Journal articles on the topic 'Art, Ancient – Egypt'
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Poo, Mu-Chou, and Gay Robins. "The Art of Ancient Egypt." International Journal of African Historical Studies 31, no. 2 (1998): 493. http://dx.doi.org/10.2307/221163.
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Larkin, Diana Wolfe, and Gay Robins. "The Art of Ancient Egypt." African Studies Review 44, no. 3 (December 2001): 151. http://dx.doi.org/10.2307/525636.
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Riggs, Christina. "The Art of Ancient Egypt." African Arts 35, no. 2 (July 1, 2002): 11–89. http://dx.doi.org/10.1162/afar.2002.35.2.11.
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Nifatova, O. Yu. "STUDY OF COLORIST CULTURE OF ANCIENT OF EGYPT BY PRIMARY SCHOOL STUDENTS ANNOTATIONS." Educational Dimension 23 (December 15, 2008): 127–31. http://dx.doi.org/10.31812/educdim.6847.
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In the article «Study of color istical culture of Ancient Egypt of pupils at secondary school» gives her point of view about the substantial aspects of use the interesting facts about the coloristical culture of Ancient Egypt on the lessons offine art, method of study of this culture at secondary school.
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Sprochi, Amanda K. "Book Review: Artifacts from Ancient Egypt." Reference & User Services Quarterly 58, no. 2 (January 18, 2019): 125. http://dx.doi.org/10.5860/rusq.58.2.6941.
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Artifacts from Ancient Egypt, a new title in the Greenwood Daily Life through Artifacts series, utilizes objects of daily life from ancient Egypt to illuminate the ways in which material culture reflects the lifeways of the people who produce it. In keeping with the general outline of the series, author Barbara Mendoza, a Berkeley-trained specialist in ancient Egyptian and eastern Mediterranean art and archaeology, has selected 45 pieces that reflect the customs, beliefs, and practices of ancient Egyptians from the earliest Predynastic era (ca. 5000 BCE) through the late Graeco-Roman period (ca. 300 CE). The material culture of ancient Egypt is particularly adapted to this kind of treatment, given its deeply ornamented and symbolic nature, and is an excellent beginner’s guide to understanding and interpreting how material culture reflects the society that created it.
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Baines, John. "On the Status and Purposes of Ancient Egyptian Art." Cambridge Archaeological Journal 4, no. 1 (April 1994): 67–94. http://dx.doi.org/10.1017/s0959774300000974.
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No term in the ancient Egyptian language corresponds neatly with Western usages of ‘art’, and Egyptologists have often argued that there is no such thing as ‘Egyptian art’. Yet aesthetically organized structures and artefacts constitute the majority of evidence from Egypt, a legacy created mainly for a small élite. The genres of these materials, all of which had functions additional to the purely aesthetic, are similar to those of many other cultures. They constitute a repository of civilizational values, related to the system of hieroglyphic writing, that was maintained and transmitted across periods. Civilization and artistic style are almost identified with each other. Funerary material constitutes one central context for artistic forms; others are temples and such poorly-preserved locations as palaces. The importance attached to artistic activities in Egypt, high-cultural involvement in them, and idiosyncratic developments can be illustrated from many periods. Egyptian art is a typically inward-looking and almost self-sustaining product of a professional group. It is no less ‘art’ for the wide range of functions and purposes it fulfilled.
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Larkin, Diana Wolfe, and Edna R. Russmann. "Eternal Egypt: Masterworks of Ancient Art from the British Museum." African Studies Review 44, no. 3 (December 2001): 153. http://dx.doi.org/10.2307/525637.
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David, Rosalie. "The art of healing in ancient Egypt: a scientific reappraisal." Lancet 372, no. 9652 (November 2008): 1802–3. http://dx.doi.org/10.1016/s0140-6736(08)61749-3.
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Bochi, Patricia. "Time in the Art of Ancient Egypt: From Ideological Concept to Visual Construct." KronoScope 3, no. 1 (2003): 51–82. http://dx.doi.org/10.1163/156852403322145388.
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AbstractThe pervasiveness and immutability of time forced the ancient Egyptians to deal with its impact on everyday life in various ways. Yet, so far most studies have focused on the written expression of the concern for time, thus overlooking other areas of cognition equally capable of accounting for the ancient Egyptians' attempt at addressing the issue. Thus, the present study focuses on the way in which the ancient Egyptians conceptualized and visually represented the phenomenon of time. After examining the image-making process, the study analyzes the socio-cultural implications of such visual approach within the context of ancient Egyptian society.
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Гамалія, К. М., and Я. Є. Гальчук. "ХУДОЖНЬО-КОМПОЗИЦІЙНІ ЗАКОНОМІРНОСТІ ОФОРМЛЕННЯ КАЛЕНДАРНОЇ СИСТЕМИ В ПАМ’ЯТКАХ КУЛЬТУРИ І МИСТЕЦТВА ДАВНІХ ЦИВІЛІЗАЦІЙ." Art and Design, no. 4 (February 15, 2021): 81–90. http://dx.doi.org/10.30857/2617-0272.2020.4.6.
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The purpose of the article is to study and create general comparative analysis of the formation and compositional techniques of complex calendar structures in the culture of Ancient Egypt, Ancient Greece and Ancient Rome, to study the connection and interaction between their sign systems. Methodology. The study of the principles of the representation of ancient calendar systems is based on historical-cultural, comparative, hypothetical-deductive and logical methods. Analytical method allowed to compare font compositions and artistic, figurative, formal and formal integrity of calendars. The results of the study, the features, differences and patterns of interpretation and design of the calendar structures of the periods of Ancient Egypt and Antiquity were analyzed and compared. The scientific novelty of the research lies in the fact that for the first time a clear characteristic of the representation of calendar structures in the objects of the cultural heritage of Ancient Egypt, Ancient Greece and Ancient Rome was analyzed and revealed:- the visual sign system and the principles of its informative content were compared;- identified methods of design in relation to scale, compositional techniques, graphics, techniques and representation technology are determined;- the cause-and-effect consistent patterns of the processes of artistic formation have been clarified. Practical significance. The application of the research results allows to diversify and enrich the courses of disciplines in the general history of art and culturology, archeography, source studies, et cetera. The features of the composition and calligraphy of calendar systems specified in the article can be applied in the field of graphic design, and serve in semiological and art historian researches.
