Showing posts with label Ancient History. Show all posts
Showing posts with label Ancient History. Show all posts

Friday, January 18, 2013

Off The Wall: Bird Lady



Off The Wall: Bird Lady

Such a beautiful piece of ancient Egyptian art

Off The Wall with Michelle Maryk. In the galleries of the Brooklyn Museum, curator Edward Bleiberg discusses Bird Lady.

This series was produced by Gallery HD, a channel dedicated to visual art and the artistic process, catering to a wide array of art lovers. Through visually stunning imagery and compelling storytelling

GALLERY HD is the first and only HD channel that defines the most talked-about artists of today and tomorrow.
http://www.voom.tv/galleryhd.html

Female Figurine ("Bird Lady"). Egypt, from Ma'mariyah. Predynastic Period, Naqada II, circa 3650-3300 b.c. Terracotta, painted, 11 1/2 in. (29.3 cm) high. Brooklyn Museum, Museum Collection Fund, 07.447.505

Thursday, December 20, 2012

Great Pyramid tombs unearth 'proof' workers were not slaves

Great Pyramid tombs unearth 'proof' workers were not slaves

Osiris, Anubis, Horus, Osiris Pharaoh XVIII dynasties and Isis.



Egypt's leading archaeologist says 4,000-year-old burial plots with skeletons expose myth that builders were slaves
  • The Guardian,
Video no longer available 

Egypt displayed today newly discovered tombs more than 4,000 years old and said they belonged to people who worked on the Great Pyramids of Giza, supporting evidence that slaves did not build the ancient monuments.

The modest 9ft deep shafts held a dozen skeletons of pyramid builders, perfectly preserved by dry sand along with jars of beer and bread for the afterlife.
The mud-brick tombs were uncovered last week near the Giza pyramids, stretching beyond a burial site first found in the 1990s and dating to the 4th dynasty (2575BC to 2467BC), on the fringes of the present-day capital, Cairo.
The ancient Greek historian Herodotus once described the pyramid builders as slaves, creating what Egyptologists say is a myth propagated by Hollywood films.

Graves of the builders were first found nearby in 1990 by a tourist. Egypt's chief archaeologist, Zahi Hawass, said the finds show the workers were paid labourers, rather than slaves.
Hawass told reporters at the site that the find, first announced on Sunday, said the find sheds more light on the lifestyle and origins of the pyramidbuilders. Most importantly, he said the workers were not recruited from slaves commonly found across Egypt during those times. One popular myth that Egyptologists say was perpetrated in part by Hollywood held that Israelite slaves built the pyramids.

Amihai Mazar, professor at the Institute of Archaeology at the Hebrew University of Jerusalem, says that myth stemmed from an erroneous claim by the former Israeli prime minister Menachem Begin, on a visit to Egypt in 1977, that Jews built the pyramids.
"No Jews built the pyramids because Jews didn't exist at the period when the pyramids were built," Mazar said.

Dorothy Resig, an editor of Biblical Archaeology Review in Washington DC, said the idea probably arose from the Old Testament Book of Exodus, which says: "So the Egyptians enslaved the children of Israel with backbreaking labour" and the Pharaoh put them to work to build buildings.
"If the Hebrews built anything, then it was the city of Ramses as mentioned in Exodus," said Mazar.
Dieter Wildung, a former director of Berlin's Egyptian Museum, said it is "common knowledge in serious Egyptology" that the pyramid builders were not slaves. "The myth of the slaves building pyramids is only the stuff of tabloids and Hollywood," Wildung said. "The world simply could not believe the pyramids were build without oppression and forced labour, but out of loyalty to the pharaohs."
Hawass said the builders came from poor families from the north and the south, and were respected for their work – so much so that those who died during construction were bestowed the honour of being buried in the tombs near the sacred pyramids of their pharaohs.

Their proximity to the pyramids and the manner of burial in preparation for the afterlife backs this theory, Hawass said. "No way would they have been buried so honourably if they were slaves."
The tombs contained no gold or valuables, which safeguarded them from tomb raiders throughout antiquity, and the bodies were not mummified. The skeletons were found buried in a foetal position – the head pointing to the west and the feet to the east according to ancient Egyptian beliefs, surrounded by jars once filled with supplies for afterlife.

