Journal articles: '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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Tanner, Jeremy. "Portraits, Power, and Patronage in the Late Roman Republic." Journal of Roman Studies 90 (November 2000): 18–50. http://dx.doi.org/10.2307/300199.

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Recent work in ancient art history has sought to move beyond formalist interpretations of works of art to a concern to understand ancient images in terms of a broader cultural, political, and historical context. In the study of late Republican portraiture, traditional explanations of the origins of verism in terms of antecedent influences — Hellenistic realism, Egyptian realism, ancestral imagines — have been replaced by a concern to interpret portraits as signs functioning in a determinate historical and political context which serves to explain their particular visual patterning. In this paper I argue that, whilst these new perspectives have considerably enhanced our understanding of the forms and meanings of late Republican portraits, they are still flawed by a failure to establish a clear conception of the social functions of art. I develop an account of portraits which shifts the interpretative emphasis from art as object to art as a medium of socio-cultural action. Such a shift in analytic perspective places art firmly at the centre of our understanding of ancient societies, by snowing that art is not merely a social product or a symbol of power relationships, but also serves to construct relationships of power and solidarity in a way in which other cultural forms cannot, and thereby transforms those relationships with determinate consequences.

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Flint, Kate. "COUNTER-HISTORICISM, CONTACT ZONES, AND CULTURAL HISTORY." Victorian Literature and Culture 27, no. 2 (September 1999): 507–11. http://dx.doi.org/10.1017/s1060150399272142.

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LATE IN 1839, George Catlin arrived in London from New York with a collection of Native American artifacts, costumes, and some six hundred portraits and other paintings. Executed during the previous eight years in the Prairies and the Rockies, they showed the appearance, habitat and customs of various tribes. Catlin rented the Egyptian Hall, in Piccadilly, set up a wigwam made of twenty or more ornamented buffalo skins in the center, and proceeded to mount his exhibition. Initially attracting a good deal of favorable attention, it ran for two years before touring England, Scotland, Ireland, and finally France.

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Seif, Ola. "Van-Leo." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 164–82. http://dx.doi.org/10.1215/10757163-9435765.

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When the Art and Liberty group launched its activities in the late 1930s and early 1940s, the young Levon Boyadjian (later to become the famous Van-Leo) and his elder brother, Angelo, were jointly debuting their careers as photographers in Cairo. Van-Leo’s archive of photographic prints, negatives, and documents reveals much about the imaginative experimental channels he explored to crystallize his inner self. The artist’s self-portraiture—“auto-portraits,” as he called them—constituted the core of his surrealist production, and his photographic knowledge was enriched while he implemented these early self-portraits. Self-taught, he often returned to photography books, from which he learned techniques of double and triple exposure, juxtaposition, sandwiching, solarization, and cutouts and thus triggered his imagination and sense of exploration. This article traces the arc of Van-Leo’s early surrealist phase, which lasted about a decade that coincided with the beginning of his career in the 1940s. Other than the surrealist self-portraits, his photographic archive also contains a few hundred more works that are just as eccentric, although they rely more on disguise skills, shadows, and contrasts, or constitute false personifications of characters in society, rather than a surrealist approach. Although Van-Leo’s work was detached from what the Egyptian surrealist philosophies called for, he was, it seems, a surrealist by accident.

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Pollitt, J. J. "Portraits of the Ptolemies: Greek Kings as Egyptian Pharaohs. By Paul Edmund Stanwick." American Journal of Archaeology 107, no. 4 (October 1, 2003): 686–87. http://dx.doi.org/10.1086/ajs40024348.

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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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СМИРНОВ, С. В. "A Female portraiture in the structure of the Seleukid Royal Iconography." Цивилизация и варварство, no. 11(11) (November 18, 2022): 146–62. http://dx.doi.org/10.21267/aquilo.2022.11.11.005.

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В работе приводится обзор ключевых проблем царского женского портрета у Селевкидов. Несмотря на то, что женщины царских династий играли важную политическую роль в системе международных отношений эллинистических государств, их изображения немногочисленны. Исключение составляет династия Птолемеев, где женский портрет был устойчивой практикой, зародившейся еще в начале III в. до н.э. Напротив, у Селевкидов женские портреты появляются гораздо позже. Вопреки устоявшемуся в историографии мнению, самым ранним женским царским портретом у Селевкидов стоит считать изображение царицы Лаодики, жены царя Антиоха III, известное по оттиску печати из Селевкии на Тигре. Анализ иконографического материала показывает, что птолемеевский женский портрет представляет собой скорее особый случай, связанный с устойчивой догреческой иконографической традицией. В системе царской идеологии Селевкидов женский портрет как элемент парного портрета царя и царицы выступал инструментом легитимации власти нового правителя. В середине II в. до н.э., ввиду усиления политического влияния Египта, в державе Селевкидов появляется новый вариант царского женского портрета, выстроенного по египетским иконографическим канонам. The survey provides an overview of the main problems of the royal Seleukid female portraiture. Despite the fact that the women of the Hellenistic royal dynasties played an important political role in the system of international relations of the Hellenistic kingdoms, their images are rare. The exception is the Ptolemaic dynasty, where the female portrait was a long-live practice that originated at the beginning of the III century BC. On the other hand, Seleukid female portraits appear much later. Contrary to the well-established opinion in historiography, the earliest Seleukid female royal portrait should be considered the image of queen Laodice, the wife of king Antiochus III, known from the seal impression from Seleucia on the Tigris. The analysis of the iconography shows that the Ptolemaic female portrait is rather an extraordinary case associated with a stable pre-Greek iconographic tradition. In the system of the Seleukid royal ideology, a female portrait as an element of a jugate portrait of a king and a queen used as an instrument of legitimizing the power of the new ruler. In the middle of the II BC, while political influence of Egypt increases, a new version of the royal female portrait, based on Egyptian iconographic canons, appears in the Seleukid empire.