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Niwiński, Andrzej. "Travels of Count Michał Tyszkiewicz to Africa, his excavations in 1861–1862, and the origin of his collection of Egyptian antiquities." Światowit 57 (December 17, 2019): 223–36. http://dx.doi.org/10.5604/01.3001.0013.6818.
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Count Michał Tyszkiewicz (1828–1897) was one of the most renowned collectors of the ancient classical art at the end of the 19th century. His interest in archaeology and ancient art was developed during his travel through Egypt in 1861. His Journal of the Travel to Egypt and Nubia, fortunately found in 1992 in Poznań, recounts this journey. From Egypt, Michał Tyszkiewicz brought a collection of antiquities, estimated to have comprised c. 800 objects; today, over a half of them can be found in museums in Paris (Louvre), Warsaw, Vilnius, Kaunas, and Moscow. The majority of the objects originated from excavations conducted by the count, particularly in Thebes (Luxor area), by virtue of an official licence granted to him exceptionally by Mohamed Said Pasha – the then head of the Egyptian state. The present article discusses the circumstances of granting of this permission in the period when a strict state monopoly was imposed on archaeological investigations and presents the course of the excavations along with their results.
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Polyakov, Е. N., and M. I. Korzh. "FORMATION OF FORTIFICATION ART IN ANCIENT EAST COUNTRIES." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (August 28, 2019): 94–124. http://dx.doi.org/10.31675/1607-1859-2019-21-4-94-124.
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The article presents a comparative analysis of fortification art monuments in such East countries from Ancient Egypt to medieval China. An attempt is made to identify the main stages of the fortification development from a stand-alone fortress (citadel, fort) to the most complex systems of urban and border fortifications, including moats, walls and gates, battle towers. It is shown that the nature of these architectural structures is determined by the status of the city or settlement, its natural landscape, building structures and materials, the development of military and engineering art. The materials from poliorceticon (Greek: poliorketikon, poliorketika), illustrate the main types of siege machines and mechanisms. The advantages and disadvantages of boundary shafts and long walls (limes). The most striking examples are the defensive systems of Assyria, New Babylon, Judea and Ancient China.
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Saffaie, Waleed Mohamed. "The Inscribed Metal Pots in the West of the Arab Gulf (Mleiha and Al- Fueda), Mesopotamia and Ancient Egypt: A Comparative Study." Asian Social Science 14, no. 10 (September 28, 2018): 102. http://dx.doi.org/10.5539/ass.v14n10p102.
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The current study seeks to analyze some themes and ornaments that appeared on metal pots in the west of Arab Gulf (Mleiha in the United Arab Emirates and Al- Fueda in the Sultana of Oman). The study also makes a comparison between the metal pots of previous regions and their counterparts in Mesopotamia and Ancient Egypt. The Arab Gulf is of great importance because it represents an important center for commercial convoys and associates with ancient civilizations in Mesopotamia, ancient Egypt and other civilizations. The Arab Gulf produced a varied and splendid art with artistic output. On the other hand, Mesopotamia transferred the ancient Egyptian artistic influences to the Arab Gulf. The study highlights the two regions of Mlieha and Al- Fueda in the west of the Arab Gulf, Mesopotamia and Ancient Egypt. Also, it shows the artistic influences on these pots. To describe and analyze such metal pots, the study adopts the descriptive analytical approach. The researcher has faced several difficulties, which are: 1) Finding a few of inscribed metal pots led to the difficulty of the local comparison where some sites did not reveal a rich metal product. 2) The scarcity of references and books specialized in metal arts in the Arab library. 3) Numerous metal sculpture works have been lost due to re- using and re- shaping these metals again. The study has reached many conclusions, the most important of which are: 1) The pots and plates were decorated with splendid inscriptions and ornaments, and their themes were quoted from neighboring countries. 2) The Study has noted that some metal inscriptions represented the pure local environment of the art at the time. Also, some of them were affected by the arts of neighboring civilizations in Mesopotamia, Syria and ancient Egypt.
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Strong, Meghan E. "Do You See What I See? Aspects of Color Choice and Perception in Ancient Egyptian Painting." Open Archaeology 4, no. 1 (May 1, 2018): 173–84. http://dx.doi.org/10.1515/opar-2018-0011.
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AbstractColor in ancient Egypt has been examined through linguistics, anthropological theory and archaeological science. In recent years, attention has focused on the application of art historical theories of reception and perception to ancient Egyptian art, but seldom on color itself. This article will examine aspects of color choice and visual perception, particularly focusing on use of the pigments yellow ochre and orpiment. Building on a growing body of art historical and archaeometric scholarship, it will demonstrate the contributions that experimental archaeology can make to the analysis and understanding of ancient Egyptian painting. Specifically, this study will examine why the Egyptian artist chose specific color combinations by taking into account the original space and lighting conditions of these paintings.
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PENCHEVA, Zhana. "THE EAST AND “THE LAST JUDGMENT” IN THE BULGARIAN ORTHODOX ART." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 125–31. http://dx.doi.org/10.37708/ezs.swu.v18i1.15.