The men who built the last remaining wonder of the ancient world ate meat regularly and worked in three-month shifts, said Hawass. It took 10,000 workers more than 30 years to build a single pyramid, Hawass said, a tenth of the workforce Herodotus wrote about after visiting Egypt around 450BC.
Hawass said and that evidence indicates they the approximately 10,000 labourers working on the pyramids they ate 21 cattle and 23 sheep sent to them daily from farms.
Though they were not slaves, the pyramid builders led a life of hard labour, said Adel Okasha, supervisor of the excavation. Their skeletons have signs of arthritis, and their lower vertebrae point to a life passed in difficulty, he said. "Their bones tell us the story of how hard they worked," Okasha said.
Wildung said the find reinforces the notion that the pyramid builders were free men, ordinary citizens. "But let's not exaggerate here, they lived a short life and tomography skeletal studies show they suffered from bad health, very much likely because of how hard their work was."

 

Monday, August 13, 2012

About Civilization - Will Durant




A great civilization is not conquered from without

until it has destroyed itself within
- Will Durant

appeared as the opening graphic of Mel Gibson's 2006 film Apocalypto

http://en.wikipedia.org/wiki/Will_Durant#Philosophical_writings

Hence a certain tension between religion and society
marks the higher stages of every civilization.

Religion begins by offering magical aid to harassed and bewildered men
; it culminates by giving to a people that unity of morals and belief

which seems so favorable to statesmanship and art
; it ends by fighting suicidally in the lost cause of the past

- Will Durant

Monday, July 16, 2012

The Venus of Willendorf

Previous posting about same matter
http://bohemian-world.blogspot.com/2009/09/venus-of-willendorf.html


source for this article :http://www.ancientcraft.co.uk/reenactment/pa_venus_willendorf.html

The Venus of Willendorf

  • Age: Around 25,000 BCE
  • Material: Oolitic Limestone
  • Found: Willendorf (Austria) in 1908
  • Present Location: Naturhistorisches Museum in Vienna (Austria)
  • Length: 10.6cm
  • Width: 5.7cm
  • Depth: 4.5cm
(move cursor over images to magnify replica)
 
The Venus of Willendorf was one of three such figurines
recovered from Palaeolithic archaeological sites at Willendorf in Austria
, which were temporary settlements of the Gravettian culture.
A characteristic of the Paleolithic "Venus" figurines exhibited by the Willendorf figurine
is the lack of any detail of a face and the lack of feet below the ankle.
She was carved from a fine porous oolitic limestone
, not locally found and therefore must have been imported to the area.
It is impossible to determine if the carving was local to the area or not.
The Venus was originally painted with red ochre and is sometimes described as a Mother Goddess.
There is some debate regarding decoration on the figurines head
, as to whether it is a basketwork or woven headress or an elaborate braided hairstyle.
She was unearthed by worker Johann Veran, about 30m above the River Danube, during the Wachau railway construction in 1908, then identified by Austrian archaeologist Josef Szombathy. Wilendorf had already been known as a Palaeolithic site for over 20 years before systematic excavations by Josef Szombathy, Josef Bayer and Hugo Obermaier began.
 

Saturday, June 16, 2012

Destinations


You know how it is.
Sometimes we plan a trip to one place
but something takes us to another.
~Rumi

Herbert James Draper (1863 - 1920)

Art style: Classicism
Work: Ulysses and the Sirens (1909)
Technique: Oil on Canvas
Location: Kingston-Upon-Hull, Ferens Art Gallery





I love this island but this island's killing me
Sitting here in silence, man i don't get no peace
The waves upon my shore take me away piece by piece
Gonna leave everything i know

gonna head out towards the sea
Jump off this island gonna head out towards the sea


I love this city man but this city's killing me
Sitting here in all this noise man i don't get no peace
The cars below my street take me away piece by piece
Gonna leave everything i know

gonna head out towards the sea
Gonna leave this city man

gonna head out towards the sea

Get miles away, get miles away, get miles away
Get miles

I love this planet but this planet's killin' me
Sitting here in all this grass man i don't get no weed
The sweat comin' from my pores take me away piece by piece
Gonna leave everything i know gonna head to the galaxy
Gonna leave this planet man, gonna head to the galaxy

