti, whose name means the beautiful one is here, bore six of Amenhoteps daughters. There is a debate whether the relationship between Amenhotep and his daughters was sexual, although there is much controversy over this topic, there is no evidence that any of them bore his children. Amenhotep gave many of his daughters titles of queen, during Akhenatens reign, royal portraiture underwent dramatic change. Sculptures of Akhenaten deviate from conventional portrayal of royalty, Akhenaten is depicted in an androgynous and highly stylized manner, with large thighs, a slim torso, drooping belly, full lips, and a long neck and nose
4.
Ancient Egypt
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Ancient Egypt was a civilization of ancient Northeastern Africa, concentrated along the lower reaches of the Nile River in what is now the modern country of Egypt. It is one of six civilizations to arise independently, Egyptian civilization followed prehistoric Egypt and coalesced around 3150 BC with the political unification of Upper and Lower Egypt under the first pharaoh Narmer. In the aftermath of Alexander the Greats death, one of his generals, Ptolemy Soter and this Greek Ptolemaic Kingdom ruled Egypt until 30 BC, when, under Cleopatra, it fell to the Roman Empire and became a Roman province. The success of ancient Egyptian civilization came partly from its ability to adapt to the conditions of the Nile River valley for agriculture, the predictable flooding and controlled irrigation of the fertile valley produced surplus crops, which supported a more dense population, and social development and culture. Its art and architecture were widely copied, and its antiquities carried off to far corners of the world and its monumental ruins have inspired the imaginations of travelers and writers for centuries. The Nile has been the lifeline of its region for much of human history, nomadic modern human hunter-gatherers began living in the Nile valley through the end of the Middle Pleistocene some 120,000 years ago. By the late Paleolithic period, the climate of Northern Africa became increasingly hot and dry. In Predynastic and Early Dynastic times, the Egyptian climate was less arid than it is today. Large regions of Egypt were covered in treed savanna and traversed by herds of grazing ungulates, foliage and fauna were far more prolific in all environs and the Nile region supported large populations of waterfowl. Hunting would have been common for Egyptians, and this is also the period when many animals were first domesticated. The largest of these cultures in upper Egypt was the Badari, which probably originated in the Western Desert, it was known for its high quality ceramics, stone tools. The Badari was followed by the Amratian and Gerzeh cultures, which brought a number of technological improvements, as early as the Naqada I Period, predynastic Egyptians imported obsidian from Ethiopia, used to shape blades and other objects from flakes. In Naqada II times, early evidence exists of contact with the Near East, particularly Canaan, establishing a power center at Hierakonpolis, and later at Abydos, Naqada III leaders expanded their control of Egypt northwards along the Nile. They also traded with Nubia to the south, the oases of the desert to the west. Royal Nubian burials at Qustul produced artifacts bearing the oldest-known examples of Egyptian dynastic symbols, such as the crown of Egypt. They also developed a ceramic glaze known as faience, which was used well into the Roman Period to decorate cups, amulets, and figurines. During the last predynastic phase, the Naqada culture began using written symbols that eventually were developed into a system of hieroglyphs for writing the ancient Egyptian language. The Early Dynastic Period was approximately contemporary to the early Sumerian-Akkadian civilisation of Mesopotamia, the third-century BC Egyptian priest Manetho grouped the long line of pharaohs from Menes to his own time into 30 dynasties, a system still used today
5.
Nile
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The Nile is a major north-flowing river in northeastern Africa. It is generally regarded as the longest river in the world, in particular, the Nile is the primary water source of Egypt and Sudan. The Nile has two tributaries, the White Nile and Blue Nile. The White Nile is considered to be the headwaters and primary stream of the Nile itself, the Blue Nile, however, is the source of most of the water and silt. The White Nile is longer and rises in the Great Lakes region of central Africa and it flows north through Tanzania, Lake Victoria, Uganda and South Sudan. The Blue Nile begins at Lake Tana in Ethiopia and flows into Sudan from the southeast, the two rivers meet just north of the Sudanese capital of Khartoum. The northern section of the river flows north almost entirely through the Sudanese desert to Egypt, then ends in a large delta, Egyptian civilization and Sudanese kingdoms have depended on the river since ancient times. Most of the population and cities of Egypt lie along those parts of the Nile valley north of Aswan, in the ancient Egyptian language, the Nile is called Ḥpī or Iteru, meaning river. In Coptic, the words piaro or phiaro meaning the river come from the ancient name. The English name Nile and the Arabic names en-Nîl and an-Nîl both derive from the Latin Nilus and the Ancient Greek Νεῖλος, beyond that, however, the etymology is disputed. One possible etymology derives it from a Semitic Nahal, meaning river, the standard English names White Nile and Blue Nile, to refer to the rivers source, derive from Arabic names formerly applied only to the Sudanese stretches which meet at Khartoum. Above Khartoum, the Nile is also known as the White Nile, at Khartoum the river is joined by the Blue Nile. The White Nile starts in equatorial East Africa, and the Blue Nile begins in Ethiopia, both branches are on the western flanks of the East African Rift. The drainage basin of the Nile covers 3,254,555 square kilometers, the source of the Nile is sometimes considered to be Lake Victoria, but the lake has feeder rivers of considerable size. It is either the Ruvyironza, which emerges in Bururi Province, Burundi, or the Nyabarongo, the two feeder rivers meet near Rusumo Falls on the Rwanda-Tanzania border. Gish Abay is reportedly the place where the water of the first drops of the Blue Nile develop. The Nile leaves Lake Nyanza at Ripon Falls near Jinja, Uganda and it flows north for some 130 kilometers, to Lake Kyoga. For the remaining part it flows westerly through the Murchison Falls until it reaches the very northern shores of Lake Albert where it forms a significant river delta
6.
Symbol
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A symbol is a mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, or relationship. Symbols allow people to go beyond what is known or seen by creating linkages between otherwise very different concepts and experiences, all communication is achieved through the use of symbols. Symbols take the form of words, sounds, gestures, ideas or visual images and are used to other ideas. For example, a red octagon may be a symbol for STOP, on a map, a blue line might represent a river. Alphabetic letters may be symbols for sounds, personal names are symbols representing individuals. A red rose may symbolize love and compassion, the variable x, in a mathematical equation, may symbolize the position of a particle in space. In cartography, a collection of symbols forms a legend for a map The word derives from the Greek symbolon meaning token or watchword. It is an amalgam of syn- together + bole a throwing, a casting, the sense evolution in Greek is from throwing things together to contrasting to comparing to token used in comparisons to determine if something is genuine. The meaning something which stands for something else was first recorded in 1590, later, expanding on what he means by this definition Campbell says, a symbol, like everything else, shows a double aspect. We must distinguish, therefore between the sense and the meaning of the symbol. The term meaning can only to the first two but these, today, are in the charge of science – which is the province as we have said, not of symbols. The ineffable, the unknowable, can be only sensed. Heinrich Zimmer gives an overview of the nature, and perennial relevance. Concepts and words are symbols, just as visions, rituals, through all of these a transcendent reality is mirrored. They are so many metaphors reflecting and implying something which, though thus variously expressed, is ineffable, though thus rendered multiform, Symbols hold the mind to truth but are not themselves the truth, hence it is delusory to borrow them. Each civilisation, every age, must bring forth its own, in the book Signs and Symbols, it is stated that A symbol. Is a visual image or sign representing an idea -- a deeper indicator of a universal truth, Symbols are a means of complex communication that often can have multiple levels of meaning. This separates symbols from signs, as signs have only one meaning, human cultures use symbols to express specific ideologies and social structures and to represent aspects of their specific culture
7.
Relief
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Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise, to create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a surface of stone or wood is a lowering of the field. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the form from the field. There is also sunk relief, which was restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only used to discuss most work. Hyphens may or may not be used in all these terms, works in the technique are described as in relief, and, especially in monumental sculpture, the work itself is a relief. Reliefs are common throughout the world on the walls of buildings and a variety of settings. Relief is more suitable for depicting complicated subjects with figures and very active poses, such as battles. Most ancient architectural reliefs were painted, which helped to define forms in low relief. Rock reliefs are carved into solid rock in the open air. This type is found in cultures, in particular those of the Ancient Near East and Buddhist countries. A stele is a standing stone, many of these carry reliefs. The distinction between high and low relief is somewhat subjective, and the two are often combined in a single work. In particular, most later high reliefs contain sections in low relief, a low relief or bas-relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. Other versions distort depth much less and it is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required
8.
Narmer Palette
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The Narmer Palette, also known as the Great Hierakonpolis Palette or the Palette of Narmer, is a significant Egyptian archeological find, dating from about the 31st century BC. It contains some of the earliest hieroglyphic inscriptions ever found, the tablet is thought by some to depict the unification of Upper and Lower Egypt under the king Narmer. On one side, the king is depicted with the bulbed White Crown of Upper Egypt, and the other side depicts the king wearing the level Red Crown of Lower Egypt. Along with the Scorpion Macehead and the Narmer Maceheads, also together in the Main Deposit at Nekhen. The Palette shows many of the conventions of Ancient Egyptian art. The Egyptologist Bob Brier has referred to the Narmer Palette as the first historical document in the world, also found at this dig were the Narmer Macehead and the Scorpion Macehead. The exact place and circumstances of these finds were not recorded very clearly by Quibell and Green. In fact, Greens report placed the Palette in a different layer one or two away from the deposit, which is considered to be more accurate on the basis of the original excavation notes. It has been suggested that these objects were royal donations made to the temple, Nekhen, or Hierakonpolis, was the ancient capital of Upper Egypt during the pre-dynastic Naqada III phase of Egyptian history. One theory is that it was used to grind cosmetics to adorn the statues of the gods, the Narmer Palette is part of the permanent collection of the Egyptian Museum in Cairo. It is one of the exhibits which visitors have been able to see when entering the museum. It has the Journal dEntrée number JE32169 and the Catalogue Général number CG14716, the Narmer Palette is a 63-centimetre tall, shield-shaped, ceremonial palette, carved from a single piece of flat, soft dark gray-green siltstone. The stone has often been identified, in the past. Slate is layered and prone to flaking, and schist is a rock containing large. Both are unlike the finely grained, hard, flake-resistant siltstone and this material was used extensively during the pre-dynastic period for creating such palettes and also was used as a source for Old Kingdom statuary. A statue of the 2nd dynasty pharaoh Khasekhemwy, found in the complex as the Narmer Palette at Hierakonpolis. Both sides of the Palette are decorated, carved in raised relief, at the top of both sides are the central serekhs bearing the rebus symbols nr and mr inside, being the phonetic representation of Narmers name. The serekh on each side are flanked by a pair of heads with highly curved horns
9.
Amarna art
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Amarna art, or the Amarna style, is a style which was adopted in the Amarna Period, that is to say during and just after the reign of Akhenaten in the late Eighteenth Dynasty in the New Kingdom. It is characterized by a sense of movement and activity in images, with figures having raised heads, many figures overlapping and many scenes busy, the human body is portrayed differently, figures, always shown in profile on reliefs, are slender, swaying, with exaggerated extremities. In particular depictions of Akhenatens body give him distinctly feminine qualities such as hips, prominent breasts. Other pieces, such as the most famous of all Amarna works, Amenhotep IV was one of the first to practice monotheism, the belief in just one god. Shortly after claiming the throne, he declared the god Aten, to pay homage to his chosen god, Amenhotep IV changed his name to Akenaten. Throughout his rule, Akenaten tried to change aspects of Egyptian culture to celebrate or praise his god, especially the style. The illustration of figures hands and feet are apparently important, fingers and toes are depicted as long and slender and are carefully detailed to show nails. Artists also showed subjects with elongated facial structures accompanied by folds within the skin as well as lowered eyelids, the figure was also illustrated with a more elongated body than the previous representation. In the new form, the subject had more fat in the stomach, thigh, and breast region, while the torso, arm. The skin color of male and female is generally dark brown. This could merely be convention, or it may depict the ‘life’ blood, figures in this style are shown with both a left and a right foot, contrasting the traditional style of being shown with either two left or two right feet. Akenaten moved the capital to the city now known as Amarna. After his death, conservative forces led by the temple priests reimposed the old religion, the new capital was abandoned, and traces of his monuments elsewhere defaced. These were only rediscovered in recent decades and it is now also thought that several of the objects in the tomb of Akenatens son Tutankhamun were originally made for his father, for example, the relief on his throne. The decoration of the tombs of non-royals is quite different from previous eras and these tombs do not feature any funerary or agricultural scenes, nor do they include the tomb occupant unless he or she is depicted with a member of the royal family. There is an absence of gods and goddesses, apart from the Aten, however, the Aten does not shine its rays on the tomb owner, only on members of the royal family. There is neither a mention of Osiris nor other funerary figures, there is also no mention of a journey through the underworld. Instead, excerpts from the Hymn to the Aten are generally present, sculptures from the Amarna period are set apart from other periods of Egyptian art
10.
