Pub Date : 2021-05-01DOI: 10.21608/JGUAA2.2021.68183.1052
A. Khalil
Fathers tackled their aphorisms using multiple rhetorical methods. Perhaps this is due to the ability of such rhetorical devices to simplify the idea in a way that attracts the listener’s and the reader’s attention. Antimetabole is one of those figures of speech which are noted occasionally in Coptic. This article aims to present a linguistic study of the types of this figure of speech in Coptic literary texts, especially the Sahidic texts which were written between the 4th and 7th centuries AD. In addition, it investigates the rhetorical purposes which motivated the scribes to use this rhetorical device in their texts.
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Pub Date : 2021-05-01DOI: 10.21608/JGUAA2.2021.55863.1048
H. Thabet
Artifacts and fine industries flourished in the era of Mughal- Indian emperors, as shown in Turban boxes that were known as juaba distar; a Persian phrase for boxes used to keep turbans. The Mughals, including emperors or princes, paid great attention to turban boxes because of the importance of the turban itself that reflected the position of its user, especially at the time of Babur. At the time of Hamayun , the turban was used to climb high places by connecting its parts. The turban was decorated with jewelry and gemstones more than ever, especially at the time of Jahangir. The feather and stick on which the jewel was fixed were made of gold. Therefore, small boxes with the same design as the turban boxes were introduced. The boxes generally comprised two parts: The body and the cover. There were several artistic styles, such as the box of a circular body and a semi-spherical dome, and the style of a circular body and onion-like dome. The third style comprised a small base, a wider upper part, and a convex dome. The fourth style was a circular decagon body and a polygon dome, whereas the fifth style had an octagonal body. The small boxes with the same design were almost used for keeping the turban's accessories, including the diamond and the golden stick. The dimensions of the box were suitable for the function of keeping the turban, and the cover ensured protection. Wood and papier-mâche were used for manufacturing the boxes, but they were treated with a lacquer to have isolated surfaces in order not to harm the turban and the accessories. The decorations implemented on the boxes reflected the culture of Northern India, especially Kashmir. Thus, these decorations included the deities of Hanoman, Kreshna, and Janetha, as well as animals, e.g., horses, foxes, and elephants. The paintings of the mythical beings representing the Indian environment, e.g., dragons, angels, and goblins resembled those of the manuscripts of Kashmir school at the time. Additionally, the paintings of men and women expressed strongly the Indian environment in terms of customs, facial features, or some characteristics of the paintings of Kashmir school, including the lock of hair hanging behind the ear. The floral motifs stressed the impact of the local environment, including flowers and trees in Northern India, such as Tulips and cypress trees. The general design of the distribution of decorations on the box achieved a balance between the body and the cover. The design of the boxes was affected largely in the buildings of India, including Indian and onion-like domes. In the Mughal Indian era (932-1273A.H/1526-1857A.D), applied arts were the most important industry because it received due attention from the Mughal emperors and princes and Muslim princes in different regions. Therefore, several applied arts, including turban boxes appeared. The interest of Mughals in headgears, in general, and turbans, in particular, is an important issue in their culture. However, these
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Pub Date : 2021-03-30DOI: 10.21608/JGUAA2.2021.66349.1051
M. Gad
The twofold oppositions or contrasts that complement each other are evident in Ancient Egypt. We have heaven and earth, day and night, life and death, fertile land and desert, and so good and evil. One of the most outstanding forms of dualism was the divine RHwy: Horus and Seth. The interpretation of this word differs according to the context included. On one hand, it is translated as the two companions when talking first about the gods Rea and Thoth; on the other hand, it is the two rivals Horus and Seth, apart from occasionally it is translated, as well as, the reconciled gods, or the two companions. This raises the question of when and where the meaning of the word should be understood as «Rivals» and or as «Companions»! In the course of this article, we shall have to ask, however, does the connection that linked between RHwy and the deceased differ from his relation to each of them separately? The study is also exposed to three words that come in the texts and that may play the same role of the word RHwy in its binary meanings: aHAwy, Xnnwy, and 4nwy. So, and in the interests of clarity, I have purposely confined this article to the Old Kingdom Pyramid Texts, Middle Kingdom Coffin Texts, and New Kingdom Book of the Dead, as thoughts about Rhwy are remarkably shown in similarity and continuation.