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e paper deals with two similar symbols – “The Judgment of the Soul” in the art of Ancient Egypt and “Weighing the Souls” from the scene “The Last Judgment” in the Bulgarian Orthodox art. They are part of the eschatological understanding of the afterlife. These symbols were analyzed and the paths of their movement were traced. The visual image of the supreme check of every deceased is the weighing of the heart and the judgment of God Osiris. It is related to spell 125 of the Book of the Dead. The article analyzes the iconography of this scene, which was widely used during the New Kingdom in Ancient Egypt. The “Judgment of the soul” of Ancient Egypt was probably transmitted by the Jews in Asia, and later entered the Christian iconography of the composition “The Last Judgment”. The formation of the iconographic image type in Byzantine and Western European art was traced. During the Bulgarian Renaissance, “Weighing of Souls” became a major motif and was interpreted by a number of painters in Southwestern Bulgaria. Images in the temples of Blagoevgrad, Rila, Bistritsa, Selishte, Dobarsko, Teshovo, Zlatolist, Dolen and others have been preserved. The analysis of the iconographic images makes it possible to summarize the results which show a number of similar elements in the two scenes. Such are the holy characters God Anubis and Archangel Michael, the two exits for the soul of man - eternal life or eternal torment. The long life of the symbol under consideration leads to the conclusion about the continuity of the moral evaluation of human earthly affairs.
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Kirsanova, Anna Vladimirovna. "Catastrophism and eschatology in the context of religion, philosophy, and art." Uchenyy Sovet (Academic Council), no. 6 (May 25, 2022): 407–21. http://dx.doi.org/10.33920/nik-02-2206-08.
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The article deals with the concepts of catastrophism and eschatology, which are directly related to the mythological and religious vision of the world. The author shows that ideas about the other world have deep psychological roots and, along with moral aspects, thoughts about retribution and judgment in a different reality, as well as gaining bliss, were already present in the mythology of Ancient Egypt, ancient mythology and philosophy. The material of the article can be useful for the disciplines "History of Culture", "History of Religion", and "Culturology".
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Zakrzewski, Sonia. "New Perspectives in the Study of ancient Egyptian Bioarchaeology." Claroscuro. Revista del Centro de Estudios sobre Diversidad Cultural, no. 19 (February 9, 2022): 1–33. http://dx.doi.org/10.35305/cl.vi19.49.
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This paper presents a summary of the current ‘state of the art’ in bioarchaeology in Ancient Egypt. Bioarchaeology has, in the past, been seen as a handmaiden to historical archaeology (including Egyptology), but current bioarchaeological research places the study of human remains at the forefront of major research questions. Bioarchaeology has moved beyond simply providing an inventory of skeletons or mummies recovered from sites, complete with descriptions of their pathological lesions, and is moving towards answering more theoretical questions about past people and their lives. In this paper, some of these major current theoretical issues in bioarchaeology are briefly discussed. The rest of the paper provides discussion and exemplars of some current approaches to bioarchaeology in Egypt and highlights future directions for potential research. Due to issues of space and the actual practicality of working in Egypt, unfortunately not all current avenues of bioarchaeological research are discussed (e.g. use of ancient DNA analyses).
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Yang, Xue, and Yu Liu. "Textual Research on Henna Art Introduced into Ancient China Through the Silk Road." Asian Social Science 16, no. 9 (August 31, 2020): 21. http://dx.doi.org/10.5539/ass.v16n9p21.
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Since ancient Egypt, henna has been widely used as dyes for women’s henna body art. Through the Silk Road, China assimilated cultures of its Western Regions, India, and Persia, such as the henna art. In Ancient China the "garden balsam" is always called "henna". Nevertheless, they belong to two different kinds of flowers. Folks’ mixed use of these two kinds of flower names reflects the profound impact of the henna art on Chinese traditional culture of decorative nails. This textual research results revealed that in ancient China the customs of dye red nails are affected by foreign henna art and there were three development stages: the introduction period (from the Western Jin Dynasty to the Tang Dynasty), the development period (in the Song-Yuan Dynasty) and the popularity period (in the Ming-Qing Dynasty).
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Al-Rifai, Nada Yousuf. "Egyptology, Theodore Roosevelt and Lord Carnarvon in the Poetry of Ahmad Shawqi." Advances in Social Sciences Research Journal 9, no. 10 (October 28, 2022): 259–84. http://dx.doi.org/10.14738/assrj.910.13287.
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It was Shawqi's right or rather his duty for which he was entrusted with his submissive talent, creativity, and ability to master the elements of poetry and the tools of art in addition to his strong patriotic sense and sincere national conscience to glorify the ancient civilization of Egypt. In this works, Shawqi praises Egypt’s monuments and its glory and indicates what happened to the ancient Egyptians who preceded him in the fields of science, art, building, architecture, engraving, painting, photography, and others. Shawqi referred to the pharaonic monuments in a group of his poems as part of a poem that has other purposes and in others as a complete poem with one purpose. This thinking indicates the extent of Shawqi's awareness of ancient Egyptian history, his familiarity with its events, and his use of Egyptian history in the service of poetic art.
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Żmudziński, Mateusz, and Patryk Chudzik. "Rola Nilu w kształtowaniu kultury starożytnego Egiptu." Prace Kulturoznawcze 21, no. 3 (September 27, 2018): 13–25. http://dx.doi.org/10.19195/0860-6668.21.3.2.
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The role of the Nile river in the formation of the ancient Egyptian cultureThe aim of this paper is to describe the main points of the multifaceted relations between Nile and the culture and civilization of ancient Egypt. Both economic and cultural matters are indicated. The Nile fed, drank, irrigated the fields, served as a communication route, but besides, it went into the beliefs and cultural world of the Egyptians. The regulation of the rhythm of people’s lives, their social organization, cult behaviours, ritual hunting, ways of spending free time, or numerous works of art were connected with Nile. In fact, it is difficult to find anything in Egypt during the pharaonic era that was not connected with it. It has been a key factor in the lives of people in Egypt for thousands of years.
