Relevant bibliographies by topics / Art, Ancient – Egypt

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, Ancient – Egypt'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Art, Ancient – Egypt"

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Poo, Mu-Chou, and Gay Robins. "The Art of Ancient Egypt." International Journal of African Historical Studies 31, no. 2 (1998): 493. http://dx.doi.org/10.2307/221163.

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Larkin, Diana Wolfe, and Gay Robins. "The Art of Ancient Egypt." African Studies Review 44, no. 3 (December 2001): 151. http://dx.doi.org/10.2307/525636.

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Riggs, Christina. "The Art of Ancient Egypt." African Arts 35, no. 2 (July 1, 2002): 11–89. http://dx.doi.org/10.1162/afar.2002.35.2.11.

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Nifatova, O. Yu. "STUDY OF COLORIST CULTURE OF ANCIENT OF EGYPT BY PRIMARY SCHOOL STUDENTS ANNOTATIONS." Educational Dimension 23 (December 15, 2008): 127–31. http://dx.doi.org/10.31812/educdim.6847.

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In the article «Study of color istical culture of Ancient Egypt of pupils at secondary school» gives her point of view about the substantial aspects of use the interesting facts about the coloristical culture of Ancient Egypt on the lessons offine art, method of study of this culture at secondary school.
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Sprochi, Amanda K. "Book Review: Artifacts from Ancient Egypt." Reference & User Services Quarterly 58, no. 2 (January 18, 2019): 125. http://dx.doi.org/10.5860/rusq.58.2.6941.

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Artifacts from Ancient Egypt, a new title in the Greenwood Daily Life through Artifacts series, utilizes objects of daily life from ancient Egypt to illuminate the ways in which material culture reflects the lifeways of the people who produce it. In keeping with the general outline of the series, author Barbara Mendoza, a Berkeley-trained specialist in ancient Egyptian and eastern Mediterranean art and archaeology, has selected 45 pieces that reflect the customs, beliefs, and practices of ancient Egyptians from the earliest Predynastic era (ca. 5000 BCE) through the late Graeco-Roman period (ca. 300 CE). The material culture of ancient Egypt is particularly adapted to this kind of treatment, given its deeply ornamented and symbolic nature, and is an excellent beginner’s guide to understanding and interpreting how material culture reflects the society that created it.
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Baines, John. "On the Status and Purposes of Ancient Egyptian Art." Cambridge Archaeological Journal 4, no. 1 (April 1994): 67–94. http://dx.doi.org/10.1017/s0959774300000974.

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No term in the ancient Egyptian language corresponds neatly with Western usages of ‘art’, and Egyptologists have often argued that there is no such thing as ‘Egyptian art’. Yet aesthetically organized structures and artefacts constitute the majority of evidence from Egypt, a legacy created mainly for a small élite. The genres of these materials, all of which had functions additional to the purely aesthetic, are similar to those of many other cultures. They constitute a repository of civilizational values, related to the system of hieroglyphic writing, that was maintained and transmitted across periods. Civilization and artistic style are almost identified with each other. Funerary material constitutes one central context for artistic forms; others are temples and such poorly-preserved locations as palaces. The importance attached to artistic activities in Egypt, high-cultural involvement in them, and idiosyncratic developments can be illustrated from many periods. Egyptian art is a typically inward-looking and almost self-sustaining product of a professional group. It is no less ‘art’ for the wide range of functions and purposes it fulfilled.
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Larkin, Diana Wolfe, and Edna R. Russmann. "Eternal Egypt: Masterworks of Ancient Art from the British Museum." African Studies Review 44, no. 3 (December 2001): 153. http://dx.doi.org/10.2307/525637.

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David, Rosalie. "The art of healing in ancient Egypt: a scientific reappraisal." Lancet 372, no. 9652 (November 2008): 1802–3. http://dx.doi.org/10.1016/s0140-6736(08)61749-3.

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Bochi, Patricia. "Time in the Art of Ancient Egypt: From Ideological Concept to Visual Construct." KronoScope 3, no. 1 (2003): 51–82. http://dx.doi.org/10.1163/156852403322145388.