{"title":"The DECEASED AND HIS RELEVANCE TO RHwy, aHAwy, 3nnwy, AND 4nwy","authors":"M. Gad","doi":"10.21608/JGUAA2.2021.66349.1051","DOIUrl":"https://doi.org/10.21608/JGUAA2.2021.66349.1051","url":null,"abstract":"The twofold oppositions or contrasts that complement each other are evident in Ancient Egypt. We have heaven and earth, day and night, life and death, fertile land and desert, and so good and evil. One of the most outstanding forms of dualism was the divine RHwy: Horus and Seth. The interpretation of this word differs according to the context included. On one hand, it is translated as the two companions when talking first about the gods Rea and Thoth; on the other hand, it is the two rivals Horus and Seth, apart from occasionally it is translated, as well as, the reconciled gods, or the two companions. This raises the question of when and where the meaning of the word should be understood as «Rivals» and or as «Companions»! In the course of this article, we shall have to ask, however, does the connection that linked between RHwy and the deceased differ from his relation to each of them separately? The study is also exposed to three words that come in the texts and that may play the same role of the word RHwy in its binary meanings: aHAwy, Xnnwy, and 4nwy. So, and in the interests of clarity, I have purposely confined this article to the Old Kingdom Pyramid Texts, Middle Kingdom Coffin Texts, and New Kingdom Book of the Dead, as thoughts about Rhwy are remarkably shown in similarity and continuation.","PeriodicalId":32254,"journal":{"name":"Journal of General Union of Arab Archaeologists","volume":"97 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73903233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-17DOI: 10.21608/JGUAA2.2021.58863.1049
Monica Hanna
This paper discusses the cultural loss of five Egyptian mosques in Egypt due to their renovation. While illicit digging, encroachment, and real estate unplanned development has damaged ancient Egyptian heritage, in particular in the last eleven years, Egypt has a long history of faulty restorations of Islamic monuments, which include demolition, wholesome reconstruction, and unhistorical additions. Few of the original early Islamic monuments survive today, the oldest being the Nilometer on Rawḍa Island (869 AD), which dates to two hundred years after the Arab conquest of Egypt. Interventions in the capital Cairo are often subjected to media coverage and the scrutiny of the public, but in the provinces, violations are widespread and many botched restorations go virtually unnoticed. This paper discusses five Egyptian provincial mosques whose more or less recent restoration has had catastrophic results on the original buildings: al-Mitwally mosque in Ğirǧā (Sūhaǧ), Qimn al-ʿArūs mosque (Bāni Sūayf), Zaġhlūl and al-Maḥally mosques in Rāšid (Baḥayra), al-‘Amry mosque in Dumiyāt. The paper will briefly describe the appearance of these buildings, discuss their history based on the few primary (including historical photographs and accounts) and secondary sources (literature in English and Arabic), and report on an eyewitness survey of their current state carried out between 2018 and 2020, after restorations that have wiped away many of their intricate historic details. The lack of coordination between the Ministry of Endowments and the Ministry of Antiquities and Tourism has resulted in renovation instead of restoration for these mosques. This does not only affect the Islamic heritage of rural Egypt, but the urban fabric around those mosques accordingly. In the conclusions, the author proposes a way forward to overcome problems in the coordination and execution of restoration works and guarantee the functionality of the buildings for the communities they serve without damaging their historical features. First, the author proposes an implemented code as an addendum to the antiquities law that is enforced on all companies working in conservation. Secondarily, workshops carried out by various academic boards and the Ministry of Antiquities and Tourism should discuss the concept of authenticity and how this should codify all future heritage practices.