Get miles away, get miles away, get miles away,

get miles away, get miles away, get miles away,
get miles away
Get miles

Wednesday, June 15, 2011

Min The God of Fertility

Min (god) From Wikipedia, the free encyclopedia

Min, God of Fertility, Power and the Eastern Desert...
by Caroline Seawright
September 10, 2001
Ithyphallic Min holding a flail Min, God of Fertility, Power and the Eastern Desert...
mnw
The Min Palette Min (Menew, Amsu) was one of the Egyptian gods worshiped from predynastic times. The earliest forms of the god - his fetish - was of a barbed arrow, a belemnite fossil or a thunderbolt. (The strange arrow, over time, became the first hieroglyph, the one above the standard, in his name - mnw )
A Gerzean palette known as the El Amrah Palette also had a second name, the Min Palette, because it had the symbol of the fertility god on it. Unlike in the hieroglyph, this looks more like a double-ended arrow (on a hook).
Another piece from El Amrah (near Abtu (Abydos)) was an ivory statuette of a man that stood with his legs together, his arms at his sides and an erect penis. This, too, was probably another early representation of the god. The predynastic ruler, the Scorpion King, was believed to have worshiped both Min and Set. Gebtu (Koptos) was Min's cult centre from the earliest times. Later, he was associated with Khent-Min (Panopolis, Akhmim).
Statue of Min Min was always a god of fertility and sexuality. He was shown as a human male with an erect penis. In Egyptian times, he was usually an ithyphallic bearded mummiform man, standing with both legs together, an arm raised holding his symbol or a flail and wearing the same low crown with twin plumes as Amen. (The way he holds his flail might be symbolic of sexual intercourse - the flail forms the V while his upraised forearm seems to thrust inside the V.) The Egyptian paintings and reliefs on tomb walls and temples didn't show Min's other arm, but the statues of the god show him with his hand encircling the base of his penis. During New Kingdom times he was sometimes shown as a white bull, an animal sacred to the fertility god.
... Min, Bull of the Great Phallus,
...
You are the Great Male, the owner of all females.
The Bull who is unites with those of the sweet love, of beautiful face and of painted eyes,
Victorious sovereign among the Gods who inspires fear in the Ennead.
...
The goddesses are glad, seeing your perfection.
-- Hymn to Min
He was associated with the Egyptian long-leaf lettuce - an aphrodisiac to the ancient Egyptians because the lettuce was tall, straight and secreted a milky substance when pressed! (This was also a favourite food of Set.) Min was often shown standing before offering tables, covered with heads of lettuce.
Sekhmet as the god Min Mut-Isis-Nekhbet as Min The fertility god was associated both with Horus the Elder (Min-Horus) in the Middle Kingdom and with Amen (Amen-Min) in New Kingdom times to show the creative force of both gods. At times, even some goddesses have been shown with the body of Min!
The goddess Sekhmet as the Eye of Ra, for instance, showing that Min also has a destructive side, rather than just creative. She was shown with the body of an ithyphallic Min and the head of a lioness. (There are some indications that there was a ritual in the Egyptian military for ensuring the subjugation of prisoners - as in the story of Set and Horus - it involved 'impregnating' (and so emasculating) the prisoner, and so the erect state of the penis could relate to victory over the enemy.) The flail was often used to show the pharaoh's supremacy over his enemies, and was therefor linked to both power and destruction.
There was also a composite deity called "Mut-Isis-Nekhbet, the Great Mother and Lady" who was shown as a winged goddess with leonine feet, an erect penis and three heads - a lion head wearing Min's headdress, a woman's head wearing the double crown of Egypt and a vulture's head wearing the red crown of Lower Egypt.
Min wasn't just a fertility god, such as Hapi or Osiris, who only presided over the fields - he was also a god of male fertility who could give the pharaoh (and other men) the power to father a child. He also presided over the sed (jubilee) festival of the pharaoh (where the pharaoh had to run around a course set by the priests, carrying different objects), symbolically rejuvenating the pharaoh to give him long life... and the fertility of his youth.
In representations of one of the important Min festivals, the Pharaoh was shown hoeing the ground and watering the fields while Min looked on. At the Min festival held at the beginning of the harvest season, the Pharaoh was seen ceremonially reaping the grain ... When he begot his heir (ritually at the same festival) the Pharaoh was again identified with Min.
