The burial chamber of an Egyptian official named Rashepses from the reign of King Djedkare was excavated at Saqqara in 2012. The 11m deep burial chamber had painted decorations on three walls depicting the titles and name of Rashepses and scenes of animals and slaughtering cattle. A limestone sarcophagus in one niche held fragments of a skull believed to be Rashepses, and the chamber also contained canopic jars and offering lists and depictions on the walls. The passage leading from the burial chamber back up to the surface was blocked by a large stone and remained unexplored.
During the First Millennium BCE (Dynasties 21-30), what it meant to be ‘king’ or ‘pharaoh’ seems to have changed. This was a time when Egypt was often split into south and north – or even more fragmented than that – and it was subject to influence from various groups of foreigners. While the kings who were recognised by Manetho were generally based in the north, Thebes, in the south, repeatedly produced powerful local individuals who claimed the kingship, or wielded equivalent authority. Some who claimed kingship barely left a trace in the records and were perhaps not so influential; others who didn’t claim kingship seem to have been far more influential and wealthy, causing us to ask what it really meant to be ‘king’ during this era. This is the story of the powerful Chief Priests of Dynasty 21, Theban kings, Libyan Chiefs, and the owners of the three largest and most spectacular tombs anywhere in the country – Harwa, Montuemhat and Padiamunope of Dynasties 25 and 26.
'The Royal Tombs of Tanis and The Missing Third Intermediate Period Tombs' ...Christopher Naunton
Part three of a four-part series on the Third Intermediate Period (TIP) in Egypt for the Kemet Klub.
The TIP has been much misunderstood. Spanning roughly four centuries it is a period characterised by cycles of division and reunification within the country, and also the influence of foreigners, particularly various groups of ‘Libyan’ settlers, and the emerging new power in the south, the kingdom of Kush. Individuals from both groups came to rule Egypt as pharaoh at various times. Archaeological and textual evidence for the period is fragmentary and has proven difficult to reconcile with other sources, particularly the king list provided by the historian Manetho. We now have a much improved understanding of how Egypt changed during the TIP, of what was distinctive about it, and in particular how Egypt was influenced by the foreign groups. Also vice versa, much more so perhaps, to the extent that even though we refer to parts of the period as the ‘Libyan’ or Kushite’ periods, Egypt was still very much Egypt.
I regularly give lectures online like this one, on a variety of themes connected with Egypt and the ancient world. For more info or to register for the next one please go to https://chrisnaunton.com/online-lectures/ Hope to see you at the next talk!
The beginning of metallurgy in the southern Levant: a late 6th Millennium Cal...José Luis Moreno Garvayo
Arqueólogos e investigadores de la Universidad de Haifa, de la Universidad Hebrea de Jerusalén y del Instituto Arqueológico Alemán de Berlín han publicado el hallazgo del objeto de metal más antiguo recuperado en Oriente Medio: se trata de un punzón de cobre datado hacia finales del sexto milenio o principios del quinto milenio antes de Cristo
During the First Millennium BCE (Dynasties 21-30), what it meant to be ‘king’ or ‘pharaoh’ seems to have changed. This was a time when Egypt was often split into south and north – or even more fragmented than that – and it was subject to influence from various groups of foreigners. While the kings who were recognised by Manetho were generally based in the north, Thebes, in the south, repeatedly produced powerful local individuals who claimed the kingship, or wielded equivalent authority. Some who claimed kingship barely left a trace in the records and were perhaps not so influential; others who didn’t claim kingship seem to have been far more influential and wealthy, causing us to ask what it really meant to be ‘king’ during this era. This is the story of the powerful Chief Priests of Dynasty 21, Theban kings, Libyan Chiefs, and the owners of the three largest and most spectacular tombs anywhere in the country – Harwa, Montuemhat and Padiamunope of Dynasties 25 and 26.
'The Royal Tombs of Tanis and The Missing Third Intermediate Period Tombs' ...Christopher Naunton
Part three of a four-part series on the Third Intermediate Period (TIP) in Egypt for the Kemet Klub.
