Search results

1

A Fragmentary Statue of Ramesses II with a Scarab on the Head

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Kassem M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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issue 27

179–184

EN

The red granite fragmentary bust (Egyptian Museum in Cairo – CG 38104, JE 27856), coming from the Temple of Ptah in Memphis, is believed to be part of a statue of Ramesses II. However, owing to the fact that the fragment is unepigraphic and much eroded, this identification has to remain a hypothetical one. A detailed examination of iconographical and stylistic features of the statue leads the author to believe that the statue either represented Ramesses II or had been usurped by one of his successors.

2

Two Portraits of Senenmut in the Hatshepsut Temple at Deir el-Bahari

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Barwik M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2020

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vol. XXXIII

15-22

EN

Two graffiti of Senenmut from the Temple of Hatshepsut at Deir el-Bahari are presented in this paper: one located in the granite portal leading to the Upper Court of the temple, and another in the entrance to the Chapel of Thutmose I in the Royal Mortuary Cult Complex. In addition, photographs of heavily erased graffiti of Senenmut in the entrance to the Chapel of Hatshepsut are published here as well.

3

New Prayers and Invocations to Hathor among Unpublished Dipinti from the Thutmose III Temple at Deir el-Bahari

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Barwik M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2020

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vol. XXXIII

23-32

EN

This paper presents a group of nine fragmentarily preserved dipinti from the Temple of Thuthmose III in Deir el-Bahari. The pieces belong to the corpus of dipinti discovered by the Polish Archaeological Mission at the beginning of the 1960s, the bulk of which was already published by the late Marek Marciniak.

4

Four Wooden New Kingdom Female Statuettes in the Egyptian Museum, Cairo

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El-Tiebi A.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2017

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vol. XXX

251–266

EN

The author analyzes four wooden female statuettes from the collection of the Egyptian Museum in Cairo. All of them represent nude females and have many features in common. They were rendered in a way that emphasized their sexuality and fertility. Due to the lack of inscriptions their dating and function could be reconstructed only on the basis of analogies.

5

A Nome Procession From the Royal Cult Complex in the Temple of Hatshepsut at Deir el-Bahari

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Białostocka O.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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issue 27

19–36

EN

In the Temple of Hatshepsut at Deir el-Bahari, a representation of a nome procession covers one of the walls of the small, open courtyard in the Royal Cult Complex. Using analogical scenes preserved in other temples, the paper reconstructs the order of nome personifications depicted in the said procession. It further delves into the nature of this type of representation and its significance for the king, taking into consideration the location of the scene.

6

New Dipinti in the Birth Portico of the Hatshepsut Temple at Deir el-Bahari

88%

Barwik M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2018

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vol. XXXI

101-110

EN

The subject of the present paper are two hitherto unpublished hieratic dipinti from the Birth Portico of the Temple of Queen Hatshepsut at Deir el-Bahari. One of them had been written on the north wall of the portico and can be related precisely to the second phase of restoration undertaken in the Temple of Queen Hatshepsut in the post-Amarna period, and more specifically to the reign of Ramesses II. The other inscription, written on the south wall of the portico, can be ascribed to a certain Minnakht and his colleague Ired, presumably builders of the temple. In addition, a comment on other dipinti on the walls of the portico and its pillars has been included.

7

The Stela of Haremwia, Chief of the Provisioning Sector of the Temple Workshop (CG 34079 / JE 22011)

88%

Joseph A.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2020

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vol. XXXIII

89-106

XX

This article is devoted to the description and analysis of the limestone stela of Haremwia from Abydos. It was on display in the Egyptian Museum, Cairo (CG 34079 / JE 22011) and is currently in the storerooms of the Grand Egyptian Museum, Giza. It dates to the period from the mid to the late Eighteenth Dynasty, New Kingdom, and probably from the reign of Amenhotep III, on the basis of its stylistic, iconographic, and epigraphic details. It is extremely well preserved and most of the colours are intact, apart from some damage to the bottom. The stela records a significant title of Haremwia, namely hry šnʿ n tȝ wʿbt, ‘chief of the provisioning sector of the temple workshop’. The importance of this stela, above all, is that it records the first attestation of this title on Egyptian monuments. Furthermore, it records Asiatic names of foreign origin for family members. The offering formula in the first register is very interesting due to the retrograde orientation of its hieroglyphic inscription. The author describes the stela, deals with its individual idiosyncrasies, inscriptions, iconographic and phraseological traits, and focuses on the titles and professions of its individuals.

