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At the end of the 19th century Egyptologists discovered, in two robbed tombs at Luxor, the remains of over 40 mummies dating from the 17th to the 21st Dynasties (1580 BC to 940 BC). These included the bodies of Ahmose, Thutmose III, Amenhotep II and III, Seti I, Ramesses II and III, and Merneptah. This book brings together for the first time all the photographs of the unique collection of mummies and coffins found in the two `Royal Caches' and other royal burials which include Yuya, Thuya and Tutankhamun. Each mummy and coffin is described in detail with brief information about the tomb. Diseases and ailments, mummification techniques and the very origins of the process are covered. Other topics featured are the problems of identification, conservation of remains, and reconstructing lifetime appearance.
Little is known about Nefertiti, the Egyptian queen whose name means “a beautiful woman has come.” She was the wife of Akhenaten, the pharaoh who ushered in the dramatic Amarna Age, and she bore him at least six children. She played a prominent role in political and religious affairs, but after Akhenaten’s death she apparently vanished and was soon forgotten. Yet Nefertiti remains one of the most famous and enigmatic women who ever lived. Her instantly recognizable face adorns a variety of modern artifacts, from expensive jewelry to cheap postcards, t-shirts, and bags, all over the world. She has appeared on page, stage, screen, and opera. In Britain, one woman has spent hundreds of thousands of pounds on plastic surgery in hope of resembling the long-dead royal. This enduring obsession is the result of just one object: the lovely and mysterious Nefertiti bust, created by the sculptor Thutmose and housed in Berlin’s Neues Museum since before World War II. In Nefertiti’s Face, Egyptologist Joyce Tyldesley tells the story of the bust, from its origins in a busy workshop of the late Bronze Age to its rediscovery and controversial removal to Europe in 1912 and its present status as one of the world’s most treasured artifacts. This wide-ranging history takes us from the temples and tombs of ancient Egypt to wartime Berlin and engages the latest in Pharaonic scholarship. Tyldesley sheds light on both Nefertiti’s life and her improbable afterlife, in which she became famous simply for being famous.
From the first major discoveries a century ago, the painted portraits of Roman Egypt were a revelation to scholars and the public alike, and the recent finding of a new cache of these gilded images, which made national headlines, have only heightened their mystery and appeal. Published to coincide with a new major exhibition of these portraits, Ancient Faces is the most comprehensive, up-to-date survey of these astonishing works of art. Dating from the later period of Roman rule in Egypt, shortly before the birth of Christ, the painted mummy portraits are among the most remarkable products of the ancient world, a fusion of the traditions of pharonic Egypt and the Classical world. They are historical and cultural objects of outstanding importance and beauty, superb works of art that represent some of the earliest known examples of life-like portraiture. Though the subjects of the portraits believed in the traditional Egyptian cults, which offered them a firm prospect of life after death, they also wished to be commemorated in the Roman manner, with their fashion of dress and adornment signaling their status in life. Despite their ancient history, these portraits speak to the modern eye with a beauty and intensity that would be lost to portraiture until the Renaissance.
The principal aim of this study is to present a novel method for exploiting a grid of 256 (16x16) square modules used to measure two-dimensional human face, with implementation to the Egyptian royal portrait in relief. Most of the underlying principles of the proposed method, in particular, the use of a square grid understood as a uniform measuring tool of a standardised internal structure and a set of constant points of measurement, are connected with the research conducted by Erik Iversen, Roland Tefnin and Gay Robins. The major part of the study shows a detailed description of the proposed research method and an analysis of the measurements taken in compliance with the criteria stipulated therein. Comparison of the values of all selected measurements within a given portrait of a ruler with the values of corresponding points from other portraits dated to the same period constitutes the key element of the analysis. The results are then compared with the values of the measurements of reliefs of the remaining Eighteenth Dynasty kings acquired according to the same method. In order to expand the research perspective selected examples of application of the hypothetical square grid for the analysis of painted royal portrait are presented. The concluding remarks have been formulated in a relevant manner to answer the fundamental question of this study, namely, whether and to what extent the method could serve as an auxiliary tool for dating and identification of pharaohs' portraits carved in relief or made with the use of painting technique.
Written in the tradition of historians like Mary Beard and Stacy Schiff who find modern lessons in ancient history, this provocative narrative explores the lives of five remarkable pharaohs who ruled Egypt with absolute power, shining a new light on the country's 3,000-year empire and its meaning today. In a new era when democracies around the world are threatened or crumbling, best-selling author Kara Cooney turns to five ancient Egyptian pharaohs--Khufu, Senwosret III, Akenhaten, Ramses II, and Taharqa--to understand why many so often give up power to the few, and what it can mean for our future. As the first centralized political power on earth, the pharaohs and their process of divine kingship can tell us a lot about the world's politics, past and present. Every animal-headed god, every monumental temple, every pyramid, every tomb, offers extraordinary insight into a culture that combined deeply held religious beliefs with uniquely human schemes to justify a system in which one ruled over many. From Khufu, the man who built the Great Pyramid at Giza as testament to his authoritarian reign, and Taharqa, the last true pharaoh who worked to make Egypt great again, we discover a clear lens into understanding how power was earned, controlled, and manipulated in ancient times. And in mining the past, Cooney uncovers the reason why societies have so willingly chosen a dictator over democracy, time and time again.