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Watts, Rikk. "The Lord's House and David's Lord: The Psalms and Mark's Perspective on Jesus and the Temple." Biblical Interpretation 15, no. 3 (2007): 307–22. http://dx.doi.org/10.1163/156851507x184937.

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AbstractFour Davidic Psalms (2, 118, 110, and 22), each cited or alluded to at least twice, in this order, and at critical junctures in Mark's narrative, play a key role in his Gospel. In contemporary understanding Psalm 2 was associated with the future messianic purging of Jerusalem and especially the temple (e.g.4QFlor, Pss Sol 17). Psalm 118, concluding the Egyptian Hallel, spoke of Israel's future deliverance under a Davidic king with the restored temple as the goal of Israel's return from exile. Psalm 110's surprisingly elevated royal designation, uniquely expressed in Melchizedekian priestking terms, contributed to several portraits of exalted heavenly deliverers, some messianic, who would preside over Israel's restoration (e.g.11QMelch, 1 Enoch) while Psalm 22's Davidic suffering and vindication described the deliverance of righteous Zion (e.g.4QPs). Drawing from the dual perspective of their original contexts and contemporary interpretations, this paper proposes that Mark's careful arrangement of his psalm citations presents Jesus as both Israel's Davidic Messiah (Pss. 2, 118) and the temple's Lord (Ps. 110) who, coming to purge Jerusalem but rejected by the temple authorities, announces the present structure's destruction and, through his death and vindication (Ps. 22), its replacement with a new people-temple centered on himself.

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Lai, Pak-Wah. "The Monk as Christian Saint and Exemplar in St John Chrysostom’s Writings." Studies in Church History 47 (2011): 19–28. http://dx.doi.org/10.1017/s0424208400000826.

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By the time Augustine read the Life of Antony in 386, the biography had already become an international best seller in the Roman Empire. Translated twice into Latin and read in places as far off as Milan and Syrian Antioch, the Egyptian Life also proved to be a significant influence upon hagiographical writing in the late fourth century, the most notable example being the Lives of St Jerome. Consequently, scholars have often taken it to represent the dominant paradigm for sainthood in fourth-century Christianity and the centuries that followed. But is this assumption tenable? The Life of Antony would in all likelihood be read only by the educated elite or by ascetic circles in the Church, and was hardly accessible to the ordinary Christian. More importantly, hagiographical discourse in the fourth century was not restricted to biographies, but pervaded all sorts of Christian literature. This is certainly the case with the writings of St John Chrysostom (c. 349—407), who often presents the Christian monk as a saintly figure in his monastic treatises and his voluminous homilies. Indeed, what emerges from his writings is a paradigmatic saint who is significantly different from that portrayed in the biographies, and yet equally influential among his lay and ascetic audiences. To be sure, Chrysostom’s monastic portraits share some common features with that provided by Athanasius’s Life. Nevertheless, there are also stark differences between the two, and these are the focus of this paper.

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Carapico, Sheila. "Private Voluntary Organizations in Egypt." American Journal of Islam and Society 13, no. 2 (July 1, 1996): 269–71. http://dx.doi.org/10.35632/ajis.v13i2.2321.

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Over the past five years or so, the considerable western interest inthe role played by nongovernmental voluntary associations in Egypt hasbeen reflected in a growing English-language literature on the subject.Researchers tackle the question from a range of perspectives.One approach, relatively state-centered and legalistic, focuses on howCairo manages to control, co-opt, or "corporatize" autonomous organizationsincluding labor and professional syndicates, agricultural and othercooperatives, and private not-for-profit groups. The principle tool for reiningin private voluntary and community associations is the notorious Law32 of 1964. Under Law 32, the Ministry of Social Affairs can interferedirectly in all aspect of associational life-articulation of goals, election ofofficers, pursuit of projects, allocation of funds, and so on. Among the wellknownsecular nonprofit groups with international linkages that have beendenied licenses from the Ministry are the Egyptian Organization of HumanRights and the Arab Women's Solidarity Association. In this legal and policymilieu, many scholars and human rights activists argue that no registeredassociation in Egypt can properly be deemed "nongovernmental."Other analysts, however, accept Cairo's position that the threat of radicalIslam justifies authoritarian restrictions on independent organizations.The second group of studies is inspired partly by these concerns over theradicalization of Islamist associations. Scholars familiar with social, economic, and political circumstances in the Nile Valley usually try to counteracthysterical mass media portraits of "Muslim terrorists" with inquiries intothe structure, function, membership, activities, and ideologies of a range ofIslamist institutions including welfare and charitable associations. The particularstrength of politicized Islam in the 1990s, this research suggests, restson the capacity of Islamist charities to provide a crucial layer of social servicesto a burgeoning, underemployed, increasingly impoverished population.Opinion is divided, however, on the question of whether this circumstancefavors containment and stability or frustration and insurrection.A third set of studies, sometimes overlooked by scholars, comes fromwithin the Cairo-based donor community, the "development practitioners" ...