8

The Temple of Millions of Years of the Pharaoh Thutmose III (Luxor). An Update on the Research

88%

Seco Álvarez M., Martínez Babón J.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2020

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vol. XXXIII

179-220

EN

This paper presents the most up to date discussion on the architecture of the temple of Millions of Years of Thutmose III, which has been investigated by the Spanish-Egyptian joint project since 2008. The first archaeological works took place at the site at the end of the nineteenth century and during the first decades of the twentieth century. Twelve seasons of the resumed research have brought, e.g. some completely new data concerning buildings related to the temple (i.e. the administrative building outside the southern enclosure wall, workshops north of the upper courtyard, and a house of the Ramesside priest called Khonsu at the northeast of the second courtyard), and allowed for the reconstruction of the course of the enclosure wall of the complex, as well as for some architectural restoration works. This paper also offers an overview through some of the most important finds collected so far during our research (e.g. fragments of reliefs, stelae and statues, inscribed and decorated lintels, foundation deposit, stoppers, ostraca, graffiti, and fragments of papyri) and presents the first results of their analysis: how these materials allow us to better understand the history and administration of the temple as well as what data they provide concerning the priests and the rituals which took place there.

9

A Rock Inscription of Ramesses IV at Gebelein: A Previously Unknown New Kingdom Expedition

88%

Wieczorek D. F.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2015

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issue 28

217–229

EN

The article presents a rock inscription of the Twentieth Dynasty king, Ramesses IV, found at the southern end of the Middle Hill of the Western Rock of Gebelein. It yields new evidence related to an unknown expedition sent via Gebelein to the south, and very likely, concerned with the acquisition of stone material for mortuary cult or/and king’s burial place.

10

Rebirth of Temples under the Rule of Hatshepsut and Thutmose III: Vocabulary

88%

Iwaszczuk J.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2015

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issue 28

29–58

EN

The restoration works during the whm mswt era under Senwosret I, undertaken on a large scale in the whole country, were the example to follow for Hatshepsut and Thutmose III. The reconstruction of monumental structures in both historical moments was performed, above all, in the case of the sacral architecture. This article deals with the vocabulary used by these kings to describe the destruction of the world and the recreation of the new order of the sacred landscape. By studying the vocabulary it was possible to realise the range of works initiated by Hatshepsut and continued by Thutmose III in almost all cult centres of Egypt.

11

The Legacy of Senwosret I during the Reign of Hatshepsut and Thutmose III

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Iwaszczuk J.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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issue 27

161–178

EN

The article deals with the position of Senwosret I in the royal ideology of Hatshepsut and Thutmose III. Innovations introduced by this king to the architecture, as well as new motifs of decoration that appeared for the first time during the reign of Senwosret I, were not copied by other rulers for a long time. The Thutmoside co-regents were the first to reproduce or to exploit them purposely in their own constructions. The particular role of Senwosret I was also attested in the cult of this royal ancestor performed during the reign of Hatshepsut and Thutmose III, both on the official and private level. The study shows that Hatshepsut and Thutmose III emphasised those elements of Senwosret I activity which had a direct connection with the concept of kingship and its renewal, and referred to the time of renewal of the sacred landscape of Egypt and the regeneration of the sacred kingship, namely the whm mswt era – initiated by Amenemhat I, but continued and completed by Senwosret I.

12

Old and Middle Kingdom Tradition in the Temple of Hatshepsut at Deir el-Bahari

75%

Ćwiek A.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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issue 27

61–93

EN

The temple of Hatshepsut at Deir el-Bahari, although a unique and innovative monument, is firmly settled in the earlier tradition. Its architecture, relief decoration, statuary program and texts, bear direct or indirect references to the past. The Old and Middle Kingdom ideas, patterns and motifs may be traced on various levels, in the overall structure as well as in details. Sometimes the direct source of a feature may be pointed out; in most cases one can at least set forth an inspiration source in the architecture and decoration programme of the royal mortuary complexes, royal texts or iconography. The Deir el-Bahari case should be seen against the wider background of Hatshepsut’s activities, referring to the great periods and achievements of her illustrious ancestors: Memphite and Theban traditions joined thus in a masterly way formed a new, firm base for her rule.

