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Academic literature on the topic 'Deir-el-Bahari (Temple)'

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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Journal articles on the topic "Deir-el-Bahari (Temple)"

1

Madej, Adrianna. "Stamped bricks of Amenhotep I from Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (December 21, 2018): 291–300. http://dx.doi.org/10.5604/01.3001.0013.3306.

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Stamped bricks with the names of the king Amenhotep I and his mother, queen Ahmes Nefertari, were found throughout Deir el-Bahari, including the Temple of Hatshepsut investigated by a mission from the Polish Centre of Mediterranean Archaeology University of Warsaw. All of the bricks came from the edifice raised by Amenhotep I at Deir el-Bahari that was demolished before the construction of the mortuary temple Djeser-djeseru and then reused in a structure that emerged at the same time or later

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2

Szafrański, Zbigniew E. "Tombs of Coptic anchorites at the site of the Temple of Hatshepsut in Deir el-Bahari." Polish Archaeology in the Mediterranean, no. 30/1 (December 31, 2021): 243–54. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.12.

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Early Coptic tombs, two at least, were discovered on the Upper Terrace of the Temple of Hatshepsut at Deir el-Bahari. The orientation of the tombs is north–south, which is the typical orientation for early Christian tombs. Christian activity is attested at Deir el-Bahari in contexts starting from the 4th century.

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3

Pawlikowska-Gwiazda, Aleksandra. "Basketry, matting, cordage, and other organic objects from Deir el-Bahari." Polish Archaeology in the Mediterranean, no. 30/1 (December 31, 2021): 255–74. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.11.

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Organic artifacts made of plant fibres are frequently found on Egyptian sites. Numerous baskets, mats, cordage, brushes and small items of daily use were collected, classified and documented during the Polish excavations in the Temple of Hatshepsut (Deir el-Bahari, Upper Egypt). These artifacts reflect the long history of the temple site in Deir el-Bahari, from the Pharaonic period through the times of the Christian monastery of St Phoibammon established in the ruins. Pending detailed archaebotanical analyses in the future, the raw material has been recognized as locally sourced.

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4

Chudzik, Patryk, Ahmed-Reda M. El Younsy, Wael F. Galal, and Abdelhamid M. Salman. "Geological appraisal of the Theban cliff overhanging the Hatshepsut temple at Deir el-Bahari." Polish Archaeology in the Mediterranean, no. 30/1 (December 31, 2021): 275–95. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.02.

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Throughout its existence the Temple of Hatshepsut, as well as two other royal sanctuaries, the temples of Mentuhotep II and Thutmose III, located in the great bay of Deir el-Bahari, have been under constant threat of falling rocks from the overhanging Theban cliff. The PCMA UW archaeological expedition at Deir el-Bahari, which has progressed with the study and conservation of the Hatshepsut temple since the 1960s, has implemented a project designed to address the issue of the protection of the temple from damages that could be caused by environmental processes (rainwater and seismic activity) affecting the Theban cliff behind the monument. In a geological survey of the fractured limestone cliff, the evidence from 31 observation stations was appraised and samples of Esna Shale and Theban Limestone were examined in order to ascertain the degree of the cliff’s instability and fragility. The results were used to prepare a 2D model presenting the environmental processes threatening the ancient substance.

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Spencer, A. J., and Dieter Arnold. "The Temple of Mentuhotep at Deir el Bahari." Journal of Egyptian Archaeology 71 (1985): 36. http://dx.doi.org/10.2307/3821673.

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6

Sankiewicz, Marta. "The iconography of co-rule at Deir el-Bahari: Hatshepsut and Tuthmosis III in the Statue Room of the Main Sanctuary of Amun." Polish Archaeology in the Mediterranean XXIV, no. 2 (January 31, 2016): 161–68. http://dx.doi.org/10.5604/01.3001.0010.0181.

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Hatshepsut and Tuthmosis III were represented as seemingly equal kings on the side walls of the Second Room of the Main Sanctuary of Amun in the Temple of Hatshepsut in Deir el-Bahari. Iconographic analysis reveals the relationship between the two rulers, demonstrating the different and discreet ways in which Hatshepsut emphasized her dominant position and Tuthmosis’s secondary one during their co-rule. The quality of the representations is just as crucial as their number for understanding their relationship. Hatshepsut used among others the symbolism of the cardinal points, orientation of figures and the hierarchy of attributes to emphasize the difference in their positions. The four scenes in question are the most representative examples of these fixed rules in the Deir el-Bahari temple.

