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Artigos de revistas sobre o tema "Deir-el-Bahari (Temple)"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 30 de julho de 2024

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1

Madej, Adrianna. "Stamped bricks of Amenhotep I from Deir el-Bahari". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 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, n.º 30/1 (31 de dezembro de 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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Pawlikowska-Gwiazda, Aleksandra. "Basketry, matting, cordage, and other organic objects from Deir el-Bahari". Polish Archaeology in the Mediterranean, n.º 30/1 (31 de dezembro de 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 e Abdelhamid M. Salman. "Geological appraisal of the Theban cliff overhanging the Hatshepsut temple at Deir el-Bahari". Polish Archaeology in the Mediterranean, n.º 30/1 (31 de dezembro de 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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5

Spencer, A. J., e 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, n.º 2 (31 de janeiro de 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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7

Hallmann, Aleksandra. "More items of funerary linen from the Deir el-Bahari burial assemblages". Polish Archaeology in the Mediterranean XXIV, n.º 2 (31 de janeiro de 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, n.º 2 (21 de dezembro de 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, n.º 50 (2 de agosto de 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 e 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, n.º 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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11

Dolińska, Monika. "Deir el-Bahari. Temple of Tuthmosis III, campaigns 2012–2013". Polish Archaeology in the Mediterranean XXIV, n.º 1 (28 de fevereiro de 2016): 257–64. http://dx.doi.org/10.5604/01.3001.0009.9911.

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In 2012 and 2013 the mission continued research and documentation work, concentrating on scenes located in the Hypostyle Hall, the Bark Room, and rooms D, G and H. Dozens of painted stone fragments were cleaned and protected. Photoscanning techniques were used to improve detailed rendering of the temple. New photomontages were produced and subsequent walls were drawn, joining previously separate scenes.

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12

Dodson, Aidan. "Two Royal Reliefs from the Temple of Deir el-Bahari". Journal of Egyptian Archaeology 74 (1988): 212. http://dx.doi.org/10.2307/3821761.

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13

Spencer, A. J. "Book Review: The Temple of Mentuhotep at Deir el Bahari". Journal of Egyptian Archaeology 71, n.º 1_suppl (agosto de 1988): 36–37. http://dx.doi.org/10.1177/030751338507101s23.

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14

Barwik, Mirosław. "A record of the transport of stone blocks on ostrakon DeB/F.608". Fieldwork and Research, n.º 28.2 (28 de dezembro de 2019): 329–41. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.18.

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Ostrakon DeB/F.608 was found in the area of the Temple of Tuthmosis III at Deir el-Bahari. There are good reasons, however, to link it to the building of the Temple of Queen Hatshepsut and more precisely to the transport of stone blocks by a crew of eight men. Five of them can be identified as foreigners, presumably Asiatic slaves brought to Egypt as a result of military campaign(s) in the early Eighteenth Dynasty.

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15

Murnane, William J. "The Temple of Mentuhotep at Deir el-Bahari. Dieter ArnoldDer Tempel des Königs Mentuhotep von Deir el-Bahari. Vol. 3. Die königlichen Beigaben. Dieter Arnold". Journal of Near Eastern Studies 45, n.º 4 (outubro de 1986): 307–8. http://dx.doi.org/10.1086/373201.

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16

Dziedzic, Teresa, e Mieczysław Michiewicz. "Research of the Theban limestone: The case of Temple of Hatshepsut in Deir el-Bahari". E3S Web of Conferences 49 (2018): 00021. http://dx.doi.org/10.1051/e3sconf/20184900021.

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Authors of this article wish to collect previous research and broaden knowledge about limestone used for construction of the Temple of Hatshepsut and present results of the latest studies. The main purpose of the studies was to obtain information about tensile strength when bending architectural elements made of limestone. It will allow - among others - the span of architraves on which vault blocks, architrave and ceiling slabs with cornices and railings to be established, as well as their acceptable strength parameters. Theban limestone research most often focuses on the geological origin of this material and its microscopic analysis. These tests are supplemented by endurance tests necessary for the work of engineers and architects who work on the reconstruction or exhibition of the ancient temples. The authors of many years of work in Polish - Egyptian Archeology - Conservation Mission at the Temple of Hatshepsut at Deir el-Bahari solve everyday problems associated with exposure and reconstruction of the monument.

