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2024
A Conference organized by the Hellenic Society of Aesthetics, University Paris I (Sorbonne), et al., where Dr Alicia Maravelia talked about the Botanical Garden/Chamber of Karnak and the ecosophy of ancient Egyptians.
Aegyptiaca. Journal of the History of Reception of Ancient Egypt, 2022
Almost forty years ago, excavators at the ancient city of Aphrodisias in Asia Minor made an unexpected discovery. Amid the destruction collapse of a late antique house were two small artefacts of obviously Egyptian manufacture: a statuette of a seated female, probably the goddess Isis or Ma’at in green diorite, and a faïence shabti. Neither piece is complete. The shabti is broken at the knees and the statuette is missing its head. The damage is likely to have been the result of the violent circumstances of their deposition. From their condition and position within the collapse deposit it could be inferred that the two objects were present on an upper storey of a house at the moment of its destruction by fire, an event that occurred sometime in the seventh century AD. After a brief introduction to the house, its spatial divisions and the material culture assemblage present at the moment of its destruction, we investigate the potential routes through which the aegyptiaca travelled to Aphrodisias, a site located about 140 km inland from the west coast of Asia Minor. The Aphrodisian finds are contextualised with reference to objects of Egyptian manufacture discovered in similar contexts across Asia Minor, often in coastal regions. We consider the effects the statuettes may have had on their Aphrodisian viewers, and in particular how they thrust Egypt into a late antique household. Which interpretations of these objects were available to a late antique observer? A final section returns to the immediate find context, considering how the associations of such exotic objects shifted as they were retained by multiple generations of a single household.
C. Eyre (ed.), Proceedings of the Seventh International Congress of Egyptologists, Cambridge 3-9-September 1995, OLA 82, Leuven 1998, 785-792, 1998
Starting from the premise that aesthetics, or better the aesthetic approach, is the conscious sensual perception of beauty (or ugliness), we find that the Egyptians of the Middle Kingdom had a feeling for what was to be considered beautiful (or ugly) either in the natural or man-made environment. The aesthetic approach is frequently put into words in all Middle Kingdom texts of some literary standing, religious, political, didactic or narrative. However, there are no theoretic discussions of this topic in ancient Egypt. Perhaps it is for this reason that it has not been previously examined in Egyptology. Aesthetic metaphors or descriptions refer to a range of objects such as: buildings, objects of applied arts, nature, the human body, i.e. the appearance and charisma of gods and kings, and the 'fine speach'. The beauty of persons and things is generally described with expressions pertaining to visual qualities such as radiance, colour, magnitude, strength. These expressions can be classified and give us Information as to what stimuli triggered the feeling of beauty for a beholder. The aesthetic approach gave an individual who was capable of it an immediate intuitive cognition of the essence of gods, men and things - reached by means of the physical senses. The aethetic cognition played an important part in the communication between members of the ruling oligarchy in the Middle Kingdom. This article aims at defining the concepts leading them to a mutual understanding on that matter.
The Director’s Edito - “Mummies are not museum “objects” - The “Sarcophagus Project” - The 5000 photos of plants species of Egypt-mark exceeded !- Our predecessors in the study of “The Plants of Ancient Egypt”: Georg A. Schweinfurth (1836-1925). Gifts from our sponsors ! - Follow up...and Arpag Mekhitarian. Encaustic and “Fayum Portraits”…an introduction.
