Thursday, 27 August 2009
Luxor's Marathon
Put February 12th in your diaries as this is the date on Luxor's Marathon. Full details are on the website www.EgyptianMarathon.net. It is a fantastic route going all round the West Bank of Luxor, runners and temples all mixed in.
Tuesday, 18 August 2009
Dr Zahi Hawass visits Luxor – part 3 Mosque of Abu Haggag
The last stop on Dr Zahi Hawass tour of Luxor was the formal opening of the renovated mosque. We left the temple of Hatshepsut and proceed to the Nile and Ibrahim Soliman was waiting for us with motor boats which took us across the Nile. A short walk to Luxor temple and he escorted us through the temple as a short cut to the mosque. There was a formal reception with a video describing the renovations. Then we proceed in to the mosque, there was a huge surge of men going into the left hand side of the mosque to the rhythmic chanting of the men. It was a powerful and emotional scene. I snuck round the right-hand side and took some photos. I do encourage you to visit this mosque it is really interesting and you will be very welcome. Avoid prayer times obviously. Back in Dec 2007 I visited the mosque when the renovations had just started. I think the pictures speak for themselves I have tried to match the shots.
Dr Zahi Hawass visits Luxor part 2 - Hatshepsut
After weeks and weeks of little news suddenly I have lots to report. Dr Zahi Hawass visit to Luxor was a definite highlight this month. One of the stops on his journey was the temple of Hatshepsut. He was there to officially open the visitors centre at the site and the review the first trials of the lightening system for the Theban necropolis.
The visitor centre has some pictures of the site, a terrific model of the entire site reconstructed with both Montuhotep, Tutmosis II and Hatshepsut temple shown in detail. They used the flat platform reconstruction of the Montuhotep temple. I did get a photo but the reflections of the overhead lights spoiled it. It was official opened with the unveiling of a plaque. Then a short film was shown describing the site, Dr Samir and Dr Zafi are seated in the front row and Dr Sabry is beside them and then we explored the site.
Finally we took the tuff tuff, little train to view the effect of the first stage of the flood lightening of the West Bank. Luckily I was sitting next to Mansour Boraik and managed to get a bit of information. It is planned that the entire West Bank will be lit and tourists will be able to visit. They need to get security sorted out as well as the lights and he expects to have the sites open in the New Year. Wow!!
I have already published my picture of the lights, which was just taken on a camera phone, but I like it so much you can have it again :)
The visitor centre has some pictures of the site, a terrific model of the entire site reconstructed with both Montuhotep, Tutmosis II and Hatshepsut temple shown in detail. They used the flat platform reconstruction of the Montuhotep temple. I did get a photo but the reflections of the overhead lights spoiled it. It was official opened with the unveiling of a plaque. Then a short film was shown describing the site, Dr Samir and Dr Zafi are seated in the front row and Dr Sabry is beside them and then we explored the site.
Finally we took the tuff tuff, little train to view the effect of the first stage of the flood lightening of the West Bank. Luckily I was sitting next to Mansour Boraik and managed to get a bit of information. It is planned that the entire West Bank will be lit and tourists will be able to visit. They need to get security sorted out as well as the lights and he expects to have the sites open in the New Year. Wow!!
I have already published my picture of the lights, which was just taken on a camera phone, but I like it so much you can have it again :)
Dr Zahi Hawass visits Luxor part 1 – Carter House
On the West Bank on the round about that leads to the valley of kings there is a mud brick house which was used by Howard Carter when he was excavating there. It was built around 1910 as there are commemorative bricks with that date. It is not the house on the hill but at ground level. For many, many years there have been rumours that it was going to be made into a museum about the discovery of the tomb of Tutankhamen but nothing seem to happen.
Well all that is changing, as you can see from the above plan there is an ambitious plan to redevelop the entire area and to refurbish the Carter House at the same time. If you look at the detail plan you can read in English the description of the various rooms, it looks as though it is going to a very interesting visitor centre.
It is being driven by this man who when I asked his name told me he was a Major General. Apparently if you are a General for 3 years you become a Major General and he has been a General for 6 years, so I ended up calling him Major, Major General and never found out his real name. He is driving the project forward big time and expects to have it finished by 4th November otherwise as we would say ‘heads will roll’. He certainly seemed to have a lot of power as my driver translated some of his conversation for me and he was defiantly barking out orders. The army will be brought in and they will work round the clock.
The house is in a shabby and dilapidated state but the architect Hany El Miniawy has done projects like this before. Try Googling on his name and you will be very impressed, he is a top notch guy.
He has to turn this
in to this
Quite a task considering its present state, I asked him if he was worried about ground water issues on this mud brick development if they landscape and this needs watering. He proceed to blind me with science but it was obvious he knew what he was talking about and had taken that in to consideration. Apparently the building is made of heba or green bricks, green referring to their maturity rather than their colour, on a good foundation. The water table is far away and the building itself will be protected.
So we were ready for our big wigs to arrive. First Dr Zahi Hawass came and the architect spent some time with him explaining the various stages.
Then Dr Zahi was interviewed by the media, sadly everything was in Arabic but there are lots of details on Dr Zahi Hawass’s website http://www.drhawass.com/blog/press-release-new-developments-luxor.
Lastly Dr Samir Farag, the governor of Luxor arrived to be shown the site. Then we all raced of to Hatshepsut’s temple …… more of Dr Zahi's visit to come when we go to Hatshepsut and the mosque of Abu Haggag
Well all that is changing, as you can see from the above plan there is an ambitious plan to redevelop the entire area and to refurbish the Carter House at the same time. If you look at the detail plan you can read in English the description of the various rooms, it looks as though it is going to a very interesting visitor centre.
It is being driven by this man who when I asked his name told me he was a Major General. Apparently if you are a General for 3 years you become a Major General and he has been a General for 6 years, so I ended up calling him Major, Major General and never found out his real name. He is driving the project forward big time and expects to have it finished by 4th November otherwise as we would say ‘heads will roll’. He certainly seemed to have a lot of power as my driver translated some of his conversation for me and he was defiantly barking out orders. The army will be brought in and they will work round the clock.
The house is in a shabby and dilapidated state but the architect Hany El Miniawy has done projects like this before. Try Googling on his name and you will be very impressed, he is a top notch guy.
He has to turn this
in to this
Quite a task considering its present state, I asked him if he was worried about ground water issues on this mud brick development if they landscape and this needs watering. He proceed to blind me with science but it was obvious he knew what he was talking about and had taken that in to consideration. Apparently the building is made of heba or green bricks, green referring to their maturity rather than their colour, on a good foundation. The water table is far away and the building itself will be protected.
So we were ready for our big wigs to arrive. First Dr Zahi Hawass came and the architect spent some time with him explaining the various stages.
Then Dr Zahi was interviewed by the media, sadly everything was in Arabic but there are lots of details on Dr Zahi Hawass’s website http://www.drhawass.com/blog/press-release-new-developments-luxor.
Lastly Dr Samir Farag, the governor of Luxor arrived to be shown the site. Then we all raced of to Hatshepsut’s temple …… more of Dr Zahi's visit to come when we go to Hatshepsut and the mosque of Abu Haggag
Monday, 17 August 2009
Dr Zahi Hawas opens Hatshepsut visitor centre
First a photo to follow yesterday's post of the floodlighting of the West Bank. I have lots more information about this, also the visit of Dr Zahi Hawass and Dr Samir Farg to three sites tonight. First the Carter House to talk with the architect about the proposed restoration of the house and redevelopment the area into a museum and vistor centre.
Then the temple of Hatshepsut to officially open the visitors centre and view the new lighting.
Lastly a reception and the opening the mosque of Abu Haggag after its wonderful restoration
But this is a trailer because I am too tired to do the posts tonight, I am sorry. But I have lots of photos and information for tomorrow
Sunday, 16 August 2009
Lights over Luxor
I live on the West Bank facing the Theban Hills with the Valley of Kings and temple of Hatshepsut. Tonight we are all looking at the skyline as the entire Theban necropolis is floodlit. It is absolutely fantastic.
Ibrahim Soliman also phoned told me about this and that the renovated mosque in Luxor temple is being opened by Dr Zahi Hawass tomorrow.
Ibrahim Soliman also phoned told me about this and that the renovated mosque in Luxor temple is being opened by Dr Zahi Hawass tomorrow.
Tuesday, 11 August 2009
Monday, 10 August 2009
Coptic Egypt
I recently had a prof staying at the flats in Luxor (who incidently wrote a brill review on Trip Advisor). He was studying Coptic graffitti and we joked a lot between us about Pharaonic Egyptologists not liking anything past 1000BC.
He is studying all over Egypt but while he was here visited Deir el Bahri, Deir el Medina, KV2, Kharga and Abydos.
So to prove I am not prejudiced at all here is some Coptic information courtsey of Lyn Green
The Canadian Society for Coptic Studies
The Canadian Society for Coptic Studies/La Société Canadienne pour les Études Coptes (CSCS/SCEC), incorporated as a non-profit organization on May 29, 2009, has as its purpose the bringing together individuals interested in Coptic studies; and the dissemination of scholarly information on Coptic studies through the organization of meetings and conferences and through the preparation of scholarly works for publication.
