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1
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Tajemství zasvěcených aneb Ztraceno v překladu

100%
Míčková D.
Pražské egyptologické studie (Prague Egyptological Studies)
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2014
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issue 12
34-39
EN
The article suggests that other traditions, such as oral ones, could have existed and been observed by priests in connection with the ancient Egyptian texts for reaching the netherworld (with a focus on the Coffin Texts). Based on some spells it would appear that these texts could have been studied, taught and applied both on the earth and in the underworld. They could have served as an abridged version of a sum of knowledge which its users should know by heart – knowledge that might have been taught following initiation into a certain group within the priestly hierarchy. The image character of the hieroglyphs and the capacity for puns and double meanings suggest that some texts or their parts could have served as a reminder of their overall content. The old belief in the magic power of Egyptian script and secret knowledge of Egyptian priests, misinterpreted in later times, may point towards a genuine tradition maintained by learned priests and magi, and the complexity and sophistication of the Egyptian writing system.
2
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Slova v čase a prostoru: Z Textů rakví z Iufaovy hrobky v Abúsíru

100%
Míčková D.
Pražské egyptologické studie (Prague Egyptological Studies)
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2016
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issue 16
75-81
EN
The present study deals with textual tradition and transmission in the Late Period, focusing on selected spells from the Coffin Texts from the shaft tomb of the priest Iufaa at Abusir. Changes in the orthography, palaeography, grammar and content of the texts between the Middle Kingdom (or sometimes even the Old Kingdom) and the Late Period indicate that the priests and scribes of the Late Period, who read and copied these texts, understood them and were able to modify the parts that were unintelligible to them or no longer in keeping with their world view and change them e.g. to comply with contemporary religious concepts. This does not, however, mean that the Late Period copyists were immune to misinterpretation and error. Since many spells found in Iufaa's tomb are not preserved elsewhere in the Late Period and sometimes exist in highly fragmentary versions from the Middle Kingdom, analyses of Iufaa's versions of these texts significantly contribute to the existing translations and interpretations of some Coffin Texts spells.
3
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Nové mýty o starých bozích. Ze stěn pohřební komory kněze Iufay

63%
Landgráfová R., Míčková D.
Pražské egyptologické studie (Prague Egyptological Studies)
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2018
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issue 20
57-70
EN
The study focuses on four hitherto unknown mythological texts that accompany the text of the Royal purification ritual on the northern wall of the burial chamber of the shaft tomb of Iufaa at Abusir. These include a text describing the appearance and functions of the Hayshesh sea serpents, a cosmogony involving the uroboros, a myth of the glorifier of the Nun and an aetiological myth of the origin of divine awe. These texts further illustrate the nature of the sacred “library” that Iufaa accumulated in his tomb and elucidate the meaning of the originally royal purification ritual that adorns the northern and part of the eastern wall of Iufaa’s burial chamber.
4
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Prokletí starých Egypťanů? Magický text na ochranu proti zlodějům ze šachtových hrobek v Abúsíru

63%
Landgráfová R., Míčková D.
Pražské egyptologické studie (Prague Egyptological Studies)
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2019
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issue 22
54-67
EN
The study contains a translation and analysis of a hitherto unknown protective spell from the sarcophagus lid in the shaft tomb of Menekhibnekau, which has a single known parallel as yet, located on the eastern exterior wall of the outer sarcophagus of Iufaa, with three columns extending onto the southern wall. The major part of the spell places the deceased under the protection of the goddess Isis, but the powerful seven “knots” or “utterances” of the creatrix goddess are invoked as well. The final part of the spell contains a short curse aimed at potential tomb robbers, which is rather unusual in terms of both its placement and time of use: such texts were much more usual in far earlier times of Egyptian history.
CS
Studie obsahuje překlad a analýzu ochranného kouzla z víka sarkofágu v šachtové hrobce generála Menechibnekona. Jeho jediná dochovaná paralela se nachází na východní stěně vnějšího sarkofágu kněze Iufay, tři sloupce „přetékají“ na stěnu jižní. Hlavní část textu umísťuje zesnulého pod ochranu bohyně Esety, ale je zde vzýváno i sedm mocných „uzlů“ či „výroků“ stvořitelské bohyně. Text zakončuje krátká kletba namířená proti potenciálním vykradačům hrobek. Tato kletba je neobvyklá jak svým umístěním, tak obdobím, v němž byla zaznamenána, neboť s podobnými kletbami se obvykle setkáváme v mnohem dřívějších dobách egyptských dějin.
5
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Setne Chamvaset – nezvedený syn faraona Vesermaatrea?

