Relevant bibliographies by topics / Relief (Sculpture) Egypt Egypt

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  2. Dissertations / Theses
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Academic literature on the topic 'Relief (Sculpture) Egypt Egypt'

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

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Journal articles on the topic "Relief (Sculpture) Egypt Egypt"

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AMER, WAFAA M., and OSAMA A. MOMTAZ. "Historic background of Egyptian cotton (2600 BC–AD 1910)." Archives of Natural History 26, no. 2 (June 1999): 211–22. http://dx.doi.org/10.3366/anh.1999.26.2.211.

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The cotton plant was recorded from Egypt in the Dynastic period as early as 2500 BC. Cotton seeds were recovered from Nubia (Egypt) in 1964. Many writers and relief sculptures as well as hieroglyphic symbols confirm cotton cultivation during this period. Cotton cultivation dominated in the Ptolemaic and Roman period (305 BC-AD 395). There were two cotton species (Gossypium arboreum L. and Gossypium herbaceum L.) grown in Egypt during the Islamic period (AD 1477-AD 1711). Later Ashmouni cotton was derived from Sea Island cotton (G. barbadense L. var. maritima Watt); Jumel's cotton (G. brasiliense Macf.) and other Egyptian stocks (possibly G. arboreum and/or G. herbaceum var. africanum (Watt) Hutchinson & Ghose). Ashmouni cotton was the main ancestor of Egyptian cultivare after 1887.
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Moyer, Ian S. "Herodotus and an Egyptian mirage: the genealogies of the Theban priests." Journal of Hellenic Studies 122 (November 2002): 70–90. http://dx.doi.org/10.2307/3246205.

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AbstractThis article re-evaluates the significance attributed to Hecataeus' encounter with the Theban priests described by Herodotus (2.143) by setting it against the evidence of Late Period Egyptian representations of the past. In the first part a critique is offered of various approaches Classicists have taken to this episode and its impact on Greek historiography. Classicists have generally imagined this as an encounter in which the young, dynamic and creative Greeks construct an image of the static, ossified and incredibly old culture of the Egyptians, a move which reveals deeper assumptions in the scholarly discourse on Greeks and ‘other’ cultures in the Mediterranean world. But the civilization that Herodotus confronted in his long excursus on Egypt was not an abstract, eternal Egypt. Rather, it was the Egypt of his own day, at a specific historical moment – a culture with a particular understanding of its own long history. The second part presents evidence of lengthy Late Period priestly genealogies, and more general archaizing tendencies. Remarkable examples survive of the sort of visual genealogy which would have impressed upon the travelling Greek historians the long continuum of the Egyptian past. These include statues with genealogical inscriptions and relief sculptures representing generations of priests succeeding to their fathers' office. These priestly evocations of a present firmly anchored in the Egyptian past are part of a wider pattern of cultivating links with the historical past in the Late Period of Egyptian history. Thus, it is not simply the marvel of a massive expanse of time which Herodotus encountered in Egypt, but a mediated cultural awareness of that time. The third part of the essay argues that Herodotus used this long human past presented by the Egyptian priests in order to criticize genealogical and mythical representations of the past and develop the notion of an historical past. On the basis of this example, the article concludes by urging a reconsideration of the scholarly paradigm for imagining the encounter between Greeks and ‘others’ in ethnographic discourse in order to recognize the agency of the Egyptian priests, and other non-Greek ‘informants’.
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Tulić, Damir. "Spomenik ninskom biskupu Francescu Grassiju u Chioggi: prilog najranijoj aktivnosti venecijanskog kipara Paola Callala." Ars Adriatica, no. 4 (January 1, 2014): 335. http://dx.doi.org/10.15291/ars.507.