Pharaoh
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The word pharaoh ultimately derive from the Egyptian compound pr-ˤ3 great house, written with the two biliteral hieroglyphs pr house and ˤ3 column, here meaning great or high. It was used only in larger phrases such as smr pr-ˤ3 Courtier of the High House, with specific reference to the buildings of the court or palace. From the twelfth dynasty onward, the word appears in a wish formula Great House, may it live, prosper, and be in health, but again only with reference to the royal palace and not the person. During the reign of Thutmose III in the New Kingdom, after the rule of the Hyksos during the Second Intermediate Period. During the eighteenth dynasty the title pharaoh was employed as a designation of the ruler. From the nineteenth dynasty onward pr-ˤ3 on its own was used as regularly as hm. f, the term, therefore, evolved from a word specifically referring to a building to a respectful designation for the ruler, particularly by the twenty-second dynasty and twenty-third dynasty. For instance, the first dated appearance of the pharaoh being attached to a rulers name occurs in Year 17 of Siamun on a fragment from the Karnak Priestly Annals. Here, an induction of an individual to the Amun priesthood is dated specifically to the reign of Pharaoh Siamun and this new practice was continued under his successor Psusennes II and the twenty-second dynasty kings. Shoshenq I was the successor of Siamun. Meanwhile, the old custom of referring to the sovereign simply as pr-ˤ3 continued in traditional Egyptian narratives, by this time, the Late Egyptian word is reconstructed to have been pronounced *par-ʕoʔ whence Herodotus derived the name of one of the Egyptian kings, Φερων. In the Bible, the title also occurs as פרעה, from that, Septuagint φαραώ pharaō and then Late Latin pharaō, both -n stem nouns. The Quran likewise spells it فرعون firawn with n, interestingly, the Arabic combines the original pharyngeal ayin sound from Egyptian, along with the -n ending from Greek. English at first spelt it Pharao, but the King James Bible revived Pharaoh with h from the Hebrew, meanwhile in Egypt itself, *par-ʕoʔ evolved into Sahidic Coptic ⲡⲣ̅ⲣⲟ prro and then rro. Scepters and staves were a sign of authority in ancient Egypt. One of the earliest royal scepters was discovered in the tomb of Khasekhemwy in Abydos, kings were also known to carry a staff, and Pharaoh Anedjib is shown on stone vessels carrying a so-called mks-staff. The scepter with the longest history seems to be the heqa-scepter, the earliest examples of this piece of regalia dates to pre-dynastic times. A scepter was found in a tomb at Abydos that dates to the late Naqada period, another scepter associated with the king is the was-scepter. This is a long staff mounted with an animal head, the earliest known depictions of the was-scepter date to the first dynasty
11.
Animal
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Animals are multicellular, eukaryotic organisms of the kingdom Animalia. The animal kingdom emerged as a clade within Apoikozoa as the group to the choanoflagellates. Animals are motile, meaning they can move spontaneously and independently at some point in their lives and their body plan eventually becomes fixed as they develop, although some undergo a process of metamorphosis later in their lives. All animals are heterotrophs, they must ingest other organisms or their products for sustenance, most known animal phyla appeared in the fossil record as marine species during the Cambrian explosion, about 542 million years ago. Animals can be divided broadly into vertebrates and invertebrates, vertebrates have a backbone or spine, and amount to less than five percent of all described animal species. They include fish, amphibians, reptiles, birds and mammals, the remaining animals are the invertebrates, which lack a backbone. These include molluscs, arthropods, annelids, nematodes, flatworms, cnidarians, ctenophores, the study of animals is called zoology. The word animal comes from the Latin animalis, meaning having breath, the biological definition of the word refers to all members of the kingdom Animalia, encompassing creatures as diverse as sponges, jellyfish, insects, and humans. Aristotle divided the world between animals and plants, and this was followed by Carl Linnaeus, in the first hierarchical classification. In Linnaeuss original scheme, the animals were one of three kingdoms, divided into the classes of Vermes, Insecta, Pisces, Amphibia, Aves, and Mammalia. Since then the last four have all been subsumed into a single phylum, in 1874, Ernst Haeckel divided the animal kingdom into two subkingdoms, Metazoa and Protozoa. The protozoa were later moved to the kingdom Protista, leaving only the metazoa, thus Metazoa is now considered a synonym of Animalia. Animals have several characteristics that set apart from other living things. Animals are eukaryotic and multicellular, which separates them from bacteria and they are heterotrophic, generally digesting food in an internal chamber, which separates them from plants and algae. They are also distinguished from plants, algae, and fungi by lacking cell walls. All animals are motile, if only at life stages. In most animals, embryos pass through a stage, which is a characteristic exclusive to animals. With a few exceptions, most notably the sponges and Placozoa and these include muscles, which are able to contract and control locomotion, and nerve tissues, which send and process signals
12.
Color
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Color or colour is the characteristic of human visual perception described through color categories, with names such as red, yellow, purple, or blue. This perception of color derives from the stimulation of cells in the human eye by electromagnetic radiation in the spectrum of light. Color categories and physical specifications of color are associated with objects through the wavelength of the light that is reflected from them and this reflection is governed by the objects physical properties such as light absorption, emission spectra, etc. By defining a color space, colors can be identified numerically by coordinates, there may also be more than three color dimensions in other color spaces, such as in the CMYK color model, wherein one of the dimensions relates to a colours colorfulness). The photo-receptivity of the eyes of species also varies considerably from our own. Honeybees and bumblebees for instance have trichromatic color vision sensitive to ultraviolet but is insensitive to red, papilio butterflies possess six types of photoreceptors and may have pentachromatic vision. The most complex color vision system in the kingdom has been found in stomatopods with up to 12 spectral receptor types thought to work as multiple dichromatic units. The science of color is sometimes called chromatics, colorimetry, or simply color science and it includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range. Electromagnetic radiation is characterized by its wavelength and its intensity, when the wavelength is within the visible spectrum, it is known as visible light. Most light sources emit light at different wavelengths, a sources spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, in each such class the members are called metamers of the color in question. The table at right shows approximate frequencies and wavelengths for various pure spectral colors, the wavelengths listed are as measured in air or vacuum. A common list identifies six main bands, red, orange, yellow, green, blue, Newtons conception included a seventh color, indigo, between blue and violet. It is possible that what Newton referred to as blue is nearer to what today is known as cyan, the color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Some objects not only light, but also transmit light or emit light themselves. This effect is known as color constancy, opaque objects that do not reflect specularly have their color determined by which wavelengths of light they scatter strongly. If objects scatter all wavelengths with roughly equal strength, they appear white, if they absorb all wavelengths, they appear black. Opaque objects that reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences
13.
Nefertari
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Nefertari, also known as Nefertari Meritmut, was an Egyptian queen and the first of the Great Royal Wives of Ramesses the Great. Nefertari means beautiful companion and Meritmut means Beloved of Mut and she is one of the best known Egyptian queens, next to Cleopatra, Nefertiti and Hatshepsut. She was highly educated and able to read and write hieroglyphs, a very rare skill at the time. She used these skills in her work, corresponding with other prominent royalties of the time. Her lavishly decorated tomb, QV66, is one of the largest and most spectacular in the Valley of the Queens, Ramesses also constructed a temple for her at Abu Simbel next to his colossal monument there. Ramesses II also named her The one for whom the sun shines, although Nefertaris family background is unknown, the discovery in her tomb of a knob inscribed with the cartouche of Pharaoh Ay has led people to speculate she was related to him. The time between the reign of Ay and Ramesses II means that Nefertari could not be a daughter of Ay and if any exists at all. There is no evidence linking Nefertari to the royal family of the 18th dynasty however. Nefertari married Ramesses II before he ascended the throne, Nefertari had at least four sons and two daughters. Amun-her-khepeshef, the eldest was Crown Prince and Commander of the Troops, Prince Meryatum was elevated to the position of High Priest of Re in Heliopolis. Inscriptions mention he was a son of Nefertari, Prince Meryre is a fourth son mentioned on the façade of the small temple at Abu Simbel and is thought to be another son of Nefertari. Meritamen and Henuttawy are two royal daughters depicted on the façade of the temple at Abu Simbel and are thought to be daughters of Nefertari. Nefertari first appears as the wife of Ramesses II in official scenes during the first year of Ramesses II, in the tomb of Nebwenenef, Nefertari is depicted behind her husband as he elevates Nebwenenef to the position of High Priests of Amun during a visit to Abydos. Nefertari also appears in a next to a year 1 stela. She is depicted shaking two sistra before Taweret, Thoth and Nut, Nefertari is an important presence in the scenes from Luxor and Karnak. In a scene from Luxor, Nefertari appears leading the royal children, another scene shows Nefertari at the Festival of the Mast of Amun-Min-Kamephis. The king and the queen are said to worship in the new temple and are shown overseeing the Erection of the Mast before Amen-Re attended by standard bearers. Nefertari’s speech during this ceremony is recorded, Your beloved son and he has erected for you the mast of the -framework
14.
Gesso
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Gesso is a white paint mixture consisting of a binder mixed with chalk, gypsum, pigment, or any combination of these. It is used in artwork as a preparation for any number of such as wood panels, canvas and sculpture as a base for paint. The colour of gesso was usually white or off-white and its absorbency makes it work with all painting media, including water-based media, different types of tempera, and oil paint. It is also used as a base on three-dimensional surfaces for the application of paint or gold leaf, mixing and applying it is an art form in itself since it is usually applied in 10 or more extremely thin layers. It is a permanent and brilliant white substrate used on wood, masonite, the standard hide glue mixture is rather brittle and susceptible to cracking, thus making it suitable for rigid surfaces only. For priming flexible canvas, an emulsion of gesso and linseed oil, in geology, the Italian gesso corresponds to the English gypsum, as it is a calcium sulfate mineral. Gesso is also used by sculptors to prepare the shape of the sculpture or directly as a material for sculpting. Gesso can also be used as a layer between sculpted wood and gold leaf, in this case, a layer of red shellac called assiette is used to cover the gesso before applying the gold. It is technically not gesso at all and its non-absorbent acrylic polymer base makes it incompatible with media that require traditional gesso such as egg tempera and it is sold premixed for both sizing and priming panels and flexible canvas for painting. While it does contain calcium carbonate to increase the absorbency of the primer coat and this allows gesso to remain flexible enough to use on canvas. Acrylic gesso can be colored, either commercially by replacing the white with another pigment, such as carbon black, or by the artist directly. Acrylic gesso can be odorous, due to the presence of ammonia and/or formaldehyde, art supply manufacturers market canvases pre-primed with gesso. Soy-based gesso is a low-emitting, bio-based gesso made from recycled soy content, soy gesso is made with bio-based dispersion technology that uses a soy ester with a modified vegetable oil acrylic. The surface is similar to acrylic gesso, but is not a solid acrylic, soy gesso is made using a thin film of a modified acrylic and the soy ester. In addition, the thinner modified acrylic film is more resistant to cracking than a solid acrylic gesso, primer References Sources The Technique of Raised Gilding by Jerry Tresser,1992
15.