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Hallmann, Aleksandra. "More items of funerary linen from the Deir el-Bahari burial assemblages." Polish Archaeology in the Mediterranean XXIV, no. 2 (January 31, 2016): 113–36. http://dx.doi.org/10.5604/01.3001.0010.0178.

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A corpus of funerary linen was found in the 2012/2013 season in one of the rock tombs cut in the cliff bordering the Tuthmosis III temple platform in Deir el-Bahari during the work of the Polish–Egyptian Archaeological and Conservation Mission of the Temple of Hatshepsut at Deir el-Bahari. It derives from unidentified burials and from disturbed archaeological contexts and most probably was deposited in the tomb in modern times. It constitutes an important addition to the known body of funerary linen from the Third Intermediate/beginning of the Late Period, as attested by a cartouche of Taharqo and other elements of the burial assemblages. The discovered textiles provide important information about the funerary functions of linen, as well as technical aspects of Pharaonic textiles.

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8

Barwik, Miroslaw. "Dipinti in the relieving chamber above the Bark Hall of the Hatshepsut Temple at Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (December 21, 2018): 33–49. http://dx.doi.org/10.5604/01.3001.0013.3171.

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The paper presents ancient dipinti, both hieroglyphic and hieratic, traced in the relieving chamber above the Bark Hall of the Hatshepsut temple in Deir el-Bahari. The material is linked mainly to a group of builders, most probably draftsmen, engaged in the building operations at the site of the temple.

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9

Łajtar, Adam. "I. Deir el-Bahari 196 (partly) supplemented." Journal of Juristic Papyrology, no. 50 (August 2, 2021): 217–22. http://dx.doi.org/10.36389/uw.jjurp.50.2020.pp.217-222.

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The article presents a fragment of the cornice from the Ptolemaic Portico of the Hatshepsut temple at Deir el-Bahari discovered in 2021 in the fill of the Middle Kingdom tomb MMA 28. The fragment carries remnants of two dipinti in red ochre, of which one is illegible and the other preserves vestiges of the three first lines of the Greek inscription I. Deir el-Bahari 196. They show that the inscription was a proskynema (act of adoration) addressed to Amenothes (Greek for Amenhotep son of Hapu). The name of the author cannot be read with certainty (perhaps Pe[---]); the text also mentions a certain Menodoros, who may be the father of the protagonist of the inscription or another man. In an appendix, a fragment of another text in Greek, probably originating from the south wall of the Bark Room of the main sanctuary of Amun is presented.

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10

Belmonte Avilés, Juan Antonio, Magdi Fekri, and Miquel Serra. "¿Atrapando el Solsticio? Un análisis crítico de la orientación de los templos de Deir el-Bahari." Trabajos de Egiptología. Papers on Ancient Egypt, no. 10 (2019): 11–26. http://dx.doi.org/10.25145/j.tde.2019.10.01.

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The temples of Deir el-Bahari were studied in earlier campaigns carried out during the last decade within the framework of the Archaeoastronomy Mission of Ancient Egypt; in particular those of Mentuhotep II and Hatshepsut. Although they seem to belong to the family of temples oriented to the rising sun at the winter solstice, this orientation was not as precise as would be expected for temples of such importance. Therefore, after resuming work in Egypt, it was decided to propose alternative hypotheses that could explain the deviations of these two temples to the south and north of the solsticial line, respectively. It is difficult to imagine that they were mere design errors. In December 2017, further fieldwork was carried out in Thebes, in particular at Deir el-Bahari, and observations and measures were made on site during the winter solstice itself, documenting this phenomenon. The verifications carried out seem to confirm some new approaches. On the one hand, the memorial temple of Mentuhotep II could be diverted c. 2º to the south so that there would be a lighting effect during the winter solstice in the chapel closing the complex at the base of the cliff. This would be an astronomical event that could be related to the Wepet Renpet (New Year) at that period (11th Dynasty). On the other hand, the Temple of Millions of Years of Hatshepsut could be oriented towards sunrise on another unique date of the civil calendar during the reign of this sovereign. All in all, astronomical orientations at the site could relate to key dates in the civil calendar at the time when the temples were built.

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Books on the topic "Deir-el-Bahari (Temple)"

1

Pawlicki, Franciszek. The temple of Queen Hatshepsut at Deir el-Bahari. Cairo: Ministry of Culture, the Supreme Council of Antiquities in association with the Polish Center of Archaeology, 2000.

