The 2022 version of our Undergraduate and Graduate presentations is this Saturday, May 21 from 10.00-1.00 in Kaplan Hall A51, UCLA campus. You are welcome to hear some wonderful presentations on this year's theme: Ptolemaic Temples (see flyer for the program).
Best regards,
Willeke Wendrich
Director Cotsen Institute of Archaeology at UCLA
Joan Silsbee Chair of African Cultural Archaeology
Professor of Egyptian Archaeology and Digital Humanities
UCLA acknowledges the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (Los Angeles basin, So. Channel Islands). As a land grant institution, we pay our respects to the honuukvetam (ancestors) 'ahiihirom (elders), and 'eyoohiinkem (our relatives/relations) past, present, and emerging.
The Board of Directors of the American Research Center in Egypt, Northern Californiachapter, is offering one $1,000 grant to a qualified student. The deadline for submission is Tuesday, May 31, 2022 with the winner to be recognized at our August 21 meeting.
To qualify for this grant, the applicant must be an undergraduate or graduate student who is enrolled at a Northern California college or university (Monterey County to the Oregon border) or who has a home address in this area. They must be pursuing a degree that incorporates Egyptian anthropology, archaeology, art, history, museum studies or language, or Coptic or Arabic studies in any period. Proof of enrollment may be required.
Applicants are to submit 1) a brief summary (250-500 words) describing how they will use the grant and 2) a 1-2 page CV. The grant will be awarded by the Board based on merit. Possible uses include but are not limited to research, travel, or preparation of an exhibition or program. Proposals involving work with research materials should secure any permissions required for that work before the application is sent.
Students should apply by email (Word or PDF file) to ARCENorCal@gmail.com. If possible, the winner is expected to attend the August 21 ARCE meeting – via Zoom if it is held virtually, and at the University of California, Berkeley if it is held in person.
The grant honors the memory of Marie Buttery, founding president of our chapter.
ARCE Northern California also offers a $1,500 student grant each fall in memory of its former member Professor Eugene Cruz-Uribe. Call for applications for this grant will go out later in 2022.
In November 1922, British archaeologists made history when they found the long-sought-after tomb of King Tutankhamun in Egypt's Valley of the Kings.
They didn't do it alone. Many skilled Egyptian workers made the discovery possible to begin with.But though dozens of unnamed Egyptian men and children performed much of the intense physical labor at the site—and shared their local knowledge and specialized skills—self-taught British archaeologist Howard Carter got all of the credit for the find.
To this day, historians are unable to match the names of the few Egyptian workers they do know to the faces of local men who were present at every stage of the painstakingly photographed discovery.
Now, a new exhibition in England shines a light on the Egyptian workers who made the find possible—most of whom were left out of the historical record.
"Tutankhamun: Excavating the Archive" goes beyond "colonialist popular stereotypes" to showcase the "humanity of the modern and ancient people who worked on the tomb," says Richard Bruce Parkinson, an Egyptologist at Oxford and the exhibition's co-curator, in a statement.
Though the exhibition, on view through February 5, 2023 at the University of Oxford's Weston Library in Oxford, England, celebrates the 100th anniversary of the find, it also criticizes and interrogates the prevailing narrative.
"The excavation was not achieved by a solitary heroic English archaeologist but by the modern Egyptian team members, who have so often been overlooked and written out of the story," says Parkinson in the statement.
Carter's life story is the stuff of archaeological legend. Born in London in 1874, he was drawn to the field when his father, a successful artist, painted an Egyptologist. At 17, young Carter headed to Egypt for the first time, working at several archaeological sites while perfecting his craft as an illustrator.
His reputation as an experienced Egyptologist got around and, in 1907, English aristocrat George Herbert, the fifth earl of Carnarvon, tapped Carter to lead an expedition to search for the tombs of Egyptian royalty, including that of Tutankhamun, a young king who ruled over Egypt from 1333 to 1323 B.C.E. and died at age 19.
Though World War I interrupted the search, Carter and a crew of workers spent several years searching for the tomb without any luck. In 1922, the same year Egypt declared independence from Britain after 40 years of direct colonial control, Herbert gave Carter an ultimatum: Find the tomb that season, or the expedition was over.