Limestone
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Limestone is a sedimentary rock, composed mainly of skeletal fragments of marine organisms such as coral, forams and molluscs. Its major materials are the minerals calcite and aragonite, which are different crystal forms of calcium carbonate, about 10% of sedimentary rocks are limestones. The solubility of limestone in water and weak acid solutions leads to karst landscapes, most cave systems are through limestone bedrock. The first geologist to distinguish limestone from dolomite was Belsazar Hacquet in 1778, like most other sedimentary rocks, most limestone is composed of grains. Most grains in limestone are skeletal fragments of organisms such as coral or foraminifera. Other carbonate grains comprising limestones are ooids, peloids, intraclasts and these organisms secrete shells made of aragonite or calcite, and leave these shells behind when they die. Limestone often contains variable amounts of silica in the form of chert or siliceous skeletal fragment, some limestones do not consist of grains at all, and are formed completely by the chemical precipitation of calcite or aragonite, i. e. travertine. Secondary calcite may be deposited by supersaturated meteoric waters and this produces speleothems, such as stalagmites and stalactites. Another form taken by calcite is oolitic limestone, which can be recognized by its granular appearance, the primary source of the calcite in limestone is most commonly marine organisms. Some of these organisms can construct mounds of rock known as reefs, below about 3,000 meters, water pressure and temperature conditions cause the dissolution of calcite to increase nonlinearly, so limestone typically does not form in deeper waters. Limestones may also form in lacustrine and evaporite depositional environments, calcite can be dissolved or precipitated by groundwater, depending on several factors, including the water temperature, pH, and dissolved ion concentrations. Calcite exhibits a characteristic called retrograde solubility, in which it becomes less soluble in water as the temperature increases. Impurities will cause limestones to exhibit different colors, especially with weathered surfaces, Limestone may be crystalline, clastic, granular, or massive, depending on the method of formation. Crystals of calcite, quartz, dolomite or barite may line small cavities in the rock, when conditions are right for precipitation, calcite forms mineral coatings that cement the existing rock grains together, or it can fill fractures. Travertine is a banded, compact variety of limestone formed along streams, particularly there are waterfalls. Calcium carbonate is deposited where evaporation of the leaves a solution supersaturated with the chemical constituents of calcite. Tufa, a porous or cellular variety of travertine, is found near waterfalls, coquina is a poorly consolidated limestone composed of pieces of coral or shells. During regional metamorphism that occurs during the building process, limestone recrystallizes into marble
16.
Egg tempera
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Tempera, also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigments mixed with a water-soluble binder medium. Tempera also refers to the paintings done in this medium, Tempera paintings are very long lasting, and examples from the 1st centuries AD still exist. Egg tempera was a method of painting until after 1500 when it was superseded by the invention of oil painting. Tempera painting has been found on early Egyptian sarcophagi decorations, many of the Fayum mummy portraits use tempera, sometimes in combination with encaustic. A related technique has been used also in ancient and early medieval paintings found in several caves, high-quality art with the help of tempera was created in Bagh Caves between the late 4th and 10th centuries AD and in the 7th century AD in Ravan Chhaya rock shelter, Orissa. Tempera painting was the panel painting medium for nearly every painter in the European Medieval. For example, every surviving panel painting by Michelangelo is egg tempera, oil paint, which may have originated in Afghanistan between the 5th and 9th centuries and migrated westward in the Middle Ages eventually superseded tempera. Oil replaced tempera as the medium used for creating artwork during the 15th century in Early Netherlandish painting in northern Europe. Around 1500, oil paint replaced tempera in Italy, in the 19th and 20th centuries, there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others. Tempera painting continues to be used in Greece and Russia where it is the medium for Orthodox icons. Tempera is traditionally created by hand-grinding dry powdered pigments into an agent or medium, such as egg, glue, honey, water, milk. Tempera painting starts with placing an amount of the powdered pigment onto a palette, dish or bowl and adding about an equal volume of the binder. Some pigments require slightly more binder, some require less, a few drops of distilled water are added, then the binder is added in small increments to the desired transparency. The more egg emulsion, the more transparent the paint, the most common form of classical tempera painting is egg tempera. For this form most often only the contents of the egg yolk is used, the white of the egg and the membrane of the yolk are discarded. Egg yolk is never used by itself with pigment, it dries almost immediately, some agent is always added, in variable proportions. One recipe calls for vinegar, other recipes suggest white wine, some schools of egg tempera use various mixtures of egg yolk and water. The paint mixture has to be adjusted to maintain a balance between a greasy and watery consistency by adjusting the amount of water and yolk
17.
Fresco
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Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
18.
New Kingdom of Egypt
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Radiocarbon dating places the exact beginning of the New Kingdom between 1570–1544 BC. The New Kingdom followed the Second Intermediate Period and was succeeded by the Third Intermediate Period and it was Egypt’s most prosperous time and marked the peak of its power. The later part of period, under the Nineteenth and Twentieth Dynasties is also known as the Ramesside period. It is named after the pharaohs that took the name of Ramesses I. Egyptian armies fought Hittite armies for control of modern-day Syria, the Eighteenth Dynasty contained some of Egypts most famous Pharaohs, including Ahmose I, Hatshepsut, Thutmose III, Amenhotep III, Akhenaten and Tutankhamun. Queen Hatshepsut concentrated on expanding Egypts external trade by sending an expedition to the land of Punt. Thutmose III expanded Egypts army and wielded it with success to consolidate the empire created by his predecessors. This resulted in a peak in Egypts power and wealth during the reign of Amenhotep III, during the reign of Thutmose III, Pharaoh, originally referring to the kings palace, became a form of address for the person who was king. Akhenatens religious fervor is cited as the reason why he was written out of Egyptian history. Under his reign, in the 14th century BC, Egyptian art flourished and attained a level of realism. Towards the end of the 18th Dynasty, the situation had changed radically, Ramesses II sought to recover territories in the Levant that had been held by the 18th Dynasty. His campaigns of reconquest culminated in the Battle of Kadesh, where he led Egyptian armies against those of the Hittite king Muwatalli II. Ramesses was caught in historys first recorded military ambush, although he was able to rally his troops, the outcome of the battle was undecided with both sides claiming victory at their home front, ultimately resulting in a peace treaty between the two nations. The last great pharaoh from the New Kingdom is widely considered to be Ramesses III, in the eighth year of his reign the Sea Peoples invaded Egypt by land and sea. Ramesses III defeated them in two great land and sea battles and he incorporated them as subject peoples and settled them in Southern Canaan although there is evidence that they forced their way into Canaan. Their presence in Canaan may have contributed to the formation of new states, such as Philistia and he was also compelled to fight invading Libyan tribesmen in two major campaigns in Egypts Western Delta in his sixth year and eleventh year respectively. The heavy cost of this warfare slowly drained Egypts treasury and contributed to the decline of the Egyptian Empire in Asia. Something in the air prevented much sunlight from reaching the ground, one proposed cause is the Hekla 3 eruption of the Hekla volcano in Iceland but the dating of this remains disputed
19.
Book of the Dead
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The Book of the Dead is an ancient Egyptian funerary text, used from the beginning of the New Kingdom to around 50 BCE. The original Egyptian name for the text, transliterated rw nw prt m hrw is translated as Book of Coming Forth by Day, another translation would be Book of Emerging Forth into the Light. The Book of the Dead was part of a tradition of texts which includes the earlier Pyramid Texts and Coffin Texts. Some of the spells included were drawn from older works. Other spells were composed later in Egyptian history, dating to the Third Intermediate Period, a number of the spells which made up the Book continued to be inscribed on tomb walls and sarcophagi, as had always been the spells from which they originated. The Book of the Dead was placed in the coffin or burial chamber of the deceased, there was no single or canonical Book of the Dead. The surviving papyri contain a selection of religious and magical texts. Some people seem to have commissioned their own copies of the Book of the Dead, the Book of the Dead developed from a tradition of funerary manuscripts dating back to the Egyptian Old Kingdom. The first funerary texts were the Pyramid Texts, first used in the Pyramid of King Unas of the 5th dynasty and these texts were written on the walls of the burial chambers within pyramids, and were exclusively for the use of the Pharaoh. Towards the end of the Old Kingdom, the Pyramid Texts ceased to be a royal privilege. In the Middle Kingdom, a new funerary text emerged, the Coffin Texts, the Coffin Texts used a newer version of the language, new spells, and included illustrations for the first time. The Coffin Texts were most commonly written on the surfaces of coffins. The Book of the Dead first developed in Thebes towards the beginning of the Second Intermediate Period, by the 17th dynasty, the Book of the Dead had become widespread not only for members of the royal family, but courtiers and other officials as well. At this stage, the spells were typically inscribed on linen shrouds wrapped around the dead, the New Kingdom saw the Book of the Dead develop and spread further. The famous Spell 125, the Weighing of the Heart, is first known from the reign of Hatshepsut and Thutmose III, from this period onward the Book of the Dead was typically written on a papyrus scroll, and the text illustrated with vignettes. During the 19th dynasty in particular, the vignettes tended to be lavish, in the Third Intermediate Period, the Book of the Dead started to appear in hieratic script, as well as in the traditional hieroglyphics. The hieratic scrolls were a version, lacking illustration apart from a single vignette at the beginning. At the same time, many burials used additional funerary texts, during the 25th and 26th dynasties, the Book of the Dead was updated, revised and standardised
20.
Facsimile
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A facsimile is a copy or reproduction of an old book, manuscript, map, art print, or other item of historical value that is as true to the original source as possible. It differs from other forms of reproduction by attempting to replicate the source as accurately as possible in scale, color, condition, for books and manuscripts, this also entails a complete copy of all pages, hence, an incomplete copy is a partial facsimile. Facsimiles are sometimes used by scholars to research a source that they do not have access to otherwise, many are sold commercially, often accompanied by a volume of commentary. They may be produced in limited editions, typically of 500–2,000 copies, the term fax is a shortened form of facsimile though most faxes are not reproductions of the quality expected in a true facsimile. Advances in the art of facsimile are closely related to advances in printmaking, maps, for instance, were the focus of early explorations in making facsimiles, although these examples often lack the rigidity to the original source that is now expected. An early example is the Abraham Ortelius map, innovations during the 18th century, especially in the realms of lithography and aquatint, facilitated an explosion in the number of facsimiles of old master drawings that could be studied from afar. In the past, a such as the photostat, hectograph. More recently, facsimiles have been made by the use of form of photographic technique. For documents, a facsimile most often refers to document reproduction by a photocopy machine, in the digital age, an image scanner, a personal computer, and a desktop printer can be used to make a facsimile. Important illuminated manuscripts like Les Très Riches Heures du duc de Berry are not only on display to the public as facsimiles, however, unlike normal book reproductions, facsimiles remain truer to the original colors—which is especially important for illuminated manuscripts—and preserve defects. Facsimiles are best suited to printed or hand-written documents, and not to such as three-dimensional objects or oil paintings with unique surface texture. Reproductions of those objects are often referred to as replicas
21.
Menkaure
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Menkaure, was an ancient Egyptian king of the 4th dynasty during the Old Kingdom, who is well known under his Hellenized names Mykerinos and Menkheres. According to Manetho, he was the successor of king Bikheris. Menkaure became famous for his tomb, the Pyramid of Menkaure, at Giza and his beautiful statue triads, showing the king together with his wives Rekhetre, Menkaure was the son of Khafra and the grandson of Khufu. A flint knife found in the temple of Menkaure mentioned a kings mother Khamerernebty I, suggesting that Khafra. Menkaure is thought to have had at least two wives, Queen Khamerernebty II is the daughter of Khamerernebti I and the mother of a kings son Khuenre. The location of Khuenres tomb suggests that he was a son of Menkaure, Queen Rekhetre is known to have been a daughter of Khafra and as such the most likely identity of her husband is Menkaure. Not many children are attested for Menkaure, Khuenre was the son of queen Khamerernebti II, Menkaure was not succeeded by Prince Khuenre, his eldest son, who predeceased Menkaure, but rather by Shepseskaf, a younger son of this king. Shepseskaf was the successor to Menkaure and likely his son, sekhemre is known from a statue and possibly a son of Menkaure. A daughter that died in early adulthood is mentioned by Herodotus, khentkaus I - possible Menkaures daughter The royal court included several of Menkaures half brothers. His brothers Nebemakhet, Duaenre, Nikaure and Iunmin served as vizier during the reign of their brother and his brother Sekhemkare may have been younger and became vizier after the death of Menkaure. The length of Menkaures reign is uncertain, the ancient historian Manetho credits him with a rulership of 63 years, but this is surely an exaggeration. The Turin Canon is damaged at the spot where it should present the full sum of years, egyptologists think that an 18-year rulership was meant to be written, which is generally accepted. A contemporary workmen´s graffito reports about the “year after the 11th cattle count”, if the cattle count was held every second year, Menkaure might have ruled for 22 years. In 2013, a fragment of the sphinx of Menkaure was discovered at Tel Hazor at the entrance to the city palace, Menkaures pyramid at Giza was called Netjer-er-Menkaure which means Menkaure is Divine. This pyramid is the smallest of the three pyramids at Giza and this pyramid measures 103.4 meters at the base and 65.5 meters in height. There are three subsidiary pyramids associated with Menkaures pyramid and these pyramids are sometimes labeled G-IIIa, G-IIIb and G-IIIc. In the chapel associated with G-IIIa a statue of a Queen was found and it is possible that these pyramids were meant for the Queens of Khafra. It may be that Khamerernebti II was buried in one of the pyramids, the Valley temple was a mainly brick built structure which was enlarged in the 5th or 6th dynasty
22.