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17

Dziedzic, Teresa, Wojciech Bartz e Maria Gąsior. "Mineralogical characteristic of mortars from the Temple of Hatshepsut at Deir el-Bahari: preliminary report". Polish Archaeology in the Mediterranean XXIV, n.º 2 (31 de janeiro de 2016): 93–111. http://dx.doi.org/10.5604/01.3001.0010.0177.

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The article presents the results of physico-chemical analyses of a few masonry mortar and whitewash samples taken in the mid-1990s from the Temple of Hatshepsut in Deir el-Bahari. The mineralogical characteristic of the samples contributes to the body of knowledge on the composition of these masonry mortars and their structure, while at the same time encouraging further research on a greater number of samples.

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18

Ćwiek, Andrzej. "The solar altar in the Temple of Hatshepsut at Deir el-Bahari: architecture and ideology". Polish Archaeology in the Mediterranean XXIV, n.º 1 (28 de fevereiro de 2016): 693–700. http://dx.doi.org/10.5604/01.3001.0010.0121.

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In a recent article Teresa Dziedzic presented a theoretical reconstruction of the solar altar in the Temple of Hatshepsut at Deir el-Bahari, with two obelisks standing on the top of it. From both a technological/logistic and an ideological point of view this hypothesis seems untenable. An alternative reconstruction may be offered in agreement with the archaeological evidence and the ideological program of the temple. Statues of the king and of Amun-Ra placed on the altar served as focal points of an early version of the ritual of ‘joining the sun-disk’.

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19

Sheikholeslami, Cynthia May. "Montu priestly families at Deir el-Bahari in the Third Intermediate Period". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 2018): 325–63. http://dx.doi.org/10.5604/01.3001.0013.3310.

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The mostly intact Twenty-fifth Dynasty qrsw-coffin sets of Heresenes and the Montu priests Padiamunet (iii) and Nespaqashuty (vi) were discovered on the Upper Terrace at Deir el-Bahari by Émile Baraize in 1932–1933, but were never fully studied or published. The Twenty-second Dynasty intact cartonnage of the Hsyt n Xnw n imn Shaamunimes (Cairo TR 21.11.16.5) was purchased in Gurna in 1893, said to come from Sheikh Abd el-Gurna. Other coffin and cartonnage fragments belonging to the Montu priests and Hsyt n Xnw n imn were found in recent excavations on the upper terrace of the Hatshepsut temple. This paper outlines the development of a necropolis particularly favored by the Montu priests in the Hatshepsut temple and the area east of it. It describes the qrsw-coffin sets from the Baraize find and discusses the identity of several Hsyt n Xnw n imn, named Shaamunimes, from the Twenty-second to the Twenty-fifth Dynasty.

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20

Griffin, Kenneth. "Two relief fragments from the Temple of Hatshepsut at Deir el-Bahari in the Egypt Centre, Swansea". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 2018): 225–35. http://dx.doi.org/10.5604/01.3001.0013.3242.

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During a student handling session at the Egypt Centre, Swansea University, two relief fragments from Hatshepsut’s temple at Deir el-Bahari were identified. Both fragments had been cut from the walls of the temple, most likely in the late 19th century, before arriving in Swansea via the Wellcome collection in 1971. One fragment contains two columns of text (W351b) while the second depicts the head of a figure (W1376). This paper examines these two fragments, identifying the head of the figure as Hatshepsut’s daughter, the God’s Wife of Amun Neferure.

