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Journal articles on the topic 'Egypt art ancient'
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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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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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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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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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Polyakov, Е. N., and M. I. Korzh. "FORMATION OF FORTIFICATION ART IN ANCIENT EAST COUNTRIES." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (August 28, 2019): 94–124. http://dx.doi.org/10.31675/1607-1859-2019-21-4-94-124.
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The article presents a comparative analysis of fortification art monuments in such East countries from Ancient Egypt to medieval China. An attempt is made to identify the main stages of the fortification development from a stand-alone fortress (citadel, fort) to the most complex systems of urban and border fortifications, including moats, walls and gates, battle towers. It is shown that the nature of these architectural structures is determined by the status of the city or settlement, its natural landscape, building structures and materials, the development of military and engineering art. The materials from poliorceticon (Greek: poliorketikon, poliorketika), illustrate the main types of siege machines and mechanisms. The advantages and disadvantages of boundary shafts and long walls (limes). The most striking examples are the defensive systems of Assyria, New Babylon, Judea and Ancient China.
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Niwiński, Andrzej. "Travels of Count Michał Tyszkiewicz to Africa, his excavations in 1861–1862, and the origin of his collection of Egyptian antiquities." Światowit 57 (December 17, 2019): 223–36. http://dx.doi.org/10.5604/01.3001.0013.6818.
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Count Michał Tyszkiewicz (1828–1897) was one of the most renowned collectors of the ancient classical art at the end of the 19th century. His interest in archaeology and ancient art was developed during his travel through Egypt in 1861. His Journal of the Travel to Egypt and Nubia, fortunately found in 1992 in Poznań, recounts this journey. From Egypt, Michał Tyszkiewicz brought a collection of antiquities, estimated to have comprised c. 800 objects; today, over a half of them can be found in museums in Paris (Louvre), Warsaw, Vilnius, Kaunas, and Moscow. The majority of the objects originated from excavations conducted by the count, particularly in Thebes (Luxor area), by virtue of an official licence granted to him exceptionally by Mohamed Said Pasha – the then head of the Egyptian state. The present article discusses the circumstances of granting of this permission in the period when a strict state monopoly was imposed on archaeological investigations and presents the course of the excavations along with their results.
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PENCHEVA, Zhana. "THE EAST AND “THE LAST JUDGMENT” IN THE BULGARIAN ORTHODOX ART." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 125–31. http://dx.doi.org/10.37708/ezs.swu.v18i1.15.
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e paper deals with two similar symbols – “The Judgment of the Soul” in the art of Ancient Egypt and “Weighing the Souls” from the scene “The Last Judgment” in the Bulgarian Orthodox art. They are part of the eschatological understanding of the afterlife. These symbols were analyzed and the paths of their movement were traced. The visual image of the supreme check of every deceased is the weighing of the heart and the judgment of God Osiris. It is related to spell 125 of the Book of the Dead. The article analyzes the iconography of this scene, which was widely used during the New Kingdom in Ancient Egypt. The “Judgment of the soul” of Ancient Egypt was probably transmitted by the Jews in Asia, and later entered the Christian iconography of the composition “The Last Judgment”. The formation of the iconographic image type in Byzantine and Western European art was traced. During the Bulgarian Renaissance, “Weighing of Souls” became a major motif and was interpreted by a number of painters in Southwestern Bulgaria. Images in the temples of Blagoevgrad, Rila, Bistritsa, Selishte, Dobarsko, Teshovo, Zlatolist, Dolen and others have been preserved. The analysis of the iconographic images makes it possible to summarize the results which show a number of similar elements in the two scenes. Such are the holy characters God Anubis and Archangel Michael, the two exits for the soul of man - eternal life or eternal torment. The long life of the symbol under consideration leads to the conclusion about the continuity of the moral evaluation of human earthly affairs.
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Saffaie, Waleed Mohamed. "The Inscribed Metal Pots in the West of the Arab Gulf (Mleiha and Al- Fueda), Mesopotamia and Ancient Egypt: A Comparative Study." Asian Social Science 14, no. 10 (September 28, 2018): 102. http://dx.doi.org/10.5539/ass.v14n10p102.
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The current study seeks to analyze some themes and ornaments that appeared on metal pots in the west of Arab Gulf (Mleiha in the United Arab Emirates and Al- Fueda in the Sultana of Oman). The study also makes a comparison between the metal pots of previous regions and their counterparts in Mesopotamia and Ancient Egypt. The Arab Gulf is of great importance because it represents an important center for commercial convoys and associates with ancient civilizations in Mesopotamia, ancient Egypt and other civilizations. The Arab Gulf produced a varied and splendid art with artistic output. On the other hand, Mesopotamia transferred the ancient Egyptian artistic influences to the Arab Gulf. The study highlights the two regions of Mlieha and Al- Fueda in the west of the Arab Gulf, Mesopotamia and Ancient Egypt. Also, it shows the artistic influences on these pots. To describe and analyze such metal pots, the study adopts the descriptive analytical approach. The researcher has faced several difficulties, which are: 1) Finding a few of inscribed metal pots led to the difficulty of the local comparison where some sites did not reveal a rich metal product. 2) The scarcity of references and books specialized in metal arts in the Arab library. 3) Numerous metal sculpture works have been lost due to re- using and re- shaping these metals again. The study has reached many conclusions, the most important of which are: 1) The pots and plates were decorated with splendid inscriptions and ornaments, and their themes were quoted from neighboring countries. 2) The Study has noted that some metal inscriptions represented the pure local environment of the art at the time. Also, some of them were affected by the arts of neighboring civilizations in Mesopotamia, Syria and ancient Egypt.
