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Journal articles on the topic 'Mummy portraits'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Daal, Jan M. van, and Branko F. van Oppen de Ruiter. "The Young Lady in Pink. New Light on the Life and Afterlife of an Ancient Portrait." Studies in Ancient Art and Civilisation 26 (December 18, 2022): 125–62. http://dx.doi.org/10.12797/saac.26.2022.26.07.

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A Roman-Egyptian mummy portrait of a young woman in a pink tunic is part of the Allard Pierson collection in Amsterdam. The portrait is well-known and a key piece of the collection, but has received little scholarly attention so far. The life and the afterlife of the portrait are therefore poorly understood. The authors approach the portrait from different perspectives: its provenance and acquisition, the artist’s materials and techniques, the dating conventions surrounding mummy portraits and their cultural context. The authors advocate for this in-depth multidisciplinary approach primarily because it spotlights specific areas in mummy portraits (in this case, the pearl earrings) where iconography, materials and techniques and ancient socio-economic developments converge. Provenance research proved important not only for securing the object’s bona fide acquisition, but also for tracing its second-life biography. These converging perspectives effectively cast light on research areas where more work remains desirable. In lieu of secure documentation of the archaeological findspot (which is the case with most mummy portraits) this approach is a powerful tool to nonetheless compose histories that help to understand the meaning of mummy portraits in the past and in the present and provide a durable framework for future research.

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2

Mozur, Nancy. "About the Art: Mummy Portraits." Psychological Perspectives 59, no. 1 (January 2, 2016): 4–5. http://dx.doi.org/10.1080/00332925.2016.1134006.

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3

Montserrat, Dominic, Susan Walker, Morris Bierbrier, Paul Roberts, and John Taylor. "Ancient Faces: Mummy Portraits from Roman Egypt." American Journal of Archaeology 102, no. 1 (January 1998): 210. http://dx.doi.org/10.2307/506164.

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4

Scott, Pamela. "Ancient Faces: Mummy Portraits from Roman Egypt." Mortality 3, no. 2 (January 1998): 195–96. http://dx.doi.org/10.1080/713685899.

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5

Montserrat, Dominic. "The Representation of Young Males in ‘Fayum Portraits’." Journal of Egyptian Archaeology 79, no. 1 (October 1993): 215–26. http://dx.doi.org/10.1177/030751339307900114.

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This article discusses the symbolism used on the mummy portraits of adolescent boys from Roman Egypt. The social implications of these symbols and representational modes are examined, with particular reference to their links with contemporary constructs of puberty, male sexuality and rebirth.

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6

Chin, Christina D. "Flying Mummy Portraits!? An (as yet) Untapped Curricular Inspiration." Art Education 74, no. 2 (February 22, 2021): 37–43. http://dx.doi.org/10.1080/00043125.2020.1852379.

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7

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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8

Miliani, Costanza, Alessia Daveri, Lin Spaabaek, Aldo Romani, Valentina Manuali, Antonio Sgamellotti, and Brunetto Giovanni Brunetti. "Bleaching of red lake paints in encaustic mummy portraits." Applied Physics A 100, no. 3 (May 21, 2010): 703–11. http://dx.doi.org/10.1007/s00339-010-5748-3.

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9

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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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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11

Teeter, Emily. "Ancient Faces: Mummy Portraits from Roman Egypt. Susan Walker , Morris Bierbrier." Journal of Near Eastern Studies 58, no. 4 (October 1999): 305–7. http://dx.doi.org/10.1086/468756.

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12

Corcoran, Lorelei H. "Mummy Portraits in the J. Paul Getty Museum. David L. Thompson." Journal of Near Eastern Studies 45, no. 4 (October 1986): 301–4. http://dx.doi.org/10.1086/373198.

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13

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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14

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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15

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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16

Schwabe, Lorelei Corcoran. "Hawara Portrait Mummy No. 4." Journal of Egyptian Archaeology 71 (1985): 190. http://dx.doi.org/10.2307/3821731.

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17

Schwabe, Lorelei Corcoran. "Hawara Portrait Mummy No. 4." Journal of Egyptian Archaeology 71, no. 1 (August 1985): 190–93. http://dx.doi.org/10.1177/030751338507100126.