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Smith, Stuart Tyson. "Ethnicity: Constructions of Self and Other in Ancient Egypt." Journal of Egyptian History 11, no. 1-2 (October 8, 2018): 113–46. http://dx.doi.org/10.1163/18741665-12340045.
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Abstract The construction of ethnic self and other played a central role in ancient Egyptian ideology as well as at a more quotidian level. Ethnic groups are usually seen as self-defined, distinctive entities, often corresponding neatly to political or cultural units, but in reality, expressions of ethnic identity are mutable and socially contingent. Adopting a multi-scalar approach informed by practice theory, this paper examines ancient Egyptian constructions of ethnicity, taking into account ideological and elite expressions of ethnic identity from art and texts and everyday practices revealed by archaeology. A carefully contextualized analysis shows how pejorative constructions of an ethnic other by the state contrast with more positive interactions and patterns of mutual influence at a more individual level.
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Kormysheva, E. E. "Features of the Hellenistic culture of ancient Sudan." Orientalistica 5, no. 2 (June 29, 2022): 224–42. http://dx.doi.org/10.31696/2618-7043-2022-5-2-224-242.
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The article examines the main features and specificity of the formation of the Hellenistic culture in ancient Sudan. To assess the nature of the Hellenistic influence on the culture of Meroe, the author analyzes the characteristic features of the region's architecture, reliefs of temple complexes, painting and decoration of walls, items of minor art, jewelry, which had been obtained during archaeological excavations. The author explores the ways of penetration of Greek culture directly and through Egypt, as a result of which the Hellenistic culture of Meroe becomes the result of the syncretisation of Hellenistic Egypt and local forms. The borrowing had a specific nature, most of the Hellenistic elements were re-interpreted, transplanted into the Meroe and adapted to the local culture. The processes of transformation of images created through the syncretization of Egyptian Hellenistic images with local culture gave rise to a special form of Sudanese Hellenism, in which the Meroitic reading is traced in the concept, form and style. Such processes of combining local features with images that came from Egypt were typical for the entire history of contacts between these two Nile civilizations, the nature of the interaction as a whole was subjected to uniform laws, giving rise to a unique form of Hellenism in Meroe.
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Watts, James W. "Ancient Iconic Texts and Scholarly Expertise." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 6, no. 1-3 (June 27, 2012): 331–44. http://dx.doi.org/10.1558/post.v6i1-3.331.
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This essay probes the origins of iconic textuality in the ancient Near East, informed by post-colonial perspectives on iconic texts. The surviving art and texts from ancient Egypt and Mesopotamia exhibit at least four forms of iconic textuality: monumental inscriptions, portraits of scribes, displays and manipulations of ritual texts, and beliefs in heavenly texts. The spread of literacy did not displace the social prestige of scribal expertise that was established in antiquity. The every-growing number and complexity of texts accounts for the continuing cultural authority of scholarly expertise. The tension between expert and non-specialist uses of texts, however, explains scholarship’s avoidance of the subject of iconic books and texts while drawing constant attention to their semantic interpretation instead.
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Syvorotkina, Svetlana. "The cultural code in the visual arts system: specificity of formation and development." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 247–53. http://dx.doi.org/10.51889/2020-1.2077-6861.32.
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The dialectical unity of the essence and the cultural code phenomenon regarding of the visual arts are dealt with in that article. Artworks are considered based on Lotman`s understanding of artwork as culture text. Discusses multiplicity of art forms and multifunctionality of arts form. Effect of changes in time and historical periods an impact on satisfaction of secular and profane human`s requirements. The author focuses on visual and illustrative forms of fine arts and focuses on analysis of traditional fine arts categories. The cultural code in visual art system is considered at Paleolithic artifacts, ancient Egypt`s art and medieval art examples.
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Jacobson, D. M., and M. P. Weitzman. "Black bronze and the ‘Corinthian alloy’." Classical Quarterly 45, no. 2 (December 1995): 580–83. http://dx.doi.org/10.1017/s000983880004369x.
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Two recent studies by A. R. Giumlia-Mair and P. T. Craddock have been devoted to a form of bronze having a blackish tint.1, 2 The authors there describe examples ancient and modern, from as far apart as Mycenean Greece, Egypt, Rome, China and Japan. In Japan such bronze is prominently represented in decorative art and known as Shakudo.
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Pardayev, Bakhtiyor A., and Mirolim I. Khudoiberdiyev. "TO DEVELOP THE SKILLS AND COMPETENCIES OF WATERCOLORS FOR FUTURE TEACHERS OF FINE ARTS." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 02 (February 1, 2022): 18–25. http://dx.doi.org/10.37547/history-crjh-03-02-04.
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Watercolor is a Latin word that means water-based paint, as well as watercolor painting. Watercolor was widely used in ancient Egypt, Japan, and from the 21st century the work of major works of art in watercolor is highly developed. Working with watercolors was developed in England a century and a half ago. The following is a description of the origin and processing technology of watercolors.
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Darnbrough, Leanne Rae. "Visions of Disrupted Chronologies: Sergei Eisenstein and Hedwig Fechheimer’s Cubist Egypt." Arts 11, no. 5 (September 21, 2022): 92. http://dx.doi.org/10.3390/arts11050092.
