Academic literature on the topic '21st Dynasty'

AbstractThere has never been any consensus on the nature, composition and chronology of the “21st Dynasty”. Recent research has produced an ever-increasing multiplicity of rival models, most still relying on the information given in the surviving epitomes of the Hellenistic scholar Manetho. The claim that the regnal years given by “Manetho” for the 21st Dynasty are corroborated by the monuments is completely unjustified and based on circular reasoning. Progress can only be made by completely abandoning reliance on Manetho (a hangover from early 19th century, pre-decipherment, scholarship) once and for all.

Summary Lists of workmen of the 21st dynasty mentioned on ostraca of the Valley of the Kings and graffiti of the Theban Necropolis have not been fully studied. We analyzed 113 workmen, scribes and foremen of the Tomb named in these documents. A comparison of the composition of the crew between lists of the 21st dynasty and lists of the reign of Ramesses XI allowed their chronological ordering. A model of the progressive renewal of individuals with time in securely dated lists of the Ramesside Period was built to date the 21st dynasty lists. Results suggest that Renaissance lasted about 12 years, was followed by a period of about 11 years and then by another one associated with Pinedjem I. These results support the chronology and dating system proposed by K. Jansen-Winkeln with dates referring to the pontificate/reign of Herihor, Pinedjem I and Menkheperre. Consequences on the composition of the gang of workmen, their activity and individual chronology and prosopography are analyzed.

The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the People’s Republic of China at the beginning of the 21st century: an overview of the history of Tang Dynasty and its art is presented, the collections of museum objects — works of fine art of the Tang Dynasty in Chinese museums are considered, and specific forms of art presentation are analyzed, such as expositions, exhibitions, online exhibitions, educational programs and projects implemented in cooperation with the media. The research is based on original sources of museum origin (materials from museums’ official websites, interviews conducted with museum employees) and a body of regulatory and administrative documents covering museum policy developments in the People’s Republic of China.

SummaryA hieratic graffito from the temple of Queen Hatshepsut refers to the names of the members of the well-known family of the scribes of the royal necropolis, descendants of the scribe Tuthmosis and his son Butehamun. This graffito can be dated to the period of the early 21st Dynasty, as at least three of the sons of Butehamun are mentioned here, alongside one of his grandsons by the name Meniunefer (III).

In recent years the number of track sites discovered and reported from the Lower Cretaceous Jiaguan Formation, Sichuan Basin has increased steadily. Here we report on the 20th and 21st sites which are situated in unusual locations in a cave and on a steep bedding plane surface in association with Tang Dynasty grottoes. The ichnofauna is represented by two small assemblages which are both theropod-dominated. Due to sub-optimal preservation, the tracks are identified only as grallatorid and small and larger eubrontid, with Paracorpulentapus also tentatively recognized.

Study of the iconography and texts on sections of a 21st Dynasty coffin in the collection of the Museum of Banat in Timişoara, Romania, shows that the vignettes as well as the texts are unusual for such coffins. A notable feature is that the deceased is nowhere shown on the fragments, and bands of text (that on other coffins end with the name of the deceased) fill the entire area leaving no room to add the personal name.The lack of a name, the corrupt texts, unusual iconography, and the lack of varnish may reflect the lack of resources of the coffin’s owner. A fragment in Budapest (51.325) is shown to join the Timişoara coffin sections. The dismantling/sawing of an object to make it more portable and saleable reflects an established practice of late 1800s and early 1900s Egyptian antiquities market.

The main subject of article is sociopolitical situation of Romanovs after the Bolshevik Revolution. The first part is a description of final years of the rule and relations inside the dynasty. The second reverence of the text focus on the problems of White Emigrations and the difficult economic situations of members which survived revolution. The next part tells about organization of the Union of Mladorossi and attempts politicizing the situation of the Romanovs in Europe. The ending is historical reflection. Its aim is to present the political position of the Romanovs in the 21st century and real chances return to Russia.