Carter's luck turned after that: On November 4, 1922, Carter and his men found a flight of stone stairs that led to a sealed chamber. Three weeks later, they entered the four-room tomb and discovered thousands of items meant to accompany the young king into the afterlife. After two months of careful excavation, they finally found a stone sarcophagus with three nested coffins inside. The final coffin—the one containing Tutankhamun's 3,000-year-old mummified body—was made of solid gold.
The tomb, and Carter, became international sensations. The Egyptian men and children hired to work on the expedition, however, received almost no recognition. Carter thanked his four Egyptian foremen—Ahmed Gerigar, Gad Hassan, Hussein Abu Awad and Hussein Ahmed Said—in books about the expedition "assiduously, if patronizingly," as historian Christina Riggs notes in Photographing Tutankhamun: Archaeology, Ancient Egypt, and the Archive. However, he never mentioned the other Egyptian members of his 60- to 100-person crew.
"They are invisible," Daniela Rosenow, an archaeologist and the co-curator of the exhibition, tells the Telegraph's Lucy Davies. "These people did not write diaries like Carter; many couldn't read or write at all. They probably went home each evening and told their families what they'd seen, but those stories are lost."
The exhibition does what it can to fill in the blanks, with help from dramatic images captured by Harry Burton (nicknamed "the pharaoh's photographer" for his work in Egypt), letters, diary entries, plans, drawings, record cards and other archival material.
Even today, curators cannot match the names of Carter's four foremen with the Egyptian men shown in the photographs, nor do they know the names of any of the other men and children Burton captured with his camera. So while Carter may have appreciated the Egyptian workers, his respect for them was "very much within a very colonial context," Parkinson tells the National's Paul Peachey.
The artifacts themselves are still among the most famous ever displayed. Today, the artifacts from Tutankhamun's tomb are primarily housed at the Egyptian Museum in Cairo, though they're expected to be relocated to the new Grand Egyptian Museum, which is slated to open later this year.
King Tut's Egyptian co-discoverers remain silent. The exhibition is an attempt to put them back into the picture—literally. The photographs, which show them performing a variety of tasks at every stage of the excavation, from opening shrine doors to carefully brushing dust from artifacts, make the extent of their work clear.
Even without knowing their names, viewers to the exhibition can see for themselves the vitally important role the unnamed men played in the discovery.
Sarah Kuta is a writer and editor based in Longmont, Colorado. She covers history, science, travel, food and beverage, sustainability, economics and other topics.
The Egyptian-German archaeological mission has uncovered original reliefs and engravings on the walls and ceilings of Temple of Esna in Luxor, Upper Egypt during ongoing restoration work.
The mission uncovered a distinguished relief on top the entrance gate of the temple showing 46 eagles standing in two rows, with some bearing the heads of the Upper Egypt goddess Nekhbet, and others bearing the head of the Lower Egypt goddess Wadget.
"This is the first time to find this relief," said Mostafa Waziri, secretary general of the Supreme Council of Antiquities. "It was not seen or mentioned in the works published by the French Egyptologist Serge Soniron, who documented the temple's reliefs in 1963 and 1975, Waziri added.
Hisham El-Leithy, the head of the Central Department for Egyptian Documentation Centre and head of the mission from the Egyptian side, explained that the uncovered reliefs and engravings at the Esna temple were hidden beneath dust and accumulation of salts and birds deposits over the last 2000 years.
This discovery made it important for us to begin a restoration project, funded by the American Research Centre in Cairo, to protect the temple and uncover its decorations, El-Leithy stressed.
Meanwhile, the mission also found a Roman engraving in red ink at the western side of the temple dating from the era of the Roman Emperor Domitian, 81-96 CE, who might have completed the construction of the temple.
More studies will be carried out on these engraving to show more details.
Construction on the Temple of Esna, which is dedicated to the ram god Khnum and his divine consorts, began in the Roman era during the reign of Emperor Claudius (41-54 AD) and its decoration was completed during the reign of Emperor Decius (249-251 AD).