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Strong, Meghan E. "Do You See What I See? Aspects of Color Choice and Perception in Ancient Egyptian Painting." Open Archaeology 4, no. 1 (May 1, 2018): 173–84. http://dx.doi.org/10.1515/opar-2018-0011.
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AbstractColor in ancient Egypt has been examined through linguistics, anthropological theory and archaeological science. In recent years, attention has focused on the application of art historical theories of reception and perception to ancient Egyptian art, but seldom on color itself. This article will examine aspects of color choice and visual perception, particularly focusing on use of the pigments yellow ochre and orpiment. Building on a growing body of art historical and archaeometric scholarship, it will demonstrate the contributions that experimental archaeology can make to the analysis and understanding of ancient Egyptian painting. Specifically, this study will examine why the Egyptian artist chose specific color combinations by taking into account the original space and lighting conditions of these paintings.
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Smith, Stuart Tyson. "Ethnicity: Constructions of Self and Other in Ancient Egypt." Journal of Egyptian History 11, no. 1-2 (October 8, 2018): 113–46. http://dx.doi.org/10.1163/18741665-12340045.
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Abstract The construction of ethnic self and other played a central role in ancient Egyptian ideology as well as at a more quotidian level. Ethnic groups are usually seen as self-defined, distinctive entities, often corresponding neatly to political or cultural units, but in reality, expressions of ethnic identity are mutable and socially contingent. Adopting a multi-scalar approach informed by practice theory, this paper examines ancient Egyptian constructions of ethnicity, taking into account ideological and elite expressions of ethnic identity from art and texts and everyday practices revealed by archaeology. A carefully contextualized analysis shows how pejorative constructions of an ethnic other by the state contrast with more positive interactions and patterns of mutual influence at a more individual level.
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Yang, Xue, and Yu Liu. "Textual Research on Henna Art Introduced into Ancient China Through the Silk Road." Asian Social Science 16, no. 9 (August 31, 2020): 21. http://dx.doi.org/10.5539/ass.v16n9p21.
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Since ancient Egypt, henna has been widely used as dyes for women’s henna body art. Through the Silk Road, China assimilated cultures of its Western Regions, India, and Persia, such as the henna art. In Ancient China the "garden balsam" is always called "henna". Nevertheless, they belong to two different kinds of flowers. Folks’ mixed use of these two kinds of flower names reflects the profound impact of the henna art on Chinese traditional culture of decorative nails. This textual research results revealed that in ancient China the customs of dye red nails are affected by foreign henna art and there were three development stages: the introduction period (from the Western Jin Dynasty to the Tang Dynasty), the development period (in the Song-Yuan Dynasty) and the popularity period (in the Ming-Qing Dynasty).
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Żmudziński, Mateusz, and Patryk Chudzik. "Rola Nilu w kształtowaniu kultury starożytnego Egiptu." Prace Kulturoznawcze 21, no. 3 (September 27, 2018): 13–25. http://dx.doi.org/10.19195/0860-6668.21.3.2.
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The role of the Nile river in the formation of the ancient Egyptian cultureThe aim of this paper is to describe the main points of the multifaceted relations between Nile and the culture and civilization of ancient Egypt. Both economic and cultural matters are indicated. The Nile fed, drank, irrigated the fields, served as a communication route, but besides, it went into the beliefs and cultural world of the Egyptians. The regulation of the rhythm of people’s lives, their social organization, cult behaviours, ritual hunting, ways of spending free time, or numerous works of art were connected with Nile. In fact, it is difficult to find anything in Egypt during the pharaonic era that was not connected with it. It has been a key factor in the lives of people in Egypt for thousands of years.
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Watts, James W. "Ancient Iconic Texts and Scholarly Expertise." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 6, no. 1-3 (June 27, 2012): 331–44. http://dx.doi.org/10.1558/post.v6i1-3.331.
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This essay probes the origins of iconic textuality in the ancient Near East, informed by post-colonial perspectives on iconic texts. The surviving art and texts from ancient Egypt and Mesopotamia exhibit at least four forms of iconic textuality: monumental inscriptions, portraits of scribes, displays and manipulations of ritual texts, and beliefs in heavenly texts. The spread of literacy did not displace the social prestige of scribal expertise that was established in antiquity. The every-growing number and complexity of texts accounts for the continuing cultural authority of scholarly expertise. The tension between expert and non-specialist uses of texts, however, explains scholarship’s avoidance of the subject of iconic books and texts while drawing constant attention to their semantic interpretation instead.
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Syvorotkina, Svetlana. "The cultural code in the visual arts system: specificity of formation and development." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 247–53. http://dx.doi.org/10.51889/2020-1.2077-6861.32.
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The dialectical unity of the essence and the cultural code phenomenon regarding of the visual arts are dealt with in that article. Artworks are considered based on Lotman`s understanding of artwork as culture text. Discusses multiplicity of art forms and multifunctionality of arts form. Effect of changes in time and historical periods an impact on satisfaction of secular and profane human`s requirements. The author focuses on visual and illustrative forms of fine arts and focuses on analysis of traditional fine arts categories. The cultural code in visual art system is considered at Paleolithic artifacts, ancient Egypt`s art and medieval art examples.
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Jacobson, D. M., and M. P. Weitzman. "Black bronze and the ‘Corinthian alloy’." Classical Quarterly 45, no. 2 (December 1995): 580–83. http://dx.doi.org/10.1017/s000983880004369x.
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Two recent studies by A. R. Giumlia-Mair and P. T. Craddock have been devoted to a form of bronze having a blackish tint.1, 2 The authors there describe examples ancient and modern, from as far apart as Mycenean Greece, Egypt, Rome, China and Japan. In Japan such bronze is prominently represented in decorative art and known as Shakudo.