<p>Poliovirus is the pathogenic agent of paralytic poliomyelitis that belongs to the picornaviridae family. Poliomyelitis has an extended history dating over to the Egyptian eighteenth dynasty. It was recognized as distinct disease in the late nineteenth century when the world was ravaged by large number of outbreaks and epidemics in many countries. Paralytic Polio, the rarest but the most severe form of the disease, is characterized by acute flaccid paralysis of any or rarely both of the limbs. Increasing epidemics during the late 19^th and 20^th centuries lead to the initiation of a worldwide global effort for polio eradication in 1988, super headed by WHO and various other organizations. The launch of Global Polio Eradication Initiative together with the introduction of two polio vaccines resulted in 99% reduction of wild poliovirus cases worldwide while the total number of polio-endemic countries dropped from 24 countries in the year 2000 to only three countries in 2012; Afghanistan, Nigeria and Pakistan. This review will focus on the general biology of poliovirus, some historic and geographic epidemiological aspects of poliomyelitis eradication during the year 2000-2012 and also on the major failing factors associated with the efficiency of the vaccines to eradicate polio in Pakistan.</p>

Thesis (DPhil)--Stellenbosch University, 2004.
ENGLISH ABSTRACT: This dissertation examines illustrated funerary papyri and wooden funerary stelae for information they can provide about the organization of artists in the 21st and 22nd Dynasty. It is an inquiry into the relationship between visual representation on the funerary papyri of the 21st Dynasty and wooden stelae of the 22nd Dynasty. An attempt is made to determine whether it is possible to identify the work of individual artists and workshops involved in producing the illustrated funerary papyri and wooden stelae, and in what way they may be related. This study covers a representative sample of workshops or individuals from around the beginning of the 21st Dynasty to the early 22nd Dynasty. Methodology involved undertaking the research on a descriptive and interpretative/comparative level. Panofsky's (1972: passim) model for describing pictorial works was used to interpret the iconography. The comparisons between the papyri and stelae were based upon a combination of the models developed by Freed (1996: passim) and Niwinski (1989a: passim). These models functioned as a control or corrective in order to formulate an interpretation. It was possible to definitively place 208 manuscripts out of 214 papyri into seven individual workshops. This was based upon their stylistic similarities and corresponding content. Papyri Workshop 1 is comprised of fifty-six manuscripts, and constitutes the largest group. The highest quality manuscripts were produced in this workshop, which was patronized by the high priests of Amun and their families. Papyri Workshop 2 is the smallest group consisting of only seven manuscripts. These two workshops contain the earliest manuscripts, which were generally executed in the Ramesside tradition. Papyri Workshop 3 contains the second largest grouping with fifty-two, and Papyri Workshop 4 consists of eleven. The majority of the members of this workshop belong to a homogenous, almost analogous group, in terms of content and composition. In the twenty-five manuscripts that belong to Papyri Workshop 5, it can be observed that the artists have taken complete liberties with the mass of iconography at their disposal. They have adapted and transformed the existing symbols into new compositions, so that no two manuscripts are alike. Papyri Workshop 6 is comprised of thirty manuscripts, and Papyri Workshop 7 has twenty. As opposed to Workshop 5, these two workshops display an economy of style and execution. They are also generally outlined in black. Furthermore, several subgroups are evident in the workshops, especially those that span many decades, such as Papyri Workshop 1 and 3.From a comprehensive examination of 103 stelae, it was possible to group 100 stelae into nine workshops. It is important to note that Stelae Workshop 1 is, in fact, linked to Papyri Workshop 1, to which thirteen stelae can be attributed. The stelae contain the same attributes and style of execution as the papyri. Stelae Workshop 2 consists of fifteen stelae, these are skilfully executed, and appear to be custom-made for the deceased. Workshop 3 comprises of fourteen stelae. Stelae Workshop 4 contains five, and Workshop 5 has nine. In contrast to Stelae Workshop 1, the principal representations within the stelae from Stelae Workshops 2 to 5 are generally standardized in form and format. Stelae Workshop 6 has six, while 7 and 8 are the two largest workshops with sixteen members each. These three workshops represent a general degradation of proficiency, culminating in a provincial folk-art quality of Stelae Workshop 7 and 8. Stelae Workshop 8 represents the final transition in style and format to the stelae of the Late Period. Stelae Workshop 9 is comprised of five stelae. The style of execution corresponds to the first phase of the Late Period stelae style. It is possible to observe the hand/s of individual artists or a master and student in the study selection, even within one workshop.