Monumental sculpture
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The term monumental sculpture is often used in art history and criticism, but not always consistently. It combines two concepts, one of function, and one of size, and may include an element of a more subjective concept. It is often used for all sculptures that are large, human figures that are perhaps half life-size or above would usually be considered monumental in this sense by art historians, although in contemporary art a rather larger overall scale is implied. Monumental sculpture is distinguished from small portable figurines, small metal or ivory reliefs, diptychs. It is also used of sculpture used to create or form part of a monument of some sort, the third concept that may be involved when the term is used is not specific to sculpture, as the other two essentially are. The entry for Monumental in A Dictionary of Art and Artists by Peter and Linda Murray describes it as, The most overworked word in current art history and it is not a synonym for large. For example, when Meyer Schapiro, after a chapter analysing the carved capitals at Moissac, says and it is placed above the level of the eye, and is so large as to dominate the entire entrance. It is a gigantic semi-circular relief, size is certainly the dominant part of what he means by the word, and Schapiros further comments suggest that a lack of excess of virtuousity does not form part of what he intends to convey. Nonetheless, parts of the Murrays concept are included in his meaning, in Ancient Egypt, the Great Sphinx of Giza probably dates to the 3rd millennium BC, and may be older than the Pyramids of Egypt. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as Ancient Egypt and the Easter Island culture, when a culture ceases to produce monumental sculpture, there may be a number of reasons. The most common is societal collapse, as in Europe during the so-called Dark Ages or the Classic Maya collapse in Mesoamerica, another may be aniconism, usually religiously motivated, as followed the Muslim conquests. Monumental sculpture is used within the stoneworking and funeral trades to cover all forms of grave headstones and other funerary art. In contemporary art, however, it is used to refer to all large sculptures regardless of purpose, for example, by the Cass Sculpture Foundation, in the UK. Sculptures covered by the term in art are likely to be over two metres in at least one dimension, and sufficiently large not to need a high plinth. Many are still commissioned as public art, often for placing at outdoor sites, Schapiro, Meyer, Selected Papers, volume 2, Romanesque Art,1977, Chatto & Windus, London, ISBN 0-7011-2239-0 Contemporary monumental sculptures
23.
Abu Simbel temples
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The Abu Simbel temples are two massive rock temples at Abu Simbel, a village in Nubia, southern Egypt, near the border with Sudan. They are situated on the bank of Lake Nasser, about 230 km southwest of Aswan. The complex is part of the UNESCO World Heritage Site known as the Nubian Monuments and their huge external rock relief figures have become iconic. The complex was relocated in its entirety in 1968, on a hill made from a domed structure. Construction of the complex started in approximately 1264 BCE and lasted for about 20 years. Known as the Temple of Ramesses, beloved by Amun it was one of six rock temples erected in Nubia during the reign of Ramesses II. Their purpose was to impress Egypts southern neighbours, and also to reinforce the status of Egyptian religion in the region, with the passage of time, the temples fell into disuse and eventually became covered by sand. By the 6th century BC, the sand covered the statues of the main temple up to their knees. The temple was forgotten until 1813, when Swiss orientalist Jean-Louis Burckhardt found the top frieze of the main temple, Burckhardt talked about his discovery with Italian explorer Giovanni Belzoni, who travelled to the site, but was unable to dig out an entry to the temple. Belzoni returned in 1817, this time succeeding in his attempt to enter the complex, a detailed early description of the temples, together with contemporaneous line drawings, can be found in Edward William Lanes Description of Egypt. Eventually, they named the complex after him, one scheme to save the temples was based on an idea by William MacQuitty to build a clear fresh water dam around the temples, with the water inside kept at the same height as the Nile. There were to be underwater viewing chambers, in 1962 the idea was made into a proposal by architects Jane Drew and Maxwell Fry and civil engineer Ove Arup. They considered that raising the temples ignored the effect of erosion of the sandstone by desert winds, however the proposal, though acknowledged to be extremely elegant, was rejected. Some structures were saved from under the waters of Lake Nasser. Today, a few hundred tourists visit the temples daily, guarded convoys of buses and cars depart twice a day from Aswan, the nearest city. Many visitors also arrive by plane, at an airfield that was constructed for the temple complex. The complex consists of two temples, the larger one is dedicated to Ra-Harakhty, Ptah and Amun, Egypts three state deities of the time, and features four large statues of Ramesses II in the facade. The smaller temple is dedicated to the goddess Hathor, personified by Nefertari, the temple is now open to the public
24.
Ramesses II
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Ramesses II, also known as Ramesses the Great and Ozymandias, was the third pharaoh of the Nineteenth Dynasty of Egypt. He often is regarded as the greatest, most celebrated, and his successors and later Egyptians called him the Great Ancestor. Ramesses II led several expeditions into the Levant, reasserting Egyptian control over Canaan. He also led expeditions to the south, into Nubia, commemorated in inscriptions at Beit el-Wali, at age fourteen, Ramesses was appointed Prince Regent by his father Seti I. He is believed to have taken the throne in his teens and is known to have ruled Egypt from 1279 BC to 1213 BC. Manetho attributes Ramesses II a reign of 66 years and 2 months, most Egyptologists today believe he assumed the throne on May 31,1279 BC, estimates of his age at death vary,90 or 91 is considered most likely. Ramesses II celebrated an unprecedented 14 sed festivals during his reign—more than any other pharaoh. On his death, he was buried in a tomb in the Valley of the Kings, his later was moved to a royal cache where it was discovered in 1881. The early part of his reign was focused on building cities, temples and he established the city of Pi-Ramesses in the Nile Delta as his new capital and used it as the main base for his campaigns in Syria. He is known as Ozymandias in the Greek sources, from a transliteration into Greek of a part of Ramesses throne name, Usermaatre Setepenre, The justice of Rê is powerful – chosen of Rê. Early in his life, Ramesses II embarked on campaigns to restore possession of previously held territories lost to the Nubians and Hittites. He also was responsible for suppressing some Nubian revolts and carrying out a campaign in Libya, during Ramesses IIs reign, the Egyptian army is estimated to have totaled about 100,000 men, a formidable force that he used to strengthen Egyptian influence. The Sherden people probably came from the coast of Ionia, from southwest Anatolia or perhaps, a stele from Tanis speaks of their having come in their war-ships from the midst of the sea, and none were able to stand before them. In that sea battle, together with the Sherden, the pharaoh also defeated the Lukka, the immediate antecedents to the Battle of Kadesh were the early campaigns of Ramesses II into Canaan. The inscription is almost totally illegible, due to weathering, additional records tell us that he was forced to fight a Canaanite prince who was mortally wounded by an Egyptian archer, and whose army subsequently, was routed. Ramesses carried off the princes of Canaan as live prisoners to Egypt, Ramesses then plundered the chiefs of the Asiatics in their own lands, returning every year to his headquarters at Riblah to exact tribute. In the fourth year of his reign, he captured the Hittite vassal state of Amurru during his campaign in Syria, the Battle of Kadesh in his fifth regnal year was the climactic engagement in a campaign that Ramesses fought in Syria, against the resurgent Hittite forces of Muwatallis. The pharaoh wanted a victory at Kadesh both to expand Egypts frontiers into Syria, and to emulate his father Seti Is triumphal entry into the city just a decade or so earlier and he also constructed his new capital, Pi-Ramesses
25.
Egyptian temple
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Egyptian temples were built for the official worship of the gods and in commemoration of the pharaohs in ancient Egypt and regions under Egyptian control. Temples were seen as houses for the gods or kings to whom they were dedicated and these rituals were seen as necessary for the gods to continue to uphold maat, the divine order of the universe. Housing and caring for the gods were the obligations of pharaohs, nevertheless, a temple was an important religious site for all classes of Egyptians, who went there to pray, give offerings, and seek oracular guidance from the god dwelling within. The most important part of the temple was the sanctuary, which contained a cult image. These edifices are among the largest and most enduring examples of Egyptian architecture and their typical design consisted of a series of enclosed halls, open courts, and massive entrance pylons aligned along the path used for festival processions. Beyond the temple proper was a wall enclosing a wide variety of secondary buildings. A large temple also owned sizable tracts of land and employed thousands of laymen to supply its needs, temples were therefore key economic as well as religious centers. The priests who managed these powerful institutions wielded considerable influence, temple-building in Egypt continued despite the nations decline and ultimate loss of independence to the Roman Empire. With the coming of Christianity, however, Egyptian religion faced increasing persecution, for centuries, the ancient buildings suffered destruction and neglect. Dozens of temples survive today, and some have become world-famous tourist attractions that contribute significantly to the modern Egyptian economy, Egyptologists continue to study the surviving temples and the remains of destroyed ones, as they are invaluable sources of information about ancient Egyptian society. Ancient Egyptian temples were meant as places for the gods to reside on earth, indeed, the term the Egyptians most commonly used to describe the temple building, ḥwt-nṯr, means mansion of a god. A gods presence in the temple linked the human and divine realms and these rituals, it was believed, sustained the god and allowed it to continue to play its proper role in nature. They were therefore a key part of the maintenance of maat, maintaining maat was the entire purpose of Egyptian religion, and it was the purpose of a temple as well. Because he was credited with divine power himself, the pharaoh, as a king, was regarded as Egypts representative to the gods. Thus, it was theoretically his duty to perform the temple rites, the pharaoh was nevertheless obligated to maintain, provide for, and expand the temples throughout his realm. Although the pharaoh delegated his authority, the performance of rituals was still an official duty. The participation of the populace in most ceremonies was prohibited. Much of the lay religious activity in Egypt instead took place in private and community shrines, however, as the primary link between the human and divine realms, temples attracted considerable veneration from ordinary Egyptians
26.
