Relevant bibliographies by topics / Egyptian Portraits

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  2. Dissertations / Theses
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Academic literature on the topic 'Egyptian Portraits'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Egyptian Portraits"

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Mašek, Michal. "Portrét Alexandra III. Velikého (336–323 př. Kr.) na mincích." Numismatické listy 75, no. 1-4 (2022): 8–17. http://dx.doi.org/10.37520/nl.2020.002.

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Pictures on the obverse side of the silver coins of Alexander the Great are commonly regarded to be portraits of the King himself. However, since the same portrait was also used by his predecessors, this theory cannot be accepted. It can only be assumed that the head of Heracles gradually became to be considered a portrait of Alexander III and continued to be used not only by die engravers but also other artists, such as that one making the so-called Alexander Sarcophagus. The real portrait can be found only on the Egyptian bronze coin of Price no. 3960 type.
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Jaeschke, Richard L., and Helena F. Jaeschke. "THE CLEANING AND CONSOLIDATION OF EGYPTIAN ENCAUSTIC MUMMY PORTRAITS." Studies in Conservation 35, sup1 (September 1990): 16–18. http://dx.doi.org/10.1179/sic.1990.35.s1.004.

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Dal Fovo, Alice, Mariaelena Fedi, Gaia Federico, Lucia Liccioli, Serena Barone, and Raffaella Fontana. "Multi-Analytical Characterization and Radiocarbon Dating of a Roman Egyptian Mummy Portrait." Molecules 26, no. 17 (August 30, 2021): 5268. http://dx.doi.org/10.3390/molecules26175268.

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Fayum mummy portraits, painted around 2000 years ago, represent a fascinating fusion of Egyptian and Graeco-Roman funerary and artistic traditions. Examination of these artworks may provide insight into the Roman Empire’s trade and economic and social structure during one of its most crucial yet still hazy times of transition. The lack of proper archaeological documentation of the numerous excavated portraits currently prevents their chronological dating, be it absolute or relative. So far, their production period has been defined essentially on the basis of the relevant differences in their pictorial style. Our study introduces the use of Accelerator Mass Spectrometry (AMS) to assess the age of a fragment of an encaustic painting belonging to the corpus of the Fayum portraits. The unexpected age resulting from 14C analysis suggests the need to reconsider previous assumptions regarding the period of production of the Fayum corpus. Furthermore, our multi-analytical, non-invasive approach yields further details regarding the fragment’s pictorial technique and constituting materials, based on spectral and morphological analysis and cross-sectional examination.
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Mazurek, Joy, Marie Svoboda, and Michael Schilling. "GC/MS Characterization of Beeswax, Protein, Gum, Resin, and Oil in Romano-Egyptian Paintings." Heritage 2, no. 3 (July 17, 2019): 1960–85. http://dx.doi.org/10.3390/heritage2030119.

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This article presents results from a binding media survey of 61 Romano-Egyptian paintings. Most of the paintings (51) are the better-known funerary mummy portraits created using either encaustic or tempera paint medium. Samples from all the paintings (on wooden panels or linen shrouds) were analyzed with gas chromatography/mass spectrometry (GC/MS) to identify waxes, fatty acids, resins, oils, and proteins in one sample. Analytical protocols that utilized three separate derivatization techniques were developed. The first analysis identified free fatty acids, waxes, and fatty acid soaps, the second characterized oils and plant resins, and the third identified proteins. The identification of plant gums required a separate sample. Results showed that fatty acids in beeswax were present as lead soaps and dicarboxylic fatty acids in some samples was consistent with an oxidized oil. The tempera portraits were found to contain predominantly animal glue, revising the belief that egg was the primary binder used for ancient paintings. Degraded egg coatings were found on several portraits, as well as consolidation treatments using paraffin wax and animal glue. The unknown restoration history of the portraits caused uncertainty during interpretation of the findings and made the identification of ancient paint binders problematic. Also, deterioration of the wooden support, residues from mummification, biodegradation, beeswax alteration, metal soap formation, and environmental conditions before and after burial further complicated the analysis. The inherent problems encountered while characterizing ancient organic media in funerary portraits were addressed. The fourteen museums that participated in this study are members of APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research), an international collaborative initiative at the J. Paul Getty Museum whose aim is to expand our understanding of ancient panel paintings through the examination of the materials and techniques used for their manufacture.
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Ganio, Monica, Johanna Salvant, Jane Williams, Lynn Lee, Oliver Cossairt, and Marc Walton. "Investigating the use of Egyptian blue in Roman Egyptian portraits and panels from Tebtunis, Egypt." Applied Physics A 121, no. 3 (August 14, 2015): 813–21. http://dx.doi.org/10.1007/s00339-015-9424-5.