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Burke, Aaron A., Krystal V. Lords, Martin Peilstöcker, Kyle H. Keimer, and George A. Pierce. "Egyptians in Jaffa: A Portrait of Egyptian Presence in Jaffa during the Late Bronze Age." Near Eastern Archaeology 73, no. 1 (March 2010): 2–30. http://dx.doi.org/10.1086/nea20697244.

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Prydatko-Dolin, Vasyl. "Vsevolod Averin (1889–1946), master of the Ukrainian school of animaliers and graphic artists." GEO&BIO 2022, no. 22 (June 30, 2022): 63–78. http://dx.doi.org/10.15407/gb2206.

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This article could have also been titled as ‘The little-known artist Vs. Averin.’ The impetus for its writing was the need to overcome post-Soviet propaganda, which invented the brand ‘Ukrainian Soviet artist’ and used it actively to sovietize biographies of Ukrainian artists. Vs. Averin is one of those artists. However, the Soviet style permeated Averin’s art independently through Averin’s presence in respective associations, unions, exhibitions, and publishing houses for which he acted professionally. In the same way, some of Averin’s art was adjusted artificially to the requirements of the Soviet system. Averin also illustrated memories of former revolutionists, he was among those who allegedly supported the Soviet collective farms, and he sympathized ostensibly with the ‘reunification of Ukraine and Russia’, and so on. The truth is that the work on the agitprop took away the artist’s time, which he could have used in other circumstances, in particular for painting. The author draws attention to many other things that are not yet voiced by the biographers. Averin had started with illustrating books before he entered art school, and in many ways he helped colleagues of his zoologist brother. Vsevolod was interested in everything that helped him to strengthen graphics, in particular through the usage of Egyptian and astrophysical symbols, occasionally photography. He created nice autolithographs for VUSOR—a legacy that remains unnoticed by exhibitioners today. The artist contributed a lot to the development of bookplates, trademarks, posters, stands, emblems, badges, covers, pictures for magazines, tokens, diplomas, letters of commendation, invitations, membership cards, as well as other items to advertise hunting and fishing equipment. He illustrated texts for famous writers and zoologists, including O. Vyshnya, Vikt. Averin, L. Portenko, M. Charlemagne, and others. He was the author of portraits of some educators, including T. Shevchenko. Some articles and books he published himself, such as ‘Interesting Plants’ and ‘Straw Bull’ (in Ukrainian). In the history of art, Averin will remain as a native of Kharkiv Oblast (Ukraine) and as a talented master of the national school of animaliers and graphic artists.

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Ashton, Sally-Ann. "Ptolemaic royal images - PAUL EDMUND STANWICK, PORTRAITS OF THE PTOLEMIES. GREEK KINGS AS EGYPTIAN PHARAOHS (University of Texas Press, Austin 2002). Pp. xviii + 156, figs. 282. ISBN 0-292-75271-7. $55." Journal of Roman Archaeology 17 (2004): 543–50. http://dx.doi.org/10.1017/s104775940000845x.

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Bisulca, Christina, Ellen Hanspach-Bernal, Aaron Steele, and Caroline Roberts. "Deconstructing an Ancient Egyptian Mummy Portrait." Bulletin of the Detroit Institute of Arts 95, no. 1 (January 1, 2021): 6–19. http://dx.doi.org/10.1086/718825.

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Morrison, Heidi. "Unspoken Dreams." International Journal of Middle East Studies 41, no. 4 (October 26, 2009): 548–50. http://dx.doi.org/10.1017/s0020743809990043.

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During the period from 1900 to 1950, the production and deployment of photographic images of the Egyptian child by Egyptian adults played a role in nationalism, a role as yet unstudied by historians of Egypt or of photography. The studio portrait selected here represents the commonly produced genre of photographs that showed Egyptian children as technologically capable and possessing Western symbols of progress. This picture of two girls and one boy surrounding an adult man's bike—whose wheels are larger than the smallest child and on whose seat seems to be placed the decorative vase of flowers in the backdrop—suggests that the children are present in the living room not to ride the bike but rather to show off their possession of a modern means of transportation (and perhaps to learn about it from the books resting on the bike's rear rack).

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Karman, Yonky. "Joseph’s Food Politics as Life-Keeper of Many People: A Close Rereading of Genesis 47:13–26." Veritas: Jurnal Teologi dan Pelayanan 20, no. 2 (December 6, 2021): 161–73. http://dx.doi.org/10.36421/veritas.v20i2.481.