The CSCS/SCEC is affiliated with the University of Toronto, and St. Mark's Coptic Museum http://www.copticmuseum-canada.org. The Dept. of Near & Middle Eastern Civilizations at the U. of Toronto has already presented two Coptic Symposia, featuring scholars from Egypt, Canada and elsewhere and has initiated a programme of Coptic Studies http://www.utoronto.ca/nmc/courses/undergrad_coptic.htm.
For more information contact: Dr. Helene Moussa
He is studying all over Egypt but while he was here visited Deir el Bahri, Deir el Medina, KV2, Kharga and Abydos.
So to prove I am not prejudiced at all here is some Coptic information courtsey of Lyn Green
The Canadian Society for Coptic Studies
The Canadian Society for Coptic Studies/La Société Canadienne pour les Études Coptes (CSCS/SCEC), incorporated as a non-profit organization on May 29, 2009, has as its purpose the bringing together individuals interested in Coptic studies; and the dissemination of scholarly information on Coptic studies through the organization of meetings and conferences and through the preparation of scholarly works for publication.
The CSCS/SCEC is affiliated with the University of Toronto, and St. Mark's Coptic Museum http://www.copticmuseum-canada.org. The Dept. of Near & Middle Eastern Civilizations at the U. of Toronto has already presented two Coptic Symposia, featuring scholars from Egypt, Canada and elsewhere and has initiated a programme of Coptic Studies http://www.utoronto.ca/nmc/courses/undergrad_coptic.htm.
For more information contact: Dr. Helene Moussa
Wednesday, 5 August 2009
Arkwrights New Deli Counter
Arkwrights the English supermarket in St Josephs street has just opened a new deli counter with a superb range of cheese and cold meats. I am really pleased to say that since this shop opened it has gone from strength to strength. Standards have not slipped at all. Well done to Angie, Yassar and the staff
Friday, 31 July 2009
Theban tomb tracings made by Norman and Nina de Garis Davies
Theban tomb tracings made by Norman and Nina de Garis Davies
The Griffith Institute have made these pencil tracings available online
The Griffith Institute have made these pencil tracings available online
Sunday, 26 July 2009
Duck Racing on the Nile
The exclusive unveiling of the newest tourist attraction in Luxor, the video says it all
Monday, 20 July 2009
Seti I replica tomb
Do you remember this old post of mine
Well the wife of the same ex guest was commenting about the proposed Seti I replica
Laser Scanning
I has a fascinating chat with a guest who used to work at Liverpool Conservation Centre. Apparently laser scanning is so good nowadays that they can use it to make 3-d records of objects and then reproduce them. a while ago the Polish team at the temple of Hatshepsut asked for a plaster copy of a piece of Hatshepsut’s temple that was in the museum. Rather than do this they were able reproduce in limestone a perfect copy of the piece in question.
The possibilities of this are endless here in Luxor.
Also they could scan all the pieces currently on mastabas scattered all over Luxor and put them on computer where they could be matched together. the cost of this equipment is not cheap but when you think of how quickly it could record scenes, especially those in danger from water damage it seems it would be worthwhile. There is also software available that removes damage and makes the surface look like new so reconstructions of the original could be made.
Does anyone know why the missions out here don’t use this. Could someone like the Getty institute fund this and all the missions have access. I know a lot of the teams read my blog so I would love some comments on this.
February 26th, 2006
Well the wife of the same ex guest was commenting about the proposed Seti I replica
“Saw the planned replica tombs - it's taken long enough, the Seti conference was in 2002! Do you remember John's colleague Steve went out and did sample scans of Seti. It is the same firm Factum Arte who are doing them now.”.The company has a website and a big piece about the Seti project http://www.factum-arte.com/eng/conservacion/seti/seti_en.asp
Saturday, 18 July 2009
Visiting Egypt during Ramadan
Ramadan is a great time to visit a Muslim country. don't forget Egypt isn't just about antiquities but also about the people and the culture. Over 80% of the population are Muslims the rest being Coptic Christians and even the most lax and laid back make a special effort during Ramadan
Effects on tourist visiting sites - none what so ever, drink what you like, eat what you like, smoke what you like. I think it is nice not to smoke in a car when the driver is fasting but actually I think it nice not to smoke in a car full stop. Some drivers are very macho about their fasting and like to show how strong willed they are.
Effects on tourist in hotels - none what so ever, often the Christian staff do day time and Muslims night so don't assume everyone you see is fasting
Availability of alcohol - reduced during Ramadan although this is generally sold by Christians it does stop during Ramadan and strict Muslims will not handle it. 5* hotels are not affected.
Effects on tourists non tourist sites, banks, etc these often keep different hours during Ramadan generally closing for Iftar (the sunset meal) so just remember to go early in the day
Effects on tourists traveling, if you have a private driver and are traveling at sunset do suggest he stops to break his fast otherwise no effect what so ever
Interesting things to see
those better off supply food for Iftar in the streets for the poor, it is quite amazing seeing all these roadside camps, you may be offered something there is no problem accepting, just have a couple of dates
family meals, if you get invited to Iftar go, some of the meals are fabulous, the best cooking happens at this time, they try and break the fast with dates
all the old TV programs get recycled, some have subtitles but anyway it is fun to watch the over the top dramas
the mad race on the roads to get home for Iftar and the dead silence on the roads during Iftar
the lanterns, lights, flags and paper mosques put up by the children to decorate their homes
everyone in the country united in celebrating a religious event. This is the aspect I love. Everywhere you go being offered good wishes, people supporting each other, the children excited doing their first fast (they start off doing half a day fasts and it is a big event). Not everyone fasts, sick people, nursing mother and small children do not.
So don't be put off visiting because it is Ramadan, join in the celebrations
Effects on tourist visiting sites - none what so ever, drink what you like, eat what you like, smoke what you like. I think it is nice not to smoke in a car when the driver is fasting but actually I think it nice not to smoke in a car full stop. Some drivers are very macho about their fasting and like to show how strong willed they are.
Effects on tourist in hotels - none what so ever, often the Christian staff do day time and Muslims night so don't assume everyone you see is fasting
Availability of alcohol - reduced during Ramadan although this is generally sold by Christians it does stop during Ramadan and strict Muslims will not handle it. 5* hotels are not affected.
Effects on tourists non tourist sites, banks, etc these often keep different hours during Ramadan generally closing for Iftar (the sunset meal) so just remember to go early in the day
Effects on tourists traveling, if you have a private driver and are traveling at sunset do suggest he stops to break his fast otherwise no effect what so ever
Interesting things to see
those better off supply food for Iftar in the streets for the poor, it is quite amazing seeing all these roadside camps, you may be offered something there is no problem accepting, just have a couple of dates
family meals, if you get invited to Iftar go, some of the meals are fabulous, the best cooking happens at this time, they try and break the fast with dates
all the old TV programs get recycled, some have subtitles but anyway it is fun to watch the over the top dramas
the mad race on the roads to get home for Iftar and the dead silence on the roads during Iftar
the lanterns, lights, flags and paper mosques put up by the children to decorate their homes
everyone in the country united in celebrating a religious event. This is the aspect I love. Everywhere you go being offered good wishes, people supporting each other, the children excited doing their first fast (they start off doing half a day fasts and it is a big event). Not everyone fasts, sick people, nursing mother and small children do not.
So don't be put off visiting because it is Ramadan, join in the celebrations
Friday, 17 July 2009
New Sound and Light Show at Karnak Temple
I went to the new show and have to be brutally honest. I really enjoyed it. I know it is kitsch and some of the facts are completely inaccurate (Tutankhamen was not Akhenaton’s brother) but the whole feel is still as magical for me as when I saw the old show back in 1979.
The sound track has been updated, obviously I am just going on memory but I reckon about 30% of the track is new. The lightening updates are really good.
Regular readers of this blog may remember years ago I conducted a survey on behalf of Mansour Boraik on whether there should be a screen at Karnak to enable laser displays. My readers overwhelming voted no and Mansour was able to use the statistics in discussion with the Sound and Light company. The result of this is they have used the walls of the monument to projection the slides onto and it works really well. They still have the processional bit of the show and as you stand in the first court they project images and hieroglyphs on the gateway of the second pylon.
The 'holy of holies' also has been highlight with a red laser light. When you sit on the benches at the end they screen the display on the walls of the court de cache, the back of the first pylon and the eight pylon. Also the scared lake has floating lights. I was with some guests who had seen the old show and agreed with me the new show was really nice.
The only complaint, the price 100LE seems way over the top compared to entrance of the Valley of Kings at 80LE or indeed entrance to Karnak during the daytime 65LE.
So if your budget allows, GO
The sound track has been updated, obviously I am just going on memory but I reckon about 30% of the track is new. The lightening updates are really good.
Regular readers of this blog may remember years ago I conducted a survey on behalf of Mansour Boraik on whether there should be a screen at Karnak to enable laser displays. My readers overwhelming voted no and Mansour was able to use the statistics in discussion with the Sound and Light company. The result of this is they have used the walls of the monument to projection the slides onto and it works really well. They still have the processional bit of the show and as you stand in the first court they project images and hieroglyphs on the gateway of the second pylon.