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AbstractThe pervasiveness and immutability of time forced the ancient Egyptians to deal with its impact on everyday life in various ways. Yet, so far most studies have focused on the written expression of the concern for time, thus overlooking other areas of cognition equally capable of accounting for the ancient Egyptians' attempt at addressing the issue. Thus, the present study focuses on the way in which the ancient Egyptians conceptualized and visually represented the phenomenon of time. After examining the image-making process, the study analyzes the socio-cultural implications of such visual approach within the context of ancient Egyptian society.
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Гамалія, К. М., and Я. Є. Гальчук. "ХУДОЖНЬО-КОМПОЗИЦІЙНІ ЗАКОНОМІРНОСТІ ОФОРМЛЕННЯ КАЛЕНДАРНОЇ СИСТЕМИ В ПАМ’ЯТКАХ КУЛЬТУРИ І МИСТЕЦТВА ДАВНІХ ЦИВІЛІЗАЦІЙ." Art and Design, no. 4 (February 15, 2021): 81–90. http://dx.doi.org/10.30857/2617-0272.2020.4.6.

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The purpose of the article is to study and create general comparative analysis of the formation and compositional techniques of complex calendar structures in the culture of Ancient Egypt, Ancient Greece and Ancient Rome, to study the connection and interaction between their sign systems. Methodology. The study of the principles of the representation of ancient calendar systems is based on historical-cultural, comparative, hypothetical-deductive and logical methods. Analytical method allowed to compare font compositions and artistic, figurative, formal and formal integrity of calendars. The results of the study, the features, differences and patterns of interpretation and design of the calendar structures of the periods of Ancient Egypt and Antiquity were analyzed and compared. The scientific novelty of the research lies in the fact that for the first time a clear characteristic of the representation of calendar structures in the objects of the cultural heritage of Ancient Egypt, Ancient Greece and Ancient Rome was analyzed and revealed:- the visual sign system and the principles of its informative content were compared;- identified methods of design in relation to scale, compositional techniques, graphics, techniques and representation technology are determined;- the cause-and-effect consistent patterns of the processes of artistic formation have been clarified. Practical significance. The application of the research results allows to diversify and enrich the courses of disciplines in the general history of art and culturology, archeography, source studies, et cetera. The features of the composition and calligraphy of calendar systems specified in the article can be applied in the field of graphic design, and serve in semiological and art historian researches.
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Dissertations / Theses on the topic "Art, Ancient – Egypt"

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Haynes, Dawn. "The symbolism and significance of the butterfly in ancient Egypt." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79920.

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Thesis (MPhil)--Stellenbosch University, 2103.
ENGLISH ABSTRACT: Ancient Egyptian art and artefacts reveal a great deal about the culture and beliefs of this civilization. It was a civilization steeped in myth, symbolism and imagery. Tomb art has been extensively analysed and studied in an effort to reveal the essential way of life of the Ancient Egyptians, their religious beliefs and their philosophy of life. It is agreed that symbolism was an inherent part of their lives and beliefs. They looked to nature and observed the behaviour of animals, plants, the environment and also the weather to attempt to rationalize the world they lived in. Their close observation of behaviour patterns in nature resulted in a complex hierarchy of gods and goddesses who were accountable for successful living. Among the animal kingdom, certain animals gained such distinction that they were linked to certain deities. The scarab beetle is one such creature. Insects featured variously in their art, their myths and their belief in magic. While the scarab beetle is possibly the most documented of the insects, other insects such as the bee, the fly, the locust and the praying mantis have all been investigated. The butterfly features frequently in Ancient Egyptian art and yet has not been the subject of in-depth study. This investigation attempts to examine the symbolism and significance of the butterfly in Ancient Egypt. Richard Wilkinson (1994) has provided a framework for analysing symbolism in Egyptian art. He suggests nine aspects which can be examined in order to reveal symbolism. In this study, a selection of art from various dynasties is systematically examined according to these nine aspects. Each art work portrays the butterfly. Through this careful examination it is hoped that a clearer indication of the role of the butterfly in Ancient Egypt will be obtained. Having discussed all nine aspects for each of the sources, a discussion and various conclusions follow which look at the trends which appear. Certain patterns emerge which indicate that the butterfly does indeed play a significant role as a symbol in Ancient Egypt.
AFRIKAANSE OPSOMMING: Antieke Egiptiese kuns en artefakte openbaar baie oor die kultuur en oortuigings van hierdie beskawing. Dit was 'n beskawing ryk aan mites, simboliek en beelde. Grafkuns is deeglik ontleed en bestudeer in 'n poging om die wesenlike lewenswyse van die antieke Egiptenare, hul godsdienstige oortuigings en lewensfilosofie te openbaar. Daar word saamgestem dat simboliek 'n inherente deel van hul lewens en oortuigings uitgemaak het. Hulle het op die natuur gesteun en die gedrag van diere, plante, die omgewing en ook die weer waargeneem om te probeer om hul lewenswêreld te verklaar. Hul noukeurige waarneming van natuurverskynsels het tot 'n komplekse hiërargie van gode en godinne gelei wat vir 'n suksesvolle lewe verantwoordelik was. Sekere diere in die diereryk was so besonders dat hulle met sekere gode en godinne verbind was. Die skarabee kewer is een so 'n skepsel. Insekte verskyn onder andere in hul kuns, hul mites en hul geloof in magie. Terwyl die skarabee moontlik die mees gedokumenteerde insek was, is ander insekte soos bye, vlieë, sprinkane, en die bidsprinkaan ook almal ondersoek. Die skoenlapper verskyn gereeld in die antieke Egiptiese kuns, maar was nog nie die onderwerp van 'n grondige studie nie. Hierdie studie poog om die simboliek en belangrikheid van die skoenlapper in antieke Egipte te ontleed. Richard Wilkinson (1994) verskaf 'n raamwerk vir die ontleding van simboliek in Egiptiese kuns. Hy het nege aspekte voorgestel wat bestudeer kan word om die simboliek te openbaar. In hierdie studie, word 'n seleksie kuns van verskillende dinastieë, sistematies aan die hand van dié nege aspekte ontleed. Elke kunswerk beeld die skoenlapper uit. Deur hierdie noukeurige ondersoek, word daar gehoop dat die rol van die skoenlapper in antieke Egipte duideliker voorskyn. Na die bespreking van al nege aspekte vir elk van die bronne, volg daar 'n bespreking met verskillende gevolgtrekkings wat kyk na die tendense wat voorkom. Sekere patrone kom te voorsyn wat daarop dui dat die skoenlapper wel 'n belangrike rol as 'n simbool in antieke Egipte gespeel het.
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Mbokazi, Jabulani Tadeus. "Aspects of the family in Ancient Egypt." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/698.