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Chin, Christina D. "Excavate the Fayum Mummy Portraits and Bury Ancient Egyptian Stereotypes." Art Education 74, no. 3 (April 19, 2021): 14–20. http://dx.doi.org/10.1080/00043125.2021.1876460.

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Kasra, Mona. "Digital-Networked Images as Personal Acts of Political Expression: New Categories for Meaning Formation." Media and Communication 5, no. 4 (December 21, 2017): 51–64. http://dx.doi.org/10.17645/mac.v5i4.1065.

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This article examines the growing use of digital-networked images, specifically online self-portraits or “selfies”, as deliberate and personal acts of political expression and the ways in which meaning evolves and expands from their presence on the Internet. To understand the role of digital-networked images as a site for engaging in a personal and connective “visual” action that leads to formation of transient communities, the author analyzes the nude self-portrait of the young Egyptian woman Aliaa Magda Elmahdy, which during the Egyptian uprisings in 2011 drew attention across social media. As an object of analysis this image is a prime example of the use of digital-networked images in temporally intentional distribution, and as an instance of political enactment unique to this era. This article also explains the concept of participatory narratives as an ongoing process of meaning formation in the digital-networked image, shaped by the fluidity of the multiple and immediate textual narratives, visual derivatives, re-appropriation, and remixes contributed by other interested viewers. The online circulation of digital-networked images in fact culminates in a flow of ever-changing and overarching narratives, broadening the contextual scope around which images are traditionally viewed.
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Krug, Antje. "Paul Edmund Stanwick: Portraits of the Ptolemies. Greek kings as Egyptian pharaos." Gnomon 80, no. 3 (2008): 250–55. http://dx.doi.org/10.17104/0017-1417_2008_3_250.

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Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art." ARTMargins 11, no. 3 (October 1, 2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.

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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.
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Salvant, J., J. Williams, M. Ganio, F. Casadio, C. Daher, K. Sutherland, L. Monico, et al. "A Roman Egyptian Painting Workshop: Technical Investigation of the Portraits from Tebtunis, Egypt." Archaeometry 60, no. 4 (November 24, 2017): 815–33. http://dx.doi.org/10.1111/arcm.12351.

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Dissertations / Theses on the topic "Egyptian Portraits"

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Stanwick, Paul Edmund. "Egyptian royal sculptures of the Ptolemaic period /." Ann Arbor (Mich.) : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37209877n.

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Corcoran, Lorelei H. Schenck William. "Portrait mummies from Roman Egypt, I-IV centuries A.D. : with a catalog of portrait mummies in Egyptian museums /." Chicago (Ill.) : Oriental institute of the University of Chicago, 1995. http://catalogue.bnf.fr/ark:/12148/cb35785128s.

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Bryson, Karen Margaret. "A royal portrait head in the collection of the Michael C. Carlos Museum at Emory University." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-07182008-060902/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Melinda Hartwig, committee chair; Maria Gindhart, Glenn Gunhouse, committee members. Electronic text (128 p. : col. ill.) : digital, PDF file. Description based on contents viewed Oct. 3, 2008. Includes bibliographical references (p. 124-128).
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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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Atreis, Shereen Mohamed. "Interaction and assimilation between Egyptian and Greek features in male and female Egyptian private portrait sculpture of the Ptolemaic and early Roman period, ca 323 B.C.-A.D. 150." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415973.

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Connor, Simon. "Images du pouvoir en Egypte à la fin du Moyen Empire et à la Deuxième Période Intermédiaire." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209329.

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L’objet de cette thèse est la représentation en ronde-bosse des souverains et particuliers du Moyen Empire tardif et de la Deuxième Période Intermédiaire (mi-XIIe à fin-XVIIe dynastie, 1850-1550 av. J.-C). Ces trois siècles forment un ensemble cohérent du point de vue du système politique, très bureaucratique, du point de vue de la culture matérielle (pratiques funéraires, production de stèles et de statues) et de celui des sources textuelles. L’intérêt du choix de cette période réside dans l’abondance du répertoire conservé, qui permet de mener des analyses approfondies et de procéder à des comparaisons précises entre l’image du roi et celle des particuliers de différents niveaux sociaux. Cette période est également suffisamment longue pour permettre d’établir une évolution des tendances observées. La particularité de cette thèse est de considérer la statuaire royale et privée comme un ensemble. L’objectif consiste à renouveler la grille d’analyse d’une des productions majeures de la société égyptienne.