The TIP has been much misunderstood. Spanning roughly four centuries it is a period characterised by cycles of division and reunification within the country, and also the influence of foreigners, particularly various groups of ‘Libyan’ settlers, and the emerging new power in the south, the kingdom of Kush. Individuals from both groups came to rule Egypt as pharaoh at various times. Archaeological and textual evidence for the period is fragmentary and has proven difficult to reconcile with other sources, particularly the king list provided by the historian Manetho. We now have a much improved understanding of how Egypt changed during the TIP, of what was distinctive about it, and in particular how Egypt was influenced by the foreign groups. Also vice versa, much more so perhaps, to the extent that even though we refer to parts of the period as the ‘Libyan’ or Kushite’ periods, Egypt was still very much Egypt.
I regularly give lectures online like this one, on a variety of themes connected with Egypt and the ancient world. For more info or to register for the next one please go to https://chrisnaunton.com/online-lectures/ Hope to see you at the next talk!
The beginning of metallurgy in the southern Levant: a late 6th Millennium Cal...José Luis Moreno Garvayo
Arqueólogos e investigadores de la Universidad de Haifa, de la Universidad Hebrea de Jerusalén y del Instituto Arqueológico Alemán de Berlín han publicado el hallazgo del objeto de metal más antiguo recuperado en Oriente Medio: se trata de un punzón de cobre datado hacia finales del sexto milenio o principios del quinto milenio antes de Cristo
'Searching for Imhotep' - an online lecture by Dr Chris NauntonChristopher Naunton
Imhotep. The name has been made famous by Hollywood mummy movies but the real-life man of this name was perhaps even more extraordinary. He is credited with designing the Step Pyramid, the very first of these iconic monuments, and long after his death he became a folk hero, and eventually a god. Despite his status, his tomb has never been found. Two thousand years after he lived, the ancients made thousands of offerings to him around a group of tombs of Imhotep’s time. Could one of them have been the final resting place of the man himself?
Read it carefully!!!1. 3-5 typed pages double-spaced. 2. ci.docxrudybinks
Read it carefully!!!
1. 3-5 typed pages double-spaced.
2. citing this textbook (no online research)
3. Make sure to have a thesis statement and use examples from images that i attached.
4. Make sure you include examples from the majority of chapters covered.
5. no plagiarism.
6. Here are the topics
Describe the development of depicting the human form from Paleolithic art through the arts of Ancient near-East, Ancient Egypt, the Aegean and Greek cultures.
Think about how humans are represented and what functions representation of humans have served. Is there in fact a clear “development”?
7.
Here is examples for citation. (use only this contents what i wrote on this question and should see and use the picture what i uploaded)
1. PALEOLITHIC and NEOLITHIC
-PALEOLISTHIC (OLD STONE AGE) ART, ca. 30,000–9000 BCE
VENUS OF WILLENDORF The composite feline-human from Germany is exceptional for the Stone Age. The vast majority of prehistoric sculptures depict either animals or humans. In the earliest art, humankind consists almost exclusively of women as opposed to men, and the painters and sculptors almost invariably showed them nude, although scholars generally assume that during the Ice Age both women and men wore garments covering parts of their bodies. When archaeologists first discovered Paleolithic statuettes of women, they dubbed them “Venuses,” after the Greco-Roman goddess of beauty and love, whom artists usually depicted nude (FIG. 5-62). The nickname is inappropriate and misleading. It is doubtful that the Old Stone Age figurines represented deities of any kind. One of the oldest and the most famous of the prehistoric female figures is the tiny limestone figurine of a woman that long has been known as the Venus of Willendorf (FIG. 1-5) after its findspot in Austria. Its cluster of almost ball-like shapes is unusual, the result in part of the sculptor’s response to the natural shape of the stone selected for carving. The anatomical exaggeration has suggested to many that this and similar statuettes served as fertility images. But other Paleolithic stone women of far more slender proportions exist, and the meaning of these images is as elusive as everything else about Paleolithic Paleolithic Art 3 1-4 Human with feline head, from Hohlenstein-Stadel, Germany, ca. 30,000–28,000 BCE. Mammoth ivory, 11 5 – 8 high. Ulmer Museum, Ulm. One of the oldest known sculptures is this large ivory figure of a human with a feline head. It is uncertain whether the work depicts a composite creature or a human wearing an animal mask. 1-5 Nude woman (Venus of Willendorf ), from Willendorf, Austria, ca. 28,000–25,000 BCE. Limestone, 4 1 – 4 high. Naturhistorisches Museum,Vienna. The anatomical exaggerations in this tiny figurine from Willendorf are typical of Paleolithic representations of women, whose child-bearing capabilities ensured the survival of the species. 1 in. 1 in. 73558_02_Ch01_p001-015.qxd 10/20/08 8:10 AM Page 3 art. Yet the prepondera.