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Evans, Linda, and Philip Weinstein. "Ancient Egyptians’ Atypical Relationship with Invertebrates." Society & Animals 27, no. 7 (December 11, 2019): 716–32. http://dx.doi.org/10.1163/15685306-00001827.
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AbstractDespite the ubiquitous presence and vital role of invertebrates in all known ecological systems, insects and arachnids are largely viewed as repugnant by people. Consequently, until nature intervenes in the form of infestations, swarms or plagues, we largely prefer to ignore them, lest our attention invite unwelcome interaction. In contrast, the people of ancient Egypt did not distance themselves from invertebrates but instead celebrated their myriad forms. Egyptian appreciation of insects and arachnids is reflected in a range of art, artefacts, and texts dating from the predynastic era until the Greco-Roman period, revealing many positive cultural roles, from practical to conceptual. By assigning them a useful function, they were rendered visible and relevant to Egyptian society. The Egyptians’ example suggests that as necessity forces us to acknowledge the value of invertebrates—from their function as pollinators to becoming future food sources—our respect for them may also grow.
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Inoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa, and Masaki Takata. "Japanese Crystallography in Culture and Art." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1304. http://dx.doi.org/10.1107/s2053273314086951.
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"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."
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Halle, David. "Class and Culture in Modern America: The Vision of the Landscape in the Residences of Contemporary Americans." Prospects 14 (October 1989): 373–406. http://dx.doi.org/10.1017/s0361233300005792.
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For Every period except the modern, we look at art as it was displayed, and as it was seen by the contemporary viewer. Who would think, for example, of medieval art without thinking also of the cathedral and church in which the spectator saw the works? Who would consider the art of ancient Egypt and China apart from the funeral tombs of the aristocracy, for whose use and delight in the afterworld much of it was destined? Who would study Roman art without looking as well at the public monuments that celebrated and demonstrated political power to the populace of the city? In all of these cases we consider art in the context in which it was viewed at the time, and we link its meaning to the material environment in which it was located.
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Porshnev, V. P. "Landscape gardening art of the Seleucid Empire." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 85–92. http://dx.doi.org/10.30725/2619-0303-2020-4-85-92.
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Landscape art of the state of the Seleucid Empire, which inherited a considerable part of the broken-up Alexander of Macedon’s Empire still was not a subject of a separate research. Unlike Ptolemaic Egypt where imperial gardeners managed harmoniously to unite the landscape planning inherited from sacred groves and parks of Hellas with Ancient Egyptian tradition of regular planning, there is no reason to speak about any specific «Seleucid’s style». Nevertheless, landscape art of this dynasty has the great interest to historians of ancient art as it fills a time gap between gardens and parks of an era of Hellenism and further stages of landscape art’s history. Having inherited and having enriched the Persian paradises and Hanging gardens of Babylon, having extended the culture of the Greek policies to the East, it, further, transfers the heritage to gardeners of Parthia and Bactria, Pergamum kingdom, Roman Empire. Article investigates gardens and parks on the cultural space controlled by Seleucid’s on certain regions (Asia Minor, Mesopotamia, Persia, Bactria, Syria). The main attention is devoted to the park in Daphne, the suburb of Antiochiaon- Orontes, to the biggest and best-known park of antiquity. The author builds a research both on the saved-up archaeological material, and on the written sources which not always are available in high-quality Russian translations.
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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.
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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Jaramago, Miguel. "Interpreting three Gold Coins from Ancient Egypt and the Ancient Near East at the Museo Casa de la Moneda, Madrid." Trabajos de Egiptología. Papers on Ancient Egypt, no. 9 (2018): 81–121. http://dx.doi.org/10.25145/j.tde.2018.09.03.
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The aim of this paper is to study three gold coins from the pre-Hellenistic Egypt and Near East, housed in the Museum Casa de la Moneda, Madrid, since 1955. In all three cases, their description is made as well as a review of the hypotheses that have been issued on their typology. Some novel proposals are made about their iconography and the possible gold sources for the raw material. The first is a Daric, probably coined between the beginning of the reign of Xerxes I and the fall of Sardis under Alexander the Great. The study provides an original indication about its iconography, as well as about the possible (and vague) relationship of Persian imperial coinage with Zoroastrianism, the official religion of the Achaemenid Dynasty. The nbw nfr coin is an Egyptian coinage from the Nectanebos Dynasty; one of the few hundred preserved copies. The iconography of the horse on the obverse is explored from the art and plastic of pre- and post-Sebenitic Egypt, and some technical aspects of the elaboration of the coin from the type of its reverse are analysed. From an epigraphic point of view, a new reading of the nbw nfr group is proposed. The Double Daric is a complex currency, both regarding the precise determination of its chronology, as well as its interpretation and recipients. It is a coinage made possibly in Babylon with a broad chronology from 331 BCE until ca. 306 B
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Braulińska, Kamila. "The secretarybird dilemma: identifying a bird species fromthe Temple of Hatshepsut at Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (December 28, 2018): 83–116. http://dx.doi.org/10.5604/01.3001.0013.3198.
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Known from a few representations in Predynastic Egyptian art, the secretarybird has otherwise been elusive, in the art of Pharaonic Egypt as well as the scientific discourse on iconographic imagery of birds in ancient Egypt. The author's studies of the animal decoration at the Temple for her doctoral dissertation identified three images of birds belonging most likely to the same species, depicted in the context of the expedition of Hatshepsut shown in the Portico of Punt. The zoological identification of the species as the secretarybird (another possibility is the African harrier-hawk) derives from an in-depth analysis of the bird’s systematics, appearance, distribution and habitat, as well as behavior, which are essential for proper species recognition and instrumental for understanding the rationale behind bringing it from the “God’s Land”. Iconographic features contesting this identification and suggesting a different species, that is, the African harrier-hawk, are discussed based on a combination of theoretical background, material analysis, on-site interviews with experts and the author’s personal experience with the species.