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By juxtaposing two ostensibly divergent characters, the Jewish art historian and Egyptologist Hedwig Fechheimer (1871–1942) and Soviet filmmaker and theorist Sergei Eisenstein (1898–1948), this paper investigates how both approaches folded time, creating Cubist chronologies. Fechheimer adapted the philological focus of her Berlin School contemporaries to create an ahistorical, anti-teleological grammar of ancient Egyptian art which espoused an artistic affinity between the Egyptians and the Cubist movement. Eisenstein, who held a copy of one of Fechheimer’s books in his personal library, took a similar approach in the development of his critiques of historical allegory. This paper looks specifically at two shots of a sphinx during the bridge sequence in the 1927 film October to demonstrate how they correspond to Fechheimer’s views on Egyptian art and also function peculiarly within the film. Ultimately, I aim to demonstrate how the interpellations of the sphinx demonstrate a particular critique of historicity that Eisenstein later expands upon in his Ivan the Terrible films.
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Evans, Linda, and Philip Weinstein. "Ancient Egyptians’ Atypical Relationship with Invertebrates." Society & Animals 27, no. 7 (December 11, 2019): 716–32. http://dx.doi.org/10.1163/15685306-00001827.
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AbstractDespite the ubiquitous presence and vital role of invertebrates in all known ecological systems, insects and arachnids are largely viewed as repugnant by people. Consequently, until nature intervenes in the form of infestations, swarms or plagues, we largely prefer to ignore them, lest our attention invite unwelcome interaction. In contrast, the people of ancient Egypt did not distance themselves from invertebrates but instead celebrated their myriad forms. Egyptian appreciation of insects and arachnids is reflected in a range of art, artefacts, and texts dating from the predynastic era until the Greco-Roman period, revealing many positive cultural roles, from practical to conceptual. By assigning them a useful function, they were rendered visible and relevant to Egyptian society. The Egyptians’ example suggests that as necessity forces us to acknowledge the value of invertebrates—from their function as pollinators to becoming future food sources—our respect for them may also grow.
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Inoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa, and Masaki Takata. "Japanese Crystallography in Culture and Art." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1304. http://dx.doi.org/10.1107/s2053273314086951.
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"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."
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Halle, David. "Class and Culture in Modern America: The Vision of the Landscape in the Residences of Contemporary Americans." Prospects 14 (October 1989): 373–406. http://dx.doi.org/10.1017/s0361233300005792.
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For Every period except the modern, we look at art as it was displayed, and as it was seen by the contemporary viewer. Who would think, for example, of medieval art without thinking also of the cathedral and church in which the spectator saw the works? Who would consider the art of ancient Egypt and China apart from the funeral tombs of the aristocracy, for whose use and delight in the afterworld much of it was destined? Who would study Roman art without looking as well at the public monuments that celebrated and demonstrated political power to the populace of the city? In all of these cases we consider art in the context in which it was viewed at the time, and we link its meaning to the material environment in which it was located.
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Porshnev, V. P. "Landscape gardening art of the Seleucid Empire." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 85–92. http://dx.doi.org/10.30725/2619-0303-2020-4-85-92.
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Landscape art of the state of the Seleucid Empire, which inherited a considerable part of the broken-up Alexander of Macedon’s Empire still was not a subject of a separate research. Unlike Ptolemaic Egypt where imperial gardeners managed harmoniously to unite the landscape planning inherited from sacred groves and parks of Hellas with Ancient Egyptian tradition of regular planning, there is no reason to speak about any specific «Seleucid’s style». Nevertheless, landscape art of this dynasty has the great interest to historians of ancient art as it fills a time gap between gardens and parks of an era of Hellenism and further stages of landscape art’s history. Having inherited and having enriched the Persian paradises and Hanging gardens of Babylon, having extended the culture of the Greek policies to the East, it, further, transfers the heritage to gardeners of Parthia and Bactria, Pergamum kingdom, Roman Empire. Article investigates gardens and parks on the cultural space controlled by Seleucid’s on certain regions (Asia Minor, Mesopotamia, Persia, Bactria, Syria). The main attention is devoted to the park in Daphne, the suburb of Antiochiaon- Orontes, to the biggest and best-known park of antiquity. The author builds a research both on the saved-up archaeological material, and on the written sources which not always are available in high-quality Russian translations.
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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.
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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Jaramago, Miguel. "Interpreting three Gold Coins from Ancient Egypt and the Ancient Near East at the Museo Casa de la Moneda, Madrid." Trabajos de Egiptología. Papers on Ancient Egypt, no. 9 (2018): 81–121. http://dx.doi.org/10.25145/j.tde.2018.09.03.
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The aim of this paper is to study three gold coins from the pre-Hellenistic Egypt and Near East, housed in the Museum Casa de la Moneda, Madrid, since 1955. In all three cases, their description is made as well as a review of the hypotheses that have been issued on their typology. Some novel proposals are made about their iconography and the possible gold sources for the raw material. The first is a Daric, probably coined between the beginning of the reign of Xerxes I and the fall of Sardis under Alexander the Great. The study provides an original indication about its iconography, as well as about the possible (and vague) relationship of Persian imperial coinage with Zoroastrianism, the official religion of the Achaemenid Dynasty. The nbw nfr coin is an Egyptian coinage from the Nectanebos Dynasty; one of the few hundred preserved copies. The iconography of the horse on the obverse is explored from the art and plastic of pre- and post-Sebenitic Egypt, and some technical aspects of the elaboration of the coin from the type of its reverse are analysed. From an epigraphic point of view, a new reading of the nbw nfr group is proposed. The Double Daric is a complex currency, both regarding the precise determination of its chronology, as well as its interpretation and recipients. It is a coinage made possibly in Babylon with a broad chronology from 331 BCE until ca. 306 B
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Tang, Jun. "An Interpretation of the Hierarchy of Non-Ornamental Art in the Ancient Kingdom of Egypt." Art and Design 5, no. 2 (2022): 75. http://dx.doi.org/10.31058/j.ad.2022.52011.