The 'holy of holies' also has been highlight with a red laser light. When you sit on the benches at the end they screen the display on the walls of the court de cache, the back of the first pylon and the eight pylon. Also the scared lake has floating lights. I was with some guests who had seen the old show and agreed with me the new show was really nice.
The only complaint, the price 100LE seems way over the top compared to entrance of the Valley of Kings at 80LE or indeed entrance to Karnak during the daytime 65LE.
So if your budget allows, GO
Sunday, 12 July 2009
Protecting the Valley of the Kings | drhawass.com - Zahi Hawass
Really great news from Dr Zahi Hawass
Protecting the Valley of the Kings | drhawass.com - Zahi Hawass
"I always say that the Egyptian monuments will be completely destroyed in less than 100 years if tourism isn’t managed properly. Tourism is the number one threat to the Egyptian antiquities.
In Egypt we have started many important site management projects in order to protect the monuments, and I have published many articles about my ideas. When I became Secretary General of the Supreme Council of Antiquities, we initiated site management projects at Abu Simbel, the Unfinished Obelisk in Aswan, Edfu, Kom Ombo, the Valley of the Kings, Hatshepsut’s Temple in Luxor, and at Dendera. We are currently finishing site management projects at Giza and Saqqara, as well as working at Tell Basta, and San el-Hagar (Tanis), and this week we have completed our project at Pompey’s Pillar in Alexandria.
In order to have a high quality site management program it is important to have a means of protecting the site, an educational introduction within a visitor’s centre, well-trained personnel, a programme for restoration and conservation, and, outside of the site, facilities for tourists, such as cafeterias, a bazaar, and clean bathrooms.
The Valley of the Kings is a special case. Here, tourists concentrate on visiting certain tombs – especially the tombs of Tutankhamun, Ramesses VI, and Horemheb – while others are hardly visited at all, even though the valley contains sixty-three tombs in total. This means that some tombs need added protection, while others need to be closed completely in order to save the ancient paintings.
We are currently installing lighting in the Valley of the Kings so that people will be able to visit the tombs in the evening. This will help to protect the paintings because it allows us to spread the tourist visits out over the course of the day – they will need to make reservations for the morning, early afternoon or evening. This will allow the tombs to escape from the extra heat and moisture that builds up in them over the course of the day.
Three special tombs are so important and beautiful that they need to be carefully protected: the tombs of Tutankhamun, Nefertari and Seti I. The latter two are currently closed to the public to help preserve them. In order to allow visitors to Luxor to still see the paintings in these beautiful tombs, yet still keep them closed, we contacted Adam Lowe of Factum Arte. He is currently making detailed high-resolution copies of the tomb scenes using laser scanners. The images that these scanners create look almost exactly like the original paintings.
The team developed new scanners in order to make the best copies; one of them is called Seti. In the end, all of the paintings in the tombs of Seti I and Nefertari will have been scanned, as well as the burial chamber and sarcophagus of Tutankhamun. Missing fragments from these tombs, now held in foreign museums, will also be scanned and added to the overall reconstruction, giving as complete a picture of the tombs as possible. As the project continues Egyptians will be trained in the use of the equipment and techniques, meaning that the project also transfers important skills.
On November 4th of this year, I will be finishing converting Howard Carter’s rest house in Luxor into a museum with displays focusing on Carter’s great discovery of the tomb of Tutankhamun. There will also be a cafeteria for tourists to have lunch. A one-day workshop will be held, celebrating 86 years since the discovery of the tomb. Down the valley from the rest-house we will install replicas of the tombs of Nefertari, Seti I and Tutankhamun using the high-resolution scans so that, even if two of these tombs are closed, visitors will still be able to experience their beauty with the knowledge that the ancient paintings are being preserved."
Protecting the Valley of the Kings | drhawass.com - Zahi Hawass
"I always say that the Egyptian monuments will be completely destroyed in less than 100 years if tourism isn’t managed properly. Tourism is the number one threat to the Egyptian antiquities.
In Egypt we have started many important site management projects in order to protect the monuments, and I have published many articles about my ideas. When I became Secretary General of the Supreme Council of Antiquities, we initiated site management projects at Abu Simbel, the Unfinished Obelisk in Aswan, Edfu, Kom Ombo, the Valley of the Kings, Hatshepsut’s Temple in Luxor, and at Dendera. We are currently finishing site management projects at Giza and Saqqara, as well as working at Tell Basta, and San el-Hagar (Tanis), and this week we have completed our project at Pompey’s Pillar in Alexandria.
In order to have a high quality site management program it is important to have a means of protecting the site, an educational introduction within a visitor’s centre, well-trained personnel, a programme for restoration and conservation, and, outside of the site, facilities for tourists, such as cafeterias, a bazaar, and clean bathrooms.
The Valley of the Kings is a special case. Here, tourists concentrate on visiting certain tombs – especially the tombs of Tutankhamun, Ramesses VI, and Horemheb – while others are hardly visited at all, even though the valley contains sixty-three tombs in total. This means that some tombs need added protection, while others need to be closed completely in order to save the ancient paintings.
We are currently installing lighting in the Valley of the Kings so that people will be able to visit the tombs in the evening. This will help to protect the paintings because it allows us to spread the tourist visits out over the course of the day – they will need to make reservations for the morning, early afternoon or evening. This will allow the tombs to escape from the extra heat and moisture that builds up in them over the course of the day.
Three special tombs are so important and beautiful that they need to be carefully protected: the tombs of Tutankhamun, Nefertari and Seti I. The latter two are currently closed to the public to help preserve them. In order to allow visitors to Luxor to still see the paintings in these beautiful tombs, yet still keep them closed, we contacted Adam Lowe of Factum Arte. He is currently making detailed high-resolution copies of the tomb scenes using laser scanners. The images that these scanners create look almost exactly like the original paintings.
The team developed new scanners in order to make the best copies; one of them is called Seti. In the end, all of the paintings in the tombs of Seti I and Nefertari will have been scanned, as well as the burial chamber and sarcophagus of Tutankhamun. Missing fragments from these tombs, now held in foreign museums, will also be scanned and added to the overall reconstruction, giving as complete a picture of the tombs as possible. As the project continues Egyptians will be trained in the use of the equipment and techniques, meaning that the project also transfers important skills.
On November 4th of this year, I will be finishing converting Howard Carter’s rest house in Luxor into a museum with displays focusing on Carter’s great discovery of the tomb of Tutankhamun. There will also be a cafeteria for tourists to have lunch. A one-day workshop will be held, celebrating 86 years since the discovery of the tomb. Down the valley from the rest-house we will install replicas of the tombs of Nefertari, Seti I and Tutankhamun using the high-resolution scans so that, even if two of these tombs are closed, visitors will still be able to experience their beauty with the knowledge that the ancient paintings are being preserved."
Tuesday, 7 July 2009
David Rohl information
Ok I know it is not Luxor News but when I published about his lectures I got the most amount of comments ever on a post so it is obviously interesting to my readers. I got sent this email.
David Rohl's special TV program 'Pharaohs & Kings: A Biblical Quest' is available on DVD but there are only a few copies.
You can order both 'Pharaohs & Kings' and the David Rohl seminar shot in
Florida ('Myth or Reality') here:
http://stretchproductions.com/
RohlProducts.html
David Rohl video SAMPLES in the center of the page:
http://www.youtube.com/
StretchProductions
Thanks!
-Cami McCraw
http://tech.groups.yahoo.com/group/newchronology/
Saturday, 27 June 2009
Report back on Valley of Kings and KV57 Horemheb
Well I went up there early this morning, in fact I was the first person in the valley. I went straight to Horemheb, quick before it is closed again. there was no indication from the outside it was open but later I noticed a number of guides who were telling their guests.
The tomb was fantastic, I won't bother describing it as you can get all that from the Theban Mapping Project but i enjoyed the well chamber, the fourth hour and the judgment scene the best. The patterns on the Goddesses dresses were gorgeous.
The tomb is quite large, lots of stairs and ramps. It was quite hot below and humid and I could see crack monitors, and what looked like a moisture monitor.
The valley has changed a lot recently. this picture was taken along the wadi to the tomb of Merenptah. You can clearly see the channel that was used in ancient times to keep water away from the monuments.
Also they have removed the inspectors office next to KV55 so obviously excavation is going to start there soon.
The tomb was fantastic, I won't bother describing it as you can get all that from the Theban Mapping Project but i enjoyed the well chamber, the fourth hour and the judgment scene the best. The patterns on the Goddesses dresses were gorgeous.
The tomb is quite large, lots of stairs and ramps. It was quite hot below and humid and I could see crack monitors, and what looked like a moisture monitor.
The valley has changed a lot recently. this picture was taken along the wadi to the tomb of Merenptah. You can clearly see the channel that was used in ancient times to keep water away from the monuments.
Also they have removed the inspectors office next to KV55 so obviously excavation is going to start there soon.