1480 pièces figurent au catalogue, dont beaucoup sont inédites :330 statues royales et 1150 statues privées. Ce répertoire a été constitué sur base des publications (catalogues de musées, d’expositions, de vente, rapports de fouilles) et à partir de l’examen personnel des pièces conservées dans 65 musées à travers l’Europe, les États-Unis, l’Égypte et le Soudan, dans des collections privées, ainsi que sur les sites archéologiques. Ce vaste catalogue permet de dresser un panorama aussi complet que possible de la statuaire de l’époque envisagée.

La statuaire est un moyen pour l’Égyptien de l’Antiquité, grâce à la nature performative de l’art, de matérialiser sa présence dans les sanctuaires, de se trouver face aux divinités, de leur faire don d’offrandes en échange de leurs bienfaits, de rendre hommage à des prédécesseurs. C’est aussi une façon d’exprimer un message par le choix du matériau, du type statuaire, d’une physionomie et d’un emplacement dans un temple, une chapelle ou une tombe. C’est ce discours que pouvaient lire les contemporains du titulaire de la statue et qu’il appartient au chercheur de démêler. Je me suis employé à définir qui étaient les destinataires des statues, quelle était la clientèle concernée, à quel endroit on plaçait ces statues (régions, contextes architecturaux, programmes iconographiques), quel était le sens et la fonction que pouvaient avoir la forme d’une statue, ses dimensions, la position et la gestuelle du personnage représenté. J’ai examiné les différents matériaux utilisés, les raisons de leur choix, leurs significations particulières, les ateliers auxquels ils étaient associés. J’ai établi le rapport entre la physionomie du souverain et celle des particuliers, ainsi que le développement stylistique de la statuaire au cours des trois siècles envisagés, et tenté d’interpréter les différents critères de cette évolution. En bref, j’ai cherché à définir le rôle et l’usage d’une statue, le but de son acquisition et de son installation, le message qu’elle véhiculait.

Les statues du souverain traduisent une volonté d’être présent partout, dans les divers temples et sanctuaires, de regarder et d’être vu, de rester présent au-delà de la mort, à la fois dans le monde des dieux, et sur terre, parmi les hommes. Elles servent aussi de réceptacle au culte du souverain dès son vivant et remplissent le rôle d’intercesseurs entre les hommes et les dieux. Enfin, elles commémorent le passage d’expéditions sur les sites éloignés et sacrés.

Le message inhérent à la statuaire privée est différent. Les particuliers ne sont pas quant à eux d’essence divine et n’incarnent pas la maîtrise du monde dans la personne d’un être surhumain. Les dignitaires sont des individus et représentés comme tels, à la différence le roi, qui est roi avant d’être un homme. La statuaire privée exprime, par le pouvoir de l’image, du costume, de la nature de la pierre, le rang privilégié d’un humain parmi ses semblables, le désir d’afficher un haut statut et une proximité avec le souverain. Le personnage représenté par une statue acquiert le moyen d’être intégré dans le temple, de jouir du culte et des offrandes. Par le moyen des titres étalés dans les inscriptions de la statue, par le choix de matériaux prestigieux et par le recours aux ateliers royaux, qui leur fournissent des statues dont la physionomie est en tout point similaire à celle du souverain, les hauts dignitaires manifestent leur allégeance au pouvoir et leur proximité avec le souverain.

Quant aux membres des niveaux plus modestes de l’élite, ils cherchent à exprimer un rang élevé par mimétisme vis-à-vis de ces hauts dignitaires, en adoptant les mêmes types statuaires, costumes et perruques, et, quand ils n’ont pas les moyens d’acquérir une statue dans un matériau prestigieux, en employant des roches qui peuvent en gagner l’aspect. Ces images ne reflètent pas la fonction précise des individus qu’elles représentent ;elles ont en revanche le pouvoir d’exprimer un statut, réel ou non, et accordent dans l’au-delà un rang privilégié à leurs titulaires, en servant d’intermédiaires entre les mondes humain et divin.

