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Ancient Egyptians Were Jokesters: Humor Alleviates the Hum-Drum
"A recent series of lectures on ancient Egyptian humor given by
a leading historian [Carol Andrews] reveals that people th
ousands
of years ago enjoyed bawdy jokes, political satire, parodies and
cartoon-like art."

 

Some dogs re-creations of others?
"Ancient Egyptian tombs are adorned with drawings and sculptures of sleek, slender-necked canines with pointy ears and long snouts. Many dog lovers have long thought that two breeds alive today -- theIbizan hound and the Pharaoh hound -- were direct descendants of these regal companions of the pharaohs. New research, however, concludes something very different".

 

Dig days: Dubai's Pharaonic flair
By Zahi Hawass
 

Romancing the Stone
This month, the MFA unveils a blockbuster acquisition--an ancient Egyptian
sculpture that could be the single finest statue ever made. Its journey to
Boston is a story of startling discoveries, high-stakes deals, and the
shared obsession of two old friends.
 

Egypt in Nubia and vice versa
An exhibition featuring photographs of the dismantling and re-erection of
the temples of Abu Simbel held in the EgyptianMuseum last month reminds
 
Alexandrins d'hier et d'aujourd'hui
Cette ville au multiple patrimoine et qui a connu le cosmopolitisme dès
l'Antiquité a fait l'objet d'un colloque à la Bibliotheca Alexandrina.
 
«Mon journal de fouilles est aussi un journal de voyage »
Caroline Rocheleau, membre de la mission archéologique canadienne opérant
sur le site de la cité royale de Méroé en Haute-Nubie, au Soudan, évoque les
liens entre les civilisations de la Nubie et de l'Ancienne Egypte.
  

Invented in Egypt: A history of sport
Nevine El-Aref looks at how the Pharaohs invented sports -- and possibly even football Zahi Hawass -- widely considered the world's most famous archaeologist -- attests that a precursor of the game we know today as football may have been invented in Ancient Egypt. 

  
Dig days: A healthy diet
By Zahi Hawass
As we continue to understand more about the lives of the Pyramid builders
through discoveries at Giza, both their tombs and settlements, an ever more
remarkable picture emerges
  

«Ce protocole a officialisé une coopération déjà existante»
Anna-Maria Donadoni, directrice du musée égyptien de Turin, évoque, à l'occasion d'un jumelage avec le Musée du Caire, les principales collections turinoises.

  

L'égyptologie comme destin

Le père des archéologues italiens, Fabrizio Sergio Donadoni, a consacré sa vie à l'égyptologie. Portrait à l'occasion d'une visite en Egypte. 

 

Living on the edge
From the last days of the Romans to less than two decades ago Siwa was virtually closed to visitors. In the second of a two-part look at the oasis, Jenny Jobbins finds it is not surprising that in the face of recent development the oasis still retains many of its mysteries
http://weekly.ahram.org.eg/2004/687/her1.htm

 
Dig days:
The Pyramid builders II

By Zahi Hawass
http://weekly.ahram.org.eg/2004/687/her2.htm

 

Dig Days: 
The Pyramid builders at Giza

By Zahi Hawass

http://weekly.ahram.org.eg/2004/684/he2.htm

 

Presentation of arms
The military glory of the Ancient Egyptians will soon be revealed at Luxor Museum's new extension.

http://weekly.ahram.org.eg/2004/684/he1.htm

 

Wandering amid the silence
Whether you are looking for a one-day getaway or a 16-day adventure, there is no better place than Farafra

http://weekly.ahram.org.eg/2004/683/tr3.htm

 

What lies beneath the paint
Should the scenes in the ancient noblemen's tombs in Beni Hassan be viewed from more than one perspective?
http://weekly.ahram.org.eg/2004/682/heritage.htm
 

Cures for the Pharaoh
The Sakakini Palace in Cairo is currently undergoing restoration prior to being turned into a medical museum.
http://weekly.ahram.org.eg/2004/681/hr1.htm
 