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek ge"illustreerde begrafnispapiri en hout stelae met die oog op die inligting wat hulle oor die kunstenaarsorganisasie in die 21ste en 22ste dinastie kan verskaf. Die navorsing ondersoek die verband tussen visuele afbeeldings op die begrafnispapiri van die 21ste dinastie en hout stelae van die 22ste dinastie. Daar word gepoog om vas te stel of dit moontlik is om die werk van individuele kunstenaars en "werkswinkels" wat by die totstandkoming van die ge'illustreerde begrafnispapiri en hout stelae betrokke was, asook die wyse waarop hulle moontlik verwant is, te identifiseer. Die navorsing dek 'n verteenwoordigende korpus van die werkswinkels of individue uit die tydperk van die begin van die 21ste dinastie tot die vroee 22ste dinastie. Die metodologie het navorsing op 'n deskriptiewe en interpretatiewe! vergelykende vlak behels. Panofsky (1972: passim) se model vir die beskrywing van kunswerke is gebruik om die ikonografie te interpreteer. Die vergelykings tussen die papiri en die stelae is gebaseer op 'n kombinasie van die modelle wat deur Freed (1996: passim) en Niwinski (1989a: passim) ontwikkel is. Hierdie modelle het as 'n kontrole of korrektief gedien vir die formulering van 'n interpretasie. Dit was moontlik om 208 manuskripte uit 214 papiri met sekerheid in sewe individuele "werkswinkels" in te dee!. Die indeling is gebaseer op die stilistiese ooreenkomste en ooreenstemming in die inhoud. Papiruswerkswinkel 1 bestaan uit 56 manuskripte, en maak die grootste groep uit. Die hoogste gehalte manuskripte het in hierdie werkswinkel ontstaan en kan met die hoepriesters van Amun en hulle gesinne verbind word. Werkswinkel 2 is die kleinste groepie en bestaan uit net sewe manuskripte. Hierdie twee werkswinkels bevat die vroegste manuskripte. Papiruswerkswinkel 3 bevat die tweede grootste groepering met 52 manuskripte, en Papiruswerkswinkel 4 bestaan uit 11. Die meerderheid van die manuskripte van hierdie werkswinkel behoort aan 'n homogene, byna analoe groep, wat betref inhoud en samestelling. Uit die 25 manuskripte wat aan Papiriwerkswinkel 5 behoort, is dit duidelik dat die kunstenaars hulle vryhede veroorloof het met die massa ikonografiee tot hulle beskikking. Hulle het die bestaande simbole aangepas en tot nuwe komposisies verander, sod at nie twee manuskripte dieselfde is nie. Papiruswerkswinkel 6 en 7 is saamgestel uit onderskeidelik 30 en 20. In teenstelling met Werkswinkel 5 vertoon hierdie twee werkswinkels 'n "ekonomie" van styl en uitbeelding. Hulle het ook oor die algemeen 'n swart buitelyn. Daarbenewens is dit duidelik dat daar verskeie subgroepein die werkswinkels is, in die besonder die wat oor baie dekades strek, 5005 Papiruswerkswinkels 1 en 3. Uit 'n omvattende ondersoek van 103 stelae was dit moontlik om 100 stelae in nege werkswinkels te groepeer. Dit is belangrik om daarop te let dat Werkswinkel 1 in werklikheid met Papiruswerkswinkel 1, waaraan 13 stelae toegeskryf kan word, verbind kan word. Die stelae vertoon dieselfde kenmerke en styl as die papiri. Werkswinkel 2 bestaan uit 15 stelae wat kunstig gemaak is en wat Iyk asof hulle op bestelling vir die oorledenes vervaardig is. Werkswinkel 3 bestaan uit 14 stelae. Werkswinkel 4 bevat vyf, en in Werkswinkel 5 is daar nege. In teenstelling met Werkswinkel 1 is die belangrikste afbeeldings by die stelae in Werkswinkels 2 tot 5 meestal gestandaardiseer wat betref vorm en formaat. Werkswinkel 6 het ses, terwyl 7 en 8 die twee grootste werkswinkels is met 16 stelae elk. Hierdie drie werkswinkels verteenwoordig 'n algemene degradering van vakmanskap, wat daartoe lei dat die gehalte van Werkswinkels 7 en 8 die is van 'n "provinsiale volkskuns". Werkswinkel 8 verteenwoordig die finale oorgang in styl en formaat na die stelae van die Laattyd. Werkswinkel 9 bestaan uit vyf items. Die sty I stem ooreen met die eerste fase van die styl van die stelae uit die Laattyd. Die studie toon aan dat dit wei moontlik is om die hand(e) van individuele kunstenaars of 'n meester en sy student te onderskei, selfs binne net een werkswinkel.

