Polish archaeologists found tombs dating back four thousand years in Egypt

A team of Polish archaeologists discovered tombs from the early second millennium BC and unknown pharaonic carvings in Gebelein in Upper Egypt. It was a part of rescue studies associated with the devastation caused by the widening range of fields and settlements.

Gebelein is a complex of archaeological sites approximately 30 km south-west of Luxor. More than 5 thousand years ago it was a capital of one of the proto-states, which preceded the state of the pharaohs. The first European archaeologists came here at the end of the nineteenth century, but over the last few decades scientists seldom studied this area and did not publish the results of their research. Therefore, it is not well recognized. The name "Gebelein" means "two hills" in Arabic. It comes from the characteristic element of the local landscape - two hills. On the east hill there once was a temple of the goddess Hathor and a fortress.

Photocredit:  W. Ejsmond

"At the foot of the rocky hill we tracked down another place of worship of the goddess Hathor - sanctuary carved into the rock, with reliefs preserved on the walls. So far, the site has only been mentioned in the scientific literature and basically no one knows anything about it" - explained Wojciech Ejsmond, leader of the expedition.

Hathor was the goddess the ancient Egyptians usually associated with singing, dancing, love, and death. However, scientists know little about the cult of Hathor in Gebelein, the location of the oldest known temple of the goddess.

"We hope that the research that we want to carry out next year, especially reading the texts carved on the walls of the sanctuary, will provide us with more information on this topic" - added Ejsmond.

Museum Pieces - Hathor's Sistrum

(Photocredit: Medelhavsmuseet)

Inventory number
MME 1995:004
Object
Sculpture; Sistrum
Country - Origin
Egypt
Material
Faience; Pottery
Description
Part of a model of a sistrum, a rattle instrument that was connected with the goddess Hathor whose face adorns the handle.
Condition
Broken off at neck. Only upper part preserved.
Dimensions
H. 16.5 cm, W. 7.3 cm, D. 3.2 cm


Hathor's Sistrum

by Jimmy Dunn

Perhaps one of the main cult objects associated with Hathor was the sistrum, a musical rattle. Its name is derived from the Greek, seiein, meaning "to shake".

(Photocredit: Medelhavsmuseet)

The sound of the sistrum is metallic, produced by a number of metal disks or squares, strung onto a set of transverse bars, set horizontally into a frame of varying design. Its sound was thought to echo that of a stem of papyrus being shaken. However, the acoustic effects were frequently extremely limited. The sistrum was suitable for beating a rhythmical accompaniment in open-air processions. Apuleius, the Roman philosopher, described a procession in honor of Isis, in The Golden Ass, where the rhythmic pattern was three beats followed by a pause on the fourth. The sound of the instrument seems to have been regarded as protective and also symbolic of divine blessing and the concept of rebirth. In addition to the symbolic significance of its sound, the shape and decoration of the sistrum relate it to the divine.

Two forms of this ceremonial instrument may be distinguished, the oldest of which is probably the naos sistrum (ancient Egyptian ss, ssst). While Hathor's head was often depicted on the handles of sistrum, an early travertine sistrum inscribed with the name of the 6th Dynasty ruler, Teti, takes the form of a papyrus topped by a naos, which is itself surmounted by a falcon and cobra, thus forming a rebus of the name Hathor (i.e. hwt Hor). Thus, the sistrum known as the naos sistrum dates back to at least the Old Kingdom. It was usually surmounted by twin heads of Hathor upon which a small shrine or naos-shaped box was set. A vulture may crown the naos, and the handle may be covered with the incised plumage of the bird. Rods were passed through the sides of this naos to form the rattle. Carved or affixed spirals framing the sides of the naos represented the horns of the cow-eared goddess. Note that this earliest form of sistrum was often made of faience.

Cleopatra: Rome and the Magic of Egypt

Dalu Jones visits an intriguing new exhibition investigating the captivating effects that Cleopatra and Ancient Egyptian culture had on the Romans

Cleopatra VII, the last queen of Egypt (69-30 BC), has recently returned to Rome as 
the inspiration for an exhibition entitled Cleopatra: Rome and the Magic of Egypt. Major museums and galleries worldwide have lent almost 200 works of art to this show celebrating a woman whose appeal and influence remain undiminished even now, 2000 years after her death. 