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Thesis (MA (Ancient Studies)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: This study deals with the ancient Egyptian family. Cultural anthropology is used as a point of departure to reconstruct the daily lives of the ancient Egyptians. Cultural anthropology usually applies to living communities but most of the principles it uses are just as relevant in the study of a dead culture. The emphasis of this study is on the different cultural domains, which include education, religion, family livelihoods, family recreation, entertaimnent and travel and social organization and how these are interrelated. Most of our ancient Egyptian knowledge comes from the tombs of wealthy individuals, and thus incomplete since we have no record of how peasants perceived the world, as they could not afford a good burial. Other sources are the ancient documents and artefacts from town sites all associated with wealthy individuals. While peasants were too poor to send their children to school, wealthier Egyptians did send their children to school especially boys. Agriculture was central in ancient Egyptian life. The nobility and other higher classes depended on the toil of the peasant for basic commodities and food. The peasant families in the rural areas were unable to attend the lavish festivals in the cities. Their basic focus was centred on their homes, families and on the success of the harvest. The peasant had his own private god or gods to whom he could tum for aid or comfort in times of trouble. Surplus items of food, clothing, oil and such like could be used for barter for purchasing essential items for everyday living. During their spare time the Egyptian families entertained friends, engaged in the various pastimes and travel. The peasant, as providers of food, formed an important social base for the Egyptian state.
AFRIKAANSE OPSOMMING: Hierdie studie handel oor die Egiptiese familie. Kulturele antropologie word gebruik as metode om die daaglikse lewe van die antieke Egiptenare te rekonstrueer. Kulturele antropologie word gewoonlik op "lewende" gemeenskappe toegepas, maar die beginsels daarvan is net so relevant vir die bestudering van "dooie" kulture. Die fokus van hierdie studie is op die verskillende kulturele domeine wat insluit onderrig, religie, familie aktiwiteite, familie ontspanning, vermaak, reis en sosiale organisasie en hoe hierdie domeine op mekaar inwerk. Meeste van die kennis oor antieke Egipte word verkry uit die grafte van ryk individue en is daarom gebrekkig ten opsigte van kleinboere en hul siening van die wêreld, omdat hulle nie behoorlike grafte kon bekostig nie. Ander bronne is die antieke tekste en artefakte wat gevind word in dorpe, wat ook meestal behoort het aan ryk persone. Die kleinboere kon nie bekostig om hul kinders na 'n skool te stuur nie, maar ryk Egiptenare kon wel - veral dan seuns. Landbou was baie belangrik tot Egiptiese lewe. Die aristokrasie en ander klasse was afhanklik van die sukkelbestaan van kleinboere om hulle te voorsien van die basiese goedere en voedsel. Kleinboer families, wat in die platteland gebly het kon nie die groot feeste in die stede bywoon nie. Hul persoonlike oortuigings het daarom gefokus op die huishouding, familie en suksesvolle oeste. Kleinboere het 'n persoonlike god of gode gehad wat tot hul hulp kon kom, of troos kon bied in tye van krisis. Surplus goedere soos, onder andere, voedsel, klere en olie kon as ruilmiddel gebruik word om ander items wat benodig word, te bekom. In vrye tyd het families vriende onthaal, verskillende stokperdjies beoefen en rondgereis. Die kleinboere, as verskaffers van voedsel, het 'n belangrike sosiale basis van die Egiptiese staat gevorm.
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Fletcher, Amy Joann. "Ancient Egyptian hair : a study in style, form and function." Thesis, Online version, 1995. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.488165.