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The oeuvre of the sculptor Paolo Callalo (Venice 1655-1725) is a paradigmatic example of how the oeuvres of seventeenth- and eighteenth-century Venetian sculptors have been expanded, supplemented and revised during the last twenty years. Until Simone Guerriero’s ground-breaking article of 1997, Paolo Callalo was almost completely unknown. In his search for Callalo’s earliest preserved work, Simone Guerriero suggested that Callalo was responsible for the stipes of the altar of St Joseph, featuring the relief of the Flight into Egypt flanked by two putti which are almost free standing, which was made between 1679 and 1685 for San Giovanni Crisostomo at Venice. However, another significant sculpture can now be added to the catalogue of Callalo’s early works: a memorial monument to the Bishop of Nin Francesco Grassi (Chioggia, 3 October 1667 – Zadar, 29 January 1677) which is located on the left presbytery wall in the Cathedral of Santa Maria Assunta at Chioggia. As we learn from its commemorative inscription, the monument was commissioned by Paolo Grassi, the nephew of the deceased who was a prominent member of this aristocratic family from Chioggia. The Grassi (de Grassi) family produced as many as three bishops of Chioggia: Pasquale (1618-1639), Francesco (1639 -1669) and Antonio (1696-1715) who was a brother of Francesco, the Bishop of Nin, and a great-nephew of the first two. The monumental memorial to the Bishop of Nin Francesco Grassi in the presbytery of Chioggia Cathedral consists of a rectangular marble plaque topped with a semi-circular pediment with two reclining putti. Immediately below, two more putti are depicted flying and drawing a curtain in front of an oval niche containing the bishop’s bust, the commemorative inscription and the bishop’s coat of arms set in a wreath. All the elements of this excellent work point to Paolo Callalo’s hand. The bishop’s bust was most probably created posthumously by relying on one of the portraits of the bishop as a source model. It depicts him as having a somewhat square face with a lively mouth opened in a melodramatic way and as having probing eyes with emphasized pupils, all of which characterize Callalo’s sculpting technique. A direct parallel for such a physiognomy can be found in the 1686 sculpture of St Michael in San Michele in Isola at Venice. Two remarkably beautiful and skilfully modelled putti which are drawing the curtain can be connected to the putti on the stipes of the altar of St Joseph in San Giovanni Crisostomo at Venice, but also with a putto on the keystone of a niche on the 1684 altar of St Teresa in the Church of the Scalzi. The richly draped marble curtain being drawn by the two flying putti is an example of Callalo’s thorough knowledge of contemporary sculptural innovations and trends in Venice. He could have seen a similar curtain on the 1677 monument to Giorgio Morosini in San Clemente in Isola at Venice, which belongs to the oeuvre of Giusto Le Court, the most important Venetian sculptor of the second half of the seventeenth century. That Callalo was no stranger to this type of decoration is also demonstrated by one of his later works, now sadly lost, the contract for which set out the terms for the sculptural decoration of the high altar in the old Venetian church of La Pietà. In 1692 Callalo agreed to make for this high altar ‘a curtain out of yellow marble of Verona being held by putti’.The stylistic analysis of the memorial to the Bishop of Nin Francesco Grassi indicates that it was erected in a relatively short period of time after the bishop’s death in 1677. It seems highly likely that it was made in the early 1680s or around 1686 at the latest because in that year Callalo made the statue of St Michael in San Michele in Isola. The memorial to the Bishop of Nin Francesco Grassi in Chioggia Cathedral is the first monument on the left-hand side of presbytery wall which would in time become a ‘mausoleum’ of the Grassi family. Around the same time or perhaps somewhat later, the Bishop of Chioggia by the name Francesco Grassi was honoured posthumously with a memorial containing a bust portrait that can be attributed to Giuseppe Torretti (Pagnano, 1664 – Venice, 1743). This group of episcopal memorials in the presbytery of Chioggia Cathedral ends with 1715 when Alvise Tagliapietra (Venice, 1680 – 1747) made the tomb for Bishop Antonio Grassi while he was still alive.Callalo’s Dalmatian oeuvre is relatively modest and consists of the following works so far identified as his: two marble angels set next to the high altar in the Parish Church at Vodice and four music-making putti at the sides of the high altar as well as those on a side altar in the Parish Church at Sutivan on the island of Brač. However, Callalo’s hand can also be recognized in a statue from a large-scale sculptural group which adorned the altar of the Blessed Sacrament in Zadar Cathedral. The altar structure was built by Antonio Viviani in 1719 while Francesco Cabianca (Venice, 1666-1737) carved the majority of the altar’s rich sculptural decoration. At the centre of the altar is a niche with a relatively small marble statue of Our Lady of Sorrows with the dead Christ in her lap. It is difficult to find a place for this marble Pietà from Zadar in Francesco Cabianca’s catalogue especially with regard to his Pietà above a door in the cloister of the Frari Church at Venice in 1714. Compared to the Zadar Pietà, Cabianca’s Venetian Pietà displays a number of differences: a crisper chiselling technique, a certain roughness of workmanship, robust bodies as well as a different treatment of the figures’ physiognomies and drapery. However, the Pietà from Zadar can be added to the catalogue of Paolo Callalo’s works. The carefully modelled figure of Our Lady of Sorrows and the soft drapery which spreads outwards in a radial fashion around her feet can be compared to the statues of Faith and Hope on the altar of the Blessed Sacrament in Udine Cathedral, which was made after 1720. The statue of the Risen Christ on the tabernacle of the aforementioned altar from Udine provides a parallel for the modelling of Christ’s body and, in particular, his face with a restrained expression. The same can be said for the Risen Christ on the tabernacle of the Parish Church at Clauzetto, which I also attribute to Callalo, as well as for earlier, more monumental, examples such as the Christ from the 1708 altar of the Transfiguration in the Parish Church at Labin.Callalo’s memorial to the Bishop of Nin Francesco Grassi in Chioggia is an important indicator of his personal stylistic development. He transformed his stylistic expression from the robust energy of this ‘youthful work’ at Chioggia to the lyrical poetics characterized by softness which can be seen in his late work, the Pietà on the altar of the Blessed Sacrament in the Cathedral of St Anastasia at Zadar. It is likely that future research in Venice, Dalmatia and the rest of the Adriatic coast will expand Paolo Callalo’s already rich oeuvre and confirm the important place he holds in Venetian sculpture as one of its protagonists during the late Seicento and early Settecento.
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Giménez, Javier. "Integration of Foreigners in Egypt." Journal of Egyptian History 10, no. 2 (November 17, 2017): 109–23. http://dx.doi.org/10.1163/18741665-12340036.