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Barringer, Judith M. "Volker Grieb, Krzysztof Nawotka and Agnieszka Wojciechowska (eds). Alexander the Great and Egypt: history, art, tradition." Journal of Greek Archaeology 1 (January 1, 2016): 452–55. http://dx.doi.org/10.32028/jga.v1i.669.
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This volume, comprised of twenty-two papers delivered at a two-day conference in Wrocław/Breslau in 2011, belongs to the series ‘Contributions to the Study of Ancient World Cultures.’ The goal of the conference was to investigate Egypt under Alexander and his successors, particularly the concept of Alexander as pharaoh, from an Egyptian viewpoint and using largely Egyptian sources, rather than the more common Hellenistic or Macedonian approach. These aims have largely been achieved in this collection of papers on wide-ranging but often highly specialized topics.
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Tian, Mengyao, and Xu Xiao. "The influence of Chinese and Western cultural traditions on ancient architecture." Pacific International Journal 5, no. 4 (December 31, 2022): 105–11. http://dx.doi.org/10.55014/pij.v5i4.231.
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Architecture is a frozen music, a visual art, and a visual object whose existence is witnessed by history. Some classic ancient architectures including the pyramids of ancient Egypt, the Parthenon of ancient Greece, the Pantheon of ancient Rome, the Forbidden City, the Great Wall, the Hanging Temple of China and other world-famous traditional Chinese and Western architectures reflect ancient philosophical thoughts of the times. Architecture has formed a unique culture with the passage of time, and in turn culture plays an influential role to the formation of architecture. Geographical differences cause diversity to architectural cultures all round the world. In terms of Chines and western ancient architecture, the two differ each other on appearance, connotation, space and structure, which indicate not only the culture characteristics but also the aesthetic changes behind the architectures between China and the West.The West's passion for stone architecture and the East's passion for wood architecture are determined by national culture and geographical environment. It is difficult to judge which one is superior, sine such designs are developed to adapt to the environment and living habits. Ancient people built their characteristic architecture to meet the needs of the local people and living conditions.
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Válek, František. "Foreigners and Religion at Ugarit." Studia Orientalia Electronica 9, no. 2 (December 30, 2021): 47–66. http://dx.doi.org/10.23993/store.88230.
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During the Late Bronze Age, Syria was mostly dominated by the larger powers of the ancient Near East—Mitanni (the Hurrians), the Hittite Empire, and Egypt. The ancient city of Ugarit yielded numerous texts and artifacts that attest to the presence of foreigners and their influences on local religious traditions. Textually, the best-preserved influences are those of Hurrian origin, although these were probably promoted thanks to the Hittites, who incorporated many Hurrian deities and cults. Hurrian traditions thus influenced both Ugaritic cults and divine pantheons. Egyptian influences, in contrast, are observable mostly in art and material evidence. Art of Egyptian origin was considered prestigious and because of that was prominently seen in trade and international exchange gifts, but it also entered the religious sphere in the form of cultic statues and ex-voto gifts for deities. Egyptian art was also often imitated by local artists. The same can be said of art from the Mediterranean area. Some evidence suggests that foreigners actively related to local traditions as well. Ritual tablets from Ugarit (namely KTU3 1.40 and its variants) illustrate that there were always frictions in a multicultural/national society. These tablets also indicate that such frictions could have been dealt with through ritual action, and thus emphasize the role religion played. The city of Ugarit is used in this paper to illuminate some processes that can be observed in the whole of ancient Syria. Nevertheless, every site has its own outcome of interactions with other cultures.
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Braulińska, Kamila. "The secretarybird dilemma: identifying a bird species fromthe Temple of Hatshepsut at Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (December 28, 2018): 83–116. http://dx.doi.org/10.5604/01.3001.0013.3198.
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Known from a few representations in Predynastic Egyptian art, the secretarybird has otherwise been elusive, in the art of Pharaonic Egypt as well as the scientific discourse on iconographic imagery of birds in ancient Egypt. The author's studies of the animal decoration at the Temple for her doctoral dissertation identified three images of birds belonging most likely to the same species, depicted in the context of the expedition of Hatshepsut shown in the Portico of Punt. The zoological identification of the species as the secretarybird (another possibility is the African harrier-hawk) derives from an in-depth analysis of the bird’s systematics, appearance, distribution and habitat, as well as behavior, which are essential for proper species recognition and instrumental for understanding the rationale behind bringing it from the “God’s Land”. Iconographic features contesting this identification and suggesting a different species, that is, the African harrier-hawk, are discussed based on a combination of theoretical background, material analysis, on-site interviews with experts and the author’s personal experience with the species.
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Kemp, Barry. "A model of Tell el-Amarna." Antiquity 74, no. 283 (March 2000): 15–16. http://dx.doi.org/10.1017/s0003598x00065996.
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Tell el-Amarna, the short-lived capital built by the pharaoh Akhenaten around 1350 BC, remains the largest ancient city in Egypt which is still above ground. Over the last century a succession of archaeological expeditions has revealed large areas of its plan. During 1999 the Boston Museum of Fine Arts, in connection with a temporary exhibition of Amarna art, commissioned a 1:400-scale model of a major part of the city, based on the survey which, in recent years, the Egypt Exploration Society has carried out. It was designed by Mallinson Architects, with advice from Bany Kemp, field director of the EES expedition to Amarna, and built by a Clapham firm of architectural modelmakers, Tetra (Andy Ingham Associates). The completed model measures 12 x 10 feet (3.7 x 3.0 metres).
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Al-Najary, Ghassan. "Originality and effect in the art of plant ornamentation between Iraq and ancient Egypt. - comparative study-." Athar Alrafedain 3, no. 1 (January 1, 2018): 314–30. http://dx.doi.org/10.33899/athar.1970.164562.