Royal Mummies, Robbers & Caches - an online lecture by Dr Chris NauntonChristopher Naunton
On 3 April 2021 the world watched the ‘Pharaohs’ Golden Parade’ in Cairo, Egypt. The bodies of the kings of the New Kingdom – the Royal Mummies – were being transferred from the Egyptian Museum on Tahrir Square in Cairo to their new home at the National Museum of Egyptian Civilisation (NMEC) where they will be the star attraction. Isn’t it incredible that the bodies of these famous pharaohs including Thutmose III, Amenhotep III, Sety I and Ramesses II have survived, and in such good condition…? How is it that we have the bodies of so many important people – kings, queens and others – of the 17th to 21st Dynasties, but hardly any from before or after that time? The answer is an incredible story of tombs, robbers, a country desperate for cash (in ancient times!), and two of the most spectacular archaeological discoveries ever made…
Abstract
Over the last decades the application of digital tools and approaches to the study of the classics has expanded and evolved. Based on her own experiences Prof. Roueché will explore those developments and will consider how new tools may help us to restore old standards and rediscover Altertumswissenschaft.
http://hdl.handle.net/11858/00-1780-0000-0024-1E31-1
The very term, 'prehistoric art,' is difficult to define. Technically speaking, it refers to the 'art' made by prehistoric peoples; that is, by people in those societies without, and usually before the development of, written texts.Prehistoric art can not only be described as art found on cave walls, but also prehistoric sculpture such as the Venus figurines.
'The Coming of the Kushites: Egypt’s Twenty-fifth Dynasty' - an online lectu...Christopher Naunton
Part four of a four-part series on the Third Intermediate Period (TIP) in Egypt for the Kemet Klub.
The TIP has been much misunderstood. Spanning roughly four centuries it is a period characterised by cycles of division and reunification within the country, and also the influence of foreigners, particularly various groups of ‘Libyan’ settlers, and the emerging new power in the south, the kingdom of Kush. Individuals from both groups came to rule Egypt as pharaoh at various times. Archaeological and textual evidence for the period is fragmentary and has proven difficult to reconcile with other sources, particularly the king list provided by the historian Manetho. We now have a much improved understanding of how Egypt changed during the TIP, of what was distinctive about it, and in particular how Egypt was influenced by the foreign groups. Also vice versa, much more so perhaps, to the extent that even though we refer to parts of the period as the ‘Libyan’ or Kushite’ periods, Egypt was still very much Egypt.
I regularly give lectures online like this one, on a variety of themes connected with Egypt and the ancient world. For more info or to register for the next one please go to https://chrisnaunton.com/online-lectures/ Hope to see you at the next talk!
THE EPIC OF GILGAMESH AN ENGLISH VERSION WITH AN INTRODUC.docxmehek4
THE EPIC OF GILGAMESH
AN ENGLISH VERSION WITH AN INTRODUCTION
BY
N. K. Sandars
*
REVISED EDITION INCORPORATING
NEW MATERIAL
PENGUIN
CONTENTS
Map of the Ancient Orie"t
INTRODUCTION
1 The History of the Epic 7
2 Tht Discovery of the Tablt·ts 9
3 The Historical Background 13
4 The Literary Background 17
S The Hero of the Epic 20
6 The Principal Gods £?f the Bpic 23
7 The Story 30
44-8 Survival
9 The Diction the Epic 47
49 10 Remarks on this VerSiOtl
Acknowledgements 59
THE EPIC OF GILGAMESH
Prologue: GILGAMESH KING IN URUK 61
3 ISHT AR AND GILGAMESH, AND THE DEATH
6 THE RETURN II4
7 THE DEATH OF GILGAMESH u8
1 THE COMING OF ENKIDU 62
2 THE FOREST JOURNEY 70
OF ENKIDU 85
4 THE SEARCH FOR EVERLASTING LIFE 97
S THE STORY OF THE FLOOD 108
Glossary Names 120
Appendix: Sources 126
Penguin Books Ltd, Hannondsworth, Middlesex, England
Penguin Books Inc., 7IIO Ambassador Road, Baltimore, Maryland 2I
Penguin Books Australia Ltd, Ringwood, Victoria, Australi.