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21

Barwik, Mirosław. "A “ghost” fragment from the chapel of Tuthmosis I in the Royal Mortuary Cult Complex of the Hatshepsut Temple". Polish Archaeology in the Mediterranean XXIV, n.º 2 (31 de janeiro de 2016): 43–59. http://dx.doi.org/10.5604/01.3001.0010.0169.

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A peculiar drawing of a part of the decoration of the Royal Mortuary Cult Complex in the Hatshepsut temple at Deir el-Bahari, as copied once by Johannes Dümichen, is the subject of this paper. Its comparison with existing relief fragments leads to the conclusion that the plate in question is the result of an artificial juxtaposition of two disparate fragments of wall decoration from the Royal Mortuary Cult Complex.

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22

Kopp, Edyta. "The gods bestow life. New material for the study of divine processions in the Vestibule of the Chapel of Hatshepsut in Deir el-Bahari". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 2018): 275–89. http://dx.doi.org/10.5604/01.3001.0013.3305.

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The decoration of the Vestibule of the Chapel of Hatshepsut in the queen’s temple in Deir el-Bahari resembles the decoration of the square antechamber known from the pyramid temples of the Old and Middle Kingdoms. However, the original decorative program of the vestibule, especially with regard to the processions of divinities, is obscured by changes and damage attributable to different periods. Two new blocks, proposed for the west wall of the vestibule, contribute new information on the relief decoration from the time of Hatshepsut. Egyptological studies of the decoration of the vestibule have also enabled a revision of the suggested architrave arrangement in this chamber.

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23

Campbell, Roselyn A. "Preliminary assessment of human remains from the Temple of Hatshepsut at Deir el Bahari". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 2018): 117–28. http://dx.doi.org/10.5604/01.3001.0013.3199.

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Excavations over the course of many seasons by the Polish-Egyptian Mission in the Temple of Hatshepsut at Deir el-Bahari have revealed the presence of multiple intrusive burials within and around the temple structure itself. These burials are dated much later than the construction of Hatshepsut’s temple, most of them seemingly from the Third Intermediate Period, and have been heavily disturbed over the millennia. This article presents a preliminary assessment of human remains from some of these burials. The remains are highly fragmentary and in varying states of preservation, from mummified to completely skeletonized. Only two individuals are present as nearly complete mummies. A brief inventory indicates the presence of multiple individuals, both adults and juveniles, and both male and female. At least one instance of a healed traumatic injury is visible in one of the mummified individuals. This preliminary study is intended to establish a foundation for future research regarding the life histories of these individuals.

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24

Kucharczyk, Renata. "(Un)usual? Glass finds from the site of the Hatshepsut Temple in Deir el-Bahari". Polish Archaeology in the Mediterranean, n.º 30/1 (31 de dezembro de 2021): 105–26. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.0.

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A group of glass shards recovered from the fill of shaft tombs from the Third Intermediate Period on the Upper Terrace of the Temple of Hatshepsut in Deir el-Bahari consists for the most part of non-diagnostic body vessel fragments. At least 17 different vessels are attested in this assemblage, assigned to the 4th century AD, with only two pieces dated to the 1st–3rd centuries AD. In addition to the vessels, a few windowpanes from the 6th–8th century AD were also found. This small group of glass finds is the first ever to be published from the Temple of Hatshepsut.

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25

Barwik, Mirosław. "Two Portraits of Senenmut in the Hatshepsut Temple at Deir el-Bahari". Études et Travaux, n.º 33 (20 de março de 2021): 15. http://dx.doi.org/10.12775/etudtrav.33.002.

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26

Kapiec, Katarzyna. "The Southern Chamber of Amun in the Temple of Hatshepsut at Deir el-Bahari: three seasons of epigraphic studies from 2013 to 2016". Polish Archaeology in the Mediterranean 26, n.º 1 (9 de julho de 2018): 205–18. http://dx.doi.org/10.5604/01.3001.0012.1777.