13

Some Reliefs Representing the King in the Heb Sed Robe Discovered in the Henket-Ankh

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Chapon L.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2018

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vol. XXXI

123-143

EN

During the archaeological fieldwork undertaken in the Henket-Ankh, the Temple of Millions of Years of Thutmose III situated between el-Assasif and el-Khokha, a large amount of sandstone blocks and fragments have been discovered. Although they are quite fragmented, they enable us to posit a hypothesis about some of the scenes that were originally carved on the temple’s walls. This paper focuses mainly on the fragments representing the king in the Heb Sed robe. The Heb Sed robe embodies royal power regeneration. It is therefore especially significant in the Temples of Millions of Years where this aspect played a key role. These reliefs would contribute to the already known iconographic corpus of this period, as well as to the understanding of the temple iconographic programme and function.

14

Inscribed Vessels Represented in the Chapel of Hatshepsut at Deir el-Bahari? Inscribed Vessels Represented in the Chapel of Hatshepsut at Deir el-Bahari?

75%

Stupko-Lubczyńska A.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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issue 27

405–420

EN

During documentation of the offering scenes decorating the Chapel of Hatshepsut (the so-called Southern Hall of Offerings) in the mortuary temple of the queen at Deir el-Bahari, on some vessels represented among piled offerings on the upper part of its north wall, deep gouges typical for the iconoclasm of the Amarna period have been observed. Closer examination revealed similar traces of deliberate destruction also on depictions of other pottery forms, recorded on blocks attributed to the scene in question in its eastern section. It is interesting to remark that the described erasures have been noted (with only one exception) exclusively on the north wall of the Chapel, while all the vessels depicted in the corresponding area of the south wall bear no such traces. The aim of the paper is an attempt at reconstructing inscriptions placed on the vessels in question on the basis of similar representations coming from the other parts of Djeser-djeseru, the actual inscribed vessels known from the archaeological context and th depictions of similar artifacts found in some Eighteenth Dynasty tombs of the nobles.

15

Decoration of the Two Chests from the Frieze of Objects in the Southern Room of Amun in the Temple of Hatshepsut at Deir el-Bahari

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Kapiec K.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2016

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vol. 29

95–110

EN

During epigraphic works carried out in the Southern Room of Amun (Temple of Hatshepsut at Deir el-Bahari) in season of 2014/2015 painted decoration of two chests with sloping lid from the frieze of objects was recorded. On the side of each chest there are two offering scenes, painted with the use of red colour on the yellow background. In those scenes Hatshepsut is the celebrant and Amun-Re is the beneficiary of the offered goods. Names of the king and the god are originally preserved. The content of these chests, described with the use of labelling inscriptions next to each one of them, and the royal iconography in offering scenes are an expression of the renewal aspect, referring to the king. No analogies to this type of decoration on chests have been found so far.

16

Re-reading a Statue of King Ramesses II: Text or Iconography?

75%

Kassem M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2015

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issue 28

59–66

EN

This article is dedicated to the study and comparison of the inscriptions and iconography of the red granite colossal statue in the British Museum, inv. no. AES 61. The idea behind this paper was to demonstrate how the rigorous application of iconographical analysis of facial features can contribute to the precise dating of the classical pharaonic sculptures. This procedure when applied to the above-mentioned statue allows to conclude that it was originally conceived for Amenhotep II and usurped, later on, by Ramesses II and his successor Merenptah – not by modifying or changing its original facial features, but only by adding their own cartouches.

17

Ramesside Inscriptions and Preparatory Sketches in the Western Wall of Portico of Obelisks of Hatshepsut’s Temple at Deir el-Bahari

75%

Józefowicz E.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2020

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vol. XXXIII

107-119

EN

The representations of all the gods on the western wall of the Portico of Obelisks in Hatshepsut’s temple at Deir el-Bahari were destroyed during the Amarna period and restored under the reign of Ramesses II. In this paper, the inscriptions related to those restorations are commented on, along with a set of dipinti drawn on undecorated blocks below the dado lines. Those dipinti, of varying quality, represent the god Amun. Because of their location and form they were probably ‘restoration guidelines’ for the sculptors re-creating the destroyed images of the god. The paper’s aim is to reconfirm the dating of the restorations in this part of the temple and discuss the possible reasons for the dipinti creation.