Great Sphinx of Giza
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Facing directly from West to East, it stands on the Giza Plateau on the west bank of the Nile in Giza, Egypt. The face of the Sphinx is generally believed to represent the Pharaoh Khafre, cut from the bedrock, the original shape of the Sphinx has been restored with layers of blocks. It measures 238 feet long from paw to tail,66.3 ft high from the base to the top of the head and 62.6 feet wide at its rear haunches. It is the oldest known sculpture in Egypt and is commonly believed to have been built by ancient Egyptians of the Old Kingdom during the reign of the Pharaoh Khafre. The Sphinx is a monolith carved into the bedrock of the plateau, the nummulitic limestone of the area consists of layers which offer differing resistance to erosion, leading to the uneven degradation apparent in the Sphinxs body. The lowest part of the body, including the legs, is solid rock, the body of the lion up to its neck is fashioned from softer layers that have suffered considerable disintegration. The layer in which the head was sculpted is much harder, the Great Sphinx is one of the worlds largest and oldest statues, but basic facts about it are still subject to debate, such as when it was built, by whom and for what purpose. These questions have resulted in the idea of the Riddle of the Sphinx. In the New Kingdom, the Sphinx was called Hor-em-akhet, the English word sphinx comes from the ancient Greek Σφίγξ apparently from the verb σφίγγω, after the Greek sphinx who strangled anyone who failed to answer her riddle. The name may alternatively be a corruption of the phonetically different ancient Egyptian word Ssp-anx. This name is given to royal statues of the Fourth dynasty of ancient Egypt, medieval Arab writers, including al-Maqrīzī, call the Sphinx balhib and bilhaw, which suggest a Coptic influence. The modern Egyptian Arabic name is أبو الهول, the circumstantial evidence mentioned by Hassan includes the Sphinxs location in the context of the funerary complex surrounding the Second Pyramid, which is traditionally connected with Khafra. A diorite statue of Khafre, which was discovered buried upside down along with other debris in the Valley Temple, is claimed as support for the Khafra theory, the Dream Stele, erected much later by the pharaoh Thutmose IV, associates the Sphinx with Khafra. When the stele was discovered, its lines of text were already damaged and incomplete, an extract was translated, which we bring for him, oxen. and all the young vegetables, and we shall give praise to Wenofer. Khaf. the statue made for Atum-Hor-em-Akhet, the Egyptologist Thomas Young, finding the Khaf hieroglyphs in a damaged cartouche used to surround a royal name, inserted the glyph ra to complete Khafras name. When the Stele was re-excavated in 1925, the lines of text referring to Khaf flaked off and were destroyed. In 1857, Auguste Mariette, founder of the Egyptian Museum in Cairo, unearthed the much later Inventory Stela, such an act became common when religious institutions such as temples, shrines and priests domains were fighting for political attention and for financial and economic donations. Gaston Maspero, the French Egyptologist and second director of the Egyptian Museum in Cairo and he supports this by suggesting that Khafras Causeway was built to conform to a pre-existing structure, which, he concludes, given its location, could only have been the Sphinx
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Sphinx
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A sphinx is a mythical creature with the head of a human and the body of a lion. In Greek tradition, it has the head of a human, the haunches of a lion and it is mythicised as treacherous and merciless. Those who cannot answer its riddle suffer a fate typical in such stories, as they are killed. This deadly version of a sphinx appears in the myth and drama of Oedipus, unlike the Greek sphinx, which was a woman, the Egyptian sphinx is typically shown as a man. In European decorative art, the sphinx enjoyed a revival during the Renaissance. Sphinxes are generally associated with structures such as royal tombs or religious temples. The oldest known sphinx was found near Gobekli Tepe at another site, Nevali Çori, or possibly 120 miles to the east at Kortik Tepe, Turkey, and was dated to 9,500 BCE. The largest and most famous sphinx is the Great Sphinx of Giza, situated on the Giza Plateau adjacent to the Great Pyramids of Giza on the west bank of the Nile River, the sphinx is located southeast of the pyramids. Although the date of its construction is uncertain, the head of the Great Sphinx now is believed to be that of the pharaoh Khafra, what names their builders gave to these statues is not known. At the Great Sphinx site, a 1400 BCE inscription on a stele belonging to the 18th dynasty pharaoh Thutmose IV lists the names of three aspects of the sun deity of that period, Khepera–Rê–Atum. The theme was expanded to form great avenues of guardian sphinxes lining the approaches to tombs, nine hundred with ram heads, representing Amon, were built in Thebes, where his cult was strongest. Perhaps the first sphinx in Egypt was one depicting Queen Hetepheres II and she was one of the longest-lived members of the royal family of that dynasty. The Great Sphinx has become an emblem of Egypt, frequently appearing on its stamps, coins, from the Bronze Age, the Hellenes had trade and cultural contacts with Egypt. Before the time that Alexander the Great occupied Egypt, the Greek name, the historians and geographers of Greece wrote extensively about Egyptian culture. Herodotus called the ram-headed sphinxes Criosphinxes and called the hawk-headed ones Hieracosphinxes, the word sphinx comes from the Greek Σφίγξ, apparently from the verb σφίγγω, meaning to squeeze, to tighten up. This name may be derived from the fact that the hunters for a pride of lions are the lionesses, There was a single sphinx in Greek mythology, a unique demon of destruction and bad luck. According to Hesiod, she was a daughter of Orthrus and either Echidna or the Chimera, or perhaps even Ceto, according to others, she was a daughter of Echidna and Typhon. All of these are figures from the earliest of Greek myths
28.
Barque
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A barque, barc, or bark is a type of sailing vessel with three or more masts having the fore- and mainmasts rigged square and only the mizzen rigged fore-and-aft. The word barque entered English via French, which in came from the Latin barca by way of Occitan. The Latin barca may stem from Celtic barc or Greek baris, the Oxford English Dictionary considers the latter improbable. The word barc appears to have come from Celtic languages, the form adopted by English, perhaps from Irish, was bark, while that adopted by Latin as barca very early, which gave rise to the French barge and barque. In Latin, Spanish and Italian the term refers to a small boat. French influence in England led to the use in English of both words, although their meanings now are not the same, well before the 19th century a barge had become interpreted as a small vessel of coastal or inland waters. Somewhat later, a became a sailing vessel of a distinctive rig as detailed below. In Britain, by the century, the spelling had taken on the French form of barque. Francis Bacon used this form of the word as early as 1592, throughout the period of sail, the word was used also as a shortening of the barca-longa of the Mediterranean Sea. The usual convention is that spelling barque refers to a ship and bark to tree hide, barcarole in music shares the same etymology, being originally a folk song sung by Venetian gondolier and derived from barca - boat in Italian. In the 18th century, the British Royal Navy used the bark for a nondescript vessel that did not fit any of its usual categories. She happened to be a sailing vessel with a plain bluff bow. Our Northern Mariners, who are trained in the coal-trade, apply this distinction to a broad-sterned ship, hon. the Earl of Sussex, Lord Deputy of Ireland. By the end of the 18th century, the term came to refer to any vessel with a particular type of sail-plan. This comprises three masts, fore-and-aft sails on the aftermost mast and square sails on all other masts, barques were the workhorse of the Golden Age of Sail in the mid-19th century as they attained passages that nearly matched full rigged ships but could operate with smaller crews. Conversely, the ship rig tended to be retained for training vessels where the larger the crew, another advantage is that a barque can outperform a schooner or barkentine, and is both easier to handle and better at going to windward than a full-rigged ship. Usually the main mast was the tallest, that of Moshulu extends to 58 m off the deck, the four-masted barque can be handled with a surprisingly small crew—at minimum, ten—and while the usual crew was around thirty, almost half of them could be apprentices. Today many sailing ships are barques
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Ka statue
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A ka statue is a type of ancient Egyptian statue intended to provide a resting place for the ka of the person after death. The ancient Egyptians believed the ka along with the body, the name, the ba. Because the ancient Egyptians believed statues could magically perceive the world, in the full version of this ceremony, the mouth, eyes, nose, and ears could be touched with ritual implements to give the statue the power of breath, sight, smell, and hearing. Ka statues were carved from wood or stone and sometimes painted in the likeness of the owner to reinforce the spiritual connection. Many ka statues were placed in a mortuary chapel or niche. Like most ancient Egyptian statuary, ka statues display a rigid frontalism in which the body faces squarely forward in a formal way. Whether seated or standing, their posture reflects the need for the statue to see the world in front of them and conform to an ideal standard of beauty. The hieroglyph representing the ka is composed of a pair of upraised arms and it is sometimes depicted on top of the head of the statue to reinforce its intended purpose. Art of ancient Egypt Ancient Egyptian religion Oakes, Lorna, Ancient Egypt, An Illustrated Reference to the Myths, Religions, Pyramids and Temples of the Land of the Pharaohs
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Ancient Egyptian concept of the soul
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The ancient Egyptians believed that a human soul was made up of five parts, the Ren, the Ba, the Ka, the Sheut, and the Ib. In addition to these components of the soul there was the human body, the other souls were aakhu, khaibut, and khat. An important part of the Egyptian soul was thought to be the jb, the heart was believed to be formed from one drop of blood from the childs mothers heart, taken at conception. To ancient Egyptians, the heart was the seat of emotion, thought, will and this is evidenced by the many expressions in the Egyptian language which incorporate the word jb. This word was transcribed by E. A. Wallis Budge as Ab, in Egyptian religion, the heart was the key to the afterlife. It was conceived as surviving death in the world, where it gave evidence for, or against. It was thought that the heart was examined by Anubis and the deities during the Weighing of the Heart ceremony, if the heart weighed more than the feather of Maat, it was immediately consumed by the monster Ammit. A persons shadow or silhouette, Sheut, is always present, because of this, Egyptians surmised that a shadow contains something of the person it represents. Through this association, statues of people and deities were sometimes referred to as shadows, the shadow was also representative to Egyptians of a figure of death, or servant of Anubis, and was depicted graphically as a small human figure painted completely black. Sometimes people had a box in which part of their Sheut was stored. For example, part of the Book of Breathings, a derivative of the Book of the Dead, was a means to ensure the survival of the name, a cartouche often was used to surround the name and protect it. Conversely, the names of deceased enemies of the state, such as Akhenaten, were hacked out of monuments in a form of damnatio memoriae. Sometimes, however, they were removed in order to make room for the insertion of the name of a successor. The greater the number of places a name was used, the greater the possibility it would survive to be read, the Bâ was everything that makes an individual unique, similar to the notion of personality. In the Coffin Texts one form of the Bâ that comes into existence after death is corporeal, louis Žabkar argued that the Bâ is not part of the person but is the person himself, unlike the soul in Greek, or late Judaic, Christian or Muslim thought. The word bau, plural of the ba, meant something similar to impressiveness, power. When a deity intervened in human affairs, it was said that the Bau of the deity were at work. The Ka was the Egyptian concept of essence, which distinguishes the difference between a living and a dead person, with death occurring when the ka left the body
31.