During the 19th and 20th centuries, the Temple of Esna suffered from urban encroachment, which limited access to the site only through one of the houses built around it.
During the reign of Mohamed Ali Pasha (1805-1840 AD), the temple is reported to have been used as a storage facility for the cotton crop.
Restoration work reveals original colour and patterns in Ancient Egyptian temple
Image Credit : Ministry of Tourism and Antiquities
A joint German/Egyptian archaeological mission at the Esna Temple in Egypt has revealed some of the original colour and patterns within part of the temple complex during restoration works.
The Esna Temple is dedicated to the Ancient Egyptian god, Khnum, and his consorts Menhit and Nebtu, their son, Heka, and the goddess Neith.
Khnum was one of the earliest-known Egyptian deities, originally the god of the source of the Nile and the creator of the bodies of human children (which he made at a potter's wheel). He was later described as having moulded the other deities, and he had the titles "Divine Potter" and "Lord of created things from himself".
The construction of the Esna Temple dates from Ptolemaic times, however, most of the parts that survive today are from the Roman period.
Image Credit : Ministry of Tourism and Antiquities
The restoration project found the original colours and patterns under the middle ceiling above the entrance to the temple. A careful process of cleaning revealed a painting that depicts 46 vultures in a row, 20 of which have a vultures head (representing Upper Egypt), whilst the remainder the head of a cobra (representing Lower Egypt).
Dr. Hisham El-Lithy, head of the Central Administration for Egyptian Archaeology Registration and Head of the Egyptian Archaeological Mission said: "The colourful inscriptions have suffered over the past centuries from the accumulation of thick layers and impurities."
Whilst cleaning the western wall of the temple, the researchers also found Greek inscriptions drawn in red ink that dates from the Roman period during the reign of Emperor Domitian (AD 81-96). The inscription records the day and eleventh month of the ancient Egyptian and Coptic calendars – "EPIPHI 5" which corresponds to around the time the temple was likely completed.
The first time Richard Bruce Parkinson saw Philip Glass's opera Akhnaten, in 1985, he left unimpressed. The tale of Pharaoh Tutankhamun's father and his doomed quest to change Egypt's belief system from polytheism to monotheism struck him as "quite a romantic, quite an idealistic view."
Thirty years and one production later, Parkinson, a professor of Egyptology at the University of Oxford and a former curator at the British Museum, is now a superfan. So much so that he's made Anthony Roth Costanzo, the opera's star, a visiting fellow at Oxford's Research Centre in the Humanities.
The current steampunk-inflected version of Akhnaten,from director Phelim McDermott with sets by Tom Pye and costumes by Kevin Pollard, has been running since 2016. It will be back at the Metropolitan Opera in New York on May 19 after a season's hiatus, returning with a Grammy win in April for best opera recording. "As an Egyptologist, I should probably be a bit shocked at the liberties it takes," Parkinson says. "But it's done with such imaginative conviction, it's a brilliant approach."
Costanzo as Akhnaten.
Source: The Metropolitan Opera
"When they told me about the fellowship," Costanzo says, "I was like, 'You guys know I'm not a real pharaoh, right?' " Upon reflection, he says, "I think it was implicit—and this sounds kind of ridiculous—that I've become somewhat synonymous with Akhnaten at this point."
It's not all that ridiculous, actually. Costanzo is one of opera's rare countertenors (a man who sings in a woman's traditional register) and has starred in the role since the current production's 2016 premiere at the London Coliseum. Plus, he even looks kind of like the pharaoh himself. Parkinson says, "If you look at photographs of Anthony during performances and compare them with one of the busts of Akhnaten in the Berlin museum, it's a very good likeness."
More to the point, Parkinson says, Costanzo was given the fellowship (which will take place in November) because Akhnaten and Costanzo's efforts to promote it are helping to change long-held historical biases. "[Ancient] Egyptian culture is beginning to escape from the stereotypes that have surrounded it for so long," Parkinson says. "It's about time. Think of The Mummy. Think of Indiana Jones. They're really, really offensive." Akhnaten, in contrast, positions the pharaoh "as a modernist figure who should be treated seriously as a thinker and human being," Parkinson says.