Penguin Books Canada Ltd, 4I Steelcase Road West, Markham, Onta
Penguin Books (N.Z.) Ltd, 182-190 Wairau Road, Auckland 10, Ne'
This translation first published 1960
Reprinted 1962
Reprinted with revisions 1964
Reprinted I965, 1966, 1967. 1968, I970, 1971 (twice)
Reprinted with revisions 1972
Reprinted 1973, 1974, 1975
Copyright Cl N. K. Sandars, 1960, 196<4, 1972
, i
I
i
I Made and printed in Great Britain
by Cox and Wyman Ltd,
London. Reading and Fakenham
Set in Monotype Bembo
I
i
\
This book is sold subject to the condition
that it shall not, by way of trade or otherwise,
be lent, re-sold, hired out, or otherwise circulated
without the publisher's prior consent in any form of
binding or cover other than that in which it is
published and without a similar condition
including this condition being imposed
on the subsequent purchaser
l
,
_:_-:-- B LAC K SEA ="--
eBoghazkoy
T\:1: r T E S
p..-pOCIA
C Tarsus
•
\l
A RA·B I A
MHpc
?
PERSIA
INTRODUCTION
1. The History ofthe Epic
THE Epic ofGilgamesh, the renowned king ofUruk in Meso-
potamia, comes from an age which had been wholly forgotten,
until in the last century archaeologists began uncovering the
buried cities of the Middle East. Till then the entire history of
the long period which separated Abraham from Noah was
contained in two of the most forbiddingly genealogical
chapters of the Book ofGenesis. From these chapters only two
names survived in common parlance, those of the hunter
Nimrud and the tower of Babel; but in the cycle of poelllS
which are collected round the character of Gilgamesh we are
carried back into the middle of that age.
These poems have a right to a place in the world's literature,
not only because they antedate Homeric epic by at least one and
a half thousand years, but mainly because of the quality and
characte ...
'The Kingdom of Kush' - an online lecture by Dr Chris NauntonChristopher Naunton
The Kingdom of Kush: Egypt’s mighty rival in the south. Egypt expanded into the territory to its south at various times in history, built monuments there and influenced the beliefs and practices of the people they encountered. But the influence went both ways; at times the tables turned and the Kingdom of Kush, centring on the cities of Kerma and later Napata and Meroe, became more powerful than Egypt. Kings of Kush even came to rule Egypt as the Twenty-fifth Dynasty. They retreated after a century of rule but continued to thrive in the middle Nile Valley for centuries more, burying their rules under distinctively tall pyramids. This is their story.
Mechanical Engineering in Ancient Egypt, Part 92: Tomb Inscription During the...Scientific Review SR
This work is based on a previously published hypothesis which proposed that the solid matter of the universe can be represented as a vibrational wave of energy propagating over an ether or matrix through a mechanism that scrambles the degree of duality in matter: x% localized (solid), y% delocalized (wave). The main purpose of this paper is to present a two-dimensional approximation of the three-dimensional structure of the shape of the energy distribution of an atomic orbital to propose a mechanism through which the orbital can be transported as a vibration from a point A to point B in the matrix. This process requires cycles or oscillations of mounting-dismounting-remounting in which what travels from point A to point B is the energy forming the orbital and not the solid matter that it can form. The atomic seven-dimensional f orbital of hydrogen-like atoms is used as a model to show an analogy to the transformations that it can be submitted to when transported over the matrix.
'Searching for Imhotep' - an online lecture by Dr Chris NauntonChristopher Naunton
Imhotep. The name has been made famous by Hollywood mummy movies but the real-life man of this name was perhaps even more extraordinary. He is credited with designing the Step Pyramid, the very first of these iconic monuments, and long after his death he became a folk hero, and eventually a god. Despite his status, his tomb has never been found. Two thousand years after he lived, the ancients made thousands of offerings to him around a group of tombs of Imhotep’s time. Could one of them have been the final resting place of the man himself?