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The Southern Room of Amun Project is one of the egyptological projects of the PCMA’s Polish–Egyptian Archaeological and Conservation Mission in the Temple of Hatshepsut at Deir el-Bahari. The paper presents epigraphic work carried out in this room between 2014 and 2015, during which almost the entire wall decoration was recorded. The article is a wall-by-wall presentation, paying special attention to the most important transformations of the reliefs over time

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27

Hallmann, Aleksandra. "Textiles from Tomb II in Deir el-Bahari: preliminary report from season 2012/2013". Polish Archaeology in the Mediterranean XXIV, n.º 1 (28 de fevereiro de 2016): 247–56. http://dx.doi.org/10.5604/01.3001.0009.9910.

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In the 2012/2013 season, the Polish–Egyptian Archaeological and Conservation Mission of the Temple of Hatshepsut at Deir el-Bahari (PCMA UW) continued work in a tomb (Tomb II) cut into the cliffs bordering the temple of Tuthmosis III from the west. The work focused on a shaft and two subterranean chambers (C and D), which yielded together more than 300 pieces of funerary linen and equipment. Despite the disturbed archaeological context, the finds constitute an important corpus of seldom studied and published Pharaonic textiles. Some of the textiles are of very high quality, up to 2 m in length and preserved with their original colors. Importantly, they portray characteristic features of Pharaonic Egyptian textiles. Several pieces have inscriptions, including one with a fragmentary cartouche.

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28

Józefowicz, Ewa. "The West Wall of the Portico of Obelisks in Hatshepsut's Temple in 2018 and 2019: conservation and studies". Fieldwork and Research, n.º 28.2 (28 de dezembro de 2019): 343–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.19.

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The longest, west wall of the South Lower Portico (Portico of Obelisks) of the Temple of Hatshepsut at Deir el-Bahari has been reassessed in terms of its current state, compared to the original documentation by Edouard Naville, as an opening step to the author’s research project organized within the frame of the larger University of Warsaw Temple of Hatshepsut research program. A considerable number of blocks from the wall, including unpublished fragments, was tracked down in storage in the various temple blockyards and storerooms. About two-thirds of the wall decoration underwent conservation treatment in the spring of 2018 and 2019 seasons. The paper discusses the author’s progress in this research.

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29

Trello Espada, Jesus. "The incense distribution scene in TT 39 – redistribution of goods to Deir el-Bahari and other locations in Western Thebes". Polish Archaeology in the Mediterranean, n.º 30/1 (31 de dezembro de 2021): 157–85. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.01.

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Incense was an essential part of temple rituals during the New Kingdom. A relief scene of redistribution of this economic resource, carved in the hall of the Theban tomb of Puimra (TT 39), a Second Priest of Amun in the early Eighteenth Dynasty, helps to understand how incense traveled from abroad to the royal treasury and temple estates to be then redistributed among the different temples in Amun’s domain. The data is compared with evidence from other contemporary tombs, shedding light on the redistribution of goods in a centralized economy.

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30

Stupko-Lubczynska, Anastasiia. "What an artist saw. Tracing the local iconographic tradition for the Temple of Hatshepsut at Deir el-Bahari". Polish Archaeology in the Mediterranean, n.º 30/1 (31 de dezembro de 2021): 187–214. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.09.

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An unusual iconographic motif—a fringed piece of linen—depicted in the Chapel of Hatshepsut, part of the queen’s temple at Deir el-Bahari, is examined in this paper as an illustration of the interest, well attested in Hatshepsut’s reign, in past artistic models/sources. The Chapel of Hatshepsut was intended for the mortuary cult of the female pharaoh, while the motif under discussion appears to have been inspired by decoration earlier by 500 years, found inside a burial chamber cut into the rock cliff of North Asasif, which is a natural continuation of the Deir el-Bahari amphitheater. The tomb (TT 311) belonged to Khety, a courtier of the Eleventh Dynasty pharaoh Mentuhotep II Nebhepetra. Assuming the validity of this iconographic link, the question arises concerning the accessibility of decorated burial chambers from the Eleventh-Dynasty in this area and their possible role as “pattern books” in the design of the early Eighteenth Dynasty private and royal mortuary monuments. In addition, the paper addresses the issue of the Chapel of Hatshepsut serving as a monumental “pattern book” for the Late Period Theban tombs.