As with Osiris, Min was an agricultural god - at Medinet Habu, Ramses III is shown scything a sheaf of wheat for the Festival of Min. There are also scenes of pharaohs ceremonially hoeing the ground and watering the fields under the supervision of Min. It is interesting to note that a virgin was poetically referred to as an 'unplowed field'.
Men Erecting a Large Tent for the Feistval of Min Depictions of men climbing poles at the Feistval of Min used to be thought of as an activity Egyptologists called 'Climbing for Min'. It is now known that this was a very important part of the Festival - the erection of a large festival tent. It was so important that the only depiction of the Festival of Min was the scene showing the men climbing the poles of the tent!
He was also a god of the Eastern Desert, and it has been suggested that the description in the Pyramid Texts - 'the one who raises his arm in the east' - is actually talking about Min. With his association with the east, Min became a god who offered protection to travellers and traders - the caravan route went through Gebtu and headed out east to the Red Sea. At Wadi Hammamat (on the trade route), prayers and thanks to the god Min were found. Min was also worshiped by the men who worked the mines and the men who quarried the stone at Hammamat. At this particular Wadi, Min was given the title "Min, the Male of the Mountain", a title with the word 'male' being similar to the hieroglyph for 'foremost'. Montuhotep IV set out on an expedition to Hammamat:
Year Two, second month of the inundation, day 15 of the reign of Horus, lord of the two lands, two ladies lord of two lands, divine of gold, the king of Upper and Lower Egypt Nebtawyra, son of Ra, Montuhotep, living forever.
His majesty decreed the erecting of this decree for his father Min - Lord of the Foreign Lands, in this Mountain, the Noble One, the Primeval God Foremost of Place in the Land of the Horizon Dwellers, the Palace of the God, to Endow with Life the Divine Nest of Horus with which this God (Min) is Content, his Pure Place of Enjoyment which has Authority over the Uplands and God's Lan - in order that his ka be content.
...
Min, Being Worshiped and Given Offerings
"My majesty caused the Prince - the Overseer of the City, the Vizier, the Overseer of the Royal Constructions - his Trustee Amenemnhat, to go forth with an army of 10000 men from the southern nomes of Upper Egypt, the foremost ones of the Theban nomes, to bring me excellent rich pure blocks, which are in this mountain whose excellence Min made, to be a sarcophagus, a remembrance of eternity and to be monuments in the temple of Upper Egypt, being one whom the king who is upon the Two Lands sent to bring him his wishes from the hill countries of his father Min."
He made it as his monuments for his father Min of Gebtu, Lord of the Hill Countries, who is upon the Chieftain of the Bowmen, so that he might achieve of "state of given life". He who lives like Ra, eternally.
Gebtu was a cult centre for both Min and Isis, and in this city, Min became the husband of Isis and father of Horus because of his powers of fertility. In later periods he was possibly placed in a triad to the Syrian love goddess Qedeshet (Kadesh, Qadesh, Qetesh, Qudshu) and the Syrian god of war and thunder, Reshef (Reshep, Reshpu). It was likely that Min was placed with these two deities from the east of Egypt because he was both god of the Eastern Desert and Lord of Foreign Lands. He was also thought to be the son-husband of the goddess of the east, Iabet, again through his position of god of the Eastern Desert.
Relief of Ancient Egyptian Lettuce
Photo taken with kind permission of the Petrie Museum, London
... Min, Lord of the Processions,
God of the High Plumes,
Son of Osiris and Isis,
Venerated in Ipu,
Gebtu's Horus of the Strong Arm.
-- Hymn to Min
Despite being a god of the desert, Min was still a fertility god and a lunar god - moon deity tended to be gods relating to moisture and thus of fertility. As a lunar deity Min was sometimes given the title "Protector of the Moon". In this capacity, the god was related to the Egyptian calendar - the last day of the lunar month was consecrated to the deity, and the day was known as "The Exit of Min". He was, in later times, thought to preside over the fifth month of the Egyptian calendar, known by Greek times as Tybi.
With his many different aspects, Min was a popular god of the ancient Egyptians. Min was worshiped right through Egyptian predynastic times up to Roman times, a deity whose temples were built and rebuilt through Egypt's entire history.