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Abstract The relief of Amenhotep ii shooting arrows at a copper ingot target has often been considered as propaganda of the king’s extraordinary strength and vigour. However, this work proposes that the scene took on additional layers of significance and had different ritual functions such as regenerating the health of the king, and ensuring the eternal victory of Egypt over foreign enemies and the victory of order over chaos. Amenhotep ii was shooting arrows at an “Asiatic” ox-hide ingot because the ingot would symbolize the northern enemies of Egypt. The scene belonged to a group of representations carved during the New Kingdom on temples that showed the general image of the king defeating enemies. Moreover, it was linked to scenes painted in private tombs where goods were brought to the deceased, and to offering scenes carved on the walls of Theban temples. The full sequence of scenes would describe, and ritually promote, the process of integration of the foreign element into the Egyptian sphere.
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Mastrocinque, Attilio. "The Cilician God Sandas and the Greek Chimaera: Features of Near Eastern and Greek Mythology Concerning the Plague." Journal of Ancient Near Eastern Religions 7, no. 2 (2007): 197–217. http://dx.doi.org/10.1163/156921207783876413.

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AbstractA gem in the Museum of Castelvecchio (Verona) depicts the god Sandas of Tarsos with his terrible animal: the lion-goat. On the reverse side there is the inscription YOYO. The epigraphical and archaeological evidence from Anatolia, from Hittite to Hellenistic times, proves that Sandas was a underworld god protecting tombs and sending pestilences when angry. He was appeased by offerings to his terrible ministers, who were usually seven. Similarly Nergal or Erra (similar to Sandas) in Mesopotamia, and Sekhmet in Egypt had seven animal-headed terrible ministers, who were able to bring pestilences and death. A Hittite inscription mentions Yaya as Sandas' female partner. Her name is very similar to the Yoyo on the Verona gem. Sandas was identified with Heracles because of his relations with the underworld realms and his warlike features. The lion-goat of Tarsus was the model of Greek Chimaera. In fact the myth of Bellerophon took its place in Lycia and Cilicia. In Hellenistic age the original form of this monster was better known and therefore we find its typical features in Hellenistic and Roman sculptures and reliefs.
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AbdelFattah Saad, AbdelBaset Ali. "Two unpublished terracotta oil lamps from Marina el-Alamein in Egypt." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 30, 2019): 461–67. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.25.

