Relevant bibliographies by topics / Portraits, Egyptian

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Portraits, Egyptian'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Portraits, Egyptian"

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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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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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Dissertations / Theses on the topic "Portraits, Egyptian"

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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 "Portraits, Egyptian"

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

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

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

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Museum, British. Ancient faces: Mummy portraits from Roman Egypt. London: Published for the Trustees of the British Museum by the British Museum Press, 1996.

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Berman, Lawrence Michael. Pharaohs: Treasures of Egyptian art from the Louvre. Cleveland, Ohio: Cleveland Museum of Art in association with Oxford University Press, 1996.

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(Sweden), Nationalmuseum, ed. Mumieporträtt: En konstbok från Nationalmuseum. Stockholm: Nationalmuseum, 2000.

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Book chapters on the topic "Portraits, Egyptian"

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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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"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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