Read it carefully!!!1. 3-5 typed pages double-spaced. 2. ci.docxrudybinks
Read it carefully!!!
1. 3-5 typed pages double-spaced.
2. citing this textbook (no online research)
3. Make sure to have a thesis statement and use examples from images that i attached.
4. Make sure you include examples from the majority of chapters covered.
5. no plagiarism.
6. Here are the topics
Describe the development of depicting the human form from Paleolithic art through the arts of Ancient near-East, Ancient Egypt, the Aegean and Greek cultures.
Think about how humans are represented and what functions representation of humans have served. Is there in fact a clear “development”?
7.
Here is examples for citation. (use only this contents what i wrote on this question and should see and use the picture what i uploaded)
1. PALEOLITHIC and NEOLITHIC
-PALEOLISTHIC (OLD STONE AGE) ART, ca. 30,000–9000 BCE
VENUS OF WILLENDORF The composite feline-human from Germany is exceptional for the Stone Age. The vast majority of prehistoric sculptures depict either animals or humans. In the earliest art, humankind consists almost exclusively of women as opposed to men, and the painters and sculptors almost invariably showed them nude, although scholars generally assume that during the Ice Age both women and men wore garments covering parts of their bodies. When archaeologists first discovered Paleolithic statuettes of women, they dubbed them “Venuses,” after the Greco-Roman goddess of beauty and love, whom artists usually depicted nude (FIG. 5-62). The nickname is inappropriate and misleading. It is doubtful that the Old Stone Age figurines represented deities of any kind. One of the oldest and the most famous of the prehistoric female figures is the tiny limestone figurine of a woman that long has been known as the Venus of Willendorf (FIG. 1-5) after its findspot in Austria. Its cluster of almost ball-like shapes is unusual, the result in part of the sculptor’s response to the natural shape of the stone selected for carving. The anatomical exaggeration has suggested to many that this and similar statuettes served as fertility images. But other Paleolithic stone women of far more slender proportions exist, and the meaning of these images is as elusive as everything else about Paleolithic Paleolithic Art 3 1-4 Human with feline head, from Hohlenstein-Stadel, Germany, ca. 30,000–28,000 BCE. Mammoth ivory, 11 5 – 8 high. Ulmer Museum, Ulm. One of the oldest known sculptures is this large ivory figure of a human with a feline head. It is uncertain whether the work depicts a composite creature or a human wearing an animal mask. 1-5 Nude woman (Venus of Willendorf ), from Willendorf, Austria, ca. 28,000–25,000 BCE. Limestone, 4 1 – 4 high. Naturhistorisches Museum,Vienna. The anatomical exaggerations in this tiny figurine from Willendorf are typical of Paleolithic representations of women, whose child-bearing capabilities ensured the survival of the species. 1 in. 1 in. 73558_02_Ch01_p001-015.qxd 10/20/08 8:10 AM Page 3 art. Yet the prepondera.
Royal Mummies, Robbers & Caches - an online lecture by Dr Chris NauntonChristopher Naunton
On 3 April 2021 the world watched the ‘Pharaohs’ Golden Parade’ in Cairo, Egypt. The bodies of the kings of the New Kingdom – the Royal Mummies – were being transferred from the Egyptian Museum on Tahrir Square in Cairo to their new home at the National Museum of Egyptian Civilisation (NMEC) where they will be the star attraction. Isn’t it incredible that the bodies of these famous pharaohs including Thutmose III, Amenhotep III, Sety I and Ramesses II have survived, and in such good condition…? How is it that we have the bodies of so many important people – kings, queens and others – of the 17th to 21st Dynasties, but hardly any from before or after that time? The answer is an incredible story of tombs, robbers, a country desperate for cash (in ancient times!), and two of the most spectacular archaeological discoveries ever made…
Abstract
Over the last decades the application of digital tools and approaches to the study of the classics has expanded and evolved. Based on her own experiences Prof. Roueché will explore those developments and will consider how new tools may help us to restore old standards and rediscover Altertumswissenschaft.
http://hdl.handle.net/11858/00-1780-0000-0024-1E31-1
The very term, 'prehistoric art,' is difficult to define. Technically speaking, it refers to the 'art' made by prehistoric peoples; that is, by people in those societies without, and usually before the development of, written texts.Prehistoric art can not only be described as art found on cave walls, but also prehistoric sculpture such as the Venus figurines.