Block statue
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The block statue is a type of memorial statue that first emerged in the Middle Kingdom of Ancient Egypt. The block statue grew in popularity in the New Kingdom and the Third Intermediate Period, and by the Late Period and these statues were used in temples typically as funerary monuments of non-royal yet important individuals. According to primary sources from the New Kingdom, the posture of the statue was intended to resemble a guardian seated in the gateway of a temple. In addition, their simple shape provided ample flat surfaces for inscriptions of offerings, Block statues consist of a man squatting with his knees drawn up to his chest and his arms folded on top his knees. Often, these men are wearing a cloak that reduces the body of the figure to a simple block-like shape. Most of the detail is reserved for the head of the individual being depicted, in some instances the modeling of the limbs has been retained by the sculptor. There are two types of block statues, ones with the feet completely covered by the cloak. In 1903, more than 350 Block statues were discovered by the French archaeologist Georges Legrain as part of the Karnak cachette, in Egypt, statues of the seated scribe appear as long ago as the 1st Dynasty. Seated scribe statues evolved over time and some came to incorporate, Thoth, or the baboon. So, also the complexities of the block statue developed, combinational themes became common, and likewise abbreviated, also developed. Examples of the statue for Senemut, of Queen Hatshepsuts reign, have extensive stories in hieroglyphs and they also have the added, head of the child upon the top surface. They are finely executed, in a medium or high finish, as an example of the Block statue, Senemuts is one of the typical types, a story of the honored individual on the front surface, a presentation of the individual, in statue form, a theme. For Senemut, his theme appears to be, His honoring, His personal story, and the lesser individual, since the Egyptian belief system, contained concepts framed in a world of magic and a formal framework of art expression, the block statue had a magical purpose. Obviously ideas evolved, but eventually the idea came for the statue that it was always – seated in place, and at a moments notice, returning as a living-soul, Chapter VII, lines 1-3.5. The deceased individual Egyptian person returns each day, to perform their daily life duties. It is also equivalent to the concept of the false door. The following examples are found in the Ref, section that follows, Block statue for Bakenkhonsu, who was High Priest of Amun, for Ramesses II, who possibly usurped this block statue. Block statue of Satepihu, from Abydos, 18th Dynasty, extensive hieroglyphs, horizontal, front, vertical columns on sides
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Reserve head
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While each of the heads share characteristics in common with each other, the striking individuality of the pieces makes them some of the earliest examples of portrait sculpture in existence. What surprised the archeologists was the individual nature of these life-sized depictions, whose individual character has been compared to portrait heads of classic. In contrast the reserve heads seem to depict unique individuals, with one early researcher ascribing family relationships between the heads he found. With few exceptions they are of artistic quality, and were very probably the product of the royal workshops. The majority of the heads were made of a fine, white limestone, although there are a few exceptions that are more crudely carved and heavily plastered, most are intricately carved and have been carefully smoothed. The smooth ones have not, however, been polished and they all depict people with shaved heads or close-cropped hair, and the largest examples are just over 30 cm in height. Almost all of the show some form of damage or mutilation that may or may not have been deliberately inflicted upon them before they were placed in the tomb. Of the many reserve heads only one has wholly intact ears, in others they have been scraped off close to the surface, whereas other or more crudely hacked or broken away. One example contained dowel holes for the attachment of external ears which were not found with the head, another common feature has been called the cranial groove, a careful and deliberate cut that typically starts from the top of the cranium and extends to the back of the neck. The first reserve head was discovered in 1894, in Dashur, by the Director General of the French Service of Antiquities in Egypt, Jacques de Morgan. The majority of the heads were discovered by the American Egyptologist George Andrew Reisner and he identified these mastabas as belonging to royal family members of the pharaoh Khafra, one of which was identified as that of a princess based on a stela inscription that was found. Two additional examples were discovered by the Austrian Egyptologist Hermann Junker at Giza during 1914, the vast majority of the reserve heads discovered came from the cemeteries at Giza, though three examples have been recovered from Abusir, Saqqara and Dahshur. Modern forgeries of reserve heads are known to exist, another suggestion put forward by Egyptologist Nicholas Millet was that they served as sculptors prototypes for making further statues and reliefs of the deceased. Egyptologist Roland Tefnin suggested that the heads were ritually mutilated to prevent them harming the living. This type of mutilation is not seen in statues placed in later tombs, the most recent theory proposed by Peter Lacovara as to the purpose of the mutilations is that they are guidelines used by the sculptor in the creation of the reserve head. He proposes that an examination of the evidence points to all of the lines being carved onto the reserve heads as being done prior to their completion rather than afterwards. There are other Ancient Egyptian unfinished sculptures where guidelines for the sculptor can be seen, Lacovara believes that paint would have easily rubbed off of the relatively soft limestone that was used, and so the sculptors carved the guidelines instead. These guidelines were then polished away, and in the cases where they were not removed completely were covered by plaster which has fallen away
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Portraiture in ancient Egypt
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Portraiture in ancient Egypt forms a conceptual attempt to portray the subject from its own perspective rather than the viewpoint of the artist. To communicate essential information about the object itself, Ancient Egyptian art was a religious tool used to maintain perfect order in the universe and to substitute for the real thing or person through its representation. Artistic conservatism during the 3000 years of the Dynastic age was a result of the ideal of Maat. Modification and innovation would have moved art away from the state of perfection that was present at the time of the creation of the universe. The deceased had to advertise for his or her adherence to, Maat and therefore, chose the most perfect way to represent him/herself and excluded his/her imperfect qualities. In this civilisation, a statue of a person was believed to be a permanent abode for the spirit of that individual, such idealized representation of the deceased made him eternally beautiful and attested to his sinless life. In an attempt to convey the spectrum of the deceaseds personality rather than merely the physical image, because it conflicted with the representation of the perfect person. When discussing portraiture in ancient Egypt it is important to differentiate between the concept of portraiture and its ancient Egyptian counterpart. In Western art, portraiture captures the physical resemblance of a person as well as his/her inner qualities. Ancient Egyptian art had religious roots and functions, and therefore, to assess ancient Egyptian art and portraiture, it must be examined on its own terms and within its specific cultural context. Idealism apparent in ancient Egyptian art in general and specifically in portraiture was employed by choice and this is evident in the detailed and realistic depiction of birds and animals. This choice was made for religious, political, magical, ethical and social reasons, what can be defined as a portrait outside of the western tradition. The Egyptians sought something very different in their representations of the human, after understanding why portraits were made in ancient Egypt, one can debate whether they are real portraits especially when they are examined through ancient eyes. A statue was believed to convey a persons true identity merely by bearing an inscription of its owners name upon it, the identity of a person fully inhabited it regardless whether there was any physical or facial resemblance. Other factors contributing to the clarification of the persons identity could include a certain facial expression. As to the identity, it was determined through his various royal epithets as well as his different manifestations as a human, deity or animal. Sometimes certain physical features reoccur in statues and reliefs of the same person, the preservation of the deceased body through mummification affected tomb sculpture as artistic objects were created to help further preserve the body for the afterlife. In such funerary context, the statue was not just an abode for his personality, but also became the focal point of the cults offerings, in other words
34.
Ushabti
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The ushabti was a funerary figurine used in Ancient Egypt. Ushabtis were placed in tombs among the goods and were intended to act as servants or minions for the deceased. The figurines frequently carried a hoe on their shoulder and a basket on their backs and they were usually written on by the use of hieroglyphs typically found on the legs. Called “answerers, ” they carried inscriptions asserting their readiness to answer the summons to work. The practice of using ushabtis originated in the Old Kingdom with the use of life-sized reserve heads made from limestone, most ushabtis were of minor size, and many produced in multiples – they sometimes covered the floor around a sarcophagus. Exceptional ushabtis are of size, or produced as a one-of-a-kind master work. Produced in huge numbers, ushabtis, along with scarabs, are the most numerous of all ancient Egyptian antiquities to survive, otherwise, they might better be defined by the generic term, funerary figurines. The shabtis were servant figures that carried out the tasks required of the deceased in the underworld and it was necessary for the owners name to be inscribed on an ushabti, along with a phrase sending them to action, written in the hieratic script. The shabti figure answers, I am here and will come wherever you bid me, the shawabti were a distinct class of funerary figurines within the area of Thebes during the New Kingdom. The term ushabti became prevalent after the 21st Dynasty and remained in use until Ptolemaic times, Ushabti inscriptions often contain the 6th chapter of the Book of the Dead, translated as, Illumine the Osiris, whose word is truth. The Shabti Figure replieth, I will do it, verily I am here when thou callest”, in rare cases different chapters of the Book of the Dead are written. Furthermore, ushabtis often mention the name and the titles of the owner, before being inscribed on funerary figurines, the spell was written on some mid-Twelfth Dynasty coffins from Deir el-Bersha and is known today as spell 472 of the Coffin Texts. Mentioned first in spell 472 of the Coffin Texts, they were included in the goods of the dead as small figurines since the reign of Mentuhotep II of the 11th Dynasty. In the 18th Dynasty during the reign of Amenhotep IV, the figurines were inscribed with an offering addressed to the sun disk, Aten, rather than the traditional speech of the ushabti figure. The ushabti was believed to magically animate after the dead had been judged, from the New Kingdom onwards, it was often referred to as servant. From the 21st Dynasty on, ushabtis became common and numerous in graves, in some tombs the floor was covered with a great many ushabti figurines, in others the ushabtis were neatly packed into ushabti boxes. At times, several hundred ushabti were placed in a deceased Ancient Egyptians tomb, but pharaohs had considerably more of these servants than commoners, some tombs contained overseer or reis ushabtis holding a whip, which were responsible for groups of ten ushabti each -. These overseers became rare during the Late Period, the tomb of Tutankhamun had a large number of ushabtis
35.
Alabaster
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Alabaster is a mineral or rock that is soft and often used for carving, as well as being processed for plaster powder. The term is used in different ways by archaeologists and the processing industry on the one hand. The first use is in a meaning, covering varieties of two different minerals, the fine-grained massive type of gypsum, as well as the fine-grained banded type of calcite. Geologists only define the gypsum variety as alabaster, chemically, gypsum is a hydrous sulfate of calcium, while calcite is a carbonate of calcium. Both types of alabaster have broadly similar properties and they are usually light-coloured, translucent and soft stones that have been used throughout human history mainly for carving decorative artifacts. Onyx-marble must be understood as a traditional, but geologically inaccurate term, in general, ancient alabaster is calcite in the wider Middle East, including Egypt and Mesopotamia, while it is gypsum in medieval Europe. Modern alabaster is calcite, but may be either. Both are easy to work and slightly water-soluble and they have been used for making a variety of indoor artworks and carvings, as they will not survive long outdoors. Moreover, calcite alabaster, being a carbonate, effervesces when treated with hydrochloric acid, the origin of the word alabaster is in Middle English through Old French alabastre, in turn derived from the Latin alabaster, and that from Greek ἀλάβαστρος or ἀλάβαστος. The Greek words were used to identify a vase made of alabaster and this name may be derived further from the Ancient Egyptian word a-labaste, which refers to vessels of the Egyptian goddess Bast. She was represented as a lioness and frequently depicted as such in figures placed atop these alabaster vessels, other suggestions include derivation from the town of Alabastron in Egypt, described in sometimes contradictory manner by Roman-era authors Pliny and Ptolemy and whose location is not yet known. The purest alabaster is a material of fine uniform grain, but it often is associated with an oxide of iron. The coarser varieties of gypsum alabaster are converted by calcination into plaster of Paris, the softness of alabaster enables it to be carved readily into elaborate forms, but its solubility in water renders it unsuitable for outdoor work. If alabaster with a smooth, polished surface is washed with dishwashing liquid, it will become rough, dull and whiter, losing most of its translucency and lustre. The finer kinds of alabaster are employed largely as a stone, especially for ecclesiastical decoration and for the rails of staircases. Alabaster is mined and then sold in blocks to alabaster workshops, the effect of heating appears to be a partial dehydration of the gypsum. If properly treated, it closely resembles true marble and is known as marmo di Castellina. Alabaster is a stone and can be dyed into any colour or shade
36.
Horus
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Horus is one of the most significant ancient Egyptian deities. He was worshipped from at least the late prehistoric Egypt until the Ptolemaic Kingdom, different forms of Horus are recorded in history and these are treated as distinct gods by Egyptologists. He was most often depicted as a falcon, most likely a falcon or peregrine falcon. In another tradition Hathor is regarded as his mother and sometimes as his wife, Horus served many functions, most notably being a god of the sky, war and hunting. Horus is recorded in Egyptian hieroglyphs as ḥr. w Falcon, additional meanings are thought to have been the distant one or one who is above, over. As the language changed over time, it appeared in Coptic dialects variously as hoːɾ or ħoːɾ and was adopted into ancient Greek as Ὧρος Hōros and it also survives in Late Egyptian and Coptic theophoric names such as Har-si-ese Horus, Son of Isis. Nekheny may have been another falcon god worshipped at Nekhen, city of the falcon, Horus may be shown as a falcon on the Narmer Palette, dating from about the 31st century BC. In early Egypt, Horus was the brother of Isis, Osiris, Set, as different cults formed, he became the son of Isis and Osiris. Isis remained the sister of Osiris, Set and Nephthys, the Pyramid Texts describe the nature of the pharaoh in different characters as both Horus and Osiris. The pharaoh as Horus in life became the pharaoh as Osiris in death, New incarnations of Horus succeeded the deceased pharaoh on earth in the form of new pharaohs. The lineage of Horus, the product of unions between the children of Atum, may have been a means to explain and justify pharaonic power. The gods produced by Atum were all representative of cosmic and terrestrial forces in Egyptian life, the notion of Horus as the pharaoh seems to have been superseded by the concept of the pharaoh as the son of Ra during the Fifth Dynasty. Once Isis knew she was pregnant with Horus, she fled to the Nile Delta marshlands to hide from her brother Set, who jealously killed Osiris, there Isis bore a divine son, Horus. Since Horus was said to be the sky, he was considered to contain the sun. It became said that the sun was his eye and the moon his left, and that they traversed the sky when he. Later, the reason that the moon was not as bright as the sun was explained by a tale, known as the The Contendings of Horus and Seth. As Horus was the victor he became known as ḥr. w wr Horus the Great. In the struggle, Set had lost a testicle, explaining why the desert, Horus left eye had also been gouged out, then a new eye was created by part of Khonsu, the moon god, and was replaced
37.