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31

Kopp, Edyta. "Epigraphic notes on the aleph-sign (Gardiner G1) in the second half of the Eighteenth Dynasty". Polish Archaeology in the Mediterranean, n.º 29/2 (31 de dezembro de 2020): 233–46. http://dx.doi.org/10.31338/uw.2083-537x.pam29.2.09.

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The paper proposes to consider the hieroglyphic writing of the aleph-sign (Gardiner G1) in royal monumental architecture as a dating criterion. A certain epigraphic feature of the sign appears to be particularly characteristic of the second half of the Eighteenth Dynasty and the beginning of the Nineteenth Dynasty. The characteristics of the sign are discussed mainly in reference to the renewal texts, concluding with some remarks on the chronology of the restorations of reliefs in the Hatshepsut temple at Deir el-Bahari.

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Taterka, Filip. "Mysterious Wooden Objects Represented in the Punt Portico in the Temple of Hatshepsut at Deir el-Bahari". Zeitschrift für Ägyptische Sprache und Altertumskunde 148, n.º 2 (5 de novembro de 2021): 229–38. http://dx.doi.org/10.1515/zaes-2020-0006.

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Summary The article presents a previously unpublished block coming from the Southern Lower Portico (also known as the Punt Portico) in Hatshepsut’s temple of millions of years at Deir el-Bahari. It contains a depiction of a young Nubian man carrying two mysterious objects. The one is the double tjsw-staff, while the other is most likely a wooden stool. In order to support his identification of the objects in question, the author discusses some parallels coming from early 18th dynasty private tombs at Thebes.

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Braulińska, Kamila. "Mammals in the iconography of the Temple of Queen Hatszepsut: introduction to the project". Polish Archaeology in the Mediterranean 26, n.º 1 (9 de julho de 2018): 219–26. http://dx.doi.org/10.5604/01.3001.0012.1778.

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The project “Mammals in the iconography of the Temple of Queen Hatshepsut”, initiated by the author in the 2011/2012 season, encompasses a detailed documentation of the animals depicted in various parts of Hatshepsut’s temple in Deir el-Bahari as a prerequisite for in-depth research. The study follows a multi-disciplinary approach within faunal analysis, and is complemented with technological observations on the execution of relief representations from the temple. At this stage of the project, a general taxonomic identification of the animal representations is nearly complete and a further detailed study of each taxon has been undertaken. Both complete animals (mainly mammals for now) and animal raw materials were studied in addition to the contexts and scenes in which they appear.

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Chudzik, Patryk. "Post-New Kingdom topography and chronology of the Hatshepsut Temple at Deir el-Bahari in light of new archaeological evidence". Polish Archaeology in the Mediterranean 31 (2022): 123–52. http://dx.doi.org/10.37343/uw.2083-537x.pam31.09.

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Around 1000 BCE, an earthquake brought down many temples in Western Thebes, thus putting an end to the cult centre at Deir el-Bahari which had been a key site for the celebration of the Beautiful Feast of the Valley all through the New Kingdom. Within a few dozen years the deserted chapels and rooms of the Hatshepsut temple were turned into a burial ground. The necropolis established on the ruins of one of the most famous temples of Egypt was first excavated in the 19th century; however, current work by the Polish Centre of Mediterranean Archaeology University of Warsaw expedition in the Hathor cult complex of the temple of the female pharaoh has resulted in the discovery of a group of shaft tombs and a great number of burial remains. These new finds have instigated a revisiting of both the topography and the chronology of this reuse of the older monument, as well as a contextualization of the work of the early explorers which has gradually been forgotten partly through lack of proper documentation.