63%
Landgráfová R., Míčková D.
Pražské egyptologické studie (Prague Egyptological Studies)
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2018
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issue 20
71-78
EN
The study presents a new look at the Demotic story of Setne I. According to traditional interpretations, Setne is a scholar searching for the magical scroll containing the wisdom of Thoth, who has to pass through various dangers along his journey and, in the end, is forced to return the book back to the tomb where he found it. The mysterious beauty Tabubu, whom he encounters after carrying the scroll out of the tomb of the scholar Naneferkaptah, is usually portrayed as a force of chaos, as one of the dangerous women described in coeval wisdom literature as creatures any wise man should avoid. However, a careful analysis of the text reveals Setne to be no scholar, his motivation as far from a pure search for knowledge, and his desires being of a carnal rather than spiritual nature. Moreover, a large part of the narrative appears to play out in the spiritual realm, which Setne reaches upon voluntary or involuntary intoxication. Finally, the story also shows that the memory of the real Setne Khamwaset permeated the literary tradition of the time, as the literary Setne, too, is portrayed as an ancient “archaeologist” who roams and restores tombs from long lost times.
6
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Iufaa jako kněz slunečního boha: z východní stěny pohřební komory kněze Iufay v Abúsíru

51%
Janák J., Landgráfová R., Míčková D.
Pražské egyptologické studie (Prague Egyptological Studies)
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2020
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issue 24
64-74
EN
This study deals with the annotated version of the text known as König als Sonnenpriester inscribed on the arch of the eastern wall of the burial chamber of Iufaa. Like most of the decoration that covers the walls of Iufaa’s burial chamber and sarcophagi, the composition focuses primarily on his knowledge of cosmological, underworld or otherwise secret and mysterious phenomena and beings. The most interesting aspect of the composition analysed here is the way it interconnects writing with iconography, i.e. the text, the associated vignettes, and above all the way these are treated in terms of real and sacred space. The scene of the resurrection of the sun is located in the centre of the arch of the eastern wall of the burial chamber, and the columns of inscriptions around it partially create an image of the hieroglyphic sign for “horizon” (akhet). Immediately under the scene there is a square niche reminiscent of a closed window, the placement, dimensions and shape of which reflect those of the entrance opening for the mummy located in the opposite, western wall. The “window” thus symbolically connects the ideas of the rising of the sun from the gate of the eastern horizon, the flying out of the god Khepri from the ball of dung and from between the legs of the sky goddess, and the resulting appearance of the sun god in glory and divine might. Therefore, this square opening in the eastern wall of Iufaa’s burial chamber can be linked with with the so-called windows of appearance, through which the king or god appeared to the people as someone rising in glory to illuminate the world.
CS
Studie se zabývá komentovanou verzí textu známého jako König als Sonnenpriester, která je zapsána v oblouku východní stěny pohřební komory kněze Iufay. Podobně jako většina výzdoby stěn Iufaovy pohřební komory a sarkofágů se i tato kompozice zabývá především jeho znalostmi kosmologických, podsvětních či jinak tajných jevů a bytostí. Nejzajímavějším aspektem zde analyzované kompozice je způsob, jakým spojuje písmo a ikonografii (tedy text a na něj navazující viněty), a především to, jak jsou písmo i viněty zasazeny do skutečného a posvátného prostoru. Scéna znovuzrození slunečního boha se nachází uprostřed oblouku východní stěny a sloupce hieroglyfů kolem ní částečně vytvářejí představu znaku pro „obzor“ (achet). Bezprostředně pod scénou se nachází čtvercový výklenek připomínající zazděné okno. Jeho umístění, rozměry a tvar odpovídají oknu v protější, západní stěně, jímž byla do hrobky vpravena mumie. Výklenek tak symbolicky propojuje představu slunce vycházejícího z brány ve východním obzoru, vylétání boha Cheprera z kuličky hnoje a z rodidel nebeské bohyně a výsledný východ slunce v záři a božské moci. Tento čtvercový průchod ve východní stěně Iufaovy pohřební komory je tedy možno spojit s takzvanými okny zjevování, jimiž se král či bůh zjevoval lidem jako někdo, kdo vychází v záři, aby rozjasnil svět.
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