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18

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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19

Ventura, Luca, Mariano De Vito, Francesca Ciocca, and Gino Fornaciari. "An “Expressionist” Portrait of Mummy Liver." International Journal of Surgical Pathology 14, no. 3 (July 2006): 228. http://dx.doi.org/10.1177/1066896906290655.

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20

Barr, Judith, Clara M. ten Berge, Jan M. van Daal, and Branko F. van Oppen de Ruiter. "The Girl with the Golden Wreath: Four Perspectives on a Mummy Portrait." Arts 8, no. 3 (July 16, 2019): 92. http://dx.doi.org/10.3390/arts8030092.

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A mummy portrait of a young woman with a golden wreath is part of the archaeological collection of the Allard Pierson Museum in Amsterdam. This portrait is covered by four authors, each from their separate perspective, namely provenance research, technical examination, museum presentation, and diversity education. Provenance research is significant not only for tracing the second-life biography of the panel, but also for assessing its bona fide authenticity. Non-invasive examinations can help identify possible underlayers, pigments and modern restorations. Museological aspects concern the contextualization of the portrait, not only as a funerary artefact, but also as an expression of physical appearance. Educational programs can be implemented to illustrate to museum visitors the relevance of ancient artefacts for modern society.

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21

Brøns, Cecilie. "Face to face with Roman Egypt: interdisciplinary studies of ancient panel paintings - M. Svoboda, and C. R. Cartwright, eds. 2020. Mummy Portraits of Roman Egypt: Emerging Research from the APPEAR Project. Pp. 185. Los Angeles: Getty Publications. ISBN 978-1-6060-6654-6." Journal of Roman Archaeology 34, no. 2 (November 22, 2021): 823–36. http://dx.doi.org/10.1017/s1047759421000696.

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22

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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23

Gates, Glenn, Darryl Butt, Jatuporn Burns, Yaqiao Wu, Gordon Alanko, and Jennifer K. Watkins. "The Internal Morphology and Composition of a Purple Pigment Particle Extracted from an Ancient Faiyum Mummy Portrait." Microscopy and Microanalysis 24, S1 (August 2018): 2128–29. http://dx.doi.org/10.1017/s1431927618011121.

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24

Kohl, Jeanette. "A Murder, a Mummy, and a Bust: The Newly Discovered Portrait of Simon of Trent at the Getty." Getty Research Journal 10 (February 2018): 37–60. http://dx.doi.org/10.1086/697383.

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25

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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26

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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27

Fletcher, Joann. "Mummies, coffins and a forgotten pharaoh - Herbert E. Winlock. Tutankhamun's funeral. 80 pages, 102 b&w & colour illustrations. 2010. New York: Metropolitan Museum of Art; 978-0-300-16735-1 paperback £10.99. - Lorelei H. Corcoran & Marie Svoboda. Herakleides: a portrait mummy from Roman Egypt. 112 pages, 54 colour & b&w illustrations, tables. 2010. Los Angeles (CA): The J. Paul Getty Museum; 978-1-60606-036-0 paperback $25. - John H. Taylor. Egyptian mummies. 160 pages, 120 colour & b&w illustrations. 2010. London: British Museum Press & Austin (TX): University of Texas Press; 978-0-292-72586-7 paperback $19.95. - Bill Manley & Aidan Dodson. Life everlasting: National Museums Scotland collection of Ancient Egyptian coffins. xiv+176 pages, numerous colour & b&w illustrations. 2010. Edinburgh: National Museums Scotland; 978-1-905267-17-0 hardback £30. - Charlotte Booth. Horemheb: the forgotten pharaoh. 160 pages, 100 b&w & colour illustrations. 2009. Stroud: Amberley; 978-1-84868-687-8 paperback £18.99 & $29.95." Antiquity 85, no. 330 (November 2011): 1471–75. http://dx.doi.org/10.1017/s0003598x00062219.