From Coptic texts to sacred bulls
The Serapeum was discovered by the renowned French Egyptologist Auguste Mariette in 1852. He originally came to Egypt on behalf of the Louvre to purchase ancient manuscripts from Coptic monasteries, and during visits to Saqqara, Dahshur and Mit- Rahina he became interested in Ancient Egypt...
http://weekly.ahram.org.eg/2004/679/heritage.htm
 
Sacred galleries under threat
Since 1986 one of the main tourist attractions at Saqqara has been closed to the public. No tourists have been able to wander awestruck through the splendid rock-hewn galleries flanked by tomb chambers each with a huge sarcophagus that once held the remains of the sacred Apis bulls...
http://weekly.ahram.org.eg/2004/679/hr1.htm
 
Promoting passion
By Zahi Hawass

Noele Switzer is an American who never studied Egyptology but has devoted more than 40 years of her life to a study of Egypt and its ancient history. She heads a company in Los Angeles that builds houses for the poor. With little time to spare, she has nevertheless managed to play an important role in promoting an awareness of Egypt's Pharaonic heritage around the world...
http://weekly.ahram.org.eg/2004/679/hr3.htm
 

Dig Days. Dorthea: Om-Seti
By Zahi Hawass
As I wrote in my last column, meeting Mahmoud Saleh, the 12- year-old boy, and hearing the incredible story of his life and his passion for Egyptology reminded me of Om-Seti.
http://weekly.ahram.org.eg/2004/677/he2.htm
 
Sleuthing in a royal tomb
The huge tomb of Amenhotep III -- one of the most prodigious builders of ancient times -- is at long last receiving the attention it deserves. Nevine El-Aref looks into the second stage of its restoration
http://weekly.ahram.org.eg/2004/676/he1.htm
 
Weaving circles
Myths not only evolve, they are sometimes invented. Jill Kamil observes a modern ritual at Karnak
http://weekly.ahram.org.eg/2004/676/he2.htm
 

From funerary masks to portraits
These were removed from their mummy wrappings The so-called Fayoum portraits, more than 1,000 of them, are the largest body of ancient portable paintings to have survived...
http://weekly.ahram.org.eg/2004/675/he2.htm
 