Anubis
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Anubis or Anpu is the Greek name of a god associated with mummification and the afterlife in ancient Egyptian religion, usually depicted as a canine or a man with a canine head. Like many ancient Egyptian deities, Anubis assumed different roles in various contexts, depicted as a protector of graves as early as the First Dynasty, Anubis was also an embalmer. By the Middle Kingdom he was replaced by Osiris in his role as lord of the underworld, one of his prominent roles was as a god who ushered souls into the afterlife. He attended the weighing scale during the Weighing of the Heart, despite being one of the most ancient and one of the most frequently depicted and mentioned gods in the Egyptian pantheon, Anubis played almost no role in Egyptian myths. Anubis was depicted in black, a color that symbolized both rebirth and the discoloration of the corpse after embalming, Anubis is associated with Wepwawet, another Egyptian god portrayed with a dogs head or in canine form, but with grey or white fur. Historians assume that the two figures were eventually combined and his daughter is the serpent goddess Kebechet. Anubis is a Greek rendering of this gods Egyptian name, in Egypts Early Dynastic period, Anubis was portrayed in full animal form, with a jackal head and body. A jackal god, probably Anubis, is depicted in stone inscriptions from the reigns of Hor-Aha, Djer, the oldest known textual mention of Anubis is in the Pyramid Texts of the Old Kingdom, where he is associated with the burial of the pharaoh. In the Old Kingdom, Anubis was the most important god of the dead and he was replaced in that role by Osiris during the Middle Kingdom. In the Roman era, which started in 30 BC, tomb paintings depict him holding the hand of deceased persons to them to Osiris. The parentage of Anubis varied between myths, times and sources, in early mythology, he was portrayed as a son of Ra. In the Coffin Texts, which were written in the First Intermediate Period, another tradition depicted him as the son of his father Ra and mother Nephthys. George Hart sees this story as an attempt to incorporate the independent deity Anubis into the Osirian pantheon, an Egyptian papyrus from the Roman period simply called Anubis the son of Isis. In the Ptolemaic period, when Egypt became a Hellenistic kingdom ruled by Greek pharaohs, Anubis was merged with the Greek god Hermes, the two gods were considered similar because they both guided souls to the afterlife. The center of this cult was in uten-ha/Sa-ka/ Cynopolis, a place whose Greek name means city of dogs, in Book XI of The Golden Ass by Apuleius, there is evidence that the worship of this god was continued in Rome through at least the 2nd century. Indeed, Hermanubis also appears in the alchemical and hermetical literature of the Middle Ages, in contrast to real wolves, Anubis was a protector of graves and cemeteries. Several epithets attached to his name in Egyptian texts and inscriptions referred to that role, the Jumilhac papyrus recounts another tale where Anubis protected the body of Osiris from Set. Set attempted to attack the body of Osiris by transforming himself into a leopard, Anubis stopped and subdued Set, however, and he branded Sets skin with a hot iron rod
38.
Tutankhamun's mask
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Tutankhamuns mask, is funerary mask of Tutankhamun, is the death mask of the 18th-dynasty Ancient Egyptian Pharaoh Tutankhamun. It was discovered by Howard Carter in 1925 in tomb KV62 and is now housed in the Egyptian Museum in Cairo, the mask is one of the most well known works of art in the world. According to the Egyptologist Nicholas Reeves, the mask is not only the image from Tutankhamuns tomb. Since 2001, research has suggested that it may originally have been intended for Queen Neferneferuaten, Tutankhamuns burial chamber was found in the Valley of the Kings in the Theban Necropolis in 1922 and opened 3 years later. It would be two years before the excavation team, led by the English archaeologist Howard Carter, was able to open the heavy sarcophagus containing Tutankhamuns mummy. On 28 October 1925, they opened the innermost of three coffins to reveal the gold mask, seen by people for the first time in approximately 3,250 years. Carter wrote in his diary, The pins removed, the lid was raised. Ankh. Amen – placid and beautiful, with the features as we find upon his statues. The mask has fallen back, thus its gaze is straight up to the heavens. In December 1925, the mask was removed from the tomb, placed in a crate and transported 635 kilometres to the Egyptian Museum in Cairo, the mask is 54 cm tall,39.3 cm wide and 49 cm deep. It is fashioned from two layers of gold, varying from 1. 5–3 mm in thickness, and weighing 10.23 kg. X-ray crystallography has revealed that the mask contains two alloys of gold, a lighter 18.4 karat shade for the face and neck, and 22.5 karat gold for the rest of the mask. The face represents the standard image, and the same image was found by excavators elsewhere in the tomb. He wears a nemes headcloth, topped by the insignia of a cobra and vulture. The ears are pierced to hold earrings, a feature that appears to have reserved for queens. It contains inlays of coloured glass and gemstones, including lapis lazuli, quartz, obsidian, carnelian, feldspar, turquoise, amazonite, faience, in August 2014, the beard fell off when the mask was taken out of its display case for cleaning. The museum workers responsible used quick-drying epoxy in an attempt to fix it, the damage was noticed in January 2015, and has been repaired by a German-Egyptian team who reattached it using beeswax, a natural material used by the ancient Egyptians. A former director of the museum and a director of restoration were among those facing prosecution. A protective spell is inscribed with Egyptian hieroglyphs on the back and shoulders in ten vertical, the inscription is from Chapter 151 of the Book of the Dead and first appeared on masks in the Middle Kingdom,500 years before Tutankhamun
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Eighteenth Dynasty of Egypt
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The eighteenth dynasty of ancient Egypt is the best known ancient Egyptian dynasty. It boasts several of Egypts most famous pharaohs, including Tutankhamun, the dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmosis. Famous pharaohs of Dynasty XVIII include Hatshepsut, longest-reigning woman-pharaoh of a dynasty, and Akhenaten. Dynasty XVIII is the first of the three dynasties of the Egyptian New Kingdom, the period in which ancient Egypt reached the peak of its power, radiocarbon dating suggests that Dynasty XVIII may have started a few years earlier than the conventional date of 1550 BC. The radiocarbon date range for its beginning is 1570–1544 BC, the point of which is 1557 BC. The pharaohs of Dynasty XVIII ruled for two hundred and fifty years. The dates and names in the table are taken from Dodson and Hilton, many of the pharaohs were buried in the Valley of the Kings in Thebes. More information can be found on the Theban Mapping Project website, several diplomatic marriages are known for the New Kingdom. These daughters of kings are often only mentioned in cuneiform texts and are not known from other sources. The marriages were likely a way to confirm good relations between these states, Dynasty XVIII was founded by Ahmose I, the brother or son of Kamose, the last ruler of the Dynasty XVII. Ahmose finished the campaign to expel the Hyksos rulers and his reign is seen as the end of the Second Intermediate Period and the start of the New Kingdom. Ahmose was succeeded by his son, Amenhotep I, whose reign was relatively uneventful, Amenhotep I probably left no male heir and the next pharaoh, Thutmose I, seems to have been related to the royal family through marriage. During his reign the borders of Egypts empire reached their greatest expanse, extending in the north to Carchemish on the Euphrates, Thutmose I was succeeded by Thutmose II and his queen, Hatshepsut. Thutmose III who later became known as the greatest military pharaoh ever and he had a second co-regency in his old age with his son Amenhotep II. Amenhotep II was succeeded by Thutmose IV, who in his turn was followed by his son Amenhotep III, the reign of Amenhotep III is seen as a high point in this dynasty. Amenhotep III undertook large scale building programmes, the extent of which can only be compared with those of the much longer reign of Ramesses II during Dynasty XIX. Amenhotep III may have shared the throne for up to twelve years with his son Amenhotep IV, there is much debate about this proposed co-regency. Some experts believe there was a lengthy co-regency, while others prefer to see a short one, there are also many experts who believe no such co-regency existed at all
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Egyptian Museum
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The Museum of Egyptian Antiquities, known commonly as the Egyptian Museum or Museum of Cairo, in Cairo, Egypt, is home to an extensive collection of ancient Egyptian antiquities. It has 120,000 items, with an amount on display. The edifice is one of the largest museums in the region, as of February 2017, the museum is open to the public. The Egyptian Museum of Antiquities contains many important pieces of ancient Egyptian history and it houses the world’s largest collection of Pharaonic antiquities. The Egyptian government established the museum, built in 1835 near the Ezbekeyah Garden, in 1855 Archduke Maximilian of Austria was given all of the artifacts by the Egyptian government, these are now in the Kunsthistorisches Museum, Vienna. A new museum was established at Boulaq in 1858 in a former warehouse, the building lay on the bank of the Nile River, and in 1878 it suffered significant damage in a flood of the Nile River. In 1891, the collections were moved to a royal palace. They remained there until 1902 when they were moved, for the last time, during the Egyptian Revolution of 2011, the museum was broken into, and two mummies were destroyed. Several artifacts were shown to have been damaged. Since then 25 objects have been found and those that were restored were put on display in September 2013 in an exhibition entitled Damaged and Restored. There are two floors in the museum, the ground floor and the first floor. On the ground there is an extensive collection of papyrus. The numerous pieces of papyrus are generally small fragments, due to their decay over the past two millennia, several languages are found on these pieces, including Greek, Latin, Arabic, and ancient Egyptian. The coins found on floor are made of many different metals, including gold, silver. The coins are not only Egyptian, but also Greek, Roman and this has helped historians research the history of Ancient Egyptian trade. Also on the floor are artifacts from the New Kingdom. These artifacts are generally larger than items created in earlier centuries, two special rooms contain a number of mummies of kings and other royal family members of the New Kingdom. In the garden adjacent to the building of the museum a memorial to famous egyptologists of the world is located, the Murder of Tutankhamen, A True Story
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Younger Memnon
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The Younger Memnon is an Ancient Egyptian statue, one of two colossal granite heads from the Ramesseum mortuary temple in Thebes, Upper Egypt. It depicts the Nineteenth Dynasty Pharaoh Ramesses II wearing the Nemes head-dress with a diadem on top. The damaged statue has since lost its body and lower legs and it is one of a pair that originally flanked the Ramesseums doorway. The head of the statue is still found at the temple. The Younger Memon is 2.7 m high by 2 meters wide and it weighs 7.25 tons and was cut from a single block of two-coloured granite. There is a variation of normal conventions in that the eyes look down slightly more than usual. Napoleons men tried but failed to dig and remove it to France during his 1798 expedition there, during which he did acquire and it was during this attempt that the hole on the right of the torso is said to have been made. Using his hydraulics and engineering skills, it was pulled on wooden rollers by ropes to the bank of the Nile opposite Luxor by hundreds of workmen. However, no boat was yet available to take it up to Alexandria and so Belzoni carried out an expedition to Nubia, returning by October. With French collectors also in the area looking to acquire the statue, he then sent workmen to Esna to gain a suitable boat. He finally loaded the products of these digs, plus the Memnon, onto this boat, there he received and obeyed orders from Salt to unload all but the Memnon, which was then sent on to Alexandria and London without him. Anticipated by Shelleys poem Ozymandias, the arrived in 1818 on Weymouth in Deptford. In London it acquired its name The Younger Memnon, after the Memnonianum and it was later acquired from Salt in 1821 by the British Museum and was at first displayed in the old Townley Galleries for several years, then installed in 1834 in the new Egyptian Sculpture Gallery. The soldiers were commanded by a Waterloo veteran, Major Charles Cornwallis Dansey, lame from a wound sustained there, who therefore sat whilst commanding them. On its arrival there, it could be said to be the first piece of Egyptian sculpture to be recognized as a work of art rather than a curiosity low down in the chain of art and it is museum number EA19. In February 2010 the statue was featured as object 20 in A History of the World in 100 Objects, a BBC Radio 4 programme by British Museum director Neil MacGregor. Spencer, The British Museum book of ancient Egypt, pp. 126–7 Albert M. Lythgoe, Statues of the Goddess Sekhmet, The Metropolitan Museum of Art Bulletin Vol.14, the object reference is EA19
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British Museum