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Montagno-Leahy, Lisa. "Private tomb reliefs of the late period from Lower Egypt." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:3b3699de-8498-4021-bf5f-b35fcf1cf33c.

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This study considers the relief decoration of private tombs in Lower Egypt in the period 664-332 BC. The basis for analysis is a chronologically arranged descriptive catalogue, which includes both isolated blocks in museum collections and tombs whose location is known. The present condition of the relief and its content are described in detail there. Texts are considered where they provide infotmation on provenance and dating, and hand-copies are provided. Each piece is illustrated in the plate volume. Enough of the material can be dated by textual evidence to provide a solid framework for stylistic ordering of the remainder. The resulting chronology has important implications, dividing the period into two major phases, covering the seventh and sixth centuries, and the fourth century, separated by a hiatus in production of tomb reliefs. The chronology proposed eliminates the possibility that either Greeks or Persians exercised any significant influence on Egyptian art before the very end of the period. Instead, native tradition emerges as the primary inspiration for Late Period artists. Two sources stand out. The first is the Old-Middle Kingdom tomb repertory (archaism), the second is the New Kingdom tradition carried on in the minor arts, a source largely-ignored hitherto. These were not slavishly copied, but adapted and "modernized" to suit the taste of the time. The independence and creativity of Late Period artists is emphasized. A discussion of stylistic development in light of the dating system is given, and several themes are analyzed in detail as illustrations of the larger issues raised.
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Hilliard, Kristina Marie. "Images of a Gendered Kingship: Visual Representations of Hatshepsut and Her Influence on Images of Nefertiti." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5323/.

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I investigate why gendered images of Hatshepsut influenced androgynous images of Nefertiti in New Kingdom Egypt and how Nefertiti and Akhenaten used their images in the promotion of their monotheistic religion; through a contextual, stylistic and feminist examination of the images. Hatshepsut cultivated images of herself to legitimize her rule in relation to canonical kings before her. Similarly, Nefertiti represented herself as a figure indiscernible from Akhenaten, creating an image of female co-rulership. Although the visual representations of both Hatshepsut and Nefertiti differ, the concepts behind each are analogous. They both manipulated androgyny to create images displaying powerful women equal in status to male Egyptian kings.
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Brophy, Elizabeth Mary. "Royal sculpture in Egypt 300 BC - AD 220." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:590228be-3001-49b3-bf6c-137af08ac71c.