Friday, 26 June 2009
KV57 Horemheb open but who knows for how long
I got an email asking if it was true and I have just got of the phone to Mansour Boraik head of the SCA in Luxor who says it is.
I tell you I am up the valley tomorrow at 6 as I have never seen this tomb.
Mr Mansour told me they are opening as an experiement and monitoring the levels to see how it goes. When I asked him how long it is going to be open he said it depended on the results.
Here is a link to the Theban Mapping Project http://www.thebanmappingproject.com/sites/browse_tomb_871.html
Mr Mansour also told me that they are going to be starting the final clearance of the Sphinx Avenue so one wonders what that will turn up.
I tell you I am up the valley tomorrow at 6 as I have never seen this tomb.
Mr Mansour told me they are opening as an experiement and monitoring the levels to see how it goes. When I asked him how long it is going to be open he said it depended on the results.
Here is a link to the Theban Mapping Project http://www.thebanmappingproject.com/sites/browse_tomb_871.html
Mr Mansour also told me that they are going to be starting the final clearance of the Sphinx Avenue so one wonders what that will turn up.
Breakfast in Cairo
I recently had to go to Cairo and had the most wonderful street breakfast. Great foul, fresh bread and a huge variety of pickles and salads. I promised the owner I would advertise him on the internet. Well why not. This stall is located just outside the Hamburg Hotel at El Borsa St in down town Cairo.
Thursday, 25 June 2009
Saving the West Bank temples in Luxor
Good news about the problems of the rising of the water table and destruction of the monuments. The problems is that with the building of the Aswan Dam water is now available to the farmer all year round. The temples were built taking into account they would be flooded 3 months of the year and bone dry for the other 9 months. The farmer would have one crop a year, he would sow his seed as the waters of the inundation receded and the yearly crop would grow and be harvested.
Now water is available all year round. The farmer flood irrigates his field and can crop 2 to 3 times a year. This has risen the water table and the temple foundations how sit in water all year round. This is decaying the stone and sand stone becomes sand again. Restoration work at Medinet Habu and Seti I temple done recently is already affected and the original temples are in a dangerous and hazardous situation.
Dewatering
At Karnak and Luxor temple they have surrounded the temples by huge pipes allowing the water inside the circle to be drained away and pumped into the Nile. This has been very successful reducing the water table inside the circle and the temples have not been destabilised, they were monitored for cracks and tilts.
Now it is the West Banks turn, I understand the proposal is to have a pipe going along the West Bank parallel to the Nile from Seti temple at Gurna to Medinet Habu. This pipe would be between the cultivation and the temples. The other side of the temples is the desert.
Work has now started, these photos show the construction at the Ramasseum and Medinet Habu. Hopefully this will save the temples.
Thursday, 18 June 2009
SAVE THE HERITAGE OF HASSAN FATHY Update
After a long year of unceasing activities and some moments of discouragement, the international association SAVE THE HERITAGE OF HASSAN FATHY is very pleased to foresee the beginning of an action plan concerning the village of New Gourna. The Director of the World Heritage Centre, UNESCO, Mr Francesco Bandarin, has recognized in a letter addressed to the Association, the importance of the safeguarding of New Gourna village and has just sent a mission on site at the beginning of this month. The Egyptian press has largely covered the mission.
You can contact them fathyheritage@gmail.com
You can contact them fathyheritage@gmail.com
Press Release - New Tombs Found on Luxor's West Bank | drhawass.com - Zahi Hawass
Great discovery in Luxor annouced on Dr Zahi Hawass website.
This is in the area around TT11 and 12 which is a popular area for burials, it is opposite Karnak. You can see the first pylon from there. So a really prestigious burial site.
Press Release - New Tombs Found on Luxor's West Bank | drhawass.com - Zahi Hawass
This is in the area around TT11 and 12 which is a popular area for burials, it is opposite Karnak. You can see the first pylon from there. So a really prestigious burial site.
Press Release - New Tombs Found on Luxor's West Bank | drhawass.com - Zahi Hawass
Saturday, 13 June 2009
Thursday, 11 June 2009
Egyptology Blog
I know news is a bit slow during the summer months in Luxor with all the digs closed until it gets cooler so I encourage you to have a look at this blog http://egyptology.blogspot.com/. Andie does a great job collecting all Egyptology news (and we finally got to met in person last month.) so plenty to get your teeth into until excavations get underway again.
Tuesday, 9 June 2009
Understanding Egyptian Art
I just recently had to write an essay about the conventions of 2 dimensial Egyptian art and gave it to one of my guests to review before I submitted it. She found it really helpful to read before she visited the tombs so I thought I would give a section of it a wider audience. Especially now it has been marked and I have not made any glaring errors. The biblography is at the end and I really recommend Gay Robbins book's, she is by far the most readable.
It is important when looking at Egyptian wall paintings to remember what we are looking at. This is not some pretty picture to cheer up a tomb but it had a vital and significant purpose . To provide for the deceased in the after life. The artist could not experiment or he might destroy the whole purpose of what he was trying to achieve. Art as, defined by European standards , did not exist, the decoration of the tomb had a specific function and, as such, artistic considerations were not important. According to Aldred (1980 p15) the artist “… represented not what could be seen transiently, but what he expected to exist for perpetuity, symbols rather than images”.
This does not mean the tombs are devoid of beauty but rather should be viewed with an unprejudiced eye. The tomb craftsman used two dimensional art to fully represent what he was trying to show. It was ‘fit for purpose’; indeed it was more than that as some of the small vignettes are testimony to skill to the largely unknown craftsman. Indeed “to represent was, in a way, to create” (Robins 1997 p12) so they needed to represent the clearest picture of the object or figure, so it was instantly recognisable.
The Figure
The figures in the tomb were drawn according to a convention that was well established, first shown on the Narmer palette. The convention was: head in profile, eye full frontal, shoulders full frontal with distinct collar bones, arms in profile, hand does not appear as a hand but as a symbol for a hand, upper chest side view with one nipple, navel three quarters with belly button showing two thirds along, legs profile, feet striding, inner side of foot always shown so depending on the direction of the figure there will be two left or two right feet (Smith 1946 p273 Robins 1990 p14). It is not until the New Kingdom that both left and right feet will be shown. Mostly the figure is shown facing left which means when it was turned to face right, for example on both sides of a doorway, it can be a little clumsy.
The Cannon of Proportion
Not only was the figure drawn according to this convention but the figure also has rules about proportion. Some Egyptologists believed that these rules are rigid. “The small cubit equals the length of the arm from the elbow to the tip of the outstretched thumb. It is divided in 6 hand breadths, each of 4 fingers, measured across the knuckles at the back of the hand. Each finger has sub division ½ 1/3 ¼ 1/8 1/16. An extension of the hands breadth is 5 fingers or 1 ¼ hands breadth. The fist represents 4 fingers and thumb (which equals 1 1/3 fingers), making 5 1/3 fingers or 1 1/3 handbreadths, 2/3 of the cubit is the length of the arm elbow to wrist, which is equivalent to 4 handbreadths. It corresponds to a foot in Greek metrology. Lastly we have the fathom, which measures 4 small cubits and represents the height of a standard standing male figure.” (Iverson 1975 p22)
“As has been the custom, we take the baseline as 0 and count upwards horizontal 5 runs beneath the knee cap, 6 above the kneecap, 7 beneath the tips of the fingers hanging by the body, 8 under the thumb, 9 beneath the buttocks, 11 through the naval, 12 through the elbow, 14 through the nipple, 16 through the junction of the neck and shoulders, 17 beneath the nose, 18 through the hairline” (Robins 1994, p36). A proper grid is a later tool and during the Old Kingdom it is not often seen.
“Based on the small cubit the figure is drawn. Although grids are not generally used at this time, Old Kingdom figures can be analysed on the bases of hypothetical grids.” (Robins 1990 p35).
However whilst grids, rules and lines are common they were not always followed exactly and good artists did not always need them. “Once Iverson has established his hypothetical system, he attributes discrepancies between it and the material to errors arising from the incompetence of the artist.” (Robins 1994 p53). So it is a mistake to think that grids and rigid rules were always used, perhaps one could theorise that the very worst and the very best did not . “One has to assume, therefore, that these lines were merely aids to the artist and he was not tied to them”. (Robins 1994 p66) and “…proportions are not dependent on the grid and that the grid was simply adopted as an aid to obtaining them” (Robins 1994 p229)
Groups of Figures
Size matters, the most important person in the scene is the biggest, if shown “the king and the deity are equal footing” (Robins 1994 p8). However the most important person in an Old Kingdom noble’s tomb is the owner, as neither the king nor a god appears until after the Old Kingdom. He is the dominant figure in every scene. Men are in front of women , who are usually shown on a smaller scale or occasionally on the same scale. Adults are always shown in their prime, women are slim, and men are muscular. “The owner could be displayed either as a young man with a short kilt or a mature man with a calf length kilt. The wife was always displayed young as maturity might indicate lack of fertility.” (Robins 1997 p76). “The elite have no disease, deformity or old age…identity was established by the inscriptions” (Robins 1997 p75).