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The two complete terracotta oil lamps published in this paper come from salvage excavations by an Egyptian team clearing House 21 in the ancient Graeco-Roman harbor of Marina el-Alamein on the northern coast of Egypt. Both are of Alexandrian manufacture, one of the two being an imitation of an Italic relief lamp. One is decorated with a representation of Sarapis enthroned, the other with a scene of roosters fighting. Both are from the 2nd–3rd century and reflect the Alexandrian cultural tradition in the life of this ancient town.
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Bialas, Adam J., Jacek Kaczmarski, Jozef Kozak, and Bogumila Kempinska-Miroslawska. "Pectus excavatum in relief from Ancient Egypt (dating back to circa 2400 BC)." Interactive CardioVascular and Thoracic Surgery 20, no. 4 (January 6, 2015): 556–57. http://dx.doi.org/10.1093/icvts/ivu440.

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Tealeb, A., A. H. Radwan, and H. A. Ahmed. "Basement relief map of kalabsha and seiyal areas, northwest of Aswan lake, Egypt." Journal of Geodynamics 14, no. 1-4 (January 1991): 147–58. http://dx.doi.org/10.1016/0264-3707(91)90016-8.

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Tolan, John. "The Friar and the Sultan: Francis of Assisi’s Mission to Egypt." European Review 16, no. 1 (February 2008): 115–26. http://dx.doi.org/10.1017/s1062798708000124.

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In September, 1219, Francis of Assisi went to Egypt to preach to Sultan al-Malik al-Kâmil. Although we in fact know very little about this event, writers from the 13th century to the 20th have portrayed Francis alternatively as a new apostle preaching to the infidels, a scholastic theologian proving the truth of Christianity, a champion of the crusading ideal, a naive and quixotic wanderer, a crazed religious fanatic, or a medieval Gandhi preaching peace, love and understanding. This study of the varying depictions of this lapidary encounter throws into relief the changing fears and hopes that Muslim–Christian encounters have inspired in European writers over eight centuries.
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Mousa, Ola, Amal Ahmed Abdelhafez, Ahmed R. Abdelraheim, Ayman M. Yousef, Ahmed A. Ghaney, and Saad El Gelany. "Perceptions and Practice of Labor Pain-Relief Methods among Health Professionals Conducting Delivery in Minia Maternity Units in Egypt." Obstetrics and Gynecology International 2018 (September 26, 2018): 1–6. http://dx.doi.org/10.1155/2018/3060953.

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Introduction. In low-resource settings (LRSs), pain relief during labor is often neglected. Women and health professionals (HPs) may lack awareness of analgesic options, may not accept these options, or may have concerns regarding their safety. Furthermore, even if women or HPs preferred labor analgesia, options may not be available at the hospital. This study was carried out to explore how HPs perceive and practice pain management during labor in Minia maternity units in Egypt. Methods. A structured, self-administered questionnaire from 306 HPs in Minia maternity units from August 1, 2016, to August 30, 2017, after approval by the organizational Ethical Review Committee. Results. The response rate was 76.5%. The majority, 78.2% of participants, believed in pain relief during labor. However, their practices are different. In the first stage of labor, almost 44.9% used nonpharmacological methods, whereas 36.8% used neither pharmacological nor nonpharmacological methods. Hospital-related factors were the major barriers against using pain-relief methods, as stated by HPs. Conclusion. Although most HPs understand the role of analgesia in labor pain relief, there is a wide gap between the use of pain-relief methods and women’s need in Minia, Egypt; HPs claim this is due to health care facilities. There is an urgent need to identify the barriers against and raise the awareness among the community and HPs of the need to use pain-relief methods as part of improving the quality of care during labor.
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Dissertations / Theses on the topic "Relief (Sculpture) Egypt Egypt"

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Brand, Peter James. "The monuments of Seti I and their historical significance epigraphic, art historical and historical analysis /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/NQ35116.pdf.