Ce travail permet d’apporter plusieurs voies de réflexion, à la fois sur l’époque envisagée et sur le domaine de la production sculpturale égyptienne en général. Cette étude ne cherche pas seulement à exploiter un large corpus de statues, mais à formuler un ensemble de questions pour obtenir une meilleure et plus vaste compréhension de tous les facteurs impliqués dans la production et l’usage de la statuaire, ainsi que des implications sociales qui y sont attachées.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Books on the topic "Egyptian Portraits"

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Deutsches Archäologisches Institut. Abteilung Kairo., ed. Egyptian royal sculpture of the late period, 400-246 B.C. Mainz am Rhein: Verlag Philipp von Zabern, 1997.

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Kureopatora to Ejiputo no ōhiten. [Tōkyō-to Shibuya-ku]: NHK, 2015.

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Doxiadis, Euphrosyne. The mysterious Fayum portraits: Faces from ancient Egypt. New York: H. N. Abrams, 1995.

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The mysterious Fayum portraits: Faces from ancient Egypt. London: Thames and Hudson, 1995.

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The mysterious Fayum portraits: Faces from ancient Egypt. Cairo: American University in Cairo Press, 2000.

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Myśliwiec, Karol. Royal portraiture of the dynasties XXI-XXX. Mainz am Rhein: P. Von Zabern, 1988.

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Das Malibu-Triptychon: Ein Totengedenkbild aus dem römischen Ägypten und verwandte Werke der spätantiken Tafelmalerei. Dettelbach: Röll, 2003.

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Urban space in contemporary Egyptian literature: Portraits of Cairo. New York: Palgrave Macmillan, 2011.

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Janet, Picton, Quirke Stephen, and Roberts Paul C, eds. Living images: Egyptian funerary portraits in the Petrie Museum. Walnut Creek, CA: Left Coast Press, 2007.

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Ägyptisches Museum und Papyrussammlung (Berlin, Germany), ed. Teje: Die den Herrn beider Länder mit ihrer Schönheit erfreut : eine ikonographische Studie. Ruhpolding: Franz Philip Rutzen, 2014.

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Book chapters on the topic "Egyptian Portraits"

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Warkentin, Avery, and Elifgül Doğan. "Reframing Egyptian Mummy Portraits:." In Diversity in Archaeology, 213–23. Archaeopress Publishing Ltd, 2022. http://dx.doi.org/10.2307/j.ctv2ws537m.24.

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"Nasab, Baraka and Land: Hagiographic and Family Memory entwined in the Egyptian Brotherhood of Sharnūbiyya, from the Fourteenth Century until Today." In Family Portraits with Saints, 159–97. De Gruyter, 2013. http://dx.doi.org/10.1515/9783112208991-006.

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Seggerman, Alex Dika. "Future Publics." In Modernism on the Nile, 27–67. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653044.003.0002.

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This chapter argues that late nineteenth-century satirical cartoons and portrait photography in Egypt created a public conversant in a shared visual language of art and politics, and thus laid the groundwork for a modern art movement. The increased availability of mechanical image reproduction technology in Egypt, in addition to the country’s strategic position in international politics, fostered a visual system for identifying and critiquing late nineteenth-century Cairene politics among a transnational elite. This public included Ottoman, French, Italian, Syrian Christian, and Jewish individuals in addition to “local” Egyptians. The shared visual language spoke to all these diverse groups. I trace the visual history of caricature embedded in the satirical, illustrated Arabic- and French-language lithographic journal Abou Naddara Zarqaʾ, published by Yaʿqub (James) Sanua (1839–1912), and the significations of the cross-dressing by Princess Nazli Fazil (1853–1913) in photographic portraits. Both interpellate a public by means of images that reference a wide network of histories. Through visual analysis, I plot a constellation of complex visual and textual connections that, I argue, forms the “future public” of Egyptian modernism.
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"Ancient World." In Advances in Religious and Cultural Studies, 192–227. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1706-2.ch008.

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The features of depicting space in the reliefs and murals of Ancient Egypt are considered. Attention is drawn to the preservation of the connection of ancient Egyptian art with primitive art in sacred paintings and to the evolution of the ways of depicting space in secular scenes. There is enough material to reconstruct the ancient Egyptian version of the World Tree myth and to establish links with other archaic myths and ideas about the World Tree in the synchronous cultures of the Middle East. When analyzing markers of evolutionary changes, the most active channels were established and the forecast of the self-organization scenario was checked. The results are presented in the form of generalized psychological portraits and behavior patterns of representatives of the main estates.
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El-Meligi, Amin A. "History of Nanomaterials and Nanotechnology." In The Art of Nanomaterials, 1–16. BENTHAM SCIENCE PUBLISHERS, 2022. http://dx.doi.org/10.2174/9781681089706122010003.