Young are shown as mini adults with a finger to their mouth or forelock of youth and they are generally nude.
Depiction of the minor figures in a scene was much more flexible and here you see much more lifelike poses and attitudes, humour or a snap shoot of real daily life.
“Where as major figures had to be depicted as ideal in formal poses, minor figures could be shown as far from perfect, perhaps suffering from deformity, disease or hunger, in positions which caught the body in transitory actions or engaged in energetic movement.” (Robins 1990 p38)
The Tomb
Neither time nor space are reflected and within the same set of registers you could see ploughing and threshing, gathering grapes and bottling wine. The figures and objects completely fill the space available with appropriate hieroglyphic inscriptions filling and balancing the scene. The only occasion registers are not used is when there is a deliberate invocation of chaos, a desert hunting scene, a battle or a marsh hunting scene.
The central figure was usually male, accompanied by wives , parents and offspring. His titles and name would be constantly repeated and a biography would be included . There would be a false door connecting the dead with the living. The deceased would be shown before a table of offerings and there could be a procession of offering bearers. There would be the production of further supplies in scenes of everyday life showing the production of food, clothing, objects (furniture, jewellery, and boats). “The owners would be shown benevolently supervising these activities.” (Aldred 1980 p87) The peasants are shown in a variety of lively poses. The owner is shown taking an active part in fishing and fowling in the marshes and hunting in the desert. These have the threefold purpose in the afterlife, enjoyment, food provisions and also the religious concept of overcoming chaos. The depiction of the funeral would ensure the correct funerary rights. The common scene of the clap net being employed in the marshes shows the owner bring order and rule to the chaos of the marches, as he hoped would happen in both life and death.
A mixture of carving styles was used depending on where the scene appeared.
Traditional, sunk relief was used on the outside walls and raised relief on the interior ones. (Robbins 1997 p25). It would often be indicative of a reward from the king that a noble had a top quality tomb. The best non royal tombs would belong to members of the king’s family or very senior members of his court. “The ability to command first rate artists displayed the tomb owner’s wealth and status”. (Robbins 1997 p25)
Perspective v Plan
They draw things in plan because this shows most of the contents. If you drew a building with an enclosure wall drawn in perspective you would know nothing of the interior of the wall. By drawing in plan you can seen the house and garden. The art is “conceptual rather than purely perceptual” (Robins 1990 p11). If you take the plan of a house you have no idea of the internal structure when shown in perspective, it was important to the Egyptians that this would understood and represented. Indeed the hieroglyphic for house and courtyard show the plan rather than the elevation or perspective.
There is an attitude that not showing perspective is somehow primitive or naïve and that being aware of it they should use it. “…men have always been conscious of the phenomena of perspective at all periods, but for some reason they have not at all periods made use of this awareness in their drawing”. (Schafer 1986 p81).
Fig 1 http://www.excavacionegipto.com/campana/campana04_ing.jsp.htm
However the apprentice board discovered by Dr Jose Galan in the courtyard of TT11 shows us in unmistakeable terms that the Egyptian artist was capable of fully representational drawings. This board, Figure 1, shows a picture of the king fully frontal. It is thought to have been a practice piece for a sculpture. There are two drawings side by side, one by the confident hand of a master and the other by the more hesitant hand of a student. As the shoulders are five squares across it is believed to be a representation of Hatshepsut as females are traditionally shown with the smaller shoulder width where as a male would be six squares across. The second picture shows the reverse of this piece with the more usual sideways view. It shows us that artists were taught both methods but only one type would appear on a wall and the other would be used for sculpture. But they could do it and were obviously expected to.
Offerings & Contents
These are vital to the survival of the owner so need to be shown in detail from the best possible angle to make it completely obvious what they are. A table would be shown with the contents tipped or piled up so every object is clearly defined.
The contents of a chest or box are drawn individually above the container. Again without this the contents would not be useable by the owner. The figures would be shown carrying offerings so in the unlikely event of the descendents neglecting to provide offerings; a combination of artistic skill depicting offerings, the hieroglyphics removing any ambiguity and magic e.g. the opening of the mouth, would provide for the tomb owner.
“The drawings could occasionally reinforce the hieroglyphs with a picture of a scribe having the palette and staff that comprise the hieroglyphics for scribe. Likewise offering bearers are shown carrying the hieroglyphic for offering” (Robbins1997 p51).
Magic
“… the role of representational art was closely interwoven with the religious beliefs of the ancient Egyptians and often one cannot be understood without reference to the other.” (Wilkinson 1992 p11). He continues “It is only knowledge of this aspect of Egyptian Art which can transform such a scene a relatively meaningless to the richly detailed tapestry of symbols which the artist originally produced”
Figure 2 tomb of Kheruef (photo Ray Johnson 2008)
The ceremony of the opening of the mouth will make these drawings come alive so they will sustain the owner but they could also bring danger to him so certain hieroglyphs will be incomplete or cut through so the dangerous creature would not hurt the owner, see Figure 2. This mutilation of hieroglyphics is shown in Pyramid Text and it demonstrates how vividly the Ancient Egyptian believed in the magical potency of the pictures. Likewise removal of the name beside a figure is enough to remove that person from the tomb .
Scenes often reflect mystic values such as order v chaos, the battle against demons in the after world . The clap net bringing order to the marshes. Spearing the hippopotamus destroys the demons of chaos.
Colour
Tones and shading are not shown but there is some clever use of colour including a white, white and a black black. The white white is shown on a kilt (hunite) on the while back ground (Calcium Carbonate). (Robbins 1997 p27). Also black, black wigs or the ‘T’ glyph on a black background. Although men are shown a reddish colour and women a yellow sometimes there are variations of this where several people are shown on top of each other and there is a need to differentiate or a very high status man will be shown a lighter shade than the workers in the field. (Francisco Tiradritti pers comm. 2008).
Biblography
Where is says personal communication these are from lectures at the Mummification Museum.
Aldred, C. (1980), Egyptian Art in the Days of the Pharaohs, 3100-320 BC, Thames and Hudson, London.
Harper Y & Scemin, P (2006) the Chapel of Kegemni, Oxford University Press
Iversen, E. (1975, 2nd edition), Canon and Proportions in Egyptian Art, Aris & Phillips Ltd, Warminster.
Robins, G. (1997), The Art of Ancient Egypt, British Museum Press, London.
Robins, G. (1990), Egyptian Painting and Relief, Shire Books, Princes Risborough.
Robins, G. (1994), Proportion and Style in Ancient Egyptian Art, University of Texas Press, London.
Schafer, H. (1986), Principles of Egyptian art, translated and edited with an introduction by J. Baines; foreword by E.H. Gombrich, Griffith Institute, Oxford.
Smith, W (1946) A history of Egyptian Sculpture and Painting in the Old Kingdom, Oxford University Press
Wilkinson, R (1992) Reading Egyptian Art, Thames & Hudson
http://www.excavacionegipto.com/campana/campana04_ing.jsp.htm (Accessed February 2008)
It is important when looking at Egyptian wall paintings to remember what we are looking at. This is not some pretty picture to cheer up a tomb but it had a vital and significant purpose . To provide for the deceased in the after life. The artist could not experiment or he might destroy the whole purpose of what he was trying to achieve. Art as, defined by European standards , did not exist, the decoration of the tomb had a specific function and, as such, artistic considerations were not important. According to Aldred (1980 p15) the artist “… represented not what could be seen transiently, but what he expected to exist for perpetuity, symbols rather than images”.
This does not mean the tombs are devoid of beauty but rather should be viewed with an unprejudiced eye. The tomb craftsman used two dimensional art to fully represent what he was trying to show. It was ‘fit for purpose’; indeed it was more than that as some of the small vignettes are testimony to skill to the largely unknown craftsman. Indeed “to represent was, in a way, to create” (Robins 1997 p12) so they needed to represent the clearest picture of the object or figure, so it was instantly recognisable.
The Figure
The figures in the tomb were drawn according to a convention that was well established, first shown on the Narmer palette. The convention was: head in profile, eye full frontal, shoulders full frontal with distinct collar bones, arms in profile, hand does not appear as a hand but as a symbol for a hand, upper chest side view with one nipple, navel three quarters with belly button showing two thirds along, legs profile, feet striding, inner side of foot always shown so depending on the direction of the figure there will be two left or two right feet (Smith 1946 p273 Robins 1990 p14). It is not until the New Kingdom that both left and right feet will be shown. Mostly the figure is shown facing left which means when it was turned to face right, for example on both sides of a doorway, it can be a little clumsy.