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Moine, Deborah. "Les représentations des empereurs romains Julio-Claudiens en Egypte." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209554.

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La domination romaine est une période « mal-aimée » de l’Egypte ancienne. Elle est néanmoins très intéressante et mériterait davantage d’études.

Réaliser une analyse du matériel de cette époque n’est donc pas chose aisée. Il faut comprendre, dès le départ, que la recherche sera confrontée à des préjugés, des problèmes de documentation et une certaine négligence de la part des scientifiques. Il convient de poser les buts de recherche, de se conformer à une méthodologie rigoureuse et de dégrossir une série de conclusions.

Il semble opportun d’étudier l’art d’époque Julio-Claudienne en Egypte. Cette thématique s’impose pour de multiples raisons.

Nous nous trouvons face à deux civilisations sortant d’un conflit récent (les guerres civiles romaines qui ont conduit à l’affrontement d’Octave-Auguste avec Antoine et Cléopâtre VII, dernière reine de la dynastie Lagide) où l’une a triomphé de l’autre. Ces tensions vont-elles être tangibles dans l’art ?Pour des raisons matérielles, il faut délimiter le sujet à aborder. L’étude de cet article sera donc consacrée majoritairement aux images de temple et aux stèles.

Ce ciblage s’explique non seulement pour des raisons matérielles mais aussi pour l’intérêt scientifique que ce sujet représente. Pendant longtemps, les reliefs égyptiens d’époque romaine ont été considérés comme un art altéré sans aucune autre fonction que de préserver une tradition vouée à son inéluctable disparition. Plusieurs questions se sont posées d’emblée :qui commanditait les monuments, qui les finançait, qui les réalisait, y-avait-il un suivi de la part du pouvoir central romain et qui en étaient les relais ?

L’image royale des temples d’époque romaine en Egypte est fortement tributaire des types iconographiques des époques pharaonique et ptolémaïque. Néanmoins, certains détails révèlent qu’il ne s’agît pas d’une copie servile. Les innovations d’époque romaine sont visibles dans le rendu du détail, des suggestions de volume ou l’utilisation d’un mode représentatif. L’étude de ces images permet de mieux comprendre les techniques de dessin en Egypte romaine et l’organisation du travail des artistes :isoler des « mains », supputer l’existence de « cahiers de modèles » et d’écoles de style ( parfois, plusieurs au sein d’un même temple ). Certaines scènes sont plus récurrentes dans certains endroits géographiques: leur analyse permet de comprendre les enjeux géographiques, politiques et religieux que la propagande voulait faire passer à travers elles.

Enfin, d'autres recherches (prosopographie.) pourraient permettre de mieux comprendre le microcosme où se sont élaborées ces images.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Brophy, Elizabeth Mary. "Royal sculpture in Egypt 300 BC - AD 220." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:590228be-3001-49b3-bf6c-137af08ac71c.