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McCarthy, Blythe, Pamela Vandiver, Alexander Nagel, and Laure Dussubieux. "TECHNOLOGY OF EGYPTIAN CORE GLASS VESSELS." MRS Proceedings 1656 (July 18, 2014): 123–36. http://dx.doi.org/10.1557/opl.2014.710.
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ABSTRACTOur knowledge of glass production in ancient Egypt has been well augmented not only by the publication of recently excavated materials and glass workshops, but also by more recent materials analysis, and experiments of modern glass-makers attempting to reconstruct the production process of thin-walled core-formed glass vessels. The small but well preserved glass collection of the Freer Gallery of Art in Washington, D.C. was used to examine and study the technology and production of ancient Egyptian core-formed glass vessels. Previous study suggests that most of these vessels were produced in the 18th Dynasty in the 15th and 14th centuries BCE, while others date from the Hellenistic period and later. In an ongoing project we conducted computed radiography, x-ray fluorescence analysis and scanning electron microscopy on a selected group of vessels to understand further aspects of the ancient production process. This paper will provide an overview of our recent research.
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Saad, Saad Michael. "The Contemporary Life of the Coptic Orthodox Church in the United States." Studies in World Christianity 16, no. 3 (December 2010): 207–25. http://dx.doi.org/10.3366/swc.2010.0101.
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The present state of the Coptic Orthodox Church in America could not have been imagined fifty years ago. As an integral part of the Coptic Orthodox Church of Egypt, the young archdiocese in America evolved from non-existence to a formidable 151 parishes, two monasteries, three seminaries and many benevolent, educational and media organisations. Waves of immigration from Egypt brought not only Copts, but also a wealth of Coptic art, music, architecture, literature and spirituality. These treasures are being preserved and promoted by the immigrants and the second generation; in the homes, churches and community centers; and also at American universities via programs of Coptic studies. This article covers the above topics and discusses a few of the challenges that come with immigration and assimilation, especially when the community desires to maintain the depth and versatility of an ancient religious culture.
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Demchenko, Alexander I. "The Origins of Musicology: The Ancient World and Antiquity." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 7–22. http://dx.doi.org/10.33779/2782-3598.2022.2.007-022.
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The initial grounds of knowledge about music appeared virtually at the same time as it emerged as an art, i.e. tens of thousands of years ago. The earliest testimonies to this could be found in the mythological perceptions of various peoples, which has been realized most perceptively and diversely in the Greek myths. The primal elements of music theory were generated in the ancient hearths of civilization. Some of the outlooks widespread in the ancient world appeared in the cultures of Egypt and Mesopotamia. The Ancient Jewish artistic practice has also created its impact on the musicians of antiquity. The peoples of India and China also forged their own paths. Ancient Greek, as well as Ancient Middle Eastern musical knowledge was characterized by a syncretic connection of musical perceptions combined with scientific and philosophical systems, in what connection the musical perceptions of the ancient civilizations were frequently endowed with a cosmological character. Since the music of the ancient peoples was predominantly monophonic and, consequently, presented a culture of a monodic type, the theory of music in its entirety turned out to be essentially a teaching about melody. Musical aesthetics absorbed into itself an extremely broad circle of questions concerning the examined period, whereas the ethos of ancient peoples by its practical sides was aimed at the goals of musical upbringing.
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Wilkinson, Toby, Karl W. Butzer, Dirk Huyge, Stan Hendrickx, Timothy Kendall, and Ian Shaw. "Review Feature: A review of Genesis of the Pharaohs: Dramatic New Discoveries that Rewrite the Origins of Ancient Egypt, by Toby Wilkinson. London: Thames & Hudson, 2002. ISBN 0-500-05122-4 hardback £18.95; 208 pp., 87 ills., 25 in colour." Cambridge Archaeological Journal 14, no. 1 (April 2004): 113–35. http://dx.doi.org/10.1017/s0959774304000095.
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The processes leading to the formation of early state societies remain one of the key topics of archaeological research. Few of these early states are as famous or evocative as that of ancient Egypt, a land of dramatic monuments and terrain, with mysterious and exotic religious practices and a distinctive and exotic iconography. But was Egypt the gift of the Nile, as the Greek historian Herodotus alleged? In this new book, Toby Wilkinson draws attention to a relatively neglected part of the Egyptian landscape: not the fertile river valley, but the deserts which fringe it to east and west. It is here in the deserts, he argues, that the origins of the Egyptian state are to be found. In recent millennia, the deserts have been hostile environments of rock and sand. Go back before 3000 bc, however, and a rather different picture emerges. This different picture is of a desert hinterland peopled by nomadic groups who spent part of their year in the Nile valley. It suggests a more mobile view of Egyptian Predynastic society than has usually been supposed. Desert and valley may have functioned together in a classic pattern of complementarity between contrasting environmental zones, with cattle herds perhaps moved from valley floor to desert in step with the cyclical pattern of the seasons. The specific ingredient which Wilkinson uses to link valley and desert during the fourth millennium bc is rock art. Egyptian rock art has not yet been properly recognized as a rich and important repertoire by specialists in the burgeoning field of rock art as whole. Surveys over more than a century, however, have revealed numerous groups of pecked and engraved images on the desert cliffs and boulders, and recent expeditions (including those by Wilkinson himself) are continually adding to the corpus. The Egyptian desert rock art is generally less well-known than the vivid rock paintings of the central Sahara (such as the famous Tassili frescoes), though it too conveys the image of a greener more habitable landscape. Wilkinson ties specific motifs found in the desert rock art to iconography from the Nile valley during the fourth millennium and later. Yet the linkages and chronologies remain controversial, along with the central hypothesis. Did the desiccation of the savannas lead to the formation of the Egypt, forcing the scattered pastoralist populations to withdraw to a cultivated Nile valley? Was Egypt the gift of the deserts, not the Nile? In this Review Feature the hypothesis is examined by specialists working in Egypt and Nubia, and the reliability of the supporting evidence is assessed.
