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Sunday, August 7, 2022

Golden Shrine of Luxor’s Habu Temple restored to its original splendor - EgyptToday

https://www.egypttoday.com/Article/4/118183/Golden-Shrine-of-Luxor%E2%80%99s-Habu-Temple-restored-to-its-original

Golden Shrine of Luxor's Habu Temple restored to its original splendor

BY

Mustafa Marie

Sun, 07 Aug 2022 - 04:12 GMT

Part of the restoration works - Min. of Tourism          & Antiquities

Part of the restoration works - Min. of Tourism & Antiquities

CAIRO – 7 August 2022: Within the framework of the Ministry of Tourism and Antiquities' plan to restore and develop archaeological sites nationwide, especially in Upper Egypt, the Supreme Council of Antiquities completed the restoration of the gold shrine at Medinet Habu Temple on the western bank of Luxor Governorate.

Part of the restoration works          - Min. of Tourism & Antiquities
Part of the restoration works - Min. of Tourism & Antiquities
Gold Shrine of Habu Temple -          Min. of Tourism & Antiquities
Gold Shrine of Habu Temple - Min. of Tourism & Antiquities

Secretary General of the Supreme Council of Antiquities Mostafa Waziri stated that the restoration work was carried out exclusively by the Egyptian restorers of the Supreme Council of Antiquities.

Habu Temple after restoration          - Min. of Tourism & Antiquities
Habu Temple after restoration - Min. of Tourism & Antiquities
Habu Temple after restoration          - Min. of Tourism & Antiquities
Habu Temple after restoration - Min. of Tourism & Antiquities

The restoration work included removing dirt, soot and damage caused by erosion factors. This made the original colors of the cabin reappear clearly.

For his part, Director General of Maintenance and Restoration in Upper Egypt Saadi Awad said that the restoration of the gold shrine is part of the Habu Temple restoration project, which began in March 2022.

Awad added that the restoration works were documented in the cabin before, during and after the restoration. These also included preliminary strengthening works before cleaning, mechanical and chemical cleaning works, dirt removal, replacing old dilapidated restorations on walls, in addition to various wall strengthening works.

It should be noted that the Temple of Habu is one of the most important Egyptian temples. It was built in memory of King Ramses III, who built it to hold funeral rites and worship the god Amun. It consists of a first courtyard with inscriptions for the wars fought by King Ramses III, then the second courtyard with inscriptions for celebrations. It is followed by the pillared hall and on its sides are the chapels of the temple, the most important of which is the gold chapel, which has been restored to its original colors.

 

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Friday, August 5, 2022

July 2022 in South Asasif: Lepsius Figure


Site logo image southasasif posted: " Lepsius Figure By Katherine Blakeney The standing figure of Karakhamun's brother Nesamenopet is one of the most important documents on the application of the 21-square grid in the tomb of Karakhamun. A new addition to this figure, discovered in Jul" South Asasif Conservation Project

July 2022 in South Asasif: Part 2

southasasif

Aug 5

Lepsius Figure

By Katherine Blakeney

The standing figure of Karakhamun's brother Nesamenopet is one of the most important documents on the application of the 21-square grid in the tomb of Karakhamun. A new addition to this figure, discovered in July 2022 is one of the most important achievements of the season so far.

Until the recent work of the South Asasif Conservation Project, little was known about the art of Karakhamun. Existing information on the 21-square grid used in the tomb of Karakhamun originated from the records of Lepsius and Prisse d'Avennes.

(LD III, pl. 282d; Prisse d'Avennes, 64).

Both published drawings of the standing figure of Kara­khamun's brother Nesamenopet from the south wall of the Second Pillared Hall. The exact location of this figure was established only during the excavation of the Second Pillared Hall during the 2010–12 seasons. The tomb was already partially collapsed in Lepsius's time, making it impossible for him to accurately observe the disposition of its architectural features. Based on what he could see, he described Karakhamun as a large tomb with a six-pillar hall. In fact, the tomb contains not one pillared hall but two, the first with eight pillars and the second with four. The excavation undertaken by the South Asasif Conservation Project revealed that the figure of Nesa­menopet was in the second, four-pillar hall.

Although the carving and painting of Nesamenopet's fig­ure were completed, red grid lines were still traceable, leading Lepsius to the following observations: "An der linken Wand ist sein Bruder in Quadraten dargestellt. Die 21 Quadrate führen nur bis zum oberen Augenlide statt bis zum Ansatze der Kappe." (LD Text, 288).