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The aim of this thesis is to approach Ptolemaic and Imperial royal sculpture in Egypt dating between 300 BC and AD 220 (the reigns of Ptolemy I and Caracalla) from a contextual point of view. To collect together the statuary items (recognised as statues, statue heads and fragments, and inscribed bases and plinths) that are identifiably royal and have a secure archaeological context, that is a secure find spot or a recoverable provenance, within Egypt. I then used this material, alongside other types of evidence such as textual sources and numismatic material, to consider the distribution, style, placement, and functions of the royal statues, and to answer the primary questions of where were these statues located? what was the relationship between statue, especially statue style, and placement? And what changes can be identified between Ptolemaic and Imperial royal sculpture? From analysis of the sculptural evidence, this thesis was able to create a catalogue of 103 entries composed of 157 statuary items, and use this to identify the different styles of royal statues that existed in Ptolemaic and Imperial Egypt and the primary spaces for the placement of such imagery, namely religious and urban space. The results of this thesis, based on the available evidence, was the identification of a division between sculptural style and context regarding the royal statues, with Egyptian-style material being placed in Egyptian contexts, Greek-style material in Greek, and Imperial-style statues associated with classical contexts. The functions of the statues appear to have also typically been closely related to statue style and placement. Many of the statues were often directly associated with their location, meaning they were an intrinsic part of the function and appearance of the context they occupied, as well as acting as representations of the monarchs. Primarily, the royal statues acted as a way to establish and maintain communication between different groups in Egypt.
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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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Ashton, Sally-Ann. "Ptolemaic royal sculpture from Egypt : the Greek and Egyptian traditions and their interaction." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/ptolemaic-royal-sculpture-from-egypt--the-greek-and-egyptian-traditions-and-their-interaction(24b2b31f-d109-4b07-a865-83aa58c37dd7).html.

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Warda, Aleksandra Andrea. "Egyptian draped male figures, inscriptions and context, 1st century BC - 1st century AD." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669919.

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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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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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Hühnerfuss, Katja. "Totalreflektions-Röntgenspektrometrie (TXRF) : eine Multielementanalyse zur Datierung altägyptischer Objekte aus Holz /." Diss., Berlin : dissertation.de, 2007. http://www.dissertation.de/buch.php3?buch=5174.

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Correa-Calleja, Elka Margarita. "Nationalisme et modernisme à travers l'oeuvre de Mahmud Mukhtar (1891-1934)." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3118.

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Cette recherche porte sur la vie et l’œuvre de Mahmûd Mukhtâr, gloire de l’art égyptien, dont le travail prit naissance à une époque où les débats autour de l’identité nationale constituaient un enjeu crucial pour la construction de la nation moderne. En Égypte, l’idée de mettre en place un art figuratif se développa parallèlement au déploiement du pharaonisme - un courant historiciste proche du nationalisme territorial, dans lequel l’idée centrale était que la géographie était le facteur déterminant de l’histoire de l’Égypte. Dans l’historiographie de l’art égyptien, l’on a d’abord considéré l’art figuratif arabe comme en « décalage chronologique ». Si cette idée s’étendit aussi fortement, c’est parce qu’au début du XXe siècle, la modernité trouve l’une de ses expressions les plus importantes dans l’art des « avant-gardes » européennes. Mais, en réalité, au lendemain de la Grande Guerre, il émerge un mouvement de réaction favorable au retour à l’ordre classique. On qualifia dès lors de « modernistes », les œuvres d’art qui se trouvaient à mi-chemin entre ces deux tendances : le retour à l’ordre et les « avant-gardes ». C’est précisément dans ce contexte que se situe l’œuvre de Mukhtâr. De ce fait, l’objectif principal de cette thèse sera de replacer la production artistique de Mukhtâr dans les débats de son temps et de la comparer avec celle de ses collèges européens, pour remettre en question l’idée selon laquelle, l’art égyptien de l’entre-deux-guerres aurait eu un certain « retard » sur l’art européen
This thesis is about the life and works of Mahmûd Mukhtâr, glory of Egyptian art, at a time where the debates around national identity are crucial for the construction of the modern nation. In Egypt, the idea of creating figurative art was linked to the development of Pharaonism – a historicist trend close to territorial nationalism, in which the central idea was that geography was the determining factor in Egyptian history.Egyptian historiography, starts considering that Arab figurative art was in “delay” compared with that of Europe. The reason for the development of this idea was that at the beginning of the XXth Century, modernity found one of its most important expressions in European “avant-gardes”.But, in reality, after the Great War, a reactionary movement emerged. This trend favored the return to classical order, which was an art closer to Academism and figuration. We qualify as modernists, those works of art that are between these two tendencies: the return to classical order and the “avant-gardes”. It is precisely in this context where we can place Mukhtâr’s work. In this sense, the main objective of this dissertation is to compare Mukhtâr’s artistic production, with that of his European colleagues, in order to reconsider the idea of “delay” of Egyptian art created during the interwar period
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Books on the topic "Relief (Sculpture) Egypt Egypt"

1

Martin, Geoffrey Thorndike. Corpus of reliefs of the New Kingdom from the Memphite Necropolis and Lower Egypt. London: KPI, 1987.