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The Septuagint reading predominantly influences the interpretation of Genesis 47:13-26 (primarily v. 21). Despite a positive portrayal of Joseph, he is also seen as Pharaoh’s accomplice to enslave the Egyptian people. This connection with slavery activities contradicts the traditional image of Joseph as the life-keeper of many people. Solution for the negative portrait of Joseph usually refers to the Masoretic Text, although it is not a reference to many modern Bible translations and commentaries. The Septuagint as a reference, in this case, is indeed difficult to reject. However, that does not mean that Joseph promotes the slavery of the Egyptian people throughout the land, but rather an ancient form of state capitalism. This article draws on textual criticism, word studies, form criticism, and agricultural knowledge background in the ancient Middle East. The contribution of this research is to show that, instead of enslaving, Joseph formulated an Egyptian food politics in the larger context of Joseph’s narrative reality as the life-keeper of many people.

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Borg, Barbara E. "Living Images: Egyptian Funerary Portraits in the Petrie Museum University College London Institute of Archaeology Publications. Walnut Creek, Calif.: Left Coast Press, 2007. Pp. 318; illustrations. Paper, $45.00. ISBN 978-1-59874-251-0. Edited by Janet Picton, Stephen Quirke, Paul C. Roberts." Near Eastern Archaeology 74, no. 3 (September 2011): 185–86. http://dx.doi.org/10.5615/neareastarch.74.3.0185.

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Standhartinger, Angela. "Philo im ethnografischen Diskurs." Journal for the Study of Judaism 46, no. 3 (August 25, 2015): 314–44. http://dx.doi.org/10.1163/15700631-12340110.

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In De Vita Contemplativa, Philo of Alexandria describes a group of female and male philosophers called therapeutae. The existence of the group is beyond doubt. However, Philo is our sole witness. This paper argues that the riddle of the historical therapeutae can be solved by a comparison of Contempl. with ancient ethnographical writings. Like Philo, Diodor, the Stoic Chaeremon and Plutarch also highlight Egyptian religiosity and myth as a source of original wisdom, philosophy and truth. It will be shown that Philo’s depiction of the “therapeutical race” refers to a full repertoire of topics and motifs from ancient ethnographical discourse. Most strikingly, the Jewish author self-presents here as Greek while creating an idealized portrait of a group, the Jewish identity of which is revealed only in the last third of the writing. The paper argues that Philo presents “common” Judaism in the guise of an Egyptian religious “sect”.

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Stock, S. R., M. K. Stock, and J. D. Almer. "Combined computed tomography and position-resolved X-ray diffraction of an intact Roman-era Egyptian portrait mummy." Journal of The Royal Society Interface 17, no. 172 (November 2020): 20200686. http://dx.doi.org/10.1098/rsif.2020.0686.

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Hawara Portrait Mummy 4, a Roman-era Egyptian portrait mummy, was studied with computed tomography (CT) and with CT-guided synchrotron X-ray diffraction mapping. These are the first X-ray diffraction results obtained non-invasively from objects within a mummy. The CT data showed human remains of a 5-year-old child, consistent with the female (but not the age) depicted on the portrait. Physical trauma was not evident in the skeleton. Diffraction at two different mummy-to-detector separations allowed volumetric mapping of features including wires and inclusions within the wrappings and the skull and femora. The largest uncertainty in origin determination was approximately 1.5 mm along the X-ray beam direction, and diffraction- and CT-determined positions matched. Diffraction showed that the wires were a modern dual-phase steel and showed that the 7 × 5 × 3 mm inclusion ventral of the abdomen was calcite. Tracing the 00.2 and 00.4 carbonated apatite (bone's crystalline phase) reflections back to their origins produced cross-sectional maps of the skull and of femora; these maps agreed with transverse CT slices within approximately 1 mm. Coupling CT and position-resolved X-ray diffraction, therefore, offers considerable promise for non-invasive studies of mummies.

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Kurth, Dieter, and Lorelei H. Corcoran. "Portrait Mummies from Roman Egypt (I-IV Centuries A.D.) with a Catalog of Portrait Mummies in Egyptian Museums." Journal of Egyptian Archaeology 84 (1998): 258. http://dx.doi.org/10.2307/3822235.

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Shehata, Abdel Kareem. "The "Demonic Other” and the Colonial Figures in Kipling’s The White Man’s Burden and Taher’s Sunset Oasis: A Comparative Study." International Journal of Language and Literary Studies 4, no. 4 (December 29, 2022): 12–26. http://dx.doi.org/10.36892/ijlls.v4i4.1066.

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In 1899, The British poet Rudyard Kipling directed his poem, The White Man’s Burden, to the United States on the occasion of the invasion of the Philippine Islands. In his poem, Kipling mainly encourages the States to occupy the Islands. Kipling also draws a portrait of the colonized peoples. In 2007, the Egyptian novelist Bahaa Taher published his novel (Waht Al Ghoroub), Sunset Oasis. In his novel, Taher presents a group of Egyptian, English, Irish and Circassian characters who live in Egypt during and after the Urabi Revolution (1882). The first aim of this paper is to show the main features of the picture of the colonized people in Kipling's poem. The second aim is to highlight the traits of the pictures of the characters, who are terribly influenced by the imperial project throughout the history in Taher's novel. Comparing Kipling's and Taher's pictures is another important aim of the paper. The paper will achieve these aims in the light of the postcolonial theory and the paper comes in two parts and a conclusion.