By the time it was uncovered by the South Asasif Con­servation Project, the Second Pillared Hall had completely caved in and was buried beneath large blocks of bedrock that had crashed into the tomb. Only fifty centimeters of the south wall were found still in situ. The only remaining parts of Nes­amenopet's figure were his lower legs from knee level.

The figure was partially reconstructed by the conservation team of the Project with the help of existing records.

The nine­teenth-century copyists had reinforced the ancient grid lines with pencil marks, counted the lines, and written the num­bers on the right side of the grid. These numbered markings helped to identify and join thirty-eight fragments belonging to this figure.

The head was still missing. The start of the 2022 season brought us the priceless discovery of a large fragment of Nasamenopet's head. It was identified by Mohamed Shebib and Katherine Blakeney by the scale, style of carving, configuration of the breaks and, of course, 19th century pencil marks.

The fragment was cleaned and consolidated by Ali Hassan,

drawn by Katherine Blakeney

and installed by Mohamed Shebib.

The "Lepsius Figure" keeps growing!

Based on the figures in the tomb of Karakhamun, the Twenty-fifth Dynasty seems to have maintained the tradition of placing the top line of the grid at the level of the upper eyelid/bridge of the nose. In Karakhamun, this is horizontal 21 for standing figures, horizontal 17 for seated figures, and horizontal 13 for kneeling figures. The continued placement of the top line at eye level is a particularly prac­tical solution in the case of variable headdresses and domed Kushite head shapes. Such features may take up from one to four additional squares and would distort the proportions of the entire figure if incorporated into a unified system.

Katherine Blakeney comments on the 21 grid system in the following video.

Although the reasons for the transition from the 18- to the 21-square grid system in the Twenty-fifth Dynasty remain obscure, as previously noted, it is possible to sug­gest that one of the reasons could be connected to the archaizing nature of Kushite art. Many images in the tomb of Karakhamun are based on earlier images recorded by the artists.

There are examples of 21-square grids applied to Old Kingdom figures. It can be suggested that a grid with a greater number of squares allows for more pre­cision in the transmission process as it offers more reference points.







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Bibliotheca Alexandrina Launches New Site for Learning Hieroglyphics

https://cairoscene.com/Buzz/Bibliotheca-Alexandrina-Launches-New-Site-for-Learning-Hieroglyphics

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The Louvre Abu Dhabi Is Rocked by Antiquities Trafficking Scandal

https://www.thedailybeast.com/the-louvre-abu-dhabi-is-rocked-by-antiquities-trafficking-scandal

The Louvre Abu Dhabi Is Rocked by Antiquities Trafficking Scandal

MONEY TRAIL

Prominent curator Jean-François Charnier was officially charged this week with supplying charged false provenance information about artworks in the Louvre Abu Dhabi.

Helen Holmes

Culture Reporter

Updated Aug. 05, 2022 9:58AM ET / Published Aug. 04, 2022 4:41PM ET

Tom Dulat/Getty

In late July, reports emerged that two prominent curators were being held for questioning in connection to a wide-ranging antiquities trafficking scandal that's affected the collections of the Metropolitan Museum of Art, the Louvre and the Louvre Abu Dhabi, according to Artnet.

This week, according to Artnet, one of the curators, Jean-François Charnier, was officially charged with supplying charged false provenance information about artworks that found their way into the collections of the Louvre Abu Dhabi, due to efforts Charnier made on behalf of the organization France Muséums. France Muséums declined to comment to The Daily Beast.

According to Generations Nouvelles, "five objects looted in Egypt purchased by the Louvre Abu Dhabi" are items linked to Charnier's intervention that are now part of a wide-ranging investigation, in addition to hundreds of ancient artifacts believed to have been trafficked.

"Louvre Abu Dhabi confirms it has become a civil party in the ongoing French investigations related to the alleged trafficking of Egyptian antiquities," the Louvre Abu Dhabi told The Daily Beast in a statement. "As these investigations are ongoing, we are unable to provide any further comment on the matter."

In June, the New York District Attorney's Office seized five other Egyptian antiques from the Metropolitan Museum of Art as part of the broader investigation.