Can you have a look at my Egyptology Column for more Hieroglyph Lessons, Egyptian gods and goddess articles and more!
You can check out my other articles, or search to find specific information in my articles.

© Caroline Seawright 2001

Friday, July 30, 2010

Alkonost




The Alkonost is a legendary bird in Slavic mythology. It has the body of a bird with the head and chest of a woman. The name Alkonost came from the name of Greek demi-goddess Alcyone transformed by gods into a kingfisher. The Alkonost reproduces by laying eggs on the sea-shore then putting them into the water. The sea is then calm for six or seven days at which point the eggs hatch, bringing a storm. For the Russian Orthodox Church Alkonost personifies God's will. She lives in paradise but goes into our world to deliver a message. Her voice is so sweet that anybody hearing it can forget everything.



Among the most common images were the representations of the two legendary creatures, Sirin and Alkonost, depicted in Sirin, the Bird of Paradise and Alkonost, the Bird of Paradise. Loosely based on the stories about sirens, these half-women half-birds allegedly lived "in Indian lands" near Eden or around the Euphrates River, and sang their beautiful songs to the saints foretelling them future joys. However, for mortals the birds were dangerous. Hearing their sweet voices, men would forget everything on earth, follow them blindly, and die. To save themselves from the Sirin, people would shoot the cannon, ring the bells and make loud noises to scare the bird off.