Gauzy robes and headdresses are imbued with a Victorian sensibility.
As for the costumes, Costanzo spends the first six minutes of the opera stark naked, a fresh take on the traditional underwear-in-front-of-an-audience nightmare. The rest of the time, Costanzo and the cast are in gauzy robes and headdresses imbued with a Victorian sensibility—a nod to the period of Western culture when ancient Egypt was fetishized. But it was the second-act climax, in which Costanzo sings an aria based on an ancient poem and then ascends a staircase to worship a massive glowing orb, that left Parkinson, a specialist in ancient Egyptian poetry, in raptures. It was "fresh and modern and a serious work of art," he says. "It's a very high-artistic approach to an ancient text that doesn't happen very often."
Audiences agree. When the show opened in London and traveled to Los Angeles, most performances sold out. When it went to New York's Metropolitan Opera in 2019, almost every night was a completely full house. "What I find very inspirational is the idea that what an academic is doing with historic data is the same as what Anthony is doing," Parkinson says. By bringing attention to this role, he adds, "it's different forms of re-creating the ancient experience, but they're the same vision of giving a bit of life back to the past."
Mummification Museum in Luxor - Min. of Tourism & Antiquities
CAIRO – May 8 2022: On May 7, the Mummification Museum in Luxor celebrated its 25th anniversary.
Head of the Museums Sector at the Supreme Council of Antiquities Moamen Othman explained that on the sidelines of the celebration, free guided tours and workshops were organized for museum visitors to acquaint them with the history of the museum and its archaeological holdings, adding that the workshops presented archaeological models that simulate the mummification process in ancient Egypt.
For his part, Director General of the Museum Mohamed Shehata said that the museum consists of one exhibition hall that include 73 artifacts giving a comprehensive explanation of the mummification process in ancient Egypt, and shedding light on the religious significance of mummification as well as the rituals associated with it from the Old Kingdom to the Late Period. Many mummification tools, canopic utensils, coffins, amulets, statues of deities, funerary paintings, and a number of human and animal mummies are exhibited in the museum.
Mummification Museum in Luxor - Min. of Tourism & Antiquities
Mummification Museum in Luxor - Min. of Tourism & Antiquities
Mummification Museum in Luxor - Min. of Tourism & Antiquities
The museum also houses a conference hall that accommodates about 200 people, equipped with the latest technological means, a hall for museum education and cultural development, and another for film screenings and a cafeteria.
It should be noted that the museum was opened on May 7, 1997. It covers an area of about 2000 square meters and is considered one of the most important specialized museums in Egypt.
The Board of Directors of the American Research Center in Egypt, Northern Californiachapter, is offering one $1,000 grant to a qualified student. The deadline for submission is Tuesday, May 31, 2022 with the winner to be recognized at our August 21 meeting.
To qualify for this grant, the applicant must be an undergraduate or graduate student who is enrolled at a Northern California college or university (Monterey County to the Oregon border) or who has a home address in this area. They must be pursuing a degree that incorporates Egyptian anthropology, archaeology, art, history, museum studies or language, or Coptic or Arabic studies in any period. Proof of enrollment may be required.
Applicants
are to submit 1) a brief summary (250-500 words)
describing how they will use the grant and 2) a 1-2
page CV. The grant will be awarded by the Board based
on merit. Possible uses include but are not limited to
research, travel, or preparation of an exhibition or
program. Proposals involving work with research
materials should secure any permissions required for
that work before the application is sent.
Students should apply by email (Word or PDF file) to ARCENorCal@gmail.com.
If possible, the winner is expected to attend the
August 21 ARCE meeting – via Zoom if it is held
virtually, and at the University of California,
Berkeley if it is held in person.
The grant honors the memory of Marie Buttery, founding president of our chapter.
ARCE Northern California also offers a $1,500
student grant each fall in memory of its former
member Professor Eugene Cruz-Uribe. Call for
applications for this grant will go out later in
2022.