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Kemp, Barry. "A model of Tell el-Amarna." Antiquity 74, no. 283 (March 2000): 15–16. http://dx.doi.org/10.1017/s0003598x00065996.
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Tell el-Amarna, the short-lived capital built by the pharaoh Akhenaten around 1350 BC, remains the largest ancient city in Egypt which is still above ground. Over the last century a succession of archaeological expeditions has revealed large areas of its plan. During 1999 the Boston Museum of Fine Arts, in connection with a temporary exhibition of Amarna art, commissioned a 1:400-scale model of a major part of the city, based on the survey which, in recent years, the Egypt Exploration Society has carried out. It was designed by Mallinson Architects, with advice from Bany Kemp, field director of the EES expedition to Amarna, and built by a Clapham firm of architectural modelmakers, Tetra (Andy Ingham Associates). The completed model measures 12 x 10 feet (3.7 x 3.0 metres).
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McCarthy, Blythe, Pamela Vandiver, Alexander Nagel, and Laure Dussubieux. "TECHNOLOGY OF EGYPTIAN CORE GLASS VESSELS." MRS Proceedings 1656 (July 18, 2014): 123–36. http://dx.doi.org/10.1557/opl.2014.710.
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ABSTRACTOur knowledge of glass production in ancient Egypt has been well augmented not only by the publication of recently excavated materials and glass workshops, but also by more recent materials analysis, and experiments of modern glass-makers attempting to reconstruct the production process of thin-walled core-formed glass vessels. The small but well preserved glass collection of the Freer Gallery of Art in Washington, D.C. was used to examine and study the technology and production of ancient Egyptian core-formed glass vessels. Previous study suggests that most of these vessels were produced in the 18th Dynasty in the 15th and 14th centuries BCE, while others date from the Hellenistic period and later. In an ongoing project we conducted computed radiography, x-ray fluorescence analysis and scanning electron microscopy on a selected group of vessels to understand further aspects of the ancient production process. This paper will provide an overview of our recent research.
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Saad, Saad Michael. "The Contemporary Life of the Coptic Orthodox Church in the United States." Studies in World Christianity 16, no. 3 (December 2010): 207–25. http://dx.doi.org/10.3366/swc.2010.0101.
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The present state of the Coptic Orthodox Church in America could not have been imagined fifty years ago. As an integral part of the Coptic Orthodox Church of Egypt, the young archdiocese in America evolved from non-existence to a formidable 151 parishes, two monasteries, three seminaries and many benevolent, educational and media organisations. Waves of immigration from Egypt brought not only Copts, but also a wealth of Coptic art, music, architecture, literature and spirituality. These treasures are being preserved and promoted by the immigrants and the second generation; in the homes, churches and community centers; and also at American universities via programs of Coptic studies. This article covers the above topics and discusses a few of the challenges that come with immigration and assimilation, especially when the community desires to maintain the depth and versatility of an ancient religious culture.
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Isidro, Albert, Roger Seiler, and Myriam Seco. "Leukemia in Ancient Egypt: Earliest case and state‐of‐the‐art techniques for diagnosing generalized osteolytic lesions." International Journal of Osteoarchaeology 29, no. 2 (February 20, 2019): 273–80. http://dx.doi.org/10.1002/oa.2736.
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Stewart, Jon. "Hegel's Analysis of Egyptian Art and Architecture as a Form of Philosophical Anthropology." Owl of Minerva 50, no. 1 (2019): 69–90. http://dx.doi.org/10.5840/owl2019501/26.
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In his different analyses of ancient Egypt, Hegel underscores the marked absence of writings by the Egyptians. Unlike the Chinese with the I Ching or the Shoo king, the Indians with the Ramayana and the Mahabharata, the Persians with the Avesta, the Jews with the Old Testament, and the Greeks with the poems of Homer and Hesiod, the Egyptians, despite their developed system of hieroglyphic writing, left behind no great canonical text. Instead, he claims, they left their mark by means of the architecture and art. This paper explores Hegel’s analysis of the Egyptians’ obelisks, pyramids, sphinxes, etc. in order to understand why he believes that these are so important for understanding the Egyptian spirit. This analysis illustrates Hegel’s use of history and culture in the service of philosophical anthropology.
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Wilkinson, Toby, Karl W. Butzer, Dirk Huyge, Stan Hendrickx, Timothy Kendall, and Ian Shaw. "Review Feature: A review of Genesis of the Pharaohs: Dramatic New Discoveries that Rewrite the Origins of Ancient Egypt, by Toby Wilkinson. London: Thames & Hudson, 2002. ISBN 0-500-05122-4 hardback £18.95; 208 pp., 87 ills., 25 in colour." Cambridge Archaeological Journal 14, no. 1 (April 2004): 113–35. http://dx.doi.org/10.1017/s0959774304000095.