'The Coming of the Kushites: Egypt’s Twenty-fifth Dynasty' - an online lectu...Christopher Naunton
Part four of a four-part series on the Third Intermediate Period (TIP) in Egypt for the Kemet Klub.
The TIP has been much misunderstood. Spanning roughly four centuries it is a period characterised by cycles of division and reunification within the country, and also the influence of foreigners, particularly various groups of ‘Libyan’ settlers, and the emerging new power in the south, the kingdom of Kush. Individuals from both groups came to rule Egypt as pharaoh at various times. Archaeological and textual evidence for the period is fragmentary and has proven difficult to reconcile with other sources, particularly the king list provided by the historian Manetho. We now have a much improved understanding of how Egypt changed during the TIP, of what was distinctive about it, and in particular how Egypt was influenced by the foreign groups. Also vice versa, much more so perhaps, to the extent that even though we refer to parts of the period as the ‘Libyan’ or Kushite’ periods, Egypt was still very much Egypt.
I regularly give lectures online like this one, on a variety of themes connected with Egypt and the ancient world. For more info or to register for the next one please go to https://chrisnaunton.com/online-lectures/ Hope to see you at the next talk!
THE EPIC OF GILGAMESH AN ENGLISH VERSION WITH AN INTRODUC.docxmehek4
THE EPIC OF GILGAMESH
AN ENGLISH VERSION WITH AN INTRODUCTION
BY
N. K. Sandars
*
REVISED EDITION INCORPORATING
NEW MATERIAL
PENGUIN
CONTENTS
Map of the Ancient Orie"t
INTRODUCTION
1 The History of the Epic 7
2 Tht Discovery of the Tablt·ts 9
3 The Historical Background 13
4 The Literary Background 17
S The Hero of the Epic 20
6 The Principal Gods £?f the Bpic 23
7 The Story 30
44-8 Survival
9 The Diction the Epic 47
49 10 Remarks on this VerSiOtl
Acknowledgements 59
THE EPIC OF GILGAMESH
Prologue: GILGAMESH KING IN URUK 61
3 ISHT AR AND GILGAMESH, AND THE DEATH
6 THE RETURN II4
7 THE DEATH OF GILGAMESH u8
1 THE COMING OF ENKIDU 62
2 THE FOREST JOURNEY 70
OF ENKIDU 85
4 THE SEARCH FOR EVERLASTING LIFE 97
S THE STORY OF THE FLOOD 108
Glossary Names 120
Appendix: Sources 126
Penguin Books Ltd, Hannondsworth, Middlesex, England
Penguin Books Inc., 7IIO Ambassador Road, Baltimore, Maryland 2I
Penguin Books Australia Ltd, Ringwood, Victoria, Australi.
Penguin Books Canada Ltd, 4I Steelcase Road West, Markham, Onta
Penguin Books (N.Z.) Ltd, 182-190 Wairau Road, Auckland 10, Ne'
This translation first published 1960
Reprinted 1962
Reprinted with revisions 1964
Reprinted I965, 1966, 1967. 1968, I970, 1971 (twice)
Reprinted with revisions 1972
Reprinted 1973, 1974, 1975
Copyright Cl N. K. Sandars, 1960, 196<4, 1972
, i
I
i
I Made and printed in Great Britain
by Cox and Wyman Ltd,
London. Reading and Fakenham
Set in Monotype Bembo
I
i
\
This book is sold subject to the condition
that it shall not, by way of trade or otherwise,
be lent, re-sold, hired out, or otherwise circulated
without the publisher's prior consent in any form of
binding or cover other than that in which it is
published and without a similar condition
including this condition being imposed
on the subsequent purchaser
l
,
_:_-:-- B LAC K SEA ="--
eBoghazkoy
T\:1: r T E S
p..-pOCIA
C Tarsus
•
\l
A RA·B I A
MHpc
?