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Becker-Colonna, Andreina Leanza. Ancient Egypt: IVth exhibit of sculptures and reliefs from the M.A. Mansoor-El-Amarna Collection. San Francisco, Calif: San Francisco State University, Dept. of Classics and Classical Archaeology, 1991.

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Grabreliefs im Griechisch-Römischen Museum von Alexandria. Berlin: Achet-Verlag, 2003.

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Becker-Colonna, Andreina L. Ancient Egypt: IVth exhibit of el-Amarna sculptures and reliefs from the M.A. Mansoor-el-Amarna Collection. San Francisco, Calif: Dept. of Classics and Classical Archaeology, San Francisco State University, 1991.

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Becker-Colonna, Andreina L. Ancient Egypt: IVth exhibit of el-Amarna sculptures and reliefs from the M.A. Mansoor-el-Amarna Collection. San Francisco, Calif: Dept. of Classics and Classical Archaeology, San Francisco State University, 1991.

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The reliefs of the chapel of Nebhepetre Mentuhotep at Gebelein (CGT 7003/1-277). Leiden: Brill, 2010.

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Marochetti, Elisa Fiore. The reliefs of the chapel of Nebhepetre Mentuhotep at Gebelein. Leiden: Brill, 2009.

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Marochetti, Elisa Fiore. The reliefs of the chapel of Nebhepetre Mentuhotep at Gebelein. Leiden: Brill, 2009.

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Borell, Brigitte. Orientalische und griechische Bronzereliefs aus Olympia: Der Fundcomplex aus Brunnen 17. Berlin: W. de Gruyter, 1998.

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glyptotek, Ny Carlsberg. Graeco-Roman terracottas from Egypt: Catalogue. [Copenhagen]: Ny Carlsberg Glyptotek, 1995.

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Book chapters on the topic "Relief (Sculpture) Egypt Egypt"

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Sourouzian, Hourig. "Old Kingdom Sculpture." In A Companion to Ancient Egypt, 853–81. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch38.

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Bryan, Betsy M. "New Kingdom Sculpture." In A Companion to Ancient Egypt, 913–43. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch40.

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Russmann, Edna R. "Late Period Sculpture." In A Companion to Ancient Egypt, 944–69. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch41.

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Freed, Rita E. "Sculpture of the Middle Kingdom." In A Companion to Ancient Egypt, 882–912. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch39.

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Ashton, Sally-Ann. "Ptolemaic and Romano-Egyptian Sculpture." In A Companion to Ancient Egypt, 970–89. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch42.

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Friedland, Elise A., Melanie Grunow Sobocinski, Elaine K. Gazda, and Christina Riggs. "Egypt." In The Oxford Handbook of Roman Sculpture. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199921829.013.0036.

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"ANCIENT EGYPTIAN BUILDINGS, SCULPTURE, PAINTING, ETC." In Notes For Travellers In Egypt, 128–50. Routledge, 2013. http://dx.doi.org/10.4324/9780203040379-25.

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Herrmann, John, and Annewies Hoek. "The Sphinx: Sculpture as a Theological Symbol in Plutarch and Clement of Alexandria." In The Wisdom of Egypt, 285–310. BRILL, 2005. http://dx.doi.org/10.1163/9789047407676017.

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"The Sphinx: Sculpture as a Theological Symbol in Plutarch and Clement of Alexandria." In The Wisdom of Egypt, 285–310. BRILL, 2005. http://dx.doi.org/10.1163/9789047407676_017.

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"THE SPHINX: SCULPTURE AS A THEOLOGICAL SYMBOL IN PLUTARCH AND CLEMENT OF ALEXANDRIA." In The Wisdom of Egypt, 285–310. BRILL, 2005. http://dx.doi.org/10.1163/9789004331013_017.

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