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The processes leading to the formation of early state societies remain one of the key topics of archaeological research. Few of these early states are as famous or evocative as that of ancient Egypt, a land of dramatic monuments and terrain, with mysterious and exotic religious practices and a distinctive and exotic iconography. But was Egypt the gift of the Nile, as the Greek historian Herodotus alleged? In this new book, Toby Wilkinson draws attention to a relatively neglected part of the Egyptian landscape: not the fertile river valley, but the deserts which fringe it to east and west. It is here in the deserts, he argues, that the origins of the Egyptian state are to be found. In recent millennia, the deserts have been hostile environments of rock and sand. Go back before 3000 bc, however, and a rather different picture emerges. This different picture is of a desert hinterland peopled by nomadic groups who spent part of their year in the Nile valley. It suggests a more mobile view of Egyptian Predynastic society than has usually been supposed. Desert and valley may have functioned together in a classic pattern of complementarity between contrasting environmental zones, with cattle herds perhaps moved from valley floor to desert in step with the cyclical pattern of the seasons. The specific ingredient which Wilkinson uses to link valley and desert during the fourth millennium bc is rock art. Egyptian rock art has not yet been properly recognized as a rich and important repertoire by specialists in the burgeoning field of rock art as whole. Surveys over more than a century, however, have revealed numerous groups of pecked and engraved images on the desert cliffs and boulders, and recent expeditions (including those by Wilkinson himself) are continually adding to the corpus. The Egyptian desert rock art is generally less well-known than the vivid rock paintings of the central Sahara (such as the famous Tassili frescoes), though it too conveys the image of a greener more habitable landscape. Wilkinson ties specific motifs found in the desert rock art to iconography from the Nile valley during the fourth millennium and later. Yet the linkages and chronologies remain controversial, along with the central hypothesis. Did the desiccation of the savannas lead to the formation of the Egypt, forcing the scattered pastoralist populations to withdraw to a cultivated Nile valley? Was Egypt the gift of the deserts, not the Nile? In this Review Feature the hypothesis is examined by specialists working in Egypt and Nubia, and the reliability of the supporting evidence is assessed.
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Sarischouli, Panagiota. "Hope for Cure and the Placebo Effect: The Case of the Greco-Egyptian Iatromagical Formularies." Trends in Classics 13, no. 1 (June 1, 2021): 254–84. http://dx.doi.org/10.1515/tc-2021-0009.
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Abstract The present paper focuses on healing rituals from Greco-Roman Egypt, where medicine and religion were inextricably linked to each other and further connected to the art of magic. In Pharaonic Egypt, healing magic was especially attributed to the priests who served a fearsome goddess named Sekhmet; although Sekhmet was associated with war and retribution, she was also believed to be able to avert plague and cure disease. It then comes as no surprise that the majority of healing spells or other types of iatromagical papyri dating from the Roman period are written in Demotic, following a long tradition of ancient Egyptian curative magic. The extant healing rituals written in Greek also show substantial Egyptian influence in both methodological structure and motifs, thus confirming the widely accepted assumption that many features of Greco-Egyptian magic were actually inherited from their ancient antecedents. What is particularly interesting about these texts is that, in many cases, they contain magical rites combined with basic elements of real medical treatment. Obviously, magic was not simply expected to serve as a substitute for medical cure, but was rather seen as a complementary treatment in order to balance the effect of fear, on the one hand, and the flame of hope, on the other.
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Elnaggar, Hala Barakat. "Heritage Resources as a Method to Reviving the Identity of Contemporary Interior Designs A Comparative Analysis of Users' Preferences of Interior Space." Academic Research Community publication 1, no. 1 (September 18, 2017): 8. http://dx.doi.org/10.21625/archive.v1i1.109.
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Egyptian heritage is known to be a result of many great civilizations. With various traditional elements and special features that add prominence to its cultural aspects, it carries magnificent aesthetic values and visual forms. Nonetheless, and due to the different nature of the cities and provinces in Egypt, styles and features in each region have taken different paths. For instance, Ancient Egyptians influenced some areas while others were more affected by Islamic or Coptic civilizations. Some regions were preserved in Nubian folk art heritage form. In the past, the country had a clear and unique identity that reflected its characteristics, environmental benefits and socio-cultural attributes. However, today the identity is faded and is nearly completely wiped by Western notions erasing our ideas, identities, and thoughts. This study focuses on the elements of heritage, their impact on people and the way these elements inspire interior architecture, form and psychology.This study aims to discern the elements of heritage and identify the character and special criteria of each civilization such as the Ancient Egyptian, Islamic and Nubian folk art heritage with special references and clarifications as to the criteria of reviving the traditional identity in contemporary interior design. This study will also include an analysis of user preferences in relation to discussed features.
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Reed, Annette Yoshiko. "ABRAHAM AS CHALDEAN SCIENTIST AND FATHER OF THE JEWS: JOSEPHUS, ANT. 1.154-168, AND THE GRECO-ROMAN DISCOURSE ABOUT ASTRONOMY/ASTROLOGY." Journal for the Study of Judaism 35, no. 2 (2004): 119–58. http://dx.doi.org/10.1163/157006304773787447.
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AbstractThis article analyzes Josephus' approach to Abraham and astronomy/astrology in Ant. 1.154-168. This retelling of Genesis 12 describes Abraham as inferring the one-ness of God from the irregularity of the stars, thereby implying his rejection of "the Chaldean science" for Jewish monotheism. Soon after, however, Josephus posits that the patriarch transmitted astronomy/astrology to Egypt, appealing to the positive connotations of this art for apologetic aims. Towards explaining the tension between these two traditions, I first map the range of early Jewish traditions about Abraham and the stars, and then consider the Hellenistic discourse about astral wisdom as the domain of ancient "barbarian" nations, as it shaped Hellenistic Jewish traditions that celebrate Abraham's astronomical/astrological skill. I conclude with Josephus' own cultural context, proposing that the attitudes towards astronomy/astrology among his Roman contemporaries may help to account for the ambivalence in his characterization of Abraham as both Chaldean scientist and father of the Jews.
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Wüst, Raphael A. J., and Christian Schlüchter. "The Origin of Soluble Salts in Rocks of the Thebes Mountains, Egypt: The Damage Potential to Ancient Egyptian Wall Art." Journal of Archaeological Science 27, no. 12 (December 2000): 1161–72. http://dx.doi.org/10.1006/jasc.1999.0550.