Transactions involving looting antiquities are a global issue, and the practice has yet to be fully curbed by the nations involved, but some are trying: in February, fearing the practices of the Taliban, the State Department Bureau of Educational and Cultural Affairs and U.S. Customs and Border Protection placed art and antiquities from Afghanistan under "emergency import restrictions," but there's an uphill battle to be fought. In 2020, an Interpol survey found that over 850,000 ancient looted objects had been seized by global law enforcement in that year alone.

France Muséums was formed in 2007 as part of the origins of the Louvre Abu Dhabi, and on the international museum consultancy's website, it says that it "design[s] museums as ecosystems organized around artworks, that are able to interconnect very diverse audiences, cultures and territories."

Jean-François Charnier and another curator, Noëmi Daucé, have specifically been suspected of looking the other way regarding the approval of the provenance of the items in question; they worked for Jean-Luc Martinez, the former director of the Louvre in Paris, before the latter was suspended by the French government due to his connections to art trafficking. The Louvre declined to comment to The Daily Beast.

Martinez, according to Artnet, was charged with "complicity of gang fraud and laundering" earlier this year. In June, a report by French investigators was released that stated that France Muséums was guilty of "real professional negligence," "transgression of deontological rules," and "failures."


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Queens of Egyptology – europeantimes.news

https://www.europeantimes.news/2022/08/queens-of-egyptology/

Queens of Egyptology

By Gaston de Persigny
4 August 2022
Modified date: 4 August 2022

DISCLAIMER: Information and opinions reproduced in the articles are the ones of those stating them and it is their own responsibility. Publication in The European Times does not automatically mean endorsement of the view, but the right to express it.

 
Gaston de Persigny
Gaston de Persigny - Reporter at The European Times News

Gaston de Persigny - 4 August 2022 0
7 min.

We have all heard the name Howard Carter and know that he is the discoverer of the famous tomb of Tutankhamun in Egypt. However, history knows no less colorful ladies who left an important scientific legacy in Egyptology. I personally have a special sentiment and interest in two of them, with whom I feel connected in a special way.

We have all heard the name Howard Carter and know that he is the discoverer of the famous tomb of Tutankhamun in Egypt. However, history knows no less colorful ladies who left an important scientific legacy in Egyptology. I personally have a special sentiment and interest in two of them, with whom I feel connected in a special way.

Natasha Rambova

she is like a heroine from a movie. Her birth name was Winifred Kimball Shawhennessy. In the 1920s, she was a student of the Russian ballet master and choreographer Teodor Kozlov, and in his honor, when she was 17, she adopted the artistic pseudonym Natasha Rambova, which gradually became her official name. Later, she became one of the most extravagant designers of costumes for theater productions and film productions, and created her own fashion line. Her name is constantly mixed up in love affairs with both men and women.

They say that her mentor Teodor Kozlov and the actress and film producer Alla Nazimova, with whom they created the classic "Salome" in 1922, were also madly in love with her. Natasha Rambova played many roles in Hollywood, created costumes that are emblematic of the spirit of the time. She also went down in history with her stormy two-year marriage, followed by an equally stormy divorce from Hollywood's sex symbol at the time, Rudolph Valentino. Spicy, passionate and uncontrollable, Rambova is fascinated by all forms of art, but also by esotericism and spiritualism, and more than once declares to the sweet and melodramatic

Valentino that it is completely impossible for her to stay at home, look after children and set the table for afternoon tea. A few years after her divorce from Valentino in 1925, she married the aristocrat Alvaro de Urzaiz, and in 1936 she visited Egypt for the first time – the country that enchanted her forever and with which she would connect her life. He is then 39 years old.

Natasha spends nearly a month in Luxor. It was there that she met Howard Carter – a fateful meeting, because from that moment she decided that she would devote the rest of her life, all her means, energy, strength and emotions to the science of Egyptology. At that time he wrote in his personal diary: "I felt as if at last, after a long journey and wandering, I had returned home. The first days I was in Thebes, I couldn't stop my tears, they just flowed from my eyes. But no!… these weren't tears of sadness, but some kind of emotional release, some kind of impact from the past – a return to yourself and to the place you've loved for too long and you're finally back, where it's always been. your heart I'm home, I'm finally home!!!'