The Cannon of Proportion
Not only was the figure drawn according to this convention but the figure also has rules about proportion. Some Egyptologists believed that these rules are rigid. “The small cubit equals the length of the arm from the elbow to the tip of the outstretched thumb. It is divided in 6 hand breadths, each of 4 fingers, measured across the knuckles at the back of the hand. Each finger has sub division ½ 1/3 ¼ 1/8 1/16. An extension of the hands breadth is 5 fingers or 1 ¼ hands breadth. The fist represents 4 fingers and thumb (which equals 1 1/3 fingers), making 5 1/3 fingers or 1 1/3 handbreadths, 2/3 of the cubit is the length of the arm elbow to wrist, which is equivalent to 4 handbreadths. It corresponds to a foot in Greek metrology. Lastly we have the fathom, which measures 4 small cubits and represents the height of a standard standing male figure.” (Iverson 1975 p22)
“As has been the custom, we take the baseline as 0 and count upwards horizontal 5 runs beneath the knee cap, 6 above the kneecap, 7 beneath the tips of the fingers hanging by the body, 8 under the thumb, 9 beneath the buttocks, 11 through the naval, 12 through the elbow, 14 through the nipple, 16 through the junction of the neck and shoulders, 17 beneath the nose, 18 through the hairline” (Robins 1994, p36). A proper grid is a later tool and during the Old Kingdom it is not often seen.
“Based on the small cubit the figure is drawn. Although grids are not generally used at this time, Old Kingdom figures can be analysed on the bases of hypothetical grids.” (Robins 1990 p35).
However whilst grids, rules and lines are common they were not always followed exactly and good artists did not always need them. “Once Iverson has established his hypothetical system, he attributes discrepancies between it and the material to errors arising from the incompetence of the artist.” (Robins 1994 p53). So it is a mistake to think that grids and rigid rules were always used, perhaps one could theorise that the very worst and the very best did not . “One has to assume, therefore, that these lines were merely aids to the artist and he was not tied to them”. (Robins 1994 p66) and “…proportions are not dependent on the grid and that the grid was simply adopted as an aid to obtaining them” (Robins 1994 p229)
Groups of Figures
Size matters, the most important person in the scene is the biggest, if shown “the king and the deity are equal footing” (Robins 1994 p8). However the most important person in an Old Kingdom noble’s tomb is the owner, as neither the king nor a god appears until after the Old Kingdom. He is the dominant figure in every scene. Men are in front of women , who are usually shown on a smaller scale or occasionally on the same scale. Adults are always shown in their prime, women are slim, and men are muscular. “The owner could be displayed either as a young man with a short kilt or a mature man with a calf length kilt. The wife was always displayed young as maturity might indicate lack of fertility.” (Robins 1997 p76). “The elite have no disease, deformity or old age…identity was established by the inscriptions” (Robins 1997 p75).
Young are shown as mini adults with a finger to their mouth or forelock of youth and they are generally nude.
Depiction of the minor figures in a scene was much more flexible and here you see much more lifelike poses and attitudes, humour or a snap shoot of real daily life.
“Where as major figures had to be depicted as ideal in formal poses, minor figures could be shown as far from perfect, perhaps suffering from deformity, disease or hunger, in positions which caught the body in transitory actions or engaged in energetic movement.” (Robins 1990 p38)
The Tomb
Neither time nor space are reflected and within the same set of registers you could see ploughing and threshing, gathering grapes and bottling wine. The figures and objects completely fill the space available with appropriate hieroglyphic inscriptions filling and balancing the scene. The only occasion registers are not used is when there is a deliberate invocation of chaos, a desert hunting scene, a battle or a marsh hunting scene.
The central figure was usually male, accompanied by wives , parents and offspring. His titles and name would be constantly repeated and a biography would be included . There would be a false door connecting the dead with the living. The deceased would be shown before a table of offerings and there could be a procession of offering bearers. There would be the production of further supplies in scenes of everyday life showing the production of food, clothing, objects (furniture, jewellery, and boats). “The owners would be shown benevolently supervising these activities.” (Aldred 1980 p87) The peasants are shown in a variety of lively poses. The owner is shown taking an active part in fishing and fowling in the marshes and hunting in the desert. These have the threefold purpose in the afterlife, enjoyment, food provisions and also the religious concept of overcoming chaos. The depiction of the funeral would ensure the correct funerary rights. The common scene of the clap net being employed in the marshes shows the owner bring order and rule to the chaos of the marches, as he hoped would happen in both life and death.
A mixture of carving styles was used depending on where the scene appeared.
Traditional, sunk relief was used on the outside walls and raised relief on the interior ones. (Robbins 1997 p25). It would often be indicative of a reward from the king that a noble had a top quality tomb. The best non royal tombs would belong to members of the king’s family or very senior members of his court. “The ability to command first rate artists displayed the tomb owner’s wealth and status”. (Robbins 1997 p25)
Perspective v Plan
They draw things in plan because this shows most of the contents. If you drew a building with an enclosure wall drawn in perspective you would know nothing of the interior of the wall. By drawing in plan you can seen the house and garden. The art is “conceptual rather than purely perceptual” (Robins 1990 p11). If you take the plan of a house you have no idea of the internal structure when shown in perspective, it was important to the Egyptians that this would understood and represented. Indeed the hieroglyphic for house and courtyard show the plan rather than the elevation or perspective.
There is an attitude that not showing perspective is somehow primitive or naïve and that being aware of it they should use it. “…men have always been conscious of the phenomena of perspective at all periods, but for some reason they have not at all periods made use of this awareness in their drawing”. (Schafer 1986 p81).
Fig 1 http://www.excavacionegipto.com/campana/campana04_ing.jsp.htm
However the apprentice board discovered by Dr Jose Galan in the courtyard of TT11 shows us in unmistakeable terms that the Egyptian artist was capable of fully representational drawings. This board, Figure 1, shows a picture of the king fully frontal. It is thought to have been a practice piece for a sculpture. There are two drawings side by side, one by the confident hand of a master and the other by the more hesitant hand of a student. As the shoulders are five squares across it is believed to be a representation of Hatshepsut as females are traditionally shown with the smaller shoulder width where as a male would be six squares across. The second picture shows the reverse of this piece with the more usual sideways view. It shows us that artists were taught both methods but only one type would appear on a wall and the other would be used for sculpture. But they could do it and were obviously expected to.
Offerings & Contents
These are vital to the survival of the owner so need to be shown in detail from the best possible angle to make it completely obvious what they are. A table would be shown with the contents tipped or piled up so every object is clearly defined.
The contents of a chest or box are drawn individually above the container. Again without this the contents would not be useable by the owner. The figures would be shown carrying offerings so in the unlikely event of the descendents neglecting to provide offerings; a combination of artistic skill depicting offerings, the hieroglyphics removing any ambiguity and magic e.g. the opening of the mouth, would provide for the tomb owner.
“The drawings could occasionally reinforce the hieroglyphs with a picture of a scribe having the palette and staff that comprise the hieroglyphics for scribe. Likewise offering bearers are shown carrying the hieroglyphic for offering” (Robbins1997 p51).
Magic
“… the role of representational art was closely interwoven with the religious beliefs of the ancient Egyptians and often one cannot be understood without reference to the other.” (Wilkinson 1992 p11). He continues “It is only knowledge of this aspect of Egyptian Art which can transform such a scene a relatively meaningless to the richly detailed tapestry of symbols which the artist originally produced”
Figure 2 tomb of Kheruef (photo Ray Johnson 2008)
The ceremony of the opening of the mouth will make these drawings come alive so they will sustain the owner but they could also bring danger to him so certain hieroglyphs will be incomplete or cut through so the dangerous creature would not hurt the owner, see Figure 2. This mutilation of hieroglyphics is shown in Pyramid Text and it demonstrates how vividly the Ancient Egyptian believed in the magical potency of the pictures. Likewise removal of the name beside a figure is enough to remove that person from the tomb .
Scenes often reflect mystic values such as order v chaos, the battle against demons in the after world . The clap net bringing order to the marshes. Spearing the hippopotamus destroys the demons of chaos.
Colour
Tones and shading are not shown but there is some clever use of colour including a white, white and a black black. The white white is shown on a kilt (hunite) on the while back ground (Calcium Carbonate). (Robbins 1997 p27). Also black, black wigs or the ‘T’ glyph on a black background. Although men are shown a reddish colour and women a yellow sometimes there are variations of this where several people are shown on top of each other and there is a need to differentiate or a very high status man will be shown a lighter shade than the workers in the field. (Francisco Tiradritti pers comm. 2008).
Biblography
Where is says personal communication these are from lectures at the Mummification Museum.
Aldred, C. (1980), Egyptian Art in the Days of the Pharaohs, 3100-320 BC, Thames and Hudson, London.
Harper Y & Scemin, P (2006) the Chapel of Kegemni, Oxford University Press
Iversen, E. (1975, 2nd edition), Canon and Proportions in Egyptian Art, Aris & Phillips Ltd, Warminster.
Robins, G. (1997), The Art of Ancient Egypt, British Museum Press, London.
Robins, G. (1990), Egyptian Painting and Relief, Shire Books, Princes Risborough.
Robins, G. (1994), Proportion and Style in Ancient Egyptian Art, University of Texas Press, London.
Schafer, H. (1986), Principles of Egyptian art, translated and edited with an introduction by J. Baines; foreword by E.H. Gombrich, Griffith Institute, Oxford.
Smith, W (1946) A history of Egyptian Sculpture and Painting in the Old Kingdom, Oxford University Press
Wilkinson, R (1992) Reading Egyptian Art, Thames & Hudson
http://www.excavacionegipto.com/campana/campana04_ing.jsp.htm (Accessed February 2008)
Sunday, 7 June 2009
New Ferry Luxor.