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Caloian, Cezarina Florina. "The Hybrid Character - between the Representations of the Middle Ages and Today’s Art." Anastasis. Research in Medieval Culture and Art 7, no. 1 (May 29, 2020): 125–36. http://dx.doi.org/10.35218/armca.2020.1.07.
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This paper is a study of the fantastic character throughout the history of human civilization. This type of character has evolved from the hybrid creatures playing a divine role in the art of Assyro-Babylonian civilizations and of Ancient Egypt, to the monstrous characters of the Middle Ages which served as substitutes for sin and the force of evil, visible in the entrelacs of illuminated manuscripts or the gargoyles guarding the walls of Gothic cathedrals, to the characters of non-human origin in children’s book illustrations, and up to the characters found in fantasy films or today’s hybrids, who are in a perfect relationship with technological and cultural evolution. The paper discusses some original visions and working methods, from the slightly humorous portraits signed by Arcimboldo, the hybridization of animal kingdoms, in a much more tragic register, in the works of Hieronymus Bosch or the fantastic character used as a weapon of political and moral satire in the works of Goya and Grandville, to the unexpected, occult and mysterious visions of Ernst Fuchs’ creations or the imaginary universe populated by hybrid beings, of ‘extra-terrestrial origin, found in the works of HR Giger.
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Amin, Dina. "Bā Kathīr's Hārūt wa-Mārūt: Can the Qur'an Have an Alienating Effect?" Journal of Qur'anic Studies 16, no. 3 (October 2014): 157–73. http://dx.doi.org/10.3366/jqs.2014.0171.
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The relationship between religion and theatre is an ancient one; in fact this relationship has been the essence and raison d’être of theatre from ancient Egypt and Greece until the present day. However, in today's world, to borrow from, or be inspired by, a holy scripture is not only to debate issues pertaining to faith, but rather to aim for a dialectics between the dramatic work and the modern-day readers/spectators and their contemporary sociopolitical conditions. Indeed, it was his recourse to a Qur'anic story as plot for Ahl al-kahf (‘Sleepers of the Cave’, 1933) that helped Tawfīq al-Ḥakīm to initiate drama as an intrinsic genre into the literary canon, theatre having long been deemed an unessential art form within the Arabo-Islamic world. The subject of the current article, ʿAlī Aḥmad Bā Kathīr (1910–69), likewise wrote a substantial number of works for the stage derived from Islamic history and tradition. As a member of the cultural sector of the Muslim Brotherhood in the 1940s and 1950s and a major contributor to al-masraḥ al-dīnī (‘the theatre of religion’) in Egypt, it is no surprise that Bā Kathīr devoted a large portion of his prolific dramatic writing to narratives inspired by the Qur'an and other religious sources. His play Hārūt wa-Mārūt (‘The Angels Hārūt and Mārūt’, 1962) is a very good example of this vein in his writing. Based in the Qur'anic story mentioned in Sūrat al-Baqara, it recounts the story of the two angels, who are transformed into humans and descend to earth, to demonstrate that sin can be combated by the practice of chastity, willpower, and self-restraint.
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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.
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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
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El-Deeb, Nahla Ahmed Hamdy. "The Aesthetic and Plastic Values for the Concept of Synthesis through the Ages and the Variables of Material and Designing the Hanging Textile." European Journal of Sustainable Development 9, no. 4 (October 1, 2020): 281. http://dx.doi.org/10.14207/ejsd.2020.v9n4p281.
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Synthesis means intermarriage and compatibility between more than one raw material in a single artwork. Interacting with its various properties and sources to reach a balance between expressive and technical aspects within the framework of the technical and technical capabilities of that raw material. By adding raw materials, they are woven with textured structures or by the new method developed through the art of gluing or collage and the art of assembly through deletion and addition within the scope of plastic treatments of the textile surface or by using both the traditional and the new method combined to merge between Woven materials and added media on the surface of the artwork. The research deals with synthesis through the ages (the ancient Egyptian - Coptic - Islamic - popular) and some schools of modern art (Cubism - Dada - Pop Art) and some pioneers in plastic art in Egypt (Munir Kanaan - Ahmed Nawar - Farghali Abdul Hafeez - Zainab Sabra).
Research Problem: - To what extent can the aesthetic and plastic values be benefited from the different treatments of natural and synthetic textile materials for the concept of synthesis?
Research Aims: - Revealing the aesthetic, plastic, and artistic values of the synthesis method throughout the ages to find new approaches to teaching manual fabric. - Create innovative aesthetic values and formulations on the surface of the tissue sphere. The current research provides a program consisting of 3 teaching entrances that depend on a number of key and sub-concepts proposed for the concept of synthesis through art education.
Keywords: The Aesthetic - Plastic Values - The Concept of Synthesis – Variables of Material and designing - Hanging Textile
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Tikhonov, Dmitrii, and Elena Tikhonova. "Lyre shaped motif and its origins." Siberian Research 2, no. 2 (December 1, 2019): 74–84. http://dx.doi.org/10.33384/26587270.2019.02.009e.