PERSIA
INTRODUCTION
1. The History ofthe Epic
THE Epic ofGilgamesh, the renowned king ofUruk in Meso-
potamia, comes from an age which had been wholly forgotten,
until in the last century archaeologists began uncovering the
buried cities of the Middle East. Till then the entire history of
the long period which separated Abraham from Noah was
contained in two of the most forbiddingly genealogical
chapters of the Book ofGenesis. From these chapters only two
names survived in common parlance, those of the hunter
Nimrud and the tower of Babel; but in the cycle of poelllS
which are collected round the character of Gilgamesh we are
carried back into the middle of that age.
These poems have a right to a place in the world's literature,
not only because they antedate Homeric epic by at least one and
a half thousand years, but mainly because of the quality and
characte ...
'The Kingdom of Kush' - an online lecture by Dr Chris NauntonChristopher Naunton
The Kingdom of Kush: Egypt’s mighty rival in the south. Egypt expanded into the territory to its south at various times in history, built monuments there and influenced the beliefs and practices of the people they encountered. But the influence went both ways; at times the tables turned and the Kingdom of Kush, centring on the cities of Kerma and later Napata and Meroe, became more powerful than Egypt. Kings of Kush even came to rule Egypt as the Twenty-fifth Dynasty. They retreated after a century of rule but continued to thrive in the middle Nile Valley for centuries more, burying their rules under distinctively tall pyramids. This is their story.
Mechanical Engineering in Ancient Egypt, Part 92: Tomb Inscription During the...Scientific Review SR
This work is based on a previously published hypothesis which proposed that the solid matter of the universe can be represented as a vibrational wave of energy propagating over an ether or matrix through a mechanism that scrambles the degree of duality in matter: x% localized (solid), y% delocalized (wave). The main purpose of this paper is to present a two-dimensional approximation of the three-dimensional structure of the shape of the energy distribution of an atomic orbital to propose a mechanism through which the orbital can be transported as a vibration from a point A to point B in the matrix. This process requires cycles or oscillations of mounting-dismounting-remounting in which what travels from point A to point B is the energy forming the orbital and not the solid matter that it can form. The atomic seven-dimensional f orbital of hydrogen-like atoms is used as a model to show an analogy to the transformations that it can be submitted to when transported over the matrix.
1. The burial chamber of
Rashepses at Saqqara
In 2012 Hany Abdallah El-Tayeb was awarded a grant from the EES Centenary Fund, which
enabled him to excavate the burial chamber of the Saqqara tomb of Rashepses.
The tomb of Rashepses (LS16), dating to the reign of
King Djedkare, is situated just to the north of Djoser’s
Step Pyramid complex at Saqqara and has been known
since the early 1800s. However, a large part of the mastaba
had remained unexcavated until 2010 when I re-started
archaeological work at the tomb for my PhD.
Neither the burial chamber of the tomb nor its point
of access are mentioned in previous studies (Lepsius,
Denkmäler, pp.165-170, pls 60-64; Porter & Moss,
Topographical Bibliography III2
, pp.494-496; Quibell,
Excavations at Saqqara (1907-1908), pp.23-24, pls 60-61.2)
so one of the aims of the renewed exploration was to
investigate the tomb-owner’s burial apartment.
In 2010, a square shaft (1.90m along each side) was
found in the area north-west of the false-door room. The
shaft fill consisted of a mixture of local limestone, sand
and fragments of pottery, with a few human bones. At a
depth of 11m an entrance led from the south wall of the
shaft into a large burial chamber which measures 5.4m x
5.0m, is 2.5m high and has painted decoration.
Painted burial chambers are known at Saqqara from the
late Fifth/early Sixth Dynasty but Rashepses’ tomb, of the
reign of King Djedkare, seems to be the earliest known
example. At Giza the earliest painted burial chambers date
to the time of Djedkare/Unas (e.g. that of Senedjemib-
Inti - see Kanawati, Decorated Burial Chambers, pp.43–46).
Three walls, those on the east, west and north, of
Rashepses’ burial chamber were decorated. Cut into the
bedrock, they were first plastered and then the scenes
were painted. Some parts of the decoration are in bad
condition and damaged, but many parts are surprisingly
well preserved, still showing the bright colours used by
the ancient artists.