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Borg, Barbara, and Lorelei H. Corcoran. "Portrait Mummies from Roman Egypt (I-IV Centuries A. D.) with a Catalog of Portrait Mummies in Egyptian Museums." American Journal of Archaeology 101, no. 1 (January 1997): 187. http://dx.doi.org/10.2307/506276.

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Ortiz-García, Jónatan. "A JOURNEY TO THE AFTERLIFE UNDER THE PROTECTION OF THE MISTRESS OF NAVIGATION: A ‘NEW’ FUNERARY BELIEF FROM ROMAN MEMPHIS." Greece and Rome 64, no. 1 (March 14, 2017): 27–38. http://dx.doi.org/10.1017/s001738351600022x.

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The study of Egyptian personal religiosity during the third century ad presents an interesting opportunity to explore the processes of cultural encounters between Egypt and the Roman Empire. The religious situation was more complicated and variegated than the textual evidence seems to suggest; sometimes one becomes aware of the existence of certain beliefs only through their iconographic record. For this reason, decorated stelae, coffins, and mummy wrappings are crucial materials for research into questions of religious exchange. This article presents the case of a third-century ad shroud from Memphis painted with a woman's portrait and funerary scenes, along with a representation of Isis navigans.

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Pigott, Susan M. "Hagar: The M/Other patriarch." Review & Expositor 115, no. 4 (November 2018): 513–28. http://dx.doi.org/10.1177/0034637318803073.

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Most readers of the Old Testament know the matriarchs Sarah, Rebekah, Rachel, and Leah along with their counterpart patriarchs (Abraham, Isaac, and Jacob). But fewer know the other matriarch, Hagar, the Egyptian, wife of Abraham and mother of Ishmael. If they know her, they often have negative misconceptions about Hagar and Ishmael. But when one reads the stories of Hagar in Genesis 16 and 21 carefully and without modern prejudices, one discovers that Genesis portrays neither Hagar nor Ishmael negatively. In fact, Hagar is exceptional among the matriarchs in that she is actually a Mother Patriarch, being promised multiplied seed (just like the patriarchs Abraham and Isaac) and providing for Ishmael’s future as a patriarch would. Her son, Ishmael, mirrors Isaac in numerous ways and, like Jacob, he is the father of twelve princes. Hagar, the ultimate “other” as an Egyptian, is also the ultimate mother. She should be accorded her place as the mother of a nation and, indeed, a patriarch in her own right.

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Kurth, Dieter. "Book Review: Portrait Mummies from Roman Egypt (I–IV Centuries A.D.) with a Catalog of Portrait Mummies in Egyptian Museums." Journal of Egyptian Archaeology 84, no. 1 (December 1998): 258–60. http://dx.doi.org/10.1177/030751339808400136.

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Naʾaman, Nadav. "The Exodus Story: Between Historical Memory and Historiographical Composition." Journal of Ancient Near Eastern Religions 11, no. 1 (September 1, 2011): 39–69. http://dx.doi.org/10.1163/156921211x579579.

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The article seeks to explain the contrast between the central place of the Exodus in Israelite memory and the marginality of the event in history by shifting the focus of discussion from the historical question to the role the Exodus tradition played in shaping the self-portrait and consciousness of early Israelite society. It first examines the oppressive nature of Egyptian rule in Canaan at the time of the Nineteenth and Twentieth Dynasties. It then examines the story of the Exodus in the context of Egypt under the Ramesside and Saitic Dynasties. It suggests that the bondage and the delivery from slavery as related in the biblical story actually took place in Canaan and that the memories were later transferred from Canaan to Egypt. The transfer of memory explains the omission of the memory of the long Egyptian occupation of Canaan in the Bible. The displaced memories of bondage were replaced by the ‘memory’ of the conquest, which reflects the way early Israelite society sought to present its past. The subjugation, the suffering and the delivery were experienced by all tribal groups that lived at the time in Canaan, hence the centrality of the Exodus tradition within the Israelite society

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Liszka, Kate. "Discerning Ancient Identity: The Case of Aashyet’s Sarcophagus (JE 47267)." Journal of Egyptian History 11, no. 1-2 (October 8, 2018): 185–207. http://dx.doi.org/10.1163/18741665-12340047.

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Abstract Aashyet’s sarcophagus (JE 47267) offers a unique case for understanding how the intersection of a person’s identities, such as ethnicity, gender, age, or religion, is portrayed on a funerary object within the historic and religious circumstances of a specific context. Aashyet’s sarcophagus portrays her as a wealthy, elite priestess, and the head-of-household, while being a Nubian who celebrated her non-Egyptian origins. The sarcophagus’s archaeological context also demonstrates the importance of Priestesses of Hathor within Montuhotep II’s funerary complex at Deir el-Bahri for the legitimation of his kingship before he unified Egypt, late in his reign.

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Caravaca Guerrero, Consuelo Isabel. "Problemática de estudio en el caso de los retratos de El- Fayum." Antigüedad y Cristianismo, no. 38 (December 23, 2021): 17–32. http://dx.doi.org/10.6018/ayc.471621.

