MAISONS ET OSTRACA PTOLÉMAÏQUES
À L'EST DU LAC SACRÉ
Jean LAUFFRAY
http://www.cfeetk.cnrs.fr/fichiers/Documents/Ressources-PDF/Karnak_10/Lauffray_301-348.pdf
viernes, 1 de enero de 2016
Bucchero
Bucchero pesante amphora, dated 560–540 BC, GR 1872.1006.1, Cat. no. 16
British Museum
britishmuseum.org
Etruscan. Antefix Head of a Woman
Etruscan. Antefix Head of a Woman, ca. 500 B.C.E. Terracotta, 8 5/16 x 6 1/4 x 6in. (21.1 x 15.8 x 15.2cm). Brooklyn Museum
Alabastron, Archaic, early 6th century b.c.
Alabastron, Archaic, early 6th century b.c.
Etruscan (said to be from Vulci)
Alabaster
Cut from one piece of stone, this perfume flask consists of a tall, slender body terminating at the top in the form of a woman holding a lotus flower in her right hand and a splayed base embellished above with four conjoined female heads in high relief. The neck and rim are now missing, and the back of the body is also badly corroded, revealing part of the narrow drilled tube that held the... contents. The flask belongs to a small group of sculptured stone alabastra; some of them may have been produced in the East, perhaps by Phoenician craftsmen, but others, found at Etruscan sites in central Italy, are seen as local adaptations. When it was first published, in 1963, this highly elaborate and unusual example was regarded as an Etruscan work. Despite its Orientalizing style, the heads on the flask, with their sharp, rather rudimentary features, recall other Etruscan sculptures of the late seventh and sixth centuries B.C.
Etruscan (said to be from Vulci)
Alabaster
Cut from one piece of stone, this perfume flask consists of a tall, slender body terminating at the top in the form of a woman holding a lotus flower in her right hand and a splayed base embellished above with four conjoined female heads in high relief. The neck and rim are now missing, and the back of the body is also badly corroded, revealing part of the narrow drilled tube that held the... contents. The flask belongs to a small group of sculptured stone alabastra; some of them may have been produced in the East, perhaps by Phoenician craftsmen, but others, found at Etruscan sites in central Italy, are seen as local adaptations. When it was first published, in 1963, this highly elaborate and unusual example was regarded as an Etruscan work. Despite its Orientalizing style, the heads on the flask, with their sharp, rather rudimentary features, recall other Etruscan sculptures of the late seventh and sixth centuries B.C.
Met Museum
metmuseum.org
metmuseum.org
Queen Cleopatra Making an Offering to the Goddess Isis
Department of Egyptian Antiquities: The final Pharaonic dynasties and the Ptolemaic period (circa 1069 - 30 BC)
This limestone stele was dedicated to Cleopatra VII Philopator on 2 July 51 BC by Onnophris, the Greek "president of the association of Isis Snonais." This association of temples was placed under the protection of a form of the goddess Isis worshiped in Faiyum (Al-Fayyum). Surprisingly, to modern eyes, the celebrated Egyptian queen is represented here as a traditional, male sovereign.
Cleopatra
Perhaps surprisingly, the figure depicted and honored here is very probably the celebrated Lagid queen Cleopatra, as indicated by the Greek inscription: "the Queen Cleopatra, goddess Philopator." The face of Cleopatra VII, daughter of Ptolemy XII Auletes, is familiar primarily through effigies on coins and a few rare Greek portraits; these obviously have nothing in common with the seductive images presented in films and nineteenth-century paintings. Clearly, the conventional, male image on the present relief cannot be taken as a reliable likeness.
A clearly-dated, recycled artefact
Aside from its historical interest, this artefact demonstrates the gulf between the modern perception of pictorial representation, and that of the ancient Egyptians: the traditional representation of the pharaoh was not intended as a realistic likeness, but as a kind of "pictogram." In this context, there was nothing anomalous about the use of a male image to represent Cleopatra.