These include the 'Nahman Cleopatra', a marble head (circa 33-30 BC), on show in Italy for the first time. The portrait, which is still in private hands, takes its name from Maurice Nahman (1868-1948), the most famous of Cairo's antique dealers and collectors in pre-Nasser Egypt. 
The 'Nahman Cleopatra' resembles another head dating from the second half of the 1st century BC, from the Vatican Museums, which is also on view here (circa 45 BC), one of the few portraits thought by scholars to really represent the queen. Found in 1784 at the Villa dei Quintilii on the Via Appia, the young woman wears the royal diadem, a broad band of cloth tied around the head (first adopted by Alexander the Great) that came to symbolise Hellenistic kingship.

Photograph: Musei Vaticani

Both heads may be Roman copies, in marble, of the lost, gilded bronze statue of Cleopatra given by Julius Caesar to the Temple of Venus Genetrix, while she was living in Rome from 46 to 44 BC. Another marble head found in Rome, on the Via Labicana, may be a portrait of Cleopatra in her youth, represented in the guise of the goddess Isis and dating from the 2nd or 1st century BC. The likeness of Cleopatra shown on coins does not do her justice. Men found her extremely attractive, although she may not have been a great beauty in the conventional sense but probably a highly intelligent jolie-laide whose allure was derived from her elegant bearing, notable wit, regal status and undoubted political savoir faire.

Representing the queen's illustrious Macedonian ancestry there is the 'Guimet Alexander', a masterpiece of Hellenistic sculpture from the Louvre. Alexander the Great was the founder of Alexandria, where he was reputedly buried by Ptolemy Soter I (circa 367 BC-circa 283 BC), one of his generals, the initiator in 305 BC of the Ptolemaic dynasty that ended with Cleopatra's death in 30 BC. Cleopatra's lovers Julius Caesar (100-44 BC) and Mark Antony (83-30 BC) are also represented, as is Caesarion (47-30 BC), her son by Julius Caesar, who became Ptolemy XV.

How a Canaanite goddess conquered ancient Egypt

Brought over by mysterious conquerors and fused with a local deity, the nameless goddess was a kinder, gentler - and yellow - goddess.

By Julia Fridman

Upon entering the tomb of King Thutmosis III, its excavator was greeted by a scene he hadn't expected. In addition to the typical stiff, repetitive funerary imagery of the time, the innermost sanctum of the burial chamber had a simple image of the Pharaoh suckling on a breast protruding from a tree.

The association of a tree of life with a major goddess had been all but unknown in Thutmosis’ 18th Dynasty Egypt (1479 BCE to 1425 BCE). But they were very well known in Canaan and the broader Levant.

Nude goddesses and tree symbolism began appearing as early as the Neolithic period, some 12,000 years ago in the north of Israel. Artifacts including scarab seals, jewelry, and clay figurines were found at important sites such as Lachish, Megiddo, Beit Shean, Gezer, and Nahariya, to name just a few.

By the time of the Middle Bronze Age, 4,000 years ago, they were commonplace in funerary, household and temple contexts – in the Levant. Not in Egypt.

Egyptian goddess statue unveiled in İzmir’s Red Basilica

IZMIR - Doğan News Agency

Photocredit: DHA photo

An almost nine-meter long lion-headed Egyptian goddess Sekhmet has been revived in the Red Basilica (Kızıl Avlu) in the largest structure of the ancient city of Pergamon in İzmir’s Bergama district, and opened to visits on Sept. 26. The statue has already drawn great interest from tourists in the area. 

German Excavation Institute Chairman Ferix Pilson said it would contribute to Bergama’s inclusion in the UNESO Cultural Heritage list in June next year. 

The Egyptian statue pieces found during the excavations since 1930 in the Red Basilica are among the most important statues from the Roman Empire. Among them, the lion-headed goddess statue was reconstructed thanks to the support of the Studiosus Foundation. The statue was raised last year for trial purposes and with further works, and it reached an impressive height of 8.5 meters.

Source: http://www.hurriyetdailynews.com/egyptian-goddess-statue-unveiled-in-izmirs-red-basilica.aspx?pageID=238&nID=55259&NewsCatID=375

Uncovered: Ritual public drunkenness and sex in ancient Egypt

By Melissa Healy April 29, 2013

I'll bet you that archaeologist Betsy Bryan's perspective on reality-show behavior is a little longer than most. Since 2001, Bryan has led the excavation of the temple complex of the Egyptian goddess Mut in modern-day Luxor, the site of the city of Thebes in ancient Egypt. And the ritual she has uncovered, which centers on binge drinking, thumping music and orgiastic public sex, probably makes "Jersey Shore" look pretty tame.