The Nile separates Luxor into East and West, one side with the monuments and small local hotels and the other the airport, railway station, 5* hotels and MacDonald’s. So at some point in your stay you have to cross from one side to the other. There is a bridge south of town but it is a good 9km away so a more convenient solution is to use a boat. The local water taxis/motor boats are cheap and easily obtainable but a more authentic experience is to use the local ferry. It is ridiculously cheap, only 1LE (very approximately 20 cents or 15p). You catch it just by Luxor temple.
They have just put a number of new boats into service but there are still the same people using it, even the friendly little tissue seller. He works the boats selling small packets of tissues.
They are also developing new landing stages on the West Bank, one hopes it is going to be easier to get on and off :)
Finally here is little Mohammed who works at my flats with his little daughter Zenaib.
Saturday, 6 June 2009
Mummification Museum
Today I was asked by the Director of the Museum, Mohamed Shet, to help him with the translation into English of a description he had written about the museum.
Mummification Museum, Luxor, Egypt
The museum opened 1997 and gives today’s visitor a detailed idea about the mummification process, the Ancient Egyptian concept of judgement & the afterlife and shows us some objects associated with mummification.
The word mummification is derived from Persian word (mummiya) which means bitumen and in Arabic and gives us the word mummification
The visit starts with scenes copied from an original papyrus (any and honfer) which is kept in the British Museum.
Judgement
The ancient Egyptian believed that they will pass into the judgment hall immediately after the death and mummification. There is a balance where the heart of the deceased was weighed against the feather which was symbol of truth, the god of Thoth with ibis head holding reed and palette to write down the result of the weighting if the heart was heavier he was guilty, equal with the feather he will be safety to Osirian paradise.
The most important scene represents the judgment hall. We see the weighing of the heart on the scales. On one side of the balance we see his heart and on the other side we see the feather of Maat, symbol of the truth; if they were equal means he was not guilty.
The deceased passed safety to the paradise and appeared with white linen on a white sand island and goes to great lake which in the middle of the fields of the peace where great Gods sit and give him bread to eat and food of life .
We see Ani making offerings to the Gods, paddling a boat, handling oxen which tread the corn and adoring benu bird from funerary papyrus of (Ani 1250 B.C.)
We know if the deceased was guilty will go to lake of the fire which had four jets to absorb the blood of the criminals.
The burial scenes including the funeral procession, the men are carrying the funerary furniture including all the equipment of the deceased in the tomb. This scene copied from the tomb of Ramose on the West Bank of Luxor. Some followers are carrying as the funerary furniture which the deceased needs in the tomb.
.The sarcophagus is on a sledge, women were putting dust on their head with their loose hair. The funerary boat will carry the mummy to the west bank to the Goddess.
Isis mother of Horus, wife of Osiris collected his body after Seth had killed him and spread his body on the land of Egypt and she was goddess of great magic. Nephthys mother of Anubis, wife of Seth, sister of Isis. These two ladies were considered protective Goddess
The most important funerary ceremony was opening the mouth performed by the high priest with setp tool . When the priest or relatives speak his name the Ba returns to his body and can enjoy the offerings on hearing the call. Anubis has to protect the entrance of the burial chamber and he mummified the body of Osiris with the help of four sons of Hours and for this the Egyptian religion gave Anubis many titles like God of Mummification who protects the deceased.
The ancient Egyptian believed that the "Ba" spirit comes holding (shen) symbol of eternity.
Osiris was father of Horus brother of Isis and Nephthys and Seth and son of Gob and Nut was represents the first one who was mummified by Anubis the first one who was raised to the second life lord of judgment hall and god of death he was the most famous God of Egypt
Mummification
This took place over 70 days and was presided over by the embalmers (High Priests) who were responsible for the mummification operation.
During the first 15 days firstly they transported the body of the deceased to the mummification House (pr nfr). Then they purified the body with water which they obtained from the sacred lake of temple. Inside any main temple e.g. Karnak there was sacred lake which was used for the cult purposes and the daily use of the priests. It was also used to wash the body of the deceased which was then dried using natron salt.
They placed the body on the operating table to extract the brain and viscera. They broke the ethmoid bone of the nose by chisel at the top of the nose with a chisel which gave them access into the skull cavity. And cut it using the spatula into small pieces and picked it out with a spoon. They made an incision in the left hand side of the abdominal cavity, which was about 10 cm long. Through this they removed the viscera. Various tools were used in this process. The embalmers used scissors during the cutting of the viscera from abdomen. The cutter was also used to extract the viscera.
These were mummified separately put into four canopic jars, often alabaster. They wrapped the viscera in a linen bandages.
The four sons of hours in the form of a mummy stand guard over the viscera
Imsety with human face to protect the liver
Duamutef with jackal's head to protect stomach
Hapy with baboon's head to protect lungs
Qebekh-sennuef with a falcon's head who protected the intestines
They put the temporary stuffing in the abdominal cavity (linen bags, spices, myrrh, resin, sawdust, cassia) and they covered the body with natron salt for 40 days to absorb the moisture.
During the last 15 days they removed the salt and changed the temporary stuffing with fresh stuffing. They covered all of the body with resin to protect against bacteria and to keep it in a good state of preservation. They anointed it with cedar oil.
The mouth and the nose were sealed with linen and molten resin, the body was wrapped with linen and bandages. They wrapped the body with 38m .of linen making 375 bandages between each layer they put an amulet. A scarab was put next to the heart and the deceased asked his heart not to say any bad things against him at the judgement. They drew on it Osiris god of the dead world. They covered the head and shoulder of the mummy with a mask. After that they put the wrapped body in a wooden coffin and then in a stone sarcophagus.
The last part was a ceremony conducted by the high priests called the Opening of the Mouth. Using the setp tool to touch the mouth of the deceased they gave him the gift of eternal afterlife and he is able to receive offerings.
The mummification process reached to the golden age during the 21st dynasty. In that period they cut an incision under the cheek and filled them with stuffing making them very life like.
The Ancient Egyptian believed that death means separation of the spirit from the body. The spirit then returns to the body and gives the deceased life again in the underworld. The name of the deceased was carved on the wall of the tomb to be written and said forever.
The remains of mummification's liquid: the Egyptian Expedition discovered the tomb of "Amon tef nakt” from 27th dynasty He was a General of the Army against Persians when he died. The embalmers mummified him and left all materials of mummification in the sarcophagus, the liquid came from result of the interaction between the material and the body.
Medical Tools
These were the medical tools used by the embalmers.
Scissors: used to cut the end of the viscera from abdominal cavity, made from bronze 17th dynasty Thebes.
Chisel: used to break the ethmoid bone, made from bronze.
Spatula to remove and cut the brain, made from bronze.
Cutter: used to cut the viscera, made from bronze .the big one is from Abydos and the small one from Saqqara 18th dynasty.
Tweezers: made from bronze Talbasta. Roman period. Used to separate the viscera.
Puncher: one from Qurna – used to make incision in the bone, made from bronze.
Needle: used for sewing the incision in the body, made from bronze Tell el Gorab 19th dynasty.
Spoon: used to remove the brain.
Forceps: to separate the viscera.
Mummies
Mummy of a fish. The ancient Egyptian believed that the fish represented rebirth, its cult centre was Esna and it is called Lattee fish
Mummy of baboon representing the god Thoth, God of knowledge he was always [present in the judgement hall standing by the balance holding the scribes palette and reed pen to record the result of weighting of the heart of the deceased .
Mummy of a cat: animal of the goddess Basted lady of Bubastis where magnificent temple was built for her, she was a daughter of Atum, she gives the power health joy
Mummy of ram: representing the god Khnum his cult centre was at Elephantine
Objects
Ushabti means “I answer” and can be made from gold, wood, faience or pottery. It is in the tomb to do the work for the deceased. May be in the afterlife the king asked him to fill the canal with the water, carry the sand from the west to the east then the figure has tools and replies “here I am ready”.
The Djed pillar amulet is a symbol of stability and representing back bone of God Osiris. It is the cedar tree which keeps the heart of Osiris inside it, as the legend has it. It also represented the columns which supported the heaven.
.
The head rest, they used it to protect the neck and it carries the name of the deceased.
The coffin consists of three parts. The lower part which contains the mummy with the mummy lying inside it. The mummy cover which takes the shape of the deceased. The coffin lid which showed the Gods of the underworld, the 'ba', the djed pillar, Nephthys with wings outstretched, Nephthys with sons of Hours all protecting the deceased.
The beautiful mummy cover of Padi Amun: the high priest of Amun with a beautiful wig and the goddess Nut with wings, representing the sky, receiving the deceased in the after world. The god keeper representing the Rebirth the cover is full of the bright colours and the mummy has a handsome face with bright eyes.
The mummy board of Masaherti: Without face and the hands because the thieves that found it took the golden face and hands 1871-1881 Representing the deceased with the different gods Nut with her wings at the end of the cover also the four sons of Horus. The name and titles of the deceased appear on the cover.