The east wall contains three niches with floors slightly
Plan of the tomb of Rashepses with the burial chamber. Drawing by
Mohammed FathyThe location of the tomb of Rashepses
The titles and name of Rashepses, written inside the burial chamber
EGYPTIAN ARCHAEOLOGY
2. higher than the floor level of the chamber.
Each niche measures 1.0m x 1.4m. The lintel
above the niches is inscribed with the titles
and name of the tomb-owner:
‘..Seal-bearer of the King of Lower Egypt,
Hereditary Prince, Chief Justice and Vizier,
Overseer of the Scribes of the King’s
Documents, Overseer of a Troop-house/
Work-place, Overseer of the Nomes of Lower
Egypt, King’s Liegeman, Staff of the rekhyt-
people, Juridical adj-mer Official, Support of
knmwt, Priest of Maat, Rashepses.’
Rashepses’ title of Vizier is otherwise found
only in the main entrance of the tomb and
on some blocks that were discovered in the
last season. Of his 33 known titles, Rashepses
lists only 11 in his burial chamber; perhaps
the ones that he considered most important
or significant.
The west wall of the chamber has two
niches: a large one, which contains a limestone
sarcophagus, and a smaller niche probably
intended for the canopic jars. A fragment of
a human skull (probably that of Rashepses
himself) was found inside the sarcophagus,
and a part of a limestone canopic jar was
discovered next to the small niche. The walls of the
niche are decorated with the palace-façade motif. The
north end of the west wall is covered with a beautifully
painted scene, which depicts rows of different animals
(all males). The scene consists of five registers described
here from top to bottom:
Register 1 shows four partly damaged oryx, which were
called in ancient Egyptian ma-hedj. They have typically
long and only slightly curved horns, and they are painted
white with red-brown throats and bellies, and with dark
brown colour around their eyes. Around the necks of
each oryx is a rope tied to a wedge in the ground.
Register 2 contains four screw-horn antelopes (ancient
nu-dju). The front parts of their bodies are painted a
bright azure colour while their hind-quarters and legs
are white. They also are tied with ropes around their
necks to wedges.
Register 3 displays five Nubian ibex (wild goat, ancient
nia), which are marvellously coloured. The first ibex is
coloured light brown, as is the second one though only
its head and legs are visible. The other three are painted
brown, with individual dark hairs executed by the artists
over the background hair-colour. Shadows visible around
the figures of the animals provide evidence of the artist’s
corrections, as he at first painted them too large and had
to revise his drawing at a smaller scale. The ibex are also
tied to wedges by ropes around their necks.
Register 4 is much damaged but still shows parts of
four gazelles (ancient gehes), painted red, with only their
bellies and mouths white. Above the first and the second
gazelles are the remains of a badly damaged hieroglyphic
text describing each of them as a ‘young gazelle’. The
ropes around the necks of the gazelles can be seen but
the wedges are lost.
Register 5 includes a damaged scene of slaughtering
cattle with the first two butchers carving a white and
black ox whose throat is red with blood. Above the
scene, a hieroglyphic text reads: ‘choice cuts of a young
ox’. Three more male figures are partly preserved in the
register; two seem to be dealing with another bull, and
the text above them reads ‘pull toward you strongly’.
The third man has a large knife and the text above him
says ‘sharpening of the knife’.
The decoration of the rest of the burial chamber includes
offering lists, depictions of offerings and offering-bearers.
From the south part of the chamber, a sloping passage
leads up to ground level. It is closed by a large limestone
block and has not yet been explored, but probably
leads from the floor of the open courtyard to the burial
chamber. It will be investigated in the coming season.
q Hany El-Tayeb is an Inspector of the Ministry of State for Antiquities
at Saqqara. See also El-Tayeb, H, The false-door of Rashepses from Saqqara
LS 16 (QS 902), French Institute in Cairo (in press). He is grateful to
the Ministry of State for Antiquities for permission to publish the tomb
and to include details of its excavation in his PhD research and would
like to express his warm appreciation of Robert Anderson’s generous
support. He is indebted to Hana Vymazalova and Filip Coppens for
reviewing his English. Photographs by the writer.
A brilliantly-coloured scene with animals on the west wall of the burial chamber
EGYPTIAN ARCHAEOLOGY