Ancient Egyptian mummy forgotten in storage turns out to be sacred bird often sacrificed to Thoth
By Callum McKelvie published about 15 hours ago
The bird may be an Ibis, often sacrificed by the ancient Egyptians to the god Thoth.
Carol Ann Barsody and Frederic Gleach examine the over 1,500-year-old mummy bird.(Image credit: Cornell University)
An ancient Egyptian bird mummy, long forgotten in storage and mislabeled as a hawk, is finally getting its due now that researchers have digitally peered inside its wrappings.
The 1,500-year-old mummy, scientists learned, is not a hawk but likely a sacred ibis (Threskiornis aethiopica) — a wading bird with stilt-like legs and a long curved beak that the ancient Egyptians often sacrificed to Thoth, the god of the moon, reckoning, learning and writing.
"Not only was this once a living creature that people of the day may have enjoyed watching stroll through the water," Carol Ann Barsody, a masters student in archaeology at Cornell University, who spearheaded the project, said in a statement. "It also was, and is, something sacred, something religious."
Cornell University has no record of the mummy's arrival into its collections. Barsody initially suspected that the mummy arrived as part of an 1884 freight of objects, which included the human mummy Penpi, a Thebian scribe. However, after doing further research, she discovered that no other Egyptian artifacts arrived with Penpi.
Barsody now believes the mummy to have been part of a 1930 donation by a Cornell alumnus John Randolph, but she is still playing detective to determine the mummy's true origins. Barsody worked at Cornell as an employee at the Center for Technology licensing and, while pursuing her degree in archaeology, became interested in the mummy as a case study for how technology could be used to unwrap the mystery.
Barsody decided to learn all she could about the mummy without disturbing the animal inside. Along with Frederic Gleach, a senior lecturer and curator of Cornell's Anthropology Collections, she took the mummy to the College of Veterinary Medicine where the lightweight 2-pound (942 grams) mummy underwent a CT scan in order to determine that it was, in fact, a bird. The scan revealed that a leg had been fractured prior to the mummification process and that feathers and soft tissue were still preserved. They were also able to discern that the bird's broken beak had occurred post mummification.
The pair then consulted Vanya Rohwer, the curator of Birds and Mammals at the Cornell Museum of Vertebrates who identified the remains as those of an ibis. This wasn't too surprising, as ibises in ancient Egypt were bred in large numbers due to their popularity, particularly in their use as offerings.
Initially, this particular mummy perplexed the team because of the way the ancient Egyptians had prepared the bird. When examining the CT scan, they were unable to see how the bird had been folded into its current shape. It was only when using the museum's collection of study skins and skeletons, carefully copying the bird's shape by fitting pieces together, that they were able to conclude that the ibis's head had been twisted around and bent back against its body. The sternum and ribcage had also been removed — a practice that isn't common among bird mummifications.
The ibis was a bird that originated in Africa and was venerated not only in ancient Egypt but also Greece and Rome, according to AviBirds. Thoth was regularly depicted as having a human body and the long-beaked head of a bird. Millions of ibises have been found in Egyptian necropolises, according to a 2019 study published by the journal Plos One.
Currently, Barsody is working with Jack Defay, an electrical and computer engineering student at Cornell, to scan the mummy in order to construct a virtual 3D model of the bird.
This bird has "had multiple lives," Barsody said. "I look at what I'm doing as another form of extending its incredible life."
Barsody will soon launch a website, www.birdmummy.com, which will focus on using the mummy in order to increase the museum's educational outreach. She also plans to open an exhibition of the bird, its 3D model and a hologram at the Herbert F. Johnson Museum of Art at Cornell in October.
An image shows wooden death certificates unearthed at ancient tombs in southern Egyptian province of Sohag. Photo:Xinhua
A total of 85 tombs, dating back to the period from the Old Kingdom of Egypt some 4,500 years ago until the Ptolemaic dynasty spanning from 305 BC to 30 BC, were unearthed in the southern Egyptian province of Sohag, the Ministry of Tourism and Antiquities said Wednesday.