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The mummification process of the ancient Egyptians has created great myths about this civilization but the process of creating the mummies was not immutable throughout the entire history of Egypt. Such is so, that before El-Fayum's portraits we find ourselves facing the best example in which three great civilisations converge, such as Egypt, Greece and Rome, in the same space-time framework. Nevertheless, this fact has meant a grievance as for its conservation, not having a clear answer about which researchers were better prepared to study them. Another one of the most outstanding peculiarities of these portraits, is the pictorial technique used, the great information it give us about the physical aspect of the mummy and even the social position they occupied, since until the appearance of these portraits, not everyone could afford a funeral in which its remains were mummified. El proceso de momificación de los antiguos egipcios ha creado grandes mitos acerca de esta civilización pero no durante toda la historia de Egipto el proceso de creación de las momias fue inmutable. Tal es así, que ante los retratos de El- Fayum nos encontramos frente al mejor ejemplo en el que convergen tres grandes civilizaciones, como son Egipto, Grecia y Roma, en un mismo marco espacio-temporal. Sin embargo, este hecho ha significado un agravio a la hora de su conservación, al no tener claro que investigadores estarían mejor preparados para estudiarlas. Otras de las peculiaridades más destacadas de estos retratos, son la técnica pictórica utilizada, la gran información que nos aportan sobre el aspecto físico de la momia e incluso la posición social a la que pertenecían ya que hasta la aparición de estos retratos, no todo el mundo podía permitirse un sepelio en el que sus restos fuesen momificados.

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Abdulwaheed Idris, Abdulrahman, Rosli Talif, Arbaayah Ali Termizi, and Hardev Kaur Jujar. "Depiction of Women as the Primary Architects of their own Oppression: A Masculinist Critique of El Saadawi’s Woman at Point Zero." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 206. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.206.

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This paper focuses on the presentation of women oppression and emancipation in Nawal El Saadawi’s novel, Woman at Point Zero. The novel is specifically a call and an appeal to the women in her Egyptian society and the world at large on the need to revisit their activities and contribution toward the oppression, suppression, molestation, and brutality of their fellow women. Nawal El Saadawi presents with unique clarity, the unpleasant experience women are subjected to in her male-dominated society (Egypt). The novel aesthetically captures the oppression, sexual harassment, domestic aggression, and intimidation that the Egyptian women are subjected to in her patriarchal social milieu. Through a Masculinist study of the text, this paper not only submits that women create sa conducive atmosphere for the unhappiness of their own kinds but also subverts the author’s proposition of the way forward for the Egyptian women who are disenchanted under the atmosphere that is besieged with unfair treatment of the women. This essay unambiguously argues that El Saadawi’s understanding of women emancipation from the persistent violence on the women is outrageously momentary and unsatisfactory. Indeed, the novel has succeeded in subverting the stereotypical representation of the women as weak, passive, and physically helpless yet, the cherished long-lasting emancipation expected from her oppressed women could not be fully achieved. The novelist portrays a resilient and revolutionary heroine whose understanding of women liberation leaves every reader disconcerted. The paper examines the oppression that the heroine, Firdaus suffers from men and her fellow women and how she eventually achieved a momentary emancipation.

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Jones, Kenneth. "The Figure of Apion in Josephus' Contra Apionem." Journal for the Study of Judaism 36, no. 3 (2005): 278–315. http://dx.doi.org/10.1163/1570063054377660.

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AbstractA comparison of Josephus' portrait of Apion with other ancient testimonia shows that the Jewish historian, in his effort to discredit the grammarian, focused on the same failing of character that other ancient authors had found. Josephus also aimed a deceptive attack at Apion's ethnicity wherein he blurs the line between the Alexandrian's Greek cultural identity and his Egyptian origin. Josephus took pains to construct an ideal opponent, one with whom the reader of Josephus' treatise—be he Jew, Greek, or Roman—would not sympathize. An analysis of Apion's "case" against the Jews shows that Josephus himself culled various Jewish items from Apion's Aegyptiaca and, after distorting the original intention of the excerpts, cobbled them together to form an easily refuted indictment of Jewish history and practices. An appendix examines the evidence for a supposed attributed to Apion.

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Kazakova, Natalia Y., and Irina S. Shilkina. "Baron G. Kusov, or sketches for a portrait. On yet another prototype in O. Mandelstam’s Egyptian Stamp [Egipetskaya marka]." Voprosy literatury, no. 6 (December 20, 2019): 158–75. http://dx.doi.org/10.31425/0042-8795-2019-6-158-175.

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An acquaintance of Mandelstam’s from the pre-revolutionary Koktebel period, baron Kusov resurfaces in the poet’s life in the early 1920s. In their detailed research of the baron’s biography, the authors mention his graduation from the Page Corps, his brilliant career in the Chevalier Guard Regiment and success in the highest noble circle, his knowledgeable appreciation of music and ballet, his enthusiasm for theosophy, and a keen interest in Ancient Egypt. Based on their detailed analysis of documented evidence and Mandelstam’s text, the authors discover undeniable biographical and character-specifc similarities between the baron and Parnok, the protagonist of The Egyptian Stamp [Egipetskaya marka]. However, they still admit that Parnok is a complex character combining the features found in a number of Mandelstam’s acquaintances.