At least it was thought to serve a greater societal purpose.

Bryan, a specialist in the art, ritual and social hierarchy of Egypt's New Kingdom (roughly 1600 to 1000 BC),  has painstakingly pieced together the details of the Festivals of Drunkenness, which took place in homes, at temples and in makeshift desert shrines throughout ancient Egypt at least once and, in some places (including at the Temple of Mut), twice a year.

Bryan, of Johns Hopkins University in Baltimore, presents her work in the second of a four-part lecture series tonight, under the auspices of the California Museum of Ancient Art. Under the title "Magic, Ritual and Healing in Ancient Egypt," Bryan's lecture (7:30 p.m. at Piness Auditorium inside Wilshire Boulevard Temple, 3663 Wilshire Blvd.) outlines the meaning and the mechanics of the Drunkenness Festivals.

Lectures Three and Four, on May 13 and 21, will feature two other acclaimed Egyptologists: Francesco Tiradritti of the University of Enna, Italy, and Dr. Benson Harer, past president of the American College of Obstetrics and Gynecology. Tiradritti will lecture on Isis, Osiris' wife, and her magical powers. Dr. Harer will lecture on women's health concerns in ancient Egypt.

Before her lecture Monday, Bryan chatted with the Los Angeles Times about these widely observed rituals.

More Sekhmet statues unearthed at Amenhotep III's temple in Luxor

Black granite statues of the ancient Egyptian lioness goddess Sekhmet were unearthed Monday at King Amenhotep III's temple on the west bank of Luxor

by Nevine El-Aref , Monday 11 Mar 2013


Egyptian and European excavators unearthed a collection of black granite statues depicting the ancient Egyptian lioness Goddess Sekhmet during their routine excavation at King Amenhotep III funerary temple in the Kom Al-Hittan area on the west bank of Luxor.
The statues depict the goddess Sekhmet in her usual form, sitting on the throne with a human body and lioness's head.

"This is not the first time statues of the lioness goddess have been unearthed at Kom Al-Hittan," said Mohamed Ibrahim, minister of state for antiquities adding that the Egyptian-European mission led by German Egyptologist Horig Sourouzian has previously unearthed 64 statues of Sekhment of different shapes and sizes.

Ibrahim explained that such a large number highlights the important role of the goddess during the reign of the 18th dynasty king Amenhotep III, father of the monotheistic king Akhnaten and grandfather of the golden king Tutankhamun.

Sekhmet was believed to be a protective goddess as she was also the goddess of war and destruction. "Some Egyptologists," pointed out Ibrahim, "believe that king Amenhotep constructed a large number of goddess Sekhmets in an attempt to cure him of a specific disease that he suffered during his reign." Sekhmet was well known of her supposed ability to cure critical deseases.

Taweret: An Untraditional Egyptian Goddess

By CANDACE A. REILLY

The Ancient Egyptian goddess Taweret, ‘the Great One’, is depicted by scholars and in ancient Egypt as being the protective goddess of mother and child during pregnancy and childbirth. As with many ancient Egyptian deities, she goes by many names throughout. A few of her names have been Ipet, Opet, Reret, Ta-urt, Teweret and Thoueris. She is a composite figure of hippopotamus, crocodile, lion and human and uses her fearsome nature as an apotropaic device against demons who seek to destroy mother and child in their times of weakness. Most scholars suggest that Taweret is pregnant which adds to her symbolism in being the defender of pregnancy; however I find that the figures of Taweret are not pregnant yet are depicted with a swollen abdomen to represent the female form which is able to be pregnant, that is, to be fertile. The features of the swollen abdomen and the pendant shaped breasts are not unique to Taweret, yet are a shared attribute to the god of the Nile, Hapi, and fecundity figures found in temples. I propose that in depicting Taweret with similar attributes to figures of fertility of Egypt her purpose as a goddess is more complicated then a domestic goddess who protects family life. When Taweret is depicted with a swollen abdomen and pendant breasts I believe she is representing a pre-dynastic mother goddess, similar to Hathor Mehet- Weret, and due to her similar depiction to Hapi and the fecundity figures her purpose is not only to protect pregnancy and childbirth but to guard and represent the fertility of Egypt.