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The aim of this thesis is to approach Ptolemaic and Imperial royal sculpture in Egypt dating between 300 BC and AD 220 (the reigns of Ptolemy I and Caracalla) from a contextual point of view. To collect together the statuary items (recognised as statues, statue heads and fragments, and inscribed bases and plinths) that are identifiably royal and have a secure archaeological context, that is a secure find spot or a recoverable provenance, within Egypt. I then used this material, alongside other types of evidence such as textual sources and numismatic material, to consider the distribution, style, placement, and functions of the royal statues, and to answer the primary questions of where were these statues located? what was the relationship between statue, especially statue style, and placement? And what changes can be identified between Ptolemaic and Imperial royal sculpture? From analysis of the sculptural evidence, this thesis was able to create a catalogue of 103 entries composed of 157 statuary items, and use this to identify the different styles of royal statues that existed in Ptolemaic and Imperial Egypt and the primary spaces for the placement of such imagery, namely religious and urban space. The results of this thesis, based on the available evidence, was the identification of a division between sculptural style and context regarding the royal statues, with Egyptian-style material being placed in Egyptian contexts, Greek-style material in Greek, and Imperial-style statues associated with classical contexts. The functions of the statues appear to have also typically been closely related to statue style and placement. Many of the statues were often directly associated with their location, meaning they were an intrinsic part of the function and appearance of the context they occupied, as well as acting as representations of the monarchs. Primarily, the royal statues acted as a way to establish and maintain communication between different groups in Egypt.
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Olivier, Anette. "Social status of elite women of the New Kingdom of ancient Egypt a comparison of artistic features /." Thesis, Pretoria : UNISA, 2008. http://etd.unisa.ac.za/ETD-db/theses/available/etd-09262008-134009/unrestricted/dissertation.pdf.

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Moore, Cathie A. "Eternal Gaze: Third Intermediate Period Non-Royal Female Egyptian Coffins." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1401301633.

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Klop, Damian J. R. "Beneath the raptor’s wings : the avian composition grasping the symbol for eternity in Egypt." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/2724.

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Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2008.
A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources (academic literature and literature from ancient Egypt) were then consulted to support and/or expand on the iconographic, symbolic, and functional aspects of the motif: - At the iconographic level, the historical development and ‘structural dynamics’ of the motif are investigated to deduce the artistic rules that applied to its creation. - At the symbolic level, the symbolic meaning of the artwork is ascertained by theorizing on the meaning of the motif and its parts in an Egyptian context. - At the functional level, the function of the artwork is ascertained by investigating how the motif’s symbolism was intended to be applied to benefit the individual. The results of this research is that the avian motif developed over time according to strict artistic rules; that it symbolized the king, eternity and protection; and that its function was to protect the king in all phases of his existence in a political and mythological context in order to ensure that the he would attain an eternal life in the afterlife. In the mind of the ancient Egyptian this was achieved through the transference of the avian motif’s magical qualities to the user. The intended outcome of this study is to highlight the avian motif’s importance in the context of the ancient Egyptian culture.
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Bryson, Karen Margaret. "An Egyptian Royal Portrait Head in the Collection of the Michael C. Carlos Museum at Emory University." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/31.

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This thesis discusses a small, red granite, Egyptian royal portrait head in the collection of the Michael C. Carlos Museum in Atlanta, Georgia. The head is determined to be a fragment from a group depicting the king in front of the monumental figure of a divine animal, probably a ram or baboon. Scholars have attributed the head to the reigns of various New Kingdom pharaohs, including Horemheb and Seti I, but on more careful examination its style demonstrates that it dates to the reign of Ramesses II (1304-1237 B.C.).
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Books on the topic "Art, Ancient – Egypt"

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Langley, Andrew. Ancient Egypt. Chicago: Raintree, 2005.

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Arts of ancient Egypt. Boston, MA: MFA Publications, 2004.

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The art of ancient Egypt. Cambridge, Mass: Harvard University Press, 2008.

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The art of ancient Egypt. Cambridge, Mass: Harvard University Press, 1997.

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Museum, British, ed. The art of ancient Egypt. London: Published for the Trustees of the British Museum by British Museum Press, 1997.

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Sandison, David. The art of ancient Egypt. San Diego, CA: Laurel Glen Pub., 1997.

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Malam, John. Ancient Egypt. New York: Enchanted Lion Books, 2004.

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Peck, William H. Splendors of ancient Egypt. New York: Abbeville Press, 1997.

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Krakowie, Muzeum Archeologiczne w. Bogowie starożytnego Egyptu =: The gods of ancient Egypt. [Kraków]: Muzeum Archeologiczne w Krakowie, 2000.

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Florida International Museum (Saint Petersburg, Fla.) and Roemer und Pelizaeus-Museum, eds. Splendors of ancient Egypt. Detroit: Detroit Institute of Arts, 1997.

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Book chapters on the topic "Art, Ancient – Egypt"

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Hendrickx, Stan, and Frank Förster. "Early Dynastic Art and Iconography." In A Companion to Ancient Egypt, 826–52. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch37.

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Thomas, Thelma K. "Egyptian Art of Late Antiquity." In A Companion to Ancient Egypt, 1032–63. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch45.