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The secret of nanomaterials is not the size of the particles, but it is in the applications of nanomaterials and the art of making. Nanotechnology is science, engineering, and technology conducted at the nanoscale, which is about 1 to 100 nanometers. It is an amazing field dealing with very small size particles; imagine that a meter of cloth has been cut into a billion pieces (1 meter =109 nm). Thousands of years ago, the monuments were fabricated and reflected the art and coloures of paints. The Egyptian monuments reflect the beauty and art of paints in the papyrus papers, for example, the ancient pigment known as Egyptian blue may have important new applications in nanotechnology. Lotus flowers were once considered sacred in Egypt and parts of Asia. Significant advances in nanotechnology are helping researchers analyze the type of pigments used to paint mummy portraits in ancient Egypt. Scientists at Boise State University led by a Materials Science and Engineering Professor Darryl Butt, have taken a sliver of wood smaller than a human hair and extracted five extraordinarily tiny fragments—about 20 nanometers wide—and two thin foils of purple paint from a Romano-Egyptian mummy portrait dating to between A.D. 170 and 180. There is a new challenge facing the world, especially in the field of nanotechnology. It was stated by James Canton (2001) that if Nanotechnology, the manipulation of matter at the atomic level, at maturity achieves even a fraction of its promise, it will force the reassessment of global markets and Economies and industries on a scale never experienced before in human history. Nanotechnology will be discussed from all aspects of economics such as wages, employment, purchasing, pricing, capital, exchange rates, currencies, markets, supply and demand. Nanotechnology may well drive economic prosperity or at the least be an enabling factor in shaping productivity and global competitiveness.
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"For a Portrait of the Queen." In Ancient Egyptian Literature, 100–101. University of Texas Press, 2001. http://dx.doi.org/10.7560/725263-030.

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"Redrawing a Portrait of Egyptian Monasticism." In Medieval Monks and Their World: Ideas and Realities, 9–34. BRILL, 2006. http://dx.doi.org/10.1163/9789047411369_003.

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Cuvier, Georges. "1. The Egyptians, Phoenicians, and Carthaginians." In Historical Portrait of the Progress of Ichthyology / Tableau historique des progrès de l’ichtyologie, 31–37. Publications scientifiques du Muséum, 2020. http://dx.doi.org/10.4000/books.mnhn.6274.

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Benthall, Jonathan. "Yusuf al-Qaradawi." In Islamic Charities and Islamic Humanism in Troubled Times. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781784993085.003.0017.

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This Chapter was originally the entry in the Oxford Encyclopedia of Islam and Politics (2014). on Yusuf al-Qaradawi, the Egyptian-born Islamic scholar who took up residence in Qatar. It sets out to present a fair and balanced portrait of this contentious figure, regularly voted among the world’s foremost public intellectuals and (when the article was written) the most influential religious authority in the Sunni Muslim world, not least because of the formidable network of institutions that he helped to create, including charities; but also because of his forceful oratory, media skills, and many publications. A prefatory note provides up-to-date information on controversies involving Qaradawi, as the spiritual leader of the Muslim Brotherhood, that have erupted since the article was first published.
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Grajetzki, Wolfram. "Egypt’s Middle Kingdom." In The Oxford History of the Ancient Near East: Volume II, 854–924. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190687571.003.0022.

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Abstract The Middle Kingdom (late Eleventh to mid-Thirteenth Dynasty) is the classical age of Egyptian art, and its language was seen as a model in later times. This chapter discusses the cultural and social history of this crucial period, which saw the production of the first written texts in Egypt that can be called literature. With the exception of its founder, Mentuhotep II, who created a unique burial complex in Thebes, the Middle Kingdom kings were buried in pyramids in Lower Egypt, while local governors initially erected their own monumental rock-cut tombs in their provinces. Temples in all parts of the country were placed under state control and were furnished with reliefs and statues—unheard of in earlier Egyptian history. Art production reached new heights at the end of the Twelfth Dynasty, and a key development was the invention of the portrait, when royal sculpture no longer showed an idealized youthful ruler but instead depicted the aging king with specific features. The later part of the Middle Kingdom period saw a drastic centralization as the provincial governors lost importance and the resources of the country were concentrated at a few royal centers, causing the local cultural traditions that flourished in the early Middle Kingdom period to disappear.
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