The Egyptian archeological mission in the Gabal El Haridi region, located about 350 km south of the capital Cairo, found beside the mummies 30 death certificates showing the dead person's name, job and age and their parents' names, written in old Greek letters and ancient Egyptian hieroglyphics, according to a ministry statement.
Some tombs were embedded in the mountain, and some have one or more wells with corridors leading to burial rooms, the statement said.
The mission also unearthed a mudbrick-made tower house dating back to the era of King Ptolemy III, the third pharaoh of the Ptolemaic dynasty ruling from 246 BC to 222 BC.
The tower house was built to monitor the borders, levy taxes and secure the navigation traffic on the Nile River, the statement explained.
The discoveries also include remains of a Ptolemaic-era temple built to worship the goddess Isis, measuring 33 meters long and 14 meters wide.
Undated photo shows a mudbrick-made tower house dating back to the era of King Ptolemy III unearthed by the Nile in southern Egyptian province of Sohag. Photo:Xinhua
Undated photo shows remains of a Ptolemaic-era temple unearthed in southern Egyptian province of Sohag.Photo:Xinhua
Archaeological museums all over Egypt celebrated Labour Day and the advent of Eid El-Fitr by organising special exhibitions in their foyers featuring collections of various artefacts depicting Egyptian celebrations across history.
These artefacts, which will be exhibited throughout the month of May, were selected based on the votes antiquities lovers worldwide on the official Facebook page of each museum.
The Museum of Islamic Art put on display a copper jar embellished with silver and gold, while the Jewellery Museum in Alexandria has an office set from king Farouk's collection carved in lapis lazuli, showing a feather with a gold end, a stamp carved with the signature of the king, and a letter opener with a knife made of silver.
Furthermore, the Police Museum at the citadel is exhibiting a turtle shaped shield from the Islamic era and the Hall Three Museum of the Cairo International Airport is displaying a 3D model of a Middle Kingdom tomb at El-Assassif necropolis in Luxor depicting seven people brewing beers, baking bread, and cooking meat.
Additionally, the Suez and Ismailia National Museums have a collection of limestone Roman medical tools and a wooden model of a wheat gallery from the Middle Kingdom showing three people storing wheat in a silo and a scribe documenting the quantity of wheat stored.
The National Museum of Alexandria is exhibiting a pencil case embellished with silver and gold; the Tel Basta Museum is showing an agate bracelet with amulets; the KomOshim Museum in Fayoum has a wooden model of a boat with its full staff; and the Luxor Museum is displaying a collection of construction instruments.
Also, the Coptic Museum in Old Cairo is exhibiting a wooden engraving showing a group of women playing music along with a group of children performing acrobats as part of a feast.
The Farouk Corner Museum in Maadi is exhibiting a photo of king Farouk's wedding with queen Nariman; and the Royal Carriage Museum in Bulaq is displaying the alay carriage that was used during official ceremonies to transport VIPs.
Furthermore, the Gayer Anderson Museum is showing a drum and a tambourine made of wood and ivory, while Hall Two Museum of Cairo International Airport Museum is exhibiting a Coptic Orthodox Christian manuscript for praises.
Meanwhile, the Tanta and New Valley Museums has symbolic wheat mummies from the Greaco-Roman era in the shape of Osiris and a faience pot decorated with foliage motive and the goddess Hathor on display.
ARCE's Northern California Chapter is pleased to present the following lecture schedule of renowned Egyptologists. All lectures are at 3 p.m. Pacific time. The venue or venues for the fall lectures, virtual or not, are in process. June and July, Summer Break Consumed by Raging Fire: Cremation Burial in Ptolemaic Alexandria August 21, 2022 Dr. Thomas Landvatter, Reed College
New Perspectives on the African Empire of Kush: Excavations at Jebel Barkal in North Sudan September 11, 2022 Dr. Geoff Emberling, University of Michigan
Topic TBD October 9, 2022 Dr. Arielle Kozloff, Cleveland Museum of Art
Iron in the Sky: Words and Conceptions of Iron and Meteorites in Ancient Egypt November 13, 2022 Dr. Victoria Almansa-Villatoro, Brown University
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