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Sa’adah, Sufi Ikrima. "Gaung Masa Lalu dalam Novel Rifa’at Sang Penebus Karya Najib Mahfuz." JILSA (Jurnal Ilmu Linguistik dan Sastra Arab) 5, no. 2 (October 29, 2021): 170–83. http://dx.doi.org/10.15642/jilsa.2021.5.2.170-183.

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Modern Arabic literature owns its development to the works of Naguib Mahfouz during the five decades of his writing career. Mahfouz brings together various ancient Egyptian tales and prophetic stories into 1950s Egypt. The story that Mahfouz builds in his novels echoes the author's childhood story as well as various other stories. This article aims to explore to what extends the novel echoes the prophetic stories as well as the author’s childhood experiences. The researcher employs intextuality to meet the objective of this study. The findings reveal that Mahfouz adopt and paraphrase various events and figures from Al-Quran and the Bible then put those events and figures into a new context in Awl?d H?ratina Indonesian Edition #3 (Rifa’at Sang Penebus). Besides, Mahfouz portrays the novel’s setting as the reflection of his childhood residence.

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Anisimova, Olga Vladimirovna. "Portrait of the writer: the peculiarities of literary technique of Roger Zelazny." Litera, no. 4 (April 2021): 145–53. http://dx.doi.org/10.25136/2409-8698.2021.4.35298.

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The subject of this research is the unique literary technique of the prominent American fantasy and science fiction writer Roger Zelazny, the author of the world-renowned novels, such as “The Chronicles of Amber”, “This Immortal”, "The Lord of Light”, etc. The article is dedicated namely to determination of the key peculiarities of the poetics of his works. Special attention is given to characterization of his literary path, its periodization, the impact of Zelazny's predecessors – the authors of science fiction and classical world literature – upon his prose. It is noted that R. Zelazny was fascinated with various mythological systems, such as Egyptian, Greek, Norse, Celtic, and Christian. The scientific novelty of this article lies in the attempt to reveal and systematize the most remarkable features of the works of the American fantasy and science fiction writer, whose impact upon the modern fantasy literature can hardly be overestimated; however it has been poorly studied within the Russian literary studies. The conducted analysis of the poetics Roger Zelazny’s iconic novels, created within the framework of the four main stages, indicates the use such postmodernist literary technique as intertextuality. The matter of R. Zelazny is also characterized by psychologism, interpreted as the author's attention to the meticulous reconstruction of the inner cosmos of the hero, which resembles the result of the writer's passion for the ideas of psychoanalysis. Along with the other representatives of the New Wave, Zelazny was prone to the experiment with forms, as well as to the synthesis of the various fantasy genres. Therefore, many of his novels demonstrate the fusion of science fiction, fantasy, space opera, mystery, and detective fiction.

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Saltz, Laura. "Clover Adams's Dark Room: Photography and Writing, Exposure and Erasure." Prospects 24 (October 1999): 449–90. http://dx.doi.org/10.1017/s0361233300000454.

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Marian Hooper Adams, called Clover, was one of the few American women who were serious amateur photographers before the mass marketing of the Kodak in 1889. Clover first learned her craft in 1872–73 while on her honeymoon with her husband, historian Henry Adams. Henry brought along a camera to document their journey up the Nile, and Clover took up his hobby. Henry, in the tradition of expeditionary photographers, took pictures of Egyptian monuments and landscapes, whereas Clover's only extant photograph from the honeymoon portrays interior realms: it shows Henry in the stateroom of the Isis, the dahabieh that carried the couple up the Nile (Figure 1). In the image, Henry sits within a displaced parlor, casting his gaze down and directing us inward to some subjective space. But though Henry appears before the camera, he is not the subject of the image. Clover's own interior terrain, made invisible and inaccessible, is pictured here.

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Volpe, Paola. "Cleopatra: 2050 years after death: woman queen lover enemy." Ploutarchos 19 (December 28, 2022): 103–11. http://dx.doi.org/10.14195/0258-655x_19_5.

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The subject of this paper is the representation of Cleopatra in Plutarch. Linked to the most important politicians of her age, Caesar and Antonius, she seduces her lovers with her charm, with her beauty, with her culture, with the ambiguity of her character and her actions. Egyptian and, therefore, far from the behaviour of Roman women, she made θαῦμα the weapon of her seduction, accompanied by all-female cunning, not without elegance and seduction. In the Life of Antonius Plutarch, alongside the merciless description of Antonius, naive in relationships with others (he easily fell into the hands of flatterers) and “slow in perception”, introduces a ‘cameo’ that portrays Cleopatra as a woman not beautiful, but of great charm thanks to the seduction of the voice that modulated words as if they were musical notes. Even her death was shrouded by that sense of mystery that had characterized her life: it was the asp that caused it, but no trace of the reptile was found.

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Farhah, Eva. "DIMENSI SOSIAL DALAM TEKS AL-MU’TAZILAH." Jurnal CMES 13, no. 1 (September 26, 2020): 21. http://dx.doi.org/10.20961/cmes.13.1.44559.