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Vischak, Deborah. "Networks of Artistic Production in Upper Egypt During the third Millennium BCE." In Ancient Art Revisited, 149–69. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003131038-8.

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Bryan, Betsy M. "The Ancient Near East and Egypt." In A Companion to Ancient Near Eastern Art, 531–64. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118336779.ch22.

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Cochran, Judith. "Memphis—Exploration Neglected—Glories of the First City of Egypt—Immense Temples—Finest School of Art—Rescue of the Colossal Statues of Rameses Ii—Vicissitudes of Ancient City—Destruction by Theodosius—the Pyramids— Who Built them ?—the Sphinx—Destruction by Arabs." In Routledge Library Editions: Egypt, Vol6:72—Vol6:77. London: Routledge, 2021. http://dx.doi.org/10.4324/9780203079140-67.

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Hancock, James F. "Ancient Mediterranean trade links." In Spices, scents and silk: catalysts of world trade, 37–49. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789249743.0004.

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Abstract This chapter describes the commercial, political, and trade landscape of the early ancient civilizations. It consists of ten subchapters which are about the early Egyptian-Levantine trade, the Minoans and Mycenaeans, the invisible commodities in early commerce between Egypt and the Levant, Solomon and the Kingdom of Israel, Phoenicians, emergence of the Greek City States, Alexander and the City of Alexandria, Egypt under the Ptolemies, Rome and Carthage rise and fight for Mediterranean supremacy, and lastly, the Romans control of Egypt.
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Gonen, Ehud. "China and the Suez Canal—Politics, Economy, and Logistics." In Palgrave Studies in Maritime Politics and Security, 27–41. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15670-0_2.

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AbstractThe relations between China and Egypt are good and open, based on common economic and political interests as well as a deep mutual cultural appreciation since both China and Egypt are part of the four great river civilizations of the ancient world (The four civilizations are China and the Yang Cha River, Egypt and the Nile River, the northwestern region of the Indian subcontinent and the Ganges River, and Mesopotamia and the Euphrates and Tigres rivers.). Egypt, even during Mao Zedong’s rule in China (1949–1976), enjoyed Chinese support as part of China’s support for the bloc of non-identifying countries, including East African countries such as Sudan, and benefited from the development of China–Africa relations.
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Elshayeb, Yasser. "30 Years of Cultural Heritage Landslides and Block Movements Risk Assessment: Case Studies from Egypt." In Progress in Landslide Research and Technology, Volume 1 Issue 2, 2022, 169–75. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-18471-0_14.

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AbstractThroughout history, sites of high societal values, such as temples, tombs or palaces were mainly constructed through the digging/carving of rocks, built on hills or plateaus, or through the usage of carved/cut displaced rocks. Ancient designers/engineers/workers usually chose construction sites as to facilitate the building or the carving of stones, while, at the same time, serving the purpose of the building/constructions. In Egypt, throughout the ancient Egyptian Civilization, Egyptians have chosen to carve their temples and tombs in the soft limestone, shales and sandstones that are covering most of the modern Egypt, whereas in few temples and tombs, hard igneous and metamorphic rocks were used as ornament material for tombs and statutes. In this paper, we will present an account of the development of landslide risk assessment for various cultural heritage sites around Egypt, for different eras of Egyptian history and different sites. This paper aims at discussing different case studies and success stories of landslides and block movements hazards assessment around or inside Egyptian Cultural Heritage sites.
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Weiss-Krejci, Estella, Sebastian Becker, and Philip Schwyzer. "Interdisciplinary Explorations of Postmortem Interaction: An Introduction." In Bioarchaeology and Social Theory, 1–21. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-03956-0_1.

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AbstractIn the present as in the past, the dead have been deployed to promote visions of identity, as well as ostensibly wider human values. Through a series of case studies from ancient Egypt through prehistoric, historic, and present-day Europe, this book discusses what is constant and what is locally and historically specific in our ways of interacting with the remains of the dead, their objects, and monuments. Postmortem interaction encompasses not only funerary rituals and intergenerational engagement with forebears, but also concerns encounters with the dead who died centuries and millennia ago. Drawing from a variety of disciplines such as archaeology, bioarchaeology, literary studies, ancient Egyptian philology and literature, and sociocultural anthropology, this volume provides an interdisciplinary account of the ways in which the dead are able to transcend temporal distances and engender social relationships. In this introduction, we highlight some unifying aspects of this book.
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"Finding the Egyptian in Early Greek Art." In Ancient Perspectives on Egypt, 131–60. Routledge, 2016. http://dx.doi.org/10.4324/9781315434933-10.