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Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published literature and catalogs of museum exhibits. A spiral motif originated in Egypt. The origins of the lyre motif in ancient Egypt are probably connected with the iconography of the Egyptian god of Hathor, who was depicted as a woman with a headdress decorated with lyre shaped horns and a solar disk between them. It should be noted that the tradition of depicting a human face with cow horns has connections with the Neolithic period of the Nile Valley, where cattle breeding arose in the 6-5th millennium BC. The first cases of using a lyre shaped motif occured in scarab-like seals of Egypt and Minoan culture. Artifacts with a lyre shaped motif were observed related, dating from the Minoan and Mycenaean periods, during to the period of classical Hellenistic Greece. A lyre shaped motif was spread along trade routes from Crete to the Danube, the Elbe, the shores of the Baltic Sea and, together with the Celts, penetrated into Britain, from the Greek colonies of the Black Sea to the Scythians. In the Asian part of the Eurasian steppes, this motif symbolized the image of the eagle totem animal depicted like a griffin, especially in the early Scythian and Hunnic period. The origins of the lyre shaped motif in the Asian steppe, apparently, were the ancient motifs “taotie” in China and “masks” in the Russian Far East. The popularity of the lyre shaped motif in the folk arts and crafts of the Turkic peoples was probably due to the spread of this motif within the Scythian community, when there was a cult of the eagle-like griffin and totem.
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Elgewely, Eiman. "3D Reconstruction of Furniture Fragments from the Ancient Town of Karanis." Studies in Digital Heritage 1, no. 2 (December 14, 2017): 409–27. http://dx.doi.org/10.14434/sdh.v1i2.23340.
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Furniture is the most personalized component of architectural space. It reflects or even determines the use of space, but also the standard of living, the gender, and age of the user. Heirlooms, furthermore, are retainers of memory and social relationships. The raw materials used and the level of skill and craftsmanship to produce furniture speak to the availability of such items for the community. Import of wood, techniques, or entire pieces of furniture show connectedness with other production centers. Furniture fragments are abundant among the well-preserved archaeological finds from the ancient Greco-Roman Town of Karanis, a site located on the arid desert edge of the Fayum basin, Egypt. Objects include furniture legs, boxes, reading tables, and table tops. The University of Michigan mission which worked on the site for about ten years (1924-1934), had as its main focus the architecture of Karanis. The furnishings of these structure do, however, provide important information and a study of the woodworking and composition of the pieces has now been undertaken, together with an attempt to place these remains back in their virtual context. The reconstruction of the Karanis furniture provides a major challenge because the fragments belong to various time periods and combine Egyptian, Greek, and Roman influences and tastes. This research is a next phase of the project “Reviving Karanis in 3D”, which we started in 2013. In this research, we aim at using state-of-the-art digital technologies to create multiple interpretations of 3D reconstruction of a selection of furniture pieces based on analysis and photogrammetric models of wood furniture fragments from the Karanis collection of the Kelsey Museum of Archaeology, University of Michigan.
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Kannathal, N., Joseph K. Paul, C. M. Lim, K. P. Chua, and P. K. Sadasivan. "Effect of Reflexology on EEG – A Nonlinear Approach." American Journal of Chinese Medicine 32, no. 04 (January 2004): 641–50. http://dx.doi.org/10.1142/s0192415x04002272.
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Reflexology is a 4000-year-old art of healing practiced in ancient India, China and Egypt. In the beginning of the 20th century, it spread to the Western world. Reflexologic clinics and massage centers can be found all around the world. In spite of the widespread popularity, to the best of our knowledge, no serious research work has been done in this area, although much scientific research work has been carried out in other Eastern techniques like meditation and yoga. This is why a humble attempt is done in this work to quantitatively assess the effect of reflexological stimulation from a systems point of view. In this work, nonlinear techniques have been used to assess the complexity of EEG with and without reflexological stimulation. We prefer the nonlinear approach, as we believe that the effects are taking place in a subtle way, since there is no direct correlation between reflexological points and modern neuroanatomy.
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Vertiienko, H. V. "«ORIENTAL APHRODITE» ON THE OBJECTS FROM TERRITORY OF SCYTHIA (on the origins of iconography)." Archaeology and Early History of Ukraine 33, no. 4 (December 25, 2019): 340–47. http://dx.doi.org/10.37445/adiu.2019.04.25.
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The article analyzes the origins of the iconography of a woman’s face with a hairstyle that has characteristic curls, which have been deployed in different directions, on the objects of Scythian material culture. This feature of iconography is fixed twice. The first case are four silver and gilded pendants from the barrow 34 near the village Sofiyivka, Kherson region (Museum of Historical Treasures of Ukraine — a branch of the National Museum of History of Ukraine, inv. no. 2755/1—4). The second case, is the image on the working part of a bronze stamp from the Kamyanskoe settlement (Archaeology Museum of the Karazin National University of Kharkiv, inv. no. VN 2089). As for the female hairstyle on these images, it is not typical for classical Hellenic art, but finds parallels in the art of the Eastern Mediterranean and Ancient East. This style is similar to the so-called «Hathoric wig» in the art of ancient Egypt (on stelae, sculptures, amulets, painting on coffins, mirrors, musical instruments, etc.), which influenced the iconography of the hairstyles of female deities («Oriental Aphrodite») of the Mediterranean. The image of the goddess in the «Hathoric wig» could permeate to the Northern Pontic Sea Region through the Hellenic craftsmen, as a replica of the image of «Oriental Aphrodite» cult of whom may have existed in the region. At the same time, these images could be a «copy» (imitation) made by the Scythian craftsmen directly from the Egyptian original, most likely from some faience amulet, which usually has similar size and sometimes reproduces the head of Hathor. According to Herodotus, in the Scythian pantheon, the figure of Celestial Aphrodite (Aphrodite Urania) was corresponded by Argimpasa (Herod. IV, 59). Consequently, in such an iconographic form these images could depict this goddess. The image of the «Hathoric wig» on these objects can be considered the most northern examples of this iconographic element.
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Majewska, Aleksandra. "The Egyptian collection from Łohojsk in the National Museum in Warsaw." Światowit 57 (December 17, 2019): 249–57. http://dx.doi.org/10.5604/01.3001.0013.6854.