2024
Boyer, Valentin, "Contemporary Egyptian Artists: Perceptions and Reappropriations of Ancient Egypt", International Society for the Study of Egyptomania (ISSE) Online Conference 2024 "Past Perceptions, Modern Perspectives: Contextualising Egyptomania", 10th-11th August 2024 Abstract: In order to integrate a new perspective on modern Egyptomania, it is important to look at contemporaryEgyptian popular culture inspired by Pharaonic Egypt in its works. As Egyptomania - a universalphenomenon - is no longer exclusively the prerogative of Westerners, Egyptian artists arereappropriating the past of their country and drawing inspiration from it to offer an alternative historicalnarrative to the Western one, and to address the notions of national, religious and artistic identity intheir works. Historical knowledge and representations of the past need to be put into perspective,particularly when the reference to ancient Egypt plays the role of asserting identity affirmation. A newgeneration of contemporary Egyptian artists is renewing, reinventing and recreating ancient Egypt byrevisiting its most evocative motifs. The study of these singular works thus makes it possible tounderstand the way in which the processes of reinvention and subversion have generated multiplevisions of Egypt. The study of the works of Egyptian artists Ibrahim Abd Elmalak, Wael Shawky, HossamDirar, Karim Abd Elmalak, Ibrahim Khatab, Alaa Awad, Sara Sallam and many others, allow us to examineour relationship to time, the iconicity of motifs and the renewal of the Egyptomania phenomenonthrough the remanence of ancient Egypt infusing contemporary Egyptian art and its plural presence inour daily lives, as with street art. These emerging Egyptian artists, with a growing internationalreputation, are helping to spread this polysemic Egyptian Egyptomania and shines on the internationalart scene.
The shores of lakes and pools and the bank of a river represent often the scenery of romantic and sexual meetings not only in Ancient Egypt. In fact these places are loci amoeni attested in every literature of the ancient and modern times. Moreover lakes and ponds are often present in the garden, another ideal scenery for love meetings, where plants and flowers, like the water, not only surround the lovers, but also symbolize the fertility. The stretch of water is a very typical literary tópos and it appears not only in many love poems but also in mythological texts and in other literary genres. Thanks to the detailed analysis of these texts, it's possible to notice that the use of this kind of tópos changes according to the compositions. In narrative and mythological texts, ponds, canals and obviously the Nile provide an excellent backdrop for love meetings. In fact, the calm and the quiet of these places and the beauties of nature represent the ideal scene where men, women and also divinities can meet with their lovers or run by chance into someone. Furthermore, the luxuriant vegetation and especially the «papyrus forest» make the love meetings more intimate and secret. For example, in the collection of love poems called «Beginning of the pleasant sayings discovered while carrying a scroll written by Nakht-Sobek, the scribe of the cemetery» 1 , an encounter takes place near a ford: «…I found the lover at the ford his feet set in the water…» 2 Just a pond and a river are the sceneries of two famous myths: «The shepherd and the goddess» 3 and «The myth of Anat and Seth» 4. In fact both these stories start with a description of where the encounter will take place. In the first text, the shepherd tells in the first person singular what happened: «…Well, when I descended to the pond that is near the pasture, I saw a woman. She wasn't of human race…» 5 Unfortunately the text is full of lacunae and incomplete and we don't know the conclusion of the story, but shortly before the interruption, the story goes on in the third person:
AUX SOURCES DES CONNAISSANCES HISTORIQUES. ÉPIGRAPHIE, TEXTES LITTÉRAIRES ET DOCUMENTS ARCHÉOLOGIQUES. Volume dédié à la mémoire de ALEXANDRU AVRAM, ed. by L. BUZOIANU, V. LUNGU, D. HĂLMAGI, (Pontica LXVI, Supplement X) , 2023
A.V. Hartmann and B. Heuser (eds.), War, Peace and World Orders in European History, 2001
Clay Figurines in Context: Crucibles of Egyptian, Nubian, and Levantine Societies in the Middle Bronze Age (2100–1550 BC) and Beyond edited by Gianluca Miniaci, Cristina Alù, Camilla Saler, Vanessa Forte, 2024
Revista Aurora, 2021
Congresso Jurídico Globalización, Riesgo y Medio Ambiente, 2010
European Urology Supplements, 2017
American Journal of Obstetrics and Gynecology
Bioresource Technology, 2011
Applied Catalysis B: Environmental, 2008
Riset Akuntansi dan Portofolio Investasi
International Journal of Occupational Medicine and Environmental Health, 2017
CMAJ : Canadian Medical Association journal = journal de l'Association medicale canadienne, 2014