The 21st to 25th Dynasties (1076-664 BCE) have previously been characterised by political and social changes based upon the introduction of Libyan social and cultural influences. Studies so far have focused primarily on the chronology, funerary practices, and ceramics of the period, at the expense of the settlements and their associated material culture, while the term used to define this period of Egyptian history ‘Third Intermediate Period’, suggests preconceived biases relating to negative aspects of culture after the unified period of central rule in the New Kingdom. To analyse transition and continuity within the cultural and societal environment of Egypt during the 21st to 25th Dynasty, this research develops a methodology through the assessment of settlement patterns and their development, the built environment of the settlements, and their associated material culture, in order to redefine the ways in which we view chronological phases of Egyptian history pertaining to the title ‘Intermediate Period’, specifically relating to the early first millennium BCE. Through this research several interconnected themes have been identified within the culture and society of the 21st to 25th Dynasties that relate to the political and economic powers of regions, the nucleation of settlements and people, self-sufficiency at a collective and individual level, defence, both physical and spiritual, regionality in terms of settlement development and material culture, and elite emulation through objects. Ultimately, this study provides a more nuanced view of the 21st to 25th Dynasty in which there were significant changes in the socio-economic conditions of the country in which new powers had to adapt, including the development of new political structures, economic conditions, aspects of culture, elite emulation, and a more multicultural society with both self-sufficiency and isolationism at both the state and local levels.

This book proposes a theoretical and methodological framework for the study of nine previously unpublished burial assemblages dating from the Theban 21st Dynasty, in order to understand the development of coffin decoration in the “yellow” corpus, as well as variations in style and layout. A new formal typology of this corpus is proposed.

Who was Confucius? Confucius (551–479 b.c.e.) was a teacher and philosopher who lived during the Zhou (Chou ¹ ) Dynasty (1045–256 b.c.e.), in what is known as the Spring and Autumn Era (722–476 b.c.e.). As with those of...

The chapter introduces homeschooling in the Czech Republic, Europe, from the perspective of an anthropologist, who herself had both observed the phenomenon scientifically, as well as practiced it with her four children. The author introduces homeschooling as an important social topic, that may be regarded as a barometer of state power and control over its citizens. The text takes the reader onto a historical journey through various regimes that have governed the country, from the dawn of compulsory schooling under the Habsburg dynasty in the 18th century, through to two World Wars, onto socialism, communism, and finally, democratic government and its various turbulences over the last 30 years. Based upon participant observation, interviews, autoethnography, and secondary sources analysis, the author shows nuances and niches of homeschooling within the state compulsory education system, its battle for recognition, inclusion, and sustainability, which is achieved not only by law itself but also by five pillars of successful homeschooling, noted at the end of the chapter.

В центре исследовательского внимания буддизм ваджраяны в период правления династии Тан (618–907). Будучи не самым популярным направлением буддизма в Китае, именно в танскую эпоху эзотерический буддизм в Китае занял особые позиции и обладал рядом особенностей, не характерных для последующих династийных периодов в истории Китая. В статье рассмотрены и обозначены основные характеристики буддизма ваджраяны в Китае в период Тан. В частности, рас-смотрены аспекты организационного оформления школы ваджраяны Мицзун, переводческая и организационная деятельность основных патриархов школы, появление монастырских центров Мицзун, покровительство императоров школе Мицзун и ее деятелям.

The subject of this article is a wooden stela (AAd6) kept in the National Museum of Denmark in Copenhagen. By iconographical and typological criteria, this object is datable to the 22nd Dynasty and probably comes from the Theban area. The stela displays several particularities, among others, one of the longest genealogies preserved on this object type. Alongside a careful investigation of the different iconographical elements and a new translation of the text, this contribution looks into the onomastic and the prosopographical material, examining different titles such as “ḥnk-nw.w-priest in southern Heliopolis” or “wab-priest in chief of the estate of Mut, the great one, the mistress of Isheru.” This study not only reconstitutes the family tree but also connects this object with three others, that are datable to a timeframe from the 21st Dynasty to the beginning of the 26th Dynasty. An excursus focusing on the painting sequence of the text and depictions contributes to a better understanding of the creation of wooden stelae in the Third intermediate Period.

The study of expressions of filiation has already been the subject of several articles, which were limited to periods prior to the Third Intermediate Period. The aim of this article is to evaluate these expressions within the specific framework of the Books of the Dead from the 21st and 22nd Dynasties. These periods are marked by a significant increase in the variety of expressions employed, whereas the New Kingdom manuscripts expressed filiation according to a more uniform and rigid scheme. Similarly to what happens with titles and despite the diversity of expressions, one observes a progressive decrease in the mention of filiation which almost disappears from funerary papyri, while long genealogies on temple statues are developing. This contribution attempts to understand the motivations behind the use of these expressions and more generally to grasp their purpose in expressing the identity of the deceased.