Natasha Rambova's research and contribution to the development of Egyptology is truly remarkable. He began collecting and studying various religious texts, until one afternoon, looking for information in the Cairo library, he met the director of the Institute at the time, the Russian-born Egyptologist Alexander Piankov. This acquaintance would lead to some of the most serious research and the publication of valuable books related to the sacred religious texts of Ancient Egypt – the pyramid texts from the pyramid of King Unas of the Fifth Dynasty of Egypt at Saqqara. Rambova took up research and editorial work and actively helped Piankov in his studies. Finds solid funding from foundations, helps field research in Luxor. The team obtained permission to photograph and study the inscriptions from the golden shrines that surround the sarcophagus of Tutankhamun in his tomb in the Valley. He worked as an editor on the first three volumes of the series "Egyptian religious texts" by Alexander Piankov and continued to deal with Egyptology until his last breath.

Nina McPherson Davis

She is the wife of another very talented and famous Egyptologist – Norman de Garris Davis. A true lady, a talented artist, copyist and Egyptologist, she is also known for her impeccable personal style – her long dark hair is always braided and smells of jasmine, her dress is unfailingly elegant and she always welcomes guests for afternoon tea at her house in Kurna, on The West Bank of Luxor, with fine china cups on a white linen tablecloth.

A fateful trip in 1906 to Alexandria linked her life to Egyptology. Then Nina was 25 years old and with a group of friends toured the sights of Ancient Egypt. Over a cup of tea, she meets Norman de Garris Davies, who is 16 years older than her. By this time, Norman was already an established Egyptologist, clearly stating his serious work and dedication to science. Behind him was work as an Egyptologist and copyist, and together with Sir William Matthew Flinders Petrie worked at Dendera (1897-1898).

He then headed the Egypt Exploration Fund mission, resulting in 11 volumes of copies of tombs from Saqqara, Amarna, Sheikh Said and Deir el-Gebrawi. Between 1905 and 1907 he worked with George Reisner on the Giza Plateau, as well as with James Henry Breasted, describing and studying the monuments in Nubia. Love between the two ignited at first sight, and upon returning from her trip, Nina was already engaged to Norman, and a year later, in 1907, they were married in London. In the same year, Norman headed the epigraphic mission to Egypt of major ancient Egyptian necropolises. He and his wife, Nina, settled in Luxor, where Norman began his work at Sheikh ab del-Qurna. Almost their entire life together was spent there studying the texts and images from the tombs of several major ancient Egyptian necropolises. This will become their life's work.

From 1913, Nina began working as a copyist for the Metropolitan Mission, just like her husband. This job requires extreme precision, an accurate eye and a talented hand. It is often dark and uncomfortable to work in the tombs. There is a lack of natural light in which to see the true colors. Texts and reliefs are destroyed, parts are missing, images are covered with layers of dust and dirt. Nina started using mirrors in her work to provide more light in the rooms.

Together with Norman, they began to use a new technique in their repaintings – instead of watercolor paints, they used tempera paints, with which they gave volume and density to the images. Nina mastered the technique, style and form of ancient Egyptian hieroglyphics and imagery to such an extent that her renderings can still easily fool even the professional eye today. They live in a small house in Luxor, where in the evening they like to listen to music on their old gramophone, drink tea, and after dinner continue to work until the early hours of the next day.

Sir Alan Gardiner, one of the most famous British Egyptologists, was impressed by Nina's talent and managed to organize several solo exhibitions of her in London and Oxford, and Rockefeller himself was included as a donor. With his help, two volumes of her works were published.

For the first edition of his Egyptian grammar, Sir Alan Gardiner asked Nina and Norman to produce a hieroglyphic character pool. They do, and in fact the grammar that all Egyptologists use today is based on the hieroglyphs written by Nina and Norman de Garris Davies.

In 1939, because of the complicated political situation immediately before the Second World War, the two left their house in Kurna and returned to England. Half of their belongings remain in Egypt, clearly indicating their intention to return and continue their work. However, on November 5, 1941, Norman died in his sleep of heart failure. Left alone, Nina never returned to Egypt and devoted her entire life to arranging, editing and publishing her husband's unfinished works.

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      • Golden Shrine of Luxor’s Habu Temple restored to i...
      • July 2022 in South Asasif: Lepsius Figure
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      • The Louvre Abu Dhabi Is Rocked by Antiquities Traf...
      • Queens of Egyptology – europeantimes.news
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