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Tefnin, Roland. "Lecture d'un espace architectural. Un fragment du temple d'Hatshepsout à Deir el-Bahari". Chronique d'Egypte 60, n.º 119-120 (janeiro de 1985): 303–21. http://dx.doi.org/10.1484/j.cde.2.308698.

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Stupko-Lubczyńska, Anastasiia. "Inscribed pot-stands represented in the Temple of Hatshepsut at Deir el-Bahari". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 2018): 365–74. http://dx.doi.org/10.5604/01.3001.0013.3308.

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On the lateral walls of the Bark Hall in the Main Sanctuary of Amun in the Temple of Hatshepsut, four stands for burning offerings are represented in front of Amun’s bark. Conservation work on the walls of this room uncovered the painted layer. One of the stands preserves traces of an inscription which was erased in ancient times in two phases. The first phase of erasure may be dated to the reign of Tuthmosis III, while the second one was executed during the Amarna period. The paper presents the legible parts of the text, which was a standard dedication formula, along with a reconstruction of the damaged areas

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Dziedzic, Teresa. "Transporting false doors at the construction site of the Temple of Hatshepsut at Deir el-Bahari". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 2018): 129–41. http://dx.doi.org/10.5604/01.3001.0013.3201.

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The article presents a probable way of transporting false doors to their location within the Temple of Hatshepsut during its construction. The issue does not seem to be of particular significance until one considers the value of the false doors as such and the impossibility of using heavy equipment in the chapels of the Complex of the Royal Mortuary Cult. The false doors had to be introduced into the construction site at the time that the walls of the chapel were being raised but before the building of the vaults. The options discussed in the article illustrate the logistical problems of the undertaking and the construction opportunities that might have been taken advantage of. The discussion provides a closer look at the construction processes taking place in the Temple of Hatshepsut during the separate stages of expansion and the changes in its functional and spatial design. In consequence, it reopens the debate on the building chronology of the temple.

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Barwik, Mirosław. "Three Memoranda of the 21^st Dynasty at Deir el-Bahari". Zeitschrift für Ägyptische Sprache und Altertumskunde 150, n.º 1 (25 de maio de 2023): 42–55. http://dx.doi.org/10.1515/zaes-2021-0014.

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Summary Newly found hieratic graffiti in the temple of Hatshepsut at Deir el-Bahari enable shedding new light on the history of the area in the period of the 21st Dynasty. Three of them, written in the form of memoranda relating presumably to work done in the area, can be dated to the very end of the pontificate of the high-priest Menkheperre. There are good reasons to relate them to a burial or burials in the neighbouring Bab el-Gasus cache or else to the work done in this tomb at an early stage of its building history.

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Szafrański, Zbigniew. "Remarks on royal statues in the form of the god Osiris from Deir el-Bahari". Polish Archaeology in the Mediterranean 27, n.º 2 (21 de dezembro de 2018): 375–89. http://dx.doi.org/10.5604/01.3001.0013.3309.

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This article recapitulates information available, and mostly not published yet, on the statues in the form of the god Osiris from the Upper (Coronation) and Lower Porticoes of the Temple of Hatshepsut at Deir el-Bahari. This includes the North and South Colossi, both of which were recently restored in a pilot reconstruction project undertaken by the Polish team, revising a missed restoration attempt by earlier excavators. Other examples include a sandstone painted statue of Amenhotep I, from Asasif, in the form of the mummiform figure of the god Osiris, which was also reconstructed, a fragmentary sandstone statue of Amenhotep III in the form of Osiris, as well as two fragments of statues of Osiris from the Third Intermediate Period burial ground discovered in the area of the temple of Hatshepsut.

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Pawlicki, Franciszek. "Four seasons of documentation in the Main Sanctuary of Amun-Re in the Temple of Hatshepsut at Deir el-Bahari". Polish Archaeology in the Mediterranean 25 (15 de maio de 2017): 303–14. http://dx.doi.org/10.5604/01.3001.0010.1863.