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28

Kirby, Daniel P., Marie Svoboda, Joy Mazurek, Lin Rosa Spaabæk, and John Southon. "Characterization of an unusual coating on funerary portraits from Roman Egypt circa 100-300AD." Heritage Science 11, no. 1 (April 12, 2023). http://dx.doi.org/10.1186/s40494-023-00908-5.

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AbstractThis paper details the investigation of a discrete coating observed on a group of Egyptian panel paintings, six mummy portraits and one funerary panel, dating from first-third century CE. Six mummy portraits in this group are encaustic, and the funerary panel is tempera using an animal glue binder. An accretion or coating has been observed on the surface and recesses of the paint layers on these panels. Examination of the portraits using ultraviolet radiation revealed an irregular visible fluorescence on the surface. On the mummy portraits, the fluorescence often extends only as far as where the linen wrappings would have secured the portrait to its mummy. Under magnification, the coating appears as a crizzled encrustation. Material exhibiting these characteristics was sampled from the surface of all seven panels. Initial analysis of samples from four panels by gas chromatography mass spectrometry (GC/MS) and enzyme-linked immunoassay (ELISA) revealed the presence of egg. Subsequent analysis of the coating from all seven portraits by peptide mass fingerprinting (PMF) and liquid chromatography with tandem mass spectrometry (LCMSMS) confirmed egg and further characterized the coating as highly deamidated, whole hen egg, or hen egg white in one instance. Importantly, the 14C date of the coating from two portraits indicates the time of application as approximately 2000 years ago, implying that the coating, at least in those cases, is not a modern addition. This report summarizes the examination and analytical characterization of this unusual coating. Possibly applied as an aesthetic or protective layer, or a symbolic and ritual unguent, the principal function of this coating remains unknown.

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29

BRIER, BOB, and CAROLINE WILKINSON. "A Preliminary Study on the Accuracy of Mummy Portraits." Zeitschrift für Ägyptische Sprache und Altertumskunde 132, no. 2 (January 1, 2005). http://dx.doi.org/10.1524/zaes.2005.132.2.107.

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30

Gehad, Basem, Lorelei H. Corcoran, Mahmoud Ibrahim, Ahmed Hammad, Mohamed Samah, Abd Allah Abdo, and Omar Fekry. "Newly Discovered Mummy Portraits from the Necropolis of Ancient Philadelphia – Fayumبورتريهات لمومياء مُكْتَشَفَة حديثًا في جبانة فيلادلفيا القديمة – الفيوم." Bulletin de l'Institut français d'archéologie orientale, no. 122 (July 1, 2022). http://dx.doi.org/10.4000/bifao.11727.

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31

Gates, Glenn, Yaqiao Wu, Jatuporn Burns, Jennifer Watkins, and Darryl P. Butt. "Microstructural and chemical characterization of a purple pigment from a Faiyum mummy portrait." International Journal of Ceramic Engineering & Science, November 19, 2020. http://dx.doi.org/10.1002/ces2.10075.

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32

"4. Stagecraft." New Surveys in the Classics 44 (2014): 29–38. http://dx.doi.org/10.1017/s0533245118000056.

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First published in 1971, this early second-century papyrus, POxy. 2805, was soon identified as coming from Sophocles’ Niobe. It portrays the killing of Niobe's children by Apollo and Artemis during a tragic drama, the staging of which, as we will see, seems to have been among Sophocles’ most striking dramatic creations. This killing, an unvarying element of the myth, was punishment for Niobe's boast that she had borne many children (fourteen, seven sons and seven daughters, is the number specified in Sophocles’ play: fr. 446), Leto only two. A further papyrus, from a mummy case at El-Hibeh (though quite possibly written at Oxyrhynchus) and dated to between 280 and 240 bc, PGrenf. ii.6(a)+PHib. 11, is from the same drama. Aeschylus wrote a Niobe, set after the killings; Euripides is not known to have written such a play. That leaves Sophocles’ Niobe (whose citation fragments indicate that it included the killings) or a play by a minor tragedian; but it is much more likely that two papyri of a Sophoclean drama should survive, from different times and perhaps places too, than that a work by another tragedian should be so unexpectedly favoured. A decade after Barrett argued this, a hypothesis of Sophocles’ play was published which refers to the event described in POxy. 2805: case closed.

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