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Stewart, Jon. "Hegel's Analysis of Egyptian Art and Architecture as a Form of Philosophical Anthropology." Owl of Minerva 50, no. 1 (2019): 69–90. http://dx.doi.org/10.5840/owl2019501/26.
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In his different analyses of ancient Egypt, Hegel underscores the marked absence of writings by the Egyptians. Unlike the Chinese with the I Ching or the Shoo king, the Indians with the Ramayana and the Mahabharata, the Persians with the Avesta, the Jews with the Old Testament, and the Greeks with the poems of Homer and Hesiod, the Egyptians, despite their developed system of hieroglyphic writing, left behind no great canonical text. Instead, he claims, they left their mark by means of the architecture and art. This paper explores Hegel’s analysis of the Egyptians’ obelisks, pyramids, sphinxes, etc. in order to understand why he believes that these are so important for understanding the Egyptian spirit. This analysis illustrates Hegel’s use of history and culture in the service of philosophical anthropology.
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Sarischouli, Panagiota. "Hope for Cure and the Placebo Effect: The Case of the Greco-Egyptian Iatromagical Formularies." Trends in Classics 13, no. 1 (June 1, 2021): 254–84. http://dx.doi.org/10.1515/tc-2021-0009.
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Abstract The present paper focuses on healing rituals from Greco-Roman Egypt, where medicine and religion were inextricably linked to each other and further connected to the art of magic. In Pharaonic Egypt, healing magic was especially attributed to the priests who served a fearsome goddess named Sekhmet; although Sekhmet was associated with war and retribution, she was also believed to be able to avert plague and cure disease. It then comes as no surprise that the majority of healing spells or other types of iatromagical papyri dating from the Roman period are written in Demotic, following a long tradition of ancient Egyptian curative magic. The extant healing rituals written in Greek also show substantial Egyptian influence in both methodological structure and motifs, thus confirming the widely accepted assumption that many features of Greco-Egyptian magic were actually inherited from their ancient antecedents. What is particularly interesting about these texts is that, in many cases, they contain magical rites combined with basic elements of real medical treatment. Obviously, magic was not simply expected to serve as a substitute for medical cure, but was rather seen as a complementary treatment in order to balance the effect of fear, on the one hand, and the flame of hope, on the other.
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López Arnaiz, Irene. "Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment." Anales de Historia del Arte 32 (July 14, 2022): 327–50. http://dx.doi.org/10.5209/anha.83074.
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The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretical conception of dance. On the other hand, it enables us to broaden the reflection towards the relationship between the archive and the dancing body. Nyota Inyoka's repertoire revolves around ancient cultures that refer mainly to traditions from ancient Egypt and South and Southeast Asia. Thus, the archive takes on an important presence linked to the discipline of dance in a double sense. Firstly, the ephemeral nature of this art favors the archive to become an essential element for dance research. Whilst if we take into consideration the choreographic process of the dancer based on visual sources from Egyptian and Asian art, her body is constituted as a living archive. In this sense, I will offer a reading of Nyota Inyoka’s work as a kind of avant la lettre reenactment of ancient dances.
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Isidro, Albert, Roger Seiler, and Myriam Seco. "Leukemia in Ancient Egypt: Earliest case and state‐of‐the‐art techniques for diagnosing generalized osteolytic lesions." International Journal of Osteoarchaeology 29, no. 2 (February 20, 2019): 273–80. http://dx.doi.org/10.1002/oa.2736.
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Yan, Zhilong, and Aixin Zhang. "Metaphors for Personalization：Modern Analysis of Egyptian and Chinese Human-Bird-Combination Eagle Totem Art as." International Journal of Social Sciences and Humanities Invention 9, no. 06 (June 11, 2022): 7042–50. http://dx.doi.org/10.18535/ijsshi/v9i06.01.
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Egypt and China were essential in the evolution of human totemic culture. This paper focuses on their imaginative usage of anthropomorphic metaphors. According to research on totemism, the Chinese have three totemic concepts: totem-kin, totem-ancestor, and totem-God. If the concept of "anthropomorphic metaphor" is based on a variant of philosophical or theological terminology to focus on the "bird-totemic system of artistic meaning," it can be determined that the creative function of the institutional totems is explicit and the creative function of the individual totems is implicit, and that this manifestation of the institutional totems leads to their superficiality, with the result that a series of negative effects must inevitably ensue. To dispel the misunderstanding of the artistic connotation of the human-bird-eagle totems, it is necessary to promote our subjective consciousness through the self-conscious and speculative ideas in the individual totems in order to further liberate the life energy of humans in the contemporary spiritual construction. On the basis of Roland Barth's theory of symbol transmission, we attempt to investigate the notion that the individual consciousness represented by ancient totemic culture is power, which can assist in forming an understanding of the functioning in ancient culture.
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Reunov, Yuri. "Battle scenes in the Nubian temple Beit el-Wali and the ancient Egyptian image of the world." OOO "Zhurnal "Voprosy Istorii" 2022, no. 5-1 (May 1, 2022): 48–62. http://dx.doi.org/10.31166/voprosyistorii202205statyi20.
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The Beit el-Wali temple was constructed under Ramesses II on the southern border of Ancient Egypt, in Lower Nubia. Obviously, it is of great interest within the framework of exploring the development of battle scenes in the New Kingdom epoch. Its walls keep the extant reliefs illustrating the military campaigns waged by the young king. These images differ both from those of the Seti I epoch and those that became canonical in the later period of Ramesses’ reign. The analysis of the surviving scenes showed that the assertion of conservatism and immutability of the Egyptian art principles, as found in the specialised literature, including in reputable general-profile works, was not quite true.