Dig days:
A born archeologist

By Zahi Hawass
http://weekly.ahram.org.eg/2004/675/he3.htm

Head of Egypt's antiquities council explains how to preserve ancient
treasures

http://www.dailystar.com.lb/features/30_01_04_c.asp

The Mummy's Tomb, Unwrapped
Because starting tomorrow, and for only six weeks, the restored and reconfigured Egyptian tombs at the Metropolitan Museum of Art will be unveiled without the protective glass that has obscured their 4,000- year-old limestone carvings for the last nine decades. Scary icons to generations of city schoolchildren, the two tombs - or "toons,'' as they were lovingly misdescribed in "The Catcher in the Rye'' by J. D. Salinger - have been sheathed in thick glass panels since shortly after they were first opened to the public in 1910 and 1916. The huge old glass sheets - too heavy to be cleaned, covered with scratches, tinged green and prone to annoying reflections - "distorted the colors in the reliefs,'' said Dorothea Arnold, the museum's curator of Egyptian art, describing the carved, painted limestone images in the offering chamber of the tomb of Perneb. "It came to such a point that I was ashamed to come in here,'' she said, standing in the tomb on a recent afternoon. New 11-foot-tall glass panels from Wernberg, Germany, cannot be installed until mid-March. Thirteen of the panels will protect the tomb of Perneb and 10 the newly repositioned tomb of Raemkai. Hinged for cleaning access, the nonreflective new glass panels, which are engineered to be "water white,'' reducing the greenish hue, are three-fourths of an inch thick and made of three laminated layers for strength. And so, this construction-schedule hiccup offers a once-in-a-lifetime viewing opportunity. Quite literally, since few people could be alive who saw the tomb reliefs before the protective glass was first hoisted into place. The Perneb "is the most complete tomb outside of Egypt,'' said Dr. Arnold, who organized the multimillion-dollar reinstallation of the tombs and five galleries around them. The painted carvings are very rare, she said, gloriously depicting the rituals of libation and sustenance in the afterlife. Describing the glassless limestone reliefs as unencumbered, Philippe de Montebello, the museum's director, said that "we honestly believe that people approach great things with a deferential attitude.'' Of potential vandalism, he said, "We are frankly not concerned.'' But the museum will not only trust but also verify. Visitors will be ushered into the once-sacred offering rooms in groups of five, under the supervision of a guard. And atmospheric monitors will signal alarms to empty the tomb chambers if an increase in humidity from visitors threatens the condition of the fragile limestone reliefs. In the reconstruction, which has been under way for more than two years, five of the 32 galleries and seven study rooms that constitute the Lila Acheson Wallace Galleries of Egyptian Art, some 6,000 square feet of displays housing 800 artifacts, have been reconfigured and reinstalled. In addition, three of the 18-foot-tall original windows facing Fifth Avenue, as well as ceiling beams of the 1902 building designed by the architect Richard Morris Hunt, have been exposed, along with their street views, for the first time in decades.  The newly redesigned galleries include two devoted to Predynastic and Early Dynastic art up to 2,650 B.C., including four flint hand axes that have been dated to 100,000 to 300,000 years ago, the oldest in the collection. Two other renovated galleries house the collection's most recent Egyptian works, dating to Roman times, ended around A.D. 400. But the most striking new feature of the galleries is the reconfiguration of the two tombs. That of Perneb, a sacred royal official, is dated from 2380 to 2350 B.C.; that of Raemkai, a royal prince, is dated to about 2450 B.C. These relics will now serve as the Metropolitan's gateway to the Egyptian wing in "a dramatic evocation of what it was like to enter the mystery of the tombs,'' Mr. de Montebello said. Dr. Arnold said that the new setting for the Perneb tomb, which originally took 10 to 15 years to build, more closely represented its natural setting in Egypt. A new rusticated wall of Egyptian limestone from a quarry in Helwan, Egypt, has been built outside the tomb to restore the sense of intimacy conveyed by the original closed courtyard, with its relief carvings of Perneb. As for the Raemkai tomb, its limestone reliefs have been reassembled in their original enclosed configuration, instead of being "displayed on the walls looking like easel paintings,'' as Mr. de Montebello put it. The old presentation of the Raemkai tomb, and even the glass panels, were described by Mr. Salinger in "The Catcher in the Rye": "You had to go down this very narrow sort of hall with stones on the side that they'd taken right out of this Pharaoh's tomb and all,'' he wrote in the voice of his 16-year-old protagonist, Holden Caulfield, adding, "It was pretty spooky.'' In the novel, a boy asks Holden for directions to the mummies "in them toons and all,'' and Holden says: "Toons. That killed me. He meant tombs.'' Holden finds himself alone in the tomb of Perneb. "It was so nice and peaceful,'' he says, but then he notices an obscenity written "right under the glass part of the wall, under the stones.'' The new limestone wall at the tomb of Perneb was carved with chisels, and it matches the original walls in every respect, except for the light color of the new stone. "Give the wall another 4,000 years,'' said Dr. Arnold with a laugh, "and we'll have a good match.'' 

The New York Times 

 

Dig days:
A scent of the Pharaohs

By Zahi Hawass
http://weekly.ahram.org.eg/2004/673/he2.htm
 
On (Héliopolis), première université de l'histoireOn (Héliopolis), première université de l'histoire
Les Egyptiens étaient forcément dotés d'une culture universitaire et universelle
http://www.algomhuria.net.eg/progres/4/1.asp

 
More rich pickings
More Late Period treasures have been discovered at Saqqara.
http://weekly.ahram.org.eg/2004/672/he2.htm
  

Mummy in a sealed coffin
By Zahi Hawass
I arrived at the West Bank of Luxor after a long trip from Kharga Oasis. I slept during the four-hour journey, dreaming that I was watching the opening of the sealed coffin found by the Spanish mission.
http://weekly.ahram.org.eg/2004/671/hr2.htm

  

Egyptian reflects on career - and paradoxes of preserving
Nasry Iskander, after dedicating a lifetime to preserving the mummies in the Egyptian Museum, boils his work down to one straightforward thought. "It is much better to work with the dead," he said, sitting in a squat room tucked away in the bowels of the grand neo-Classical building. "They give you less trouble." In fact, Iskander finds a certain paradox working with the shrunken, desiccated bodies of the men and women who ruled Egypt about 3,500 years ago. While they are among the biggest draws for tourists, they have traditionally been a kind of tolerated stepchild in the field of Egyptology. Archaeologists tend to be more interested in hieroglyphics say, or glittering funeral masks, than in skin and bones. "That is very shortsighted, because the mummy is the center of our civilization," he said. "Everything you see was built for the mummies - the coffins, the tombs, the pyramids, the temples."