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The British Museum is dedicated to human history, art and culture, and is located in the Bloomsbury area of London. The British Museum was established in 1753, largely based on the collections of the physician, the museum first opened to the public on 15 January 1759, in Montagu House, on the site of the current building. Although today principally a museum of art objects and antiquities. Its foundations lie in the will of the Irish-born British physician, on 7 June 1753, King George II gave his formal assent to the Act of Parliament which established the British Museum. They were joined in 1757 by the Old Royal Library, now the Royal manuscripts, together these four foundation collections included many of the most treasured books now in the British Library including the Lindisfarne Gospels and the sole surviving copy of Beowulf. The British Museum was the first of a new kind of museum – national, belonging to neither church nor king, freely open to the public, sloanes collection, while including a vast miscellany of objects, tended to reflect his scientific interests. The addition of the Cotton and Harley manuscripts introduced a literary, the body of trustees decided on a converted 17th-century mansion, Montagu House, as a location for the museum, which it bought from the Montagu family for £20,000. The Trustees rejected Buckingham House, on the now occupied by Buckingham Palace, on the grounds of cost. With the acquisition of Montagu House the first exhibition galleries and reading room for scholars opened on 15 January 1759. During the few years after its foundation the British Museum received several gifts, including the Thomason Collection of Civil War Tracts. A list of donations to the Museum, dated 31 January 1784, in the early 19th century the foundations for the extensive collection of sculpture began to be laid and Greek, Roman and Egyptian artefacts dominated the antiquities displays. Gifts and purchases from Henry Salt, British consul general in Egypt, beginning with the Colossal bust of Ramesses II in 1818, many Greek sculptures followed, notably the first purpose-built exhibition space, the Charles Towneley collection, much of it Roman Sculpture, in 1805. In 1816 these masterpieces of art, were acquired by The British Museum by Act of Parliament. The collections were supplemented by the Bassae frieze from Phigaleia, Greece in 1815, the Ancient Near Eastern collection also had its beginnings in 1825 with the purchase of Assyrian and Babylonian antiquities from the widow of Claudius James Rich. The neoclassical architect, Sir Robert Smirke, was asked to draw up plans for an extension to the Museum. For the reception of the Royal Library, and a Picture Gallery over it, and put forward plans for todays quadrangular building, much of which can be seen today. The dilapidated Old Montagu House was demolished and work on the Kings Library Gallery began in 1823, the extension, the East Wing, was completed by 1831. The Museum became a site as Sir Robert Smirkes grand neo-classical building gradually arose
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Sobek
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Sobek, in Greek, Suchos and from Latin Suchus, was an ancient Egyptian deity with a complex and fluid nature. He is associated with the Nile crocodile and is represented in its form or as a human with a crocodile head. Sobek enjoyed a longstanding presence in the ancient Egyptian pantheon, from the Old Kingdom through the Roman period and he is first known from several different Pyramid Texts of the Old Kingdom, particularly from spell PT317. Unis has appeared as Sobek, Neiths son, Unis will eat with his mouth, Unis will urinate and Unis will copulate with his penis. Unis is lord of semen, who takes women from their husbands to the place Unis likes according to his hearts fancy. The origin of his name, Sbk in ancient Egyptian, is debated among scholars, though Sobek was worshipped in the Old Kingdom, he truly gained prominence in the Middle Kingdom, most notably under the Twelfth Dynasty king, Amenemhat III. Amenemhat III had taken a particular interest in the Faiyum region of Egypt, Amenemhat and many of his dynastic contemporaries engaged in building projects to promote Sobek – projects that were often executed in the Faiyum. In this period, Sobek also underwent an important change, he was fused with the falcon-headed god of divine kingship. This brought Sobek even closer with the kings of Egypt, thereby giving him a place of prominence in the Egyptian pantheon. The fusion added a level of complexity to the god’s nature, as he was adopted into the divine triad of Horus. Sobek-Horus persisted as a figure in the New Kingdom, but it was not until the last dynasties of Egypt that Sobek-Ra gained prominence and this understanding of the god was maintained after the fall of Egypts last native dynasty in Ptolemaic and Roman Egypt. The entire Faiyum region – the Land of the Lake in Egyptian – served as a center of Sobek. Most Faiyum towns developed their own localized versions of the god, such as Soknebtunis at Tebtunis, Sokonnokonni at Bacchias, at Karanis, two forms of the god were worshipped, Pnepheros and Petsuchos. There, mummified crocodiles were employed as cult images of Petsuchos, Sobek Shedety, the patron of the Faiyums centrally located capital, Crocodilopolis, was the most prominent form of the god. Extensive building programs honoring Sobek were realized in Shedet, as it was the capital of the entire Arsinoite nome and it is thought that the effort to expand Sobeks main temple was initially driven by Ptolemy II. Outside the Faiyum, Kom Ombo, in southern Egypt, was the biggest cultic center of Sobek, particularly during the Ptolemaic, located about 30 miles north of Aswan and was built during the Graeco-Roman period. The temple at this site was called the Per-Sobek, meaning the house of Sobek, Sobek is, above all else, an aggressive and animalistic deity who lives up to the vicious reputation of his patron animal, the large and violent Nile crocodile. Some of his common epithets betray this nature succinctly, the most notable of which being, he who loves robbery, he who eats while he also mates, however, he also displays grand benevolence in more than one celebrated myth
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Osiris
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Osiris was an Egyptian god, usually identified as the god of the afterlife, the underworld, and the dead, but more appropriately as the god of transition, resurrection, and regeneration. He was also associated with the epithet Khenti-Amentiu, meaning Foremost of the Westerners, as ruler of the dead, Osiris was also sometimes called king of the living, ancient Egyptians considered the blessed dead the living ones. Osiris was considered the brother of Isis, Set, Nephthys, and Horus the Elder and he was described as the Lord of love, He Who is Permanently Benign and Youthful and the Lord of Silence. The Kings of Egypt were associated with Osiris in death – as Osiris rose from the dead they would, in union with him, inherit eternal life through a process of imitative magic. By the New Kingdom all people, not just pharaohs, were believed to be associated with Osiris at death, Osiris was widely worshipped as Lord of the Dead until the suppression of the Egyptian religion during the rise of Christianity in the Roman Empire. Osiris is a Latin transliteration of the Ancient Greek Ὄσιρις IPA, in Egyptian hieroglyphs the name is appears as wsjr or jsjrt. Since hieroglyphic writing lacks vowels, Egyptologists have vocalized the name in various ways as Asar, Yasar, Aser, Asaru, Ausar, Ausir, Wesir, Usir, several proposals have been made for the etymology and meaning of the original name wsjr. John Gwyn Griffiths proposed a derivation from wsr signifying the powerful, moreover, one of the oldest attestations of the god Osiris appears in the mastaba of the deceased Netjer-wser. David Lorton proposed that Wsjr is composed by the morphemes set-jret signifying ritual activity, wolfhart Westendorf proposed an etymology from Waset-jret she who bears the eye. He also carries the crook and flail, the crook is thought to represent Osiris as a shepherd god. The symbolism of the flail is more uncertain with shepherds whip, fly-whisk and he was commonly depicted as a pharaoh with a complexion of either green or black in mummiform. The Pyramid Texts describe early conceptions of an afterlife in terms of travelling with the sun god amongst the stars. Amongst these mortuary texts, at the beginning of the 4th dynasty, is found, An offering the king gives, by the end of the 5th dynasty, the formula in all tombs becomes An offering the king gives and Osiris. Osiris is the father of the god Horus, whose conception is described in the Osiris myth. The myth described Osiris as having been killed by his brother Set, Isis joined the fragmented pieces of Osiris, but the only body part missing was the phallus. Isis fashioned a golden phallus, and briefly brought Osiris back to life by use of a spell that she learned from her father and this spell gave her time to become pregnant by Osiris before he again died. Isis later gave birth to Horus, as such, since Horus was born after Osiris resurrection, Horus became thought of as a representation of new beginnings and the vanquisher of the evil Set. Ptah-Seker thus gradually became identified with Osiris, the two becoming Ptah-Seker-Osiris, Osiris soul, or rather his Ba, was occasionally worshipped in its own right, almost as if it were a distinct god, especially in the Delta city of Mendes
45.
Lapis lazuli
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Lapis lazuli, or lapis for short, is a deep blue, semi-precious stone prized since antiquity for its intense color. As early as the 7th millennium BC, lapis lazuli was mined in the Sar-i Sang mines, in Shortugai, Lapis was highly valued by the Indus Valley Civilisation. Lapis beads have been found at burials in Mehrgarh, the Caucasus. It was used in the mask of Tutankhamun. At the end of the Middle Ages, lapis lazuli began to be exported to Europe, where it was ground into powder and made into ultramarine, today, mines in northeast Afghanistan and Pakistan are still the major source of lapis lazuli. Important amounts are produced from mines west of Lake Baikal in Russia. Smaller quantities are mined in Italy, Mongolia, the United States, the name Lapis lazuli came to be associated with its color. The English word azure, French azur, Italian azzurro, Polish lazur, Romanian azur and azuriu, Portuguese and Spanish azul, the most important mineral component of lapis lazuli is lazurite, a feldspathoid silicate mineral with the formula 861-2. Most lapis lazuli also contains calcite, sodalite, and pyrite, some samples of lapis lazuli contain augite, diopside, enstatite, mica, hauynite, hornblende, nosean, and sulfur-rich löllingite geyerite. Lapis lazuli usually occurs in marble as a result of contact metamorphism. The intense blue color is due to the presence of the radical anion in the crystal. An electronic excitation of one electron from the highest doubly filled molecular orbital into the lowest singly occupied orbital results in an intense absorption line at λmax ~617 nm. Lapis lazuli is found in limestone in the Kokcha River valley of Badakhshan province in northeastern Afghanistan, Afghanistan was the source of lapis for the ancient Egyptian and Mesopotamian civilizations, as well as the later Greeks and Romans. Ancient Egyptians obtained this material through trade from Afghanistan, during the height of the Indus Valley Civilisation about 2000 BC, the Harappan colony now known as Shortugai was established near the lapis mines. In addition to the Afghan deposits, lapis is also extracted in the Andes and it is mined in smaller amounts in Angola, Argentina, Burma, Pakistan, Canada, Italy, India, and in the United States in California and Colorado. Lapis takes an excellent polish and can be made into jewelry, carvings, boxes, mosaics, ornaments, small statues, during the Renaissance, Lapis was ground and processed to make the pigment ultramarine for use in frescoes and oil painting. Its usage as a pigment in oil paint largely ended in the early 19th century when a chemically identical synthetic variety became available, Lapis lazuli is commercially synthesized or simulated by the Gilson process, which is used to make artificial ultramarine and hydrous zinc phosphates. It may also be substituted by spinel or sodalite, or by dyed jasper or howlite, Lapis lazuli has been mined in Afghanistan and exported to the Mediterranean world and South Asia since the Neolithic age
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Isis
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Isis is a goddess from the polytheistic pantheon of Egypt. She was first worshiped in ancient Egyptian religion, and later her worship spread throughout the Roman Empire, Isis was worshipped as the ideal mother and wife as well as the patroness of nature and magic. She was the friend of slaves, sinners, artisans and the downtrodden, Isis is often depicted as the mother of Horus, the falcon-headed deity associated with king and kingship. Isis is also known as protector of the dead and goddess of children, as the personification of the throne, she was an important representation of the pharaohs power. The pharaoh was depicted as her child, who sat on the throne she provided. Her cult was popular throughout Egypt, but her most important temples were at Behbeit El Hagar in the Nile delta, and, beginning in the reign with Nectanebo I, on the island of Philae in Upper Egypt. In the typical form of her myth, Isis was the first daughter of Geb, god of the Earth, and Nut, goddess of the Sky and she married her brother, Osiris, and she conceived Horus with him. Isis was instrumental in the resurrection of Osiris when he was murdered by Set, using her magical skills, she restored his body to life after having gathered the body parts that had been strewn about the earth by Set. This myth became very important during the Greco-Roman period, for example, it was believed that the Nile River flooded every year because of the tears of sorrow which Isis wept for Osiris. Osiriss death and rebirth was relived each year through rituals, the worship of Isis eventually spread throughout the Greco-Roman world, continuing until the suppression of paganism in the Christian era. The popular motif of Isis suckling her son Horus, however, the Greek name version of Isis is close to her original, Egyptian name spelling. Isis name was written with the signs of a throne seat. The grammar, spelling and used signs of Isis name never changed during time in any way, however, the symbolic and metaphoric meaning of Isis name remains unclear. The throne seat sign in her name might point to a role as a goddess of kingship. Thus, her name could mean she of the kings throne, but all other Egyptian deities have names that point to clear cosmological or nature elemental roles, thus the name of Isis shouldnt be connected to the king himself. The throne seat symbol might alternatively point to a meaning as throne-mother of the gods and this in turn would supply a very old existence of Isis, long before her first mentioning during the late Old Kingdom, but this hypothesis remains unproven. A third possible meaning might be hidden in the egg-symbol, that was used in Isis name. The egg-symbol always represented motherhood, implying a role of Isis
47.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
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