The Mummification Museum is also an important centre for the cultural and education life of Luxor, hosting a series of lectures sponsored by the SCA during the season. When visiting archaeologists talk about the latest discoveries and the work in Luxor. With a library and conservation centre it also plays a role in education of future Egyptologists. The local governor and city council use its 250 seat lecture theatre for important meetings. Finally a cafeteria to relax in after all that culture.
Mummification Museum, Luxor, Egypt
The museum opened 1997 and gives today’s visitor a detailed idea about the mummification process, the Ancient Egyptian concept of judgement & the afterlife and shows us some objects associated with mummification.
The word mummification is derived from Persian word (mummiya) which means bitumen and in Arabic and gives us the word mummification
The visit starts with scenes copied from an original papyrus (any and honfer) which is kept in the British Museum.
Judgement
The ancient Egyptian believed that they will pass into the judgment hall immediately after the death and mummification. There is a balance where the heart of the deceased was weighed against the feather which was symbol of truth, the god of Thoth with ibis head holding reed and palette to write down the result of the weighting if the heart was heavier he was guilty, equal with the feather he will be safety to Osirian paradise.
The most important scene represents the judgment hall. We see the weighing of the heart on the scales. On one side of the balance we see his heart and on the other side we see the feather of Maat, symbol of the truth; if they were equal means he was not guilty.
The deceased passed safety to the paradise and appeared with white linen on a white sand island and goes to great lake which in the middle of the fields of the peace where great Gods sit and give him bread to eat and food of life .
We see Ani making offerings to the Gods, paddling a boat, handling oxen which tread the corn and adoring benu bird from funerary papyrus of (Ani 1250 B.C.)
We know if the deceased was guilty will go to lake of the fire which had four jets to absorb the blood of the criminals.
The burial scenes including the funeral procession, the men are carrying the funerary furniture including all the equipment of the deceased in the tomb. This scene copied from the tomb of Ramose on the West Bank of Luxor. Some followers are carrying as the funerary furniture which the deceased needs in the tomb.
.The sarcophagus is on a sledge, women were putting dust on their head with their loose hair. The funerary boat will carry the mummy to the west bank to the Goddess.
Isis mother of Horus, wife of Osiris collected his body after Seth had killed him and spread his body on the land of Egypt and she was goddess of great magic. Nephthys mother of Anubis, wife of Seth, sister of Isis. These two ladies were considered protective Goddess
The most important funerary ceremony was opening the mouth performed by the high priest with setp tool . When the priest or relatives speak his name the Ba returns to his body and can enjoy the offerings on hearing the call. Anubis has to protect the entrance of the burial chamber and he mummified the body of Osiris with the help of four sons of Hours and for this the Egyptian religion gave Anubis many titles like God of Mummification who protects the deceased.
The ancient Egyptian believed that the "Ba" spirit comes holding (shen) symbol of eternity.
Osiris was father of Horus brother of Isis and Nephthys and Seth and son of Gob and Nut was represents the first one who was mummified by Anubis the first one who was raised to the second life lord of judgment hall and god of death he was the most famous God of Egypt
Mummification
This took place over 70 days and was presided over by the embalmers (High Priests) who were responsible for the mummification operation.
During the first 15 days firstly they transported the body of the deceased to the mummification House (pr nfr). Then they purified the body with water which they obtained from the sacred lake of temple. Inside any main temple e.g. Karnak there was sacred lake which was used for the cult purposes and the daily use of the priests. It was also used to wash the body of the deceased which was then dried using natron salt.
They placed the body on the operating table to extract the brain and viscera. They broke the ethmoid bone of the nose by chisel at the top of the nose with a chisel which gave them access into the skull cavity. And cut it using the spatula into small pieces and picked it out with a spoon. They made an incision in the left hand side of the abdominal cavity, which was about 10 cm long. Through this they removed the viscera. Various tools were used in this process. The embalmers used scissors during the cutting of the viscera from abdomen. The cutter was also used to extract the viscera.
These were mummified separately put into four canopic jars, often alabaster. They wrapped the viscera in a linen bandages.
The four sons of hours in the form of a mummy stand guard over the viscera
Imsety with human face to protect the liver
Duamutef with jackal's head to protect stomach
Hapy with baboon's head to protect lungs
Qebekh-sennuef with a falcon's head who protected the intestines
They put the temporary stuffing in the abdominal cavity (linen bags, spices, myrrh, resin, sawdust, cassia) and they covered the body with natron salt for 40 days to absorb the moisture.
During the last 15 days they removed the salt and changed the temporary stuffing with fresh stuffing. They covered all of the body with resin to protect against bacteria and to keep it in a good state of preservation. They anointed it with cedar oil.
The mouth and the nose were sealed with linen and molten resin, the body was wrapped with linen and bandages. They wrapped the body with 38m .of linen making 375 bandages between each layer they put an amulet. A scarab was put next to the heart and the deceased asked his heart not to say any bad things against him at the judgement. They drew on it Osiris god of the dead world. They covered the head and shoulder of the mummy with a mask. After that they put the wrapped body in a wooden coffin and then in a stone sarcophagus.
The last part was a ceremony conducted by the high priests called the Opening of the Mouth. Using the setp tool to touch the mouth of the deceased they gave him the gift of eternal afterlife and he is able to receive offerings.
The mummification process reached to the golden age during the 21st dynasty. In that period they cut an incision under the cheek and filled them with stuffing making them very life like.
The Ancient Egyptian believed that death means separation of the spirit from the body. The spirit then returns to the body and gives the deceased life again in the underworld. The name of the deceased was carved on the wall of the tomb to be written and said forever.
The remains of mummification's liquid: the Egyptian Expedition discovered the tomb of "Amon tef nakt” from 27th dynasty He was a General of the Army against Persians when he died. The embalmers mummified him and left all materials of mummification in the sarcophagus, the liquid came from result of the interaction between the material and the body.
Medical Tools
These were the medical tools used by the embalmers.
Scissors: used to cut the end of the viscera from abdominal cavity, made from bronze 17th dynasty Thebes.
Chisel: used to break the ethmoid bone, made from bronze.
Spatula to remove and cut the brain, made from bronze.
Cutter: used to cut the viscera, made from bronze .the big one is from Abydos and the small one from Saqqara 18th dynasty.
Tweezers: made from bronze Talbasta. Roman period. Used to separate the viscera.
Puncher: one from Qurna – used to make incision in the bone, made from bronze.
Needle: used for sewing the incision in the body, made from bronze Tell el Gorab 19th dynasty.
Spoon: used to remove the brain.
Forceps: to separate the viscera.
Mummies
Mummy of a fish. The ancient Egyptian believed that the fish represented rebirth, its cult centre was Esna and it is called Lattee fish
Mummy of baboon representing the god Thoth, God of knowledge he was always [present in the judgement hall standing by the balance holding the scribes palette and reed pen to record the result of weighting of the heart of the deceased .
Mummy of a cat: animal of the goddess Basted lady of Bubastis where magnificent temple was built for her, she was a daughter of Atum, she gives the power health joy
Mummy of ram: representing the god Khnum his cult centre was at Elephantine
Objects
Ushabti means “I answer” and can be made from gold, wood, faience or pottery. It is in the tomb to do the work for the deceased. May be in the afterlife the king asked him to fill the canal with the water, carry the sand from the west to the east then the figure has tools and replies “here I am ready”.
The Djed pillar amulet is a symbol of stability and representing back bone of God Osiris. It is the cedar tree which keeps the heart of Osiris inside it, as the legend has it. It also represented the columns which supported the heaven.
.
The head rest, they used it to protect the neck and it carries the name of the deceased.
The coffin consists of three parts. The lower part which contains the mummy with the mummy lying inside it. The mummy cover which takes the shape of the deceased. The coffin lid which showed the Gods of the underworld, the 'ba', the djed pillar, Nephthys with wings outstretched, Nephthys with sons of Hours all protecting the deceased.
The beautiful mummy cover of Padi Amun: the high priest of Amun with a beautiful wig and the goddess Nut with wings, representing the sky, receiving the deceased in the after world. The god keeper representing the Rebirth the cover is full of the bright colours and the mummy has a handsome face with bright eyes.
The mummy board of Masaherti: Without face and the hands because the thieves that found it took the golden face and hands 1871-1881 Representing the deceased with the different gods Nut with her wings at the end of the cover also the four sons of Horus. The name and titles of the deceased appear on the cover.
The Mummification Museum is also an important centre for the cultural and education life of Luxor, hosting a series of lectures sponsored by the SCA during the season. When visiting archaeologists talk about the latest discoveries and the work in Luxor. With a library and conservation centre it also plays a role in education of future Egyptologists. The local governor and city council use its 250 seat lecture theatre for important meetings. Finally a cafeteria to relax in after all that culture.
Friday, 5 June 2009
Monday, 1 June 2009
David Rohl
You may remember that I attended some thought provoking and excellently run lectures in Luxor back in March that were conducted by David Rohl. I didn't agree with everything he had to say but I hugely enjoyed the debate. Anyway at the time I was asked for a website and here it is www.DavidRohl.com
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