Iskander, 61, reached the mandatory retirement age last year and left his official job as head of research and conservation in the Department of Antiquities. But he still serves as a consultant on several crucial projects that involve both human and animal mummies. If human remains barely interest most researchers, this is doubly true for animal remains. The ancient Egyptians mummified everything from dogs to crocodiles for one of four reasons. The animals were either symbols of a god, temple offerings, household pets the deceased wanted along in the afterlife, or food for the eternal journey. Iskander, an avuncular figure sporting a rim of white hair, devoted much of the 1980's and 1990's to making sure that the royal mummies were preserved. That done, he turned his attention over the past five years to the museum's rich animal collection. (The word mummy comes from the ancient Greek word for wax.)
He and a colleague, Salima Ikram, an Egyptologist at the American University in Cairo, shuttered the animal mummy room and began studying more than 165 beasts. The room was quietly reopened last month with new showcases. The hulking crocodiles are no longer casually tossed on top of thecabinets gathering  dust, for instance. But the museum directors decided the whole display remained too cramped and are planning a more glamorous official opening at a later date. Some of the new displays reveal Iskander's impish sense of humor, like the label on a set of ribs wrapped in linen as an afterlife snack. "Clearly barbecued ribs have been popular for a long time," reads the typed card.
Iskander dates his interest in mummies to 1943. He was born into an illustrious clan of Coptic Christian scientists from Alexandria that year, and his late Uncle Zaky made the breakthrough discovery on the chemical processes that kept mummies preserved. Iskander obtained degrees in physics and mathematics from Alexandria University in 1965, but immediately entered the field of antiquities. He did not get his first mummy until 1972, and the process of preserving that queen hooked him for life. He just looked at her for two months, he said, afraid to touch her and unsure where to start. The only advice his illustrious uncle gave was to read a lot and to wear a mask - just in case a body shut away for thousands of years emitted bacteria. The face and body of the queen was covered with a disfiguring white powder. The scientist soon discovered that a modern Beverly Hills plastic surgeon trying to preserve the sagging looks of any Hollywood star with collagen has a certain  affinity with the mummifiers of old. To make the dead queen look young and robust, the mummifiers injected her face with animal fat. Over the centuries, the fat had reacted with the salt  used to dry out the body, producing a kind of detergent - hence the white powder dusting the queen's skin.

When Iskander started his career, the 27 or so royal mummies in the Egyptian Museum were kept in ordinary display cases. Some had been encased in wax in an effort to preserve them, others  bombarded with gamma rays to forestall any sudden blossoming of bacteria. The original mummification process was designed to keep the bodies so dry that bacteria that would normally eat the body could not survive. But after living in darkened tombs with little oxygen for thousands of years,  the dehydrated nobles were suddenly exposed to bright lights, debilitating  pollution and the  proximity of sweaty bodies of thousands of tourists every year. Eternal life seemed doomed. So Iskander set to work with the J. Paul Getty Museum in Los Angeles, designing special cases that control theoxygen, temperature, pollution, motion and other factors. The fruit of his labors was harvested in 1994, with the opening of the first mummy room at the Egyptian Museum. A second room, housing another 12 mummies, was supposed to follow in two years. But given the bureaucratic wrangling required for any renovation work, it is only now nearing completion. Having reached an age where death is no longer unthinkable, Iskander says he wants to be mummified, too, but doubts it will happen. "I spent most of my life working to preserve others," he says. "Why not me?" http://www.iht.com/articles/124564.html  

 

 

Artículos de Egiptología - Parte VI
Artículos de Egiptología - Parte V
Artículos de Egiptología - Parte IV
Artículos de Egiptología - Parte III
Artículos de Egiptología - Parte II
Artículos de Egiptología - Parte I

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