Egypt's rich and celebrated ancient past has served many causes throughout history--in both Egypt and the West. Concentrating on the era from Napoleon's conquest and the discovery of the Rosetta Stone to the outbreak of World War I, this book examines the evolution of Egyptian archaeology in the context of Western imperialism and nascent Egyptian nationalism. Traditionally, histories of Egyptian archaeology have celebrated Western discoverers such as Champollion, Mariette, Maspero, and Petrie, while slighting Rifaa al-Tahtawi, Ahmad Kamal, and other Egyptians. This exceptionally well-illustrated and well-researched book writes Egyptians into the history of archaeology and museums in their own country and shows how changing perceptions of the past helped shape ideas of modern national identity. Drawing from rich archival sources in Egypt, the United Kingdom, and France, and from little-known Arabic publications, Reid discusses previously neglected topics in both scholarly Egyptology and the popular "Egyptomania" displayed in world's fairs and Orientalist painting and photography. He also examines the link between archaeology and the rise of the modern tourist industry. This richly detailed narrative discusses not only Western and Egyptian perceptions of pharaonic history and archaeology but also perceptions of Egypt's Greco-Roman, Coptic, and Islamic eras. Throughout this book, Reid demonstrates how the emergence of archaeology affected the interests and self-perceptions of modern Egyptians. In addition to uncovering a wealth of significant new material on the history of archaeology and museums in Egypt, Reid provides a fascinating window on questions of cultural heritage--how it is perceived, constructed, claimed, and contested.
Little is known about Nefertiti, the Egyptian queen whose name means “a beautiful woman has come.” She was the wife of Akhenaten, the pharaoh who ushered in the dramatic Amarna Age, and she bore him at least six children. She played a prominent role in political and religious affairs, but after Akhenaten’s death she apparently vanished and was soon forgotten. Yet Nefertiti remains one of the most famous and enigmatic women who ever lived. Her instantly recognizable face adorns a variety of modern artifacts, from expensive jewelry to cheap postcards, t-shirts, and bags, all over the world. She has appeared on page, stage, screen, and opera. In Britain, one woman has spent hundreds of thousands of pounds on plastic surgery in hope of resembling the long-dead royal. This enduring obsession is the result of just one object: the lovely and mysterious Nefertiti bust, created by the sculptor Thutmose and housed in Berlin’s Neues Museum since before World War II. In Nefertiti’s Face, Egyptologist Joyce Tyldesley tells the story of the bust, from its origins in a busy workshop of the late Bronze Age to its rediscovery and controversial removal to Europe in 1912 and its present status as one of the world’s most treasured artifacts. This wide-ranging history takes us from the temples and tombs of ancient Egypt to wartime Berlin and engages the latest in Pharaonic scholarship. Tyldesley sheds light on both Nefertiti’s life and her improbable afterlife, in which she became famous simply for being famous.
The Middle Kingdom (ca. 2030–1650 B.C.) was a transformational period in ancient Egypt, during which older artistic conventions, cultural principles, religious beliefs, and political systems were revived and reimagined. Ancient Egypt Transformed presents a comprehensive picture of the art of the Middle Kingdom, arguably the least known of Egypt’s three kingdoms and yet one that saw the creation of powerful, compelling works rendered with great subtlety and sensitivity. The book brings together nearly 300 diverse works— including sculpture, relief decoration, stelae, jewelry, coffins, funerary objects, and personal possessions from the world’s leading collections of Egyptian art. Essays on architecture, statuary, tomb and temple relief decoration, and stele explore how Middle Kingdom artists adapted forms and iconography of the Old Kingdom, using existing conventions to create strikingly original works. Twelve lavishly illustrated chapters, each with a scholarly essay and entries on related objects, begin with discussions of the distinctive art that arose in the south during the early Middle Kingdom, the artistic developments that followed the return to Egypt’s traditional capital in the north, and the renewed construction of pyramid complexes. Thematic chapters devoted to the pharaoh, royal women, the court, and the vital role of family explore art created for different strata of Egyptian society, while others provide insight into Egypt’s expanding relations with foreign lands and the themes of Middle Kingdom literature. The era’s religious beliefs and practices, such as the pilgrimage to Abydos, are revealed through magnificent objects created for tombs, chapels, and temples. Finally, the book discusses Middle Kingdom archaeological sites, including excavations undertaken by the Metropolitan Museum over a number of decades. Written by an international team of respected Egyptologists and Middle Kingdom specialists, the text provides recent scholarship and fresh insights, making the book an authoritative resource.