The stele follows the usual conventions: a winged disk surmounts a ritual scene in the upper section, in which the sovereign faces the goddess across an offering table; a dedication is inscribed in the lower section. Cleopatra is represented as a traditional male pharaoh, wearing the double crown of Upper and Lower Egypt, and a triangular loincloth. Two vases are offered to the goddess Isis, who nurses her baby, Horus. The Egyptians knew nothing and cared little about the appearance of their Greek sovereigns, and continued to depict them according to the prescribed Pharaonic models. The relief's composition and iconography are purely Egyptian, but the text is written in Greek, the language of the conquerors.
On close observation, it appears that the stele has been re-engraved. The thin, straight lines around the edge, drawn to facilitate the correct alignment of the signs, do not coincide with those in the recessed areas containing the inscription. In addition, partially erased signs are still visible on the right edge.
The stele is dated year 1, the first day of the month "epiphi," which Greek scholars translate as 2 July 51 BC. It was initially erected in honor of one of the Ptolemies, in all likelihood Cleopatra's father, and was re-worked following her accession.
Traditional Pharaonic portraiture
This representation of Cleopatra harks back to an old tradition. As early as the Eighteenth Dynasty, the Egyptians represented Queen Hatshepsut, an ambitious regent who ultimately claimed her royal birth-right, as a male Pharaoh.
This stele was commissioned in honor of the new sovereign by an association of temples, whose protrectress was Isis Snonais, a local form of the great goddess, probably worshiped in the oasis of Faiyum. The association's president, Onnophris, was administrator of the temple.
Bibliography
Bernand Étienne, Inscriptions grecques d'Égypte et de Nubie au musée du Louvre, Paris, Éditions du CNRS, 1992, n 21, p. 62, pl. 17.
Vandier Jacques, in Revue du Louvre, 1973, pp. 113-115, fig. 16.
Wagner G., "Une Dédicace à la Grande Cléopâtre de la part du synode snonaïtiaque, 2 juillet 51 av. J.-C.", in Bulletin de l'Institut français d'archéologie orientale, n 73, 1973, pp. 103-108.
http://www.louvre.fr/…/queen-cleopatra-making-offering-godd…
Imagen de la Máscara de Warka o Dama de Warka
Museo Nacional de Iraq
Relief of a woman and youth reclining
Relief of a woman and youth reclining, late 6th–early 5th century b.c.
Etruscan
Amber; L. 5 1/2 in. (14 cm)
Gift of J. Pierpont Morgan, 1917 (17.190.2067
This sculpture is one of the most important amber objects of pre-Roman Italy. It is distinguished for the fine quality of its carving, considerable size, and complex subject. There is disagreement among scholars as to the subject portrayed and whether the work was created by an Etruscan artist or by a Greek artist for an Etruscan patron. The scene may be mythological, representing the goddess Aphrodite (known to the Etruscans as Turin) making love with the young Adonis; or, alternatively, it could represent a reclining Etruscan couple with attendants at a funerary banquet.
Met Museum
metmuseum.org
clay cones
Recovered Objects: clay cones (inscribed)
from Telloh / Girsu; Gudea inscription
Iraq Museum
...
from Telloh / Girsu; Gudea inscription
Iraq Museum
...
source: Joanne Farchakh picture
. oi-archive.uchicago.edu/
. oi-archive.uchicago.edu/
Pendant, 5th century b.c
Pendant, 5th century b.c.
Italic
Amber; L. 2 in. (5.2 cm)
Purchase, Renée E. and Robert A. Belfer Philanthropic Fund, Patti Cadby Birch and The Joseph Rosen Foundation Inc. Gifts, and Harris Brisbane Dick Fund, 1992 (1992.11.22)
Amber working was a highly developed art in ancient Italy. The special qualities of the material must have been responsible for its popularity from the late eighth century B.C. into Roman times.
Technical analysis has shown that amber originated in a limited area near the Baltic Sea and was traded along the major rivers of Europe and over the Alps. The mystique of amber must have derived partly from the remoteness of its source as well as from the organic inclusions trapped within the resin and the fact that it is always warm to the touch. Its color and the fragrance produced when it is burned distinguish it further. These features are particularly appropriate to a thunderbolt, so potent and so thermodynamic.
Met Museum
metmuseum.rg
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