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Four seasons of documentation have supplied pertinent data to indicate that the Main Sanctuary of Amun-Re in the Temple of Hatshepsut in Deir el-Bahari was perceived from a theological perspective as a cult place for the local form of Foremost of +sr-Dsrw and for the royal worship of Hatshepsut connected with it. The latter aspect was of sufficient significance to warrant twice a far-going modification of the decoration of the tympanum of the east wall of the Bark Hall, influencing the way the Inner Sanctuary was illuminated.

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Madej, Adrianna. "Lintel decoration types from the Temple of Hatshepsut at Deir el-Bahari and their meaning". Polish Archaeology in the Mediterranean, n.º 30/1 (31 de dezembro de 2021): 143–56. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.04.

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Examination of the set of preserved gate lintels from the Temple of Hatshepsut in Deir el-Bahari has revealed two models of the iconographic decoration: one that emphasizes pictorial content in the form of scenes of a cultic or symbolic nature, with inscriptions playing merely a complementary role, and the other based on the textual message alone. The use of a given model of lintel decoration appears to be a measure either of the function of the room or, more broadly, of the space, accessed through the gate, or of the context of the wall decoration around the entrance.

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Chudzik, Patryk. "Archaeological investigations in the Temple of Hatshepsut at Deir el-Bahari in the 2020/2021 season". Polish Archaeology in the Mediterranean, n.º 30/1 (31 de dezembro de 2021): 49–77. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.03.

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The paper presents the results of archaeological exploration in parts of the Hatshesut Temple, carried out by the Polish–Egyptian team in the 2020/2021 season. Excavations focused on the Southern Room of Amun on the Third Terrace of the Temple, the platform of the Hathor Shrine on the Middle Terrace level, and the so-called Hathor Path located between the southern retaining wall of the Middle Terrace and the northern stone wall of the main enclosure of Mentuhotep II’s mortuary complex. Of particular interest are the finds from an early Middle Kingdom rock-cut tomb in the western part of the Hathor Path, where remains of the original burial assemblage, a large deposit of votive offerings to the goddess Hathor and fragments of a yellow coffin were discovered.

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Makowska, Agnieszka. "Ushebtis of the Third Intermediate Period from the Chapel of Hatshepsut in the Queen’s temple at Deir el-Bahari". Polish Archaeology in the Mediterranean XXIV, n.º 2 (31 de janeiro de 2016): 137–60. http://dx.doi.org/10.5604/01.3001.0010.0180.

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A collection of 619 whole and fragmentary ushebti figurines dating from the Third Intermediate Period was recovered between 2004 and 2007 by the Polish team excavating in the Chapel of Hatshepsut, an integral part of the Queen Pharaoh’s mortuary temple in Deir el-Bahari. The figurines include objects of faience, clay and painted clay, all relatively small and roughly modelled. They represent a category of objects that is seldom published separately. The paper presents a typology of the ushebtis based primarily on the material from which they were produced, discussing their chronology and find contexts as well.

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Barwik, Mirosław. "New Dipinti in the Birth Portico of the Hatshepsut Temple at Deir el-Bahari". Études et Travaux, n.º 31 (28 de dezembro de 2018): 101. http://dx.doi.org/10.12775/etudtrav.31.005.

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Kasprzycka, Katarzyna. "Reconstruction of the bases of sandstone sphinxes from the Temple of Hatshepsut at Deir el-Bahari". Fieldwork and Research, n.º 28.2 (28 de dezembro de 2019): 359–87. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.20.

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The reconstruction of the iconographic program of the decoration of the sandstone bases of a group of sphinxes of Hatshepsut lining the processional avenue leading to the Queen’s Mansion of a Million Years in the temple at Deir el-Bahari is the prime focus of this article. The fragments of these statues discovered in the 1920s by the archaeological mission of the Metropolitan Museum of Art in New York were never published. The pieces were rediscovered in storage in 2005. A theoretical reconstruction has been undertaken, leading the author to identify an unusual iconographical pattern that reflects changes in art introduced in the times of Hatshepsut. The representations on the bases of the royal sandstone sphinxes from the queen’s temple include, among others, rekhyt birds, pat-people and “enemies of Egypt”. They take on a form that departs from that known from other sphinx sculptures.