18

Hatshepsut and the Apis Race: New Quartzite Relief Fragments from Dra’ Abu el-Naga

75%

Aglan H.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2018

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vol. XXXI

17-26

EN

The reconstruction of a scene sculpted on some quartzite stone fragments discovered recently at Dra’ Abu el-Naga and dating from the reign of Hatshepsut is the subject of this paper. The relief resembles the scenes known from the Red Chapel at Karnak and seems to be a part of the wdỉ sh.t ritual performed on the occasion of the Opet and/or Valley Festivals.

19

Palace or Slaughterhouse? The Function of the Room with a Window in the Hatshepsut Temple at Deir el-Bahari

75%

Białostocka O.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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issue 27

37–60

EN

The small room with a window situated in the south-east corner of the Upper Terrace of the Hatshepsut Temple at Deir el-Bahari has been interpreted by scholars to be either a slaughterhouse or a temple palace of the female pharaoh. Considering the axes of the Temple, the meaning assigned to the southern direction in connection with the solar theology, as well as the relief decoration preserved around the mentioned window, the paper proposes to reconstruct in the said space a symbolic residence of the deceased divine Hatshepsut, later turned into a palace of the sun god in its aspect of the day sun. Besides describing the changing function of the structure, it also looks into the transformation of the pharaoh into a divine being, the form of the sun god. Finally, the paper suggests possible original locations for some of the Hatshepsut statues, now in the collection of the Metropolitan Museum of Art in New York.

20

On the Question of So-called Amun-vases: Observations from the Temple of Hatshepsut at Deir el-Bahari

75%

Stupko-Lubczyńska A.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2015

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issue 28

159–189

EN

It is well known that during the post-Amarna period, depictions and texts vandalized in the course of the religious revolution of Akhenaten were restored. On the whole, they were reworked without changes. However, in the case of some elements of the wall decoration, the repaired image differed somewhat from the original one. This is the case of liturgical utensils represented in the offering table scenes in the Chapel of Hatshepsut and Thutmose I, where instead of hes-vases with conical covers so-called Amun-vases were restored. These were hes-vases with ram-headed lids which are known to have been carried in processions heading to the Nile during the New Year celebrations. The paper aims at answering the questions, what was the reason for the destruction of the mentioned cult implements during the Amarna period and why in the course of the post-Amarna repair some of the libation vessels were restored as ‘Amun-vases’.

Refine search results

A Fragmentary Statue of Ramesses II with a Scarab on the Head

Two Portraits of Senenmut in the Hatshepsut Temple at Deir el-Bahari

New Prayers and Invocations to Hathor among Unpublished Dipinti from the Thutmose III Temple at Deir el-Bahari

Four Wooden New Kingdom Female Statuettes in the Egyptian Museum, Cairo

A Nome Procession From the Royal Cult Complex in the Temple of Hatshepsut at Deir el-Bahari

New Dipinti in the Birth Portico of the Hatshepsut Temple at Deir el-Bahari

The Stela of Haremwia, Chief of the Provisioning Sector of the Temple Workshop (CG 34079 / JE 22011)

The Temple of Millions of Years of the Pharaoh Thutmose III (Luxor). An Update on the Research

A Rock Inscription of Ramesses IV at Gebelein: A Previously Unknown New Kingdom Expedition

Rebirth of Temples under the Rule of Hatshepsut and Thutmose III: Vocabulary

The Legacy of Senwosret I during the Reign of Hatshepsut and Thutmose III

Old and Middle Kingdom Tradition in the Temple of Hatshepsut at Deir el-Bahari

Some Reliefs Representing the King in the Heb Sed Robe Discovered in the Henket-Ankh

Inscribed Vessels Represented in the Chapel of Hatshepsut at Deir el-Bahari? Inscribed Vessels Represented in the Chapel of Hatshepsut at Deir el-Bahari?

Decoration of the Two Chests from the Frieze of Objects in the Southern Room of Amun in the Temple of Hatshepsut at Deir el-Bahari

Re-reading a Statue of King Ramesses II: Text or Iconography?

Ramesside Inscriptions and Preparatory Sketches in the Western Wall of Portico of Obelisks of Hatshepsut’s Temple at Deir el-Bahari

Hatshepsut and the Apis Race: New Quartzite Relief Fragments from Dra’ Abu el-Naga

Palace or Slaughterhouse? The Function of the Room with a Window in the Hatshepsut Temple at Deir el-Bahari

On the Question of So-called Amun-vases: Observations from the Temple of Hatshepsut at Deir el-Bahari