 read more
http://bestiary.us/alkonost.php

Wednesday, July 28, 2010

Aha and Bes




Bes

Bes
Bes
Bes (Bisu, Aha) was an ancient Egyptian dwarf god. Bes was a complex being who was both a deity and a demonic fighter. He was a god of war> Yet he was also a patron of childbirth and the home, and was associated with sexuality, humour, music and dancing. Although he began as a protector of the pharaoh, he became very popular with every day Egyptian people because he protected women and children above all others. He had no temples and there were no priests ordained in his name. However, he was one of the most popular gods and was often depicted on household items such as furniture, mirrors and cosmetics containers and applicators as well as magical wands and knives. Over time he came to be seen as the champion of everything good and the enemy of everything evil. It seems that he was originally known as "Aha" ("fighter") because he could strangle bears, lions and snakes with his bare hands. He is described as a demon, but he was not considered to be evil. On the contrary, he was a supporter of Ra who protected him from his enemies. As a result, he was a god of war who protected the pharaoh and the people of Egypt from evil forces. He was often depicted on knives in the hope that this would extend his protection to the bearer of the blade. His image also appears on numerous "magic wands" and on an incredible number of amulets.
He was particularly protective of women and children and was often depicted with the young HorusNew Kingdom he was a regular feature of the illustrations on the walls of the mammisi ("birth house"). protecting him as he matured. As a result, he also became a god of childbirth. It was thought that he could scare off and evil spirits lurking around the birthing chamber by dancing, shouting and shaking his rattle. If the mother was experiencing a difficult birth, a statue of Bes was placed near her head and his assistance was invoked on her behalf. Rather sweetly, Bes remained at the child´s side after birth to protect and entertain them. It was said that if a baby laughed or smiled for no reason, it was because Bes was pulling funny faces. By the
Bes also drove away the evil spirits who caused accidents and created mischief (just as mediaeval gargoyles were thought to scare evil spirits away from churches). Many Egyptians placed a statue of Bes near the door of their house to protect them from mishap. His protection could also be invoked by tattooing his image directly onto the body. Performers often had tattoos of Bes because of his association with dancing and music. It is also thought that sacred prostitutes may have had a tattoo of Bes placed near their pubic area in order to prevent venereal diseases, but it is also possible that the tattoos related to fertility.
It is often suggested that he was not a god of Egyptian origin, instead being imported from Africa during the Middle Kingdom. Certainly Bes was described in inscription as "Coming from the Divine Land" and was known as the "Lord of Punt". However, he is also mentioned in records found in Upper Egypt dating to the Old Kingdom suggesting that he may well be Egyptian, but that his worship was not widespread until the New Kingdom. At present there is insufficient evidence regarding his origins to be sure either way.
Bes and Bestet @copyright Chosovi Archeologists have recovered numerous Bes masks and costumes dating from the New Kingdom. It is thought that these saw regular use and so they may have been the property of professional entertainers. At this point in history he was often linked to Tawret (another demon-deity who offered protection during labour). In fact, he was thought to be her husband until the Ptolemaic Period.They were so popular with the common people that amulets of both Bes and Tawret's were found even at Akhetaten (the city of Akenaten) despite the replacement of many of the other gods by The Aten.
However, it was during the Ptolemaic Period that the worship of Bes reached it height. He appears in numerous temple reliefs, thousands of amulets and charms were made in his image, and there were even oracles of Bes to allow people to benefit from his wisdom. He was given a new wife, known as Beset, who was a female version of himself ."Incubation" or Bes chambers were constructed with images of Bes and a naked goddess (most likely Beset) painted on the walls. It is thought that these chambers were meant to promote healing, remedy certain fertility problems or promote erotic dreams. The Romans also loved Bes and depicted him dressed as a legionnaire. Bes also became popular with the Phoenicians and in Cyprus. Some scholars have suggested that the Ptolemaic version of Bes was in fact a composite god made up of ten fairly obscure gods; Aha, Amam, Bes, Hayet, Ihty, Mafdjet, Menew, Segeb, Sopdu and Tetenu. However, this theory is not widely supported and no evidence has been recovered to date which would clarify the situation.
Bes was also associated with a number of the more powerful gods; including Amun, Min, Horus and Reshep. He was most often associated with Horus the child. Bes often appeared on amulets and stele depicting the young horus and inscriptions intended to protect against snake bites etc (known as "cippi").The two gods also formed the composite deity "Horbes", even although Beset (Bes´ wife during the Ptolemaic Period) was also described as Horus´ mother! Bes was also closely associated with Hathor, who was also described as the mother or wife of Horus. The goddess was known as the "Lady of Punt", and was also a goddess of childbirth, dancing and music who shared many iconographic symbols with Bes.
Bes was generally depicted as a bearded dwarf, sticking out his tongue and shaking a rattle. He is always depicted facing forwards. This was very rare in Egyptian art and gave him a further link with Hathor who also faces the front. However, unlike the simple beauty of that goddess, Bes is a comical figure with pronounced bow legs, prominent genitals and a tail. He usually wears a plumed crown and the lion or panther skin associated with the "stm" priests. Occassionally he wears the Atef crown and is depicted as a winged deity. There are also a number of amulets and depictions of Bes which only show his head (still facing the front), although most of these date from the Third Intermediate Period or later.
Bes was sometimes depicted with feline or leonine features and often sports a long tail prompting the speculation that in earlier times, he was not in fact a dwarf but a lion or cat rearing up on his hind legs. If he did start out as a feline goddess this would give him a further link to Hathor who was herself very closely associated with Bast (a cat goddess) and Sekhmet (a lion goddess) and the "Eye of Ra" (the fearsome protector of Ra). Furthermore, his name may be derived from the Nubian word for cat ("besa") and is written using the determinative for a mammal rather than the determinative of a god or a man (the cow skin). It is equally likely that he was always seen as a dwarf with the strength and power of a cat.
http://en.wikipedia.org/wiki/Aha


Aha
god protecting women and children at birth (his name means 'Fighter'). Main deity in the Middle Kingdom at Khemenu/Ashmunein (UE15) - later named Bes and widespread as childbirth protector but not as a principal temple god
UC 1135, Bes figure Bes figure, found at Amarna (click on the image for a larger picture




Tuesday, September 22, 2009

The Venus of Willendorf


The Venus of Willendorf
http://en.wikipedia.org/wiki/Venus_of_Willendorf
The Venus of Willendorf, also known as the Woman of Willendorf, is an 4 3/8 inches high statuette of a female figure estimated to have been made between 24,000 BC – 22,000 BC. It was discovered in 1908 by archaeologist Josef Szombathy at a paleolithic site near Willendorf, a village in Lower Austria near the city of Krems.[1] It is carved from an oolitic limestone that is not local to the area, and tinted with red ochre.
Since this figure's discovery and naming, several similar statuettes and other forms of art have been discovered. They are collectively referred to as Venus figurines, although they pre-date the mythological figure of Venus by millennia.