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Chudzik, Patryk. "The tombs of Asasif: archaeological exploration in the 2013/2014 season". Polish Archaeology in the Mediterranean XXIV, n.º 1 (28 de fevereiro de 2016): 239–46. http://dx.doi.org/10.5604/01.3001.0009.9909.

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In the 2013/2014 season, a Polish team from the University of Wrocław started work in the northern part of the Asasif necropolis, near the Temple of Queen Hatshepsut in Deir el-Bahari. An archaeological survey was carried out on the Asasif slope. Cleaning work and documentation were undertaken of the architecture of four private tombs: MMA 509/TT 312, MMA 512, MMA 513/TT 314 and MMA 514, as well as the archaeological finds thereof. The rock-cut tombs belong to a Middle Kingdom necropolis and were all reused in later times, especially in the Third Intermediate Period and Late Period.

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Dziedzic, Teresa. "Theoretical reconstruction of the Solar Altar in the Templeof Hatshepsut at Deir el-Bahari". Polish Archaeology in the Mediterranean 26, n.º 1 (9 de julho de 2018): 197–204. http://dx.doi.org/10.5604/01.3001.0012.1776.

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In a recent article Andrzej Ćwiek (2015) criticized on ideological grounds one of the hypotheses concerning the reconstruction of the Solar Altar in the Complex of the Sun Cult of the Temple of Hatshepsut in Deir el-Bahari. The theoretical reconstruction in question, presented as one of the possibilities in an earlier text by the present author (Dziedzic 2013), called for two obelisks and a sacrificial table standing on the Solar Altar located in the open courtyard of the complex. Ćwiek also pointed to the practical difficulties associated with transportation and placement of stone obelisks. This article describes the technical aspects of transporting and placing obelisks in two different locations. It also contains calculations concerning the weight impact of the altar elements (obelisks) on the altar structure.

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Campbell, Roselyn A. "A Preliminary Analysis of Human Remains from Tomb MMA 514 in North Asasif, Egypt]". Polish Archaeology in the Mediterranean 27, n.º 1 (11 de abril de 2018): 195–201. http://dx.doi.org/10.5604/01.3001.0013.2000.

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Since 2013 the Asasif Project has conducted excavations of several tombs in the North Asasif Necropolis, adjacent to the temple of Hatshepsut at Deir el Bahari in southern Egypt. Under the direction of Patryk Chudzik, this work has yielded large numbers of human remains. This article describes the results of a preliminary inventory of the human remains from one of these funerary complexes, originally discovered by H.E. Winlock in the early 20th century. Tomb MMA 514 was reused at least twice, and although the human remains are in various stages of preservation and are highly fragmented, it is possible to identify at least nine separate individuals.

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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, n.º 2 (28 de dezembro de 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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Wiercińska, Janina. "The enlarged doorway at the Dejser-akhet temple of Tuthmosis III in Deir el-Bahari". Polish Archaeology in the Mediterranean 26, n.º 1 (9 de julho de 2018): 229–38. http://dx.doi.org/10.5604/01.3001.0012.1780.

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The issue of the enlargement of the entrance to the Bark Hall of the Djeser-akhet temple of Tuthmosis III at Deir el-Bahari was a major focus for the Polish restoration mission from the start. The widening of the passage was noted early on in the research and new data was forthcoming with every successive field season as the decoration of the entrance wall on either side of the Hypostyle Hall and of the Bark Hall was reconstructed. More detailed information continued to add to the recreation of the process of how and when these changes were introduced, as discussed by the author in earlier articles. Further fragments of relief decoration identified in recent years as originating from the cut sections of the walls have offered new data to supplement the author’s view, being at the same time a significant source of information on the original decoration predating the destruction phase in the Amarna period.

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