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The National Museum in Warsaw, founded in 1916, took over the function of the older Museum of Fine Arts in Warsaw, founded in 1862. Between 1918 and 1922, the National Museum was systematically enriched through donations by private persons and institutions. One of the most important collections, placed there in 1919, was that originating from an old private museum owned by the Tyszkiewicz family in Łohojsk, donated through the agency of the Society of Fine Arts ‘Zachęta’ in Warsaw. The museum in Łohojsk (today in Belarus, not far from Minsk) was founded by Konstanty Tyszkiewicz (1806–1868). The rich collection of family portraits, paintings, engravings, and other works of art was enriched in 1862 by Count Michał Tyszkiewicz (1828–1897), who bequeathed a substantial part of the Egyptian antiquities brought from his travel to Egypt in 1861–1862. The Łohojsk collection was partly sold by Konstanty’s son, Oskar Tyszkiewicz (1837–1897), but some of these objects were purchased in 1901 by a cousin of Michał Tyszkiewicz, who then donated them to the Society of Fine Arts ‘Zachęta’. At this stage, the whole collection amounted to 626 items, of which 163 were connected to Egypt. During World War II, the National Museum in Warsaw suffered serious losses. At present, the exhibits originating from Łohojsk include 113 original ancient Egyptian pieces, four forgeries, and 29 paper squeezes reproducing the reliefs from the tomb of Khaemhtat of the 18th Dynasty (Theban tomb no. 57).
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Montserrat, Dominic. "(N.) Kampen Ed.Sexuality in Ancient Art: Near East, Egypt, Greece, and Italy. Cambridge UP, 1996. Pp. xviii + 299. £45.00 (£15.95 pb.). 0521470994 (0521476836 pb.)." Journal of Hellenic Studies 119 (November 1999): 228–29. http://dx.doi.org/10.2307/632390.
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Peck, William H. "Eternal Egypt: Masterworks of Ancient Art from the British Museum. Edited by Edna R. Russmann. London: British Museum Press, 2001. Pp. 288 + 270 figs." Journal of Near Eastern Studies 63, no. 2 (April 2004): 140–41. http://dx.doi.org/10.1086/422287.
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Fadl, Laila Abu El Seoud Mohamed. "The City of Alexandria: Its Identity and Environment in the works of Alexandria’s Pioneer Painters." Academic Research Community publication 1, no. 1 (September 18, 2017): 9. http://dx.doi.org/10.21625/archive.v1i1.136.
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The unique location of Alexandria city in the Mediterranean Basin has attracted several artistic civilizations ever since the time of Ptolemy. This has been the case during the Roman era, and the subsequent eras throughout which Alexandria remained the window of Egypt and most of the Middle East to the European cultures and arts. As a result, Alexandria has witnessed the cultural and artistic renaissance during the second half of the nineteenth century and the first half of the twentieth century, since "Muhammad Ali" –and his family–permitted the foreign delegations to come and form colonies fused with the human component of Alexandria that had a unique character. Consequently, the foreign artists’ rooms were widely spread and the Alexandrian pioneers of painting art, of the first and second generations, studied under their supervision. Despite being trained by foreigners, their sense of belonging to the Egyptian identity or their participation in laying groundwork for a national art project deeply rooted in the heritage of the nation wasn’t affected. However, they were receptive to maturely cope with the modernity of the western schools of arts. Mahmoud Said, a painter, after completing the art foundation phase, employed his art to portray the modern Egyptian man as a national hero. This portrayal was possible through his use of environmental elements and characters. Seif Wanli was one of the most receptive Egyptian painters to the modern and contemporary western schools of art. He was allegedly known to be unconcerned with the issue of national identity; however, Alexandria kept its high rank in his art despite being characterized by global features. Adham Wanli remained loyal to his impressive and symbolic realism as Alexandria, with all its components, was the core of his artistic creativity. Hamid Aweys left his hometown and went to Alexandria and spent most of his age therein. His belonging to the identity and environment of that ancient coastal city was the same as that of the previously mentioned artists. He was inspired by the city’s environmental and cultural elements in a distinctive way.
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Kloska, Maria Monika. "Dziecięca ikonografia księżniczek Okresu Amarneńskiego." Folia Praehistorica Posnaniensia 22 (July 31, 2018): 85–110. http://dx.doi.org/10.14746/fpp.2017.22.05.
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This article explains the characteristic style of princesses representations in Amarna Period art. This high essential aspect (in literally way) shows full of love relations between family members from Akhetaten. Children iconography in ancient Egypt remained rather persistent, however, pictures showing Meritaten, Maketaten, Ankhesenpaaten, Neferneferuaten, Neferneferure and Setepenre stand alone not only by details, but also by scenes in which princesses have been presented. The royal daughters are often shown naked or in robes looking like delicate tied with sash in waist or under bust dress belonging to their mother Nefertiti. Though girls – regardless of age – have always been portrayed with the sidelock of youth. The reliefs representing Amarna princesses and their parents deviate significantly from fixed and formal style of iconography which is characteristic for periods before and after Akhenaten’s reigns. The girls have been shown not only in family scenes enjoying a good time with their parents, but also accompanying the royal couple in scenes of tribute from Nubia and Syria, in the scenes of killing enemies of Egypt and in the heart-touching mourning scenes. The representations of the six daughters of Akhenaten and Nefertiti, besides being the symbol of the spouses’ fertility, also performed an important religious function – the girls together with their parents and the god Aten created the divine Ennead just like the model of the nine gods from Heliopolis. The reliefs showing Amarna family seem to present real feelings and emotions of the royal couple and their children, although it could have a propagandist character.