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2

Naville, Edouard. The temple of Deir el Bahari: Its plan, its founders, and its first explorers : introductory memoir. [Toronto: s.n., 1998.

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3

Temple of Deir el Bahari. Creative Media Partners, LLC, 2022.

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Temple of Deir el Bahari. Creative Media Partners, LLC, 2018.

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Temple of Deir el Bahari. Creative Media Partners, LLC, 2022.

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6

Monderson, Frederick. Hatshepsut's Temple at Deir el Bahari. AuthorHouse, 2007.

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7

Carter, Howard, Edouard Naville, and Somers Clarke. The Temple of Deir El Bahari. Franklin Classics Trade Press, 2018.

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Temple of Deir el Bahari: 12. Creative Media Partners, LLC, 2022.

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9

Fund, Egypt Exploration, Edouard Naville, and Somers Clarke. The Temple of Deir El Bahari: 12. Franklin Classics Trade Press, 2018.

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Fund, Egypt Exploration, Edouard Naville, and Somers Clarke. The Temple of Deir el Bahari: 12. Franklin Classics, 2018.

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Book chapters on the topic "Deir-el-Bahari (Temple)"

1

Mironova, Alexandra V. "The Relationship between the Space and the Scenery of an Egyptian Temple: Scenes of the Opet Festival and the Festival of Hathor at Karnak and Deir el-Bahari under Hatshepsut and Thutmose III." In Mosaikjournal: Raumdimensionen im Altertum>, edited by Maria Kristina Lahn and Maren-Grischa Schröter, 279–330. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463233341-011.

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2

Kiss, Zsolt. "Deux fragments de portraits funéraires romains de Deir el-Bahari." In Classica Orientalia. Essays presented to Wiktor Andrzej Daszewski on his 75th Birthday, 259–66. DiG Publisher, 2011. http://dx.doi.org/10.37343/pcma.uw.dig.9788371817212.pp.259-266.

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Two fragments of painted Roman funerary portraits on wooden panels of the Fayum type, discovered in 2001 during a revisiting of the Third Intermediate Period shaft tombs inside the Chapel of Hatshepsut in the Royal Mortuary Cult Complex at the Temple of Hatshepsut in Deir el-Bahari, come from 19th century excavations, hence are without anything but a general context. The pieces are very small—fragment of a robe, sliver of a face with one eye—but in a brilliant analysis of iconography and style Kiss identifies one as a depiction of a female, possibly a priestess of Isis, from the second half of the 2nd century AD, and the other as a male portrait from the 2nd century. The portraits may belong to what some scholars have called “Theban” painted funerary portraits and they must have come from a Roman necropolis in West Thebes, possibly Deir el-Medineh. On any case, they are proof that mummies with painted portraits of the deceased on wooden panels fitted into the cartonnages were not unknown in ancient Thebes.

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3

Lichocka, Barbara. "A stray late Roman coin from the Temple of Hatshepsut at Deir el-Bahari." In Aegyptus et Nubia Christiana. The Włodzimierz Godlewski jubilee volume on the occasion of his 70th birthday. University of Warsaw Press, 2020. http://dx.doi.org/10.31338/uw.9788323547266.pp.679-690.

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4

"INTRODUCTION." In The Royal Mortuary Cult Complex in the Temple of Hatshepsut at Deir el-Bahari. Part I, 1–4. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv2crj25x.6.

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"ABBREVIATIONS." In The Royal Mortuary Cult Complex in the Temple of Hatshepsut at Deir el-Bahari. Part I, ix—x. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv2crj25x.4.

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"REFERENCES." In The Royal Mortuary Cult Complex in the Temple of Hatshepsut at Deir el-Bahari. Part I, xi—xx. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv2crj25x.5.

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7

"Front Matter." In The Royal Mortuary Cult Complex in the Temple of Hatshepsut at Deir el-Bahari. Part I, i—iv. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv2crj25x.1.

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"[Illustrations]." In The Royal Mortuary Cult Complex in the Temple of Hatshepsut at Deir el-Bahari. Part I. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv2crj25x.12.

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"APPENDIX:." In The Royal Mortuary Cult Complex in the Temple of Hatshepsut at Deir el-Bahari. Part I, 77–94. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv2crj25x.10.

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10

"List of plates (in separate folio)." In The Royal Mortuary Cult Complex in the Temple of Hatshepsut at Deir el-Bahari. Part I, 95–100. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv2crj25x.11.

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