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Al-Mu'tazilah is a portrait of the Egyptian society which lived at some point in time. As described by Thaha Husain in order to show the disparity in the social life of people who need assistance and attention from the government or the authorities. Although the society lived in modern times at that time, not few other inhabitants still remained in underdeveloped education and social life. Through his work Al-Mu'tazilah, Thaha Husain highlights a range of social dimensions of society. This is the central issue to be addressed in this study. To reveal this social dimension, the sociology of literature theory is used, which focuses on the discussion of the sociology of both the author and the literary works. Primary data relevant to the topic were examined using a qualitative method in order to obtain an objective and scientific analysis. After all course, this study is of interest to the academic community in particular, and to other communities. The benefits are to mimic the social attitudes that can be enforced in today's life. In addition, people may refrain from doing things which might harm the social environment, such as isolating someone from another society.

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Caws, Mary Ann. "Looking: Literature's Other." PMLA/Publications of the Modern Language Association of America 119, no. 5 (October 2004): 1293–314. http://dx.doi.org/10.1632/s0030812900101762.

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Arthur Danto's meditation, in his “Works of Art and Mere Real Things,” on a square of red paint and its various possible readings serves as a warning about multiple interpretations. This painting might be a story of the Egyptians and the Red Sea, after the Israelites crossed over. Or, then, a work by a Danish portraitist, labeled “Kierkegaard's Mood.” Or, then, one by a politically active painter, “Red Square.” Or by a disciple of Henri Matisse, “Red Table Cloth”—in this one, the paint would be more thickly applied. In my view, the most appropriate state we can muster is what the surrealists called “availability” (disponibilité)—openness to whatever might, of a sudden, happen in our understanding to achieve a presentness of perception, even as we note the clear risk of boundary crossings between the arts.

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Nerlich, Andreas G., Lukas Fischer, Stephanie Panzer, Roxane Bicker, Thomas Helmberger, and Sylvia Schoske. "The infant mummy’s face—Paleoradiological investigation and comparison between facial reconstruction and mummy portrait of a Roman-period Egyptian child." PLOS ONE 15, no. 9 (September 16, 2020): e0238427. http://dx.doi.org/10.1371/journal.pone.0238427.

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Hall, Josiah D. "Let the Nations Sing Hallelujah: The Influence of the Egyptian Hallel on the Citation of Psalm 117 OG in Mark 12:10–11." Journal of Biblical Literature 141, no. 1 (March 15, 2022): 137–56. http://dx.doi.org/10.15699/jbl.1411.2022.8.

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Abstract Mark 12:10–11 cites Ps 117:22–23 OG (118:22–23 MT) to conclude the parable of the tenants, which frames the gospel's second half. The citation from one of the most frequently cited psalms in the New Testament reinforces the parable's interpretation and thus plays an important role in the Markan narrative. Many interpreters conclude that the citation's impact on the parable comes only from the citation's self-contained imagery or, at most, the imagery's function in a psalm praising God for vindicating God's servant. In contrast, I contend that the psalm's place in the Egyptian Hallel, a collection that played an important liturgical function at multiple Jewish festivals, contributes to how early Christ-followers could have construed the psalm and thus understood its use in Mark. Specifically, I argue that, if the portrait of the nations in the Hallel, especially in Ps 116 OG, shapes how one understands Ps 117, then the citation of Ps 117 in Mark serves to confirm an interpretation of the “others” to whom the vineyard is given as a mixed community of gentiles who have forsaken their idolatry, along with the faithful from Israel, united by their response to Jesus.

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Dal Fovo, Alice, Mariaelena Fedi, Gaia Federico, Lucia Liccioli, Serena Barone, and Raffaella Fontana. "Correction: Dal Fovo et al. Multi-Analytical Characterization and Radiocarbon Dating of a Roman Egyptian Mummy Portrait. Molecules 2021, 26, 5268." Molecules 27, no. 12 (June 14, 2022): 3822. http://dx.doi.org/10.3390/molecules27123822.

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Due to the fact that the policy regarding the publication of images from the collection of the Papyrological Institute, the owner of the object under study, changed when the article was already in publication, the authors would like to make the following corrections to this paper [...]

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Sokolov, Oleg. "THE CRUSADES IN THE ARABIC RENAISSANCE POETRY AND PROSE." Odysseus. Man in History 29, no. 1 (September 20, 2021): 201–17. http://dx.doi.org/10.32608/1607-6184-2021-29-1-201-217.

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The article examines the works of the greatest Arab artists of the 19th and early 20th centuries, the poet Ahmad Shawqi and the novelist Jirji Zeydan, containing references to the era of the Crusades. An analysis of the work of these authors shows that, contrary to the view prevailing in modern historiography, that Arab artists began to actively refer to the Crusades era only in the second half of the 20th century, already in the Arab poetry and prose of the 19th century, numerous references to this era are found. Ahmad Shawki in his poems presents the Crusades as a time of glorious victories of Muslims, which should inspire contemporaries to fight Europeans. In his works both Muslim commanders known to Europeans and the Egyptian naval commander Husam al-Din Lulu, the savior of Mecca and Medina from the crusaders, the hero of the Arab folk tradition, appear as examples of ideal military leaders. Jirji Zeidan's writings are also characterized by a romantic view of the Crusades. The writer portrays this era as the time of noble rulers, such as Salah ad-Din and Richard the Lionheart, who were able to decide the fate of the Middle East on equal terms.

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Journal articles on the topic 'Egyptian Portraits'

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