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Conference papers on the topic "Art, Ancient – Egypt"

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"Symbolic Meanings of Pharaoh 's False Beard in Ancient Egypt." In 2017 International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2017. http://dx.doi.org/10.25236/ssah.2017.77.

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Seglins, Valdis. "THE SETTING OF KING�S MENTUHOTEP II MORTUARY TEMPLE AS AN ASSOCIATION WITH OSIRIS CULT IN ANCIENT EGYPT." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s07.024.

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Micara, Ludovico. "Il ruolo dei nuovi porti e delle nuove fortificazioni cinquecentesche nella trasformazione dell’immagine delle città mediterranee." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11463.

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The role of the new sixteenth century harbours and fortifications on the transformation of the Mediterranean city’s imageThe richness of historical heritage and the complex stratification of sites, combined with the defensive functions and techniques of the fortifications, confer an added value to the cities overlooking the Mediterranean Sea. The fortifications and the new harbours of Tripoli, Libya and Alexandria, Egypt are not isolated structures, which just enhance the qualities and visibility of the places where they are built. Rather, as they come into contact with the pre-existing ancient urban systems, harbours and fortifications contribute to enriching the architectural qualities and values of the cities. In such situations, the new defensive interventions assume a strong transformational role in relation with the sites where they are located, and thus create new urban realities, and new meanings to be deciphered. In the discovery of these new interpretive possibilities, lies the fascination these studies can still offer today.
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Akinshipe, Olaoluwa, and Clinton Aigbavboa. "A Review of Historical Street Lighting Solutions." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002214.

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Aside from food, clothing and shelter, one of the essential needs of man is light. Unfortunately, the early man had to rely on natural light alone until the possible accidental discovery of fire. This discovery led to the invention of other basic technologies such as torches, candles, wicks and the like. Providing a lighting system suitable for enclosed spaces, open spaces, streets, and tunnels have been a subject of research over the years as more efficient methods are catechized to give way to the currently used systems. This report looks to explore two analogous objectives. The first is to provide a retrospective insight into the origin of lighting systems. The second objective highlights the significant progress made over the years to create an efficient lighting system for domestic and industrial use. This paper takes a deep dive into the lighting technologies used as far back as ancient Egypt, Rome, and the Benin Kingdom of current-day Nigeria.
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Abdel-Aziz, Omar A. A., and Essam E. Khalil. "Understanding Air Flow Patterns and Thermal Behaviour in “King Tutankhamen Tomb”." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-80465.

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The tombs of the Pharonic kings in “valley of the kings”, Thebes, Egypt are famous for their unique wall paintings and structure. KV62, King Tutankhamen tomb, is the most famous because of the treasures it held intact for over three thousand years. This tomb originally designed for a non-royal personage nevertheless was used for royal burial, and possessed a nearly intact set of burial equipment. The tomb was forgotten and a group of Rameside workmen’s huts were built over it later in antiquity. The walls of the tomb were smoother but, except for burial chamber, were left undecorated. The burial chamber is decorated with scenes from the Opening of the Mouth ritual, Book of the Dead, and representations of the king with various deities. The current status of the tomb is very critical as pink stain and black fungus spots have spread over decorated walls due to excessive moisture content in the air. Small portion of this moisture came from the ancient offerings placed in the tomb such as vegetation, and also from the gypsum plaster on which the decoration was painted, which may not have been fully dry when the tomb was sealed, visitors activities led to extra moisture production inside the tomb, this would naturally lead to an increase of those pink spots and fungus activities. For this purpose and in pursue of restoration operation it was suggested to design and install a special ventilation system that would reduce the relative humidity inside the tomb to normally acceptable environment for artifacts. Since this situation is novel and unique, the present work pursues a research plan to design and utilize a CFD model to numerically model the flow pattern, heat transfer and humidity in the tomb. A commercial CFD codes are also used in order to simulate the indoor air conditions, air flow velocities, temperatures and relative humidity patterns. In the present investigation, this technique is used in a parametric study to select the most suitable airside system design that doesn’t affect the archaeological theme of the tomb and that provides lower air velocities around the wall paintings as well as lower air humidity all over the tomb.
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