本文讨论了埃及五座清真寺在改造过程中的文化损失。尽管非法挖掘、侵占和无计划的房地产开发破坏了古埃及的遗产，特别是在过去的11年里，埃及对伊斯兰古迹的修复有很长的错误历史，包括拆除、健康重建和非历史的增加。原始的早期伊斯兰纪念碑保存到今天的很少，最古老的是Rawḍa岛上的Nilometer(公元869年)，它可以追溯到阿拉伯人征服埃及200年后。在首都开罗的干预经常受到媒体的报道和公众的监督，但在各省，违规行为普遍存在，许多拙劣的修复几乎没有人注意到。论述了五名埃及省级清真寺的或多或少最近恢复了灾难性的结果对原建筑:al-Mitwally清真寺Ğ红外ǧā(Sū公顷ǧ),Qimn al -ʿArū年代清真寺(Bā倪年代ūayf),咱ġhlūl和al-Maḥ盟友清真寺在Rāšid (Baḥayra), al - Amry清真寺Dumiyāt。本文将简要描述这些建筑的外观，根据少数主要(包括历史照片和记录)和次要来源(英语和阿拉伯语文献)讨论它们的历史，并报告2018年至2020年期间对其现状进行的目击者调查，修复后抹去了许多复杂的历史细节。由于捐赠部与古物和旅游部之间缺乏协调，导致这些清真寺只是翻新而不是修复。这不仅影响了埃及农村的伊斯兰遗产，也影响了清真寺周围的城市结构。在结论中，作者提出了解决修复工程协调和执行中存在的问题，在不破坏历史特色的情况下保证建筑对社区的功能的方法。首先，作者提出了一项实施守则，作为古物法的补充，对所有从事保护工作的公司强制执行。其次，由各学术委员会和古物和旅游部举办的讲习班应讨论真实性的概念以及如何将其纳入所有未来的遗产实践。
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Pub Date : 2021-03-08DOI: 10.21608/JGUAA2.2021.55173.1046
I. Abdou
The current paper tackles an edition of unpublished Greek documentary papyrus from the Cairo Egyptian Museum under glass 86 of the S (pecial) R (egister) Nr. 3049 with inv. 161. This papyrus is from Tampemou (Oxyrhynchite nome) and dates back to the Third Century AD. This papyrus text is a business letter. The letter preserved some details about the transport of sheep made by the official who travelled south to Tampemou in the eastern toparchy of the Oxyrhynchite Nome. The verso contains two lists of the landowners and the amounts of wheat recorded after their names. The purpose of amounts of wheat on the verso did not serve for taxation, because there is nothing to indicate the taxation. The names of the people appearing in the two lists were probably tenants, and the amounts of wheat recorded after their names may be the rentals which they paid for their leaseholds, though the rates of rent in private tenancy were usually higher. Thus it is possible that they were sharecroppers. Sharecropping is a type of farming in which the sharecropper rents small plots of land from a landowner in return for a portion of his crop, to be given to the landowner at the harvest. The sharecropper agreed to hand over a proportion between one-third and two-thirds of the crop to the landowner, instead of paying a rent. The landowner provided the sharecropper with land, seeds, and tools; these supplies were deducted from the portion of the sharecropper. The papyrus has been presented as follows: a general description of the contents of the papyrus, dimensions of the papyrus in centimeters, number of lines of text, arrows indicate the direction of writing relative to that of papyrus surface, a transcription of the Greek text, English translation and extensive commentary.
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Pub Date : 2021-02-04DOI: 10.21608/JGUAA2.2021.45705.1039
I. A. El-Sattar, Shouikar Salama
This paper aims to publish three fragments preserved in the archaeological store at Atfiyah and belong to three mastaba tombs at Giza; two of them were mostly collapsed. The importance of this paper is due to that two fragments of those in question only contain the names of their owners (the second and the third fragments), while the first one bears some titles without its owner name. Although two fragments bear the names of their owners, these names were frequently repeated in the Old Kingdom which makes it more difficult to determine their identity. So, identifying the persons who held these names is also the aim of this paper. Accordingly, this paper tries to find out the owners of those fragments and their tombs. After examining the names and the titles inscribed on these fragments and after reconstructing and supplementing the texts of the first fragment, the study concluded that the first fragment belongs to KA(⸗j)-xr-PtH:Ftk-tA of the Sixth Dynasty, and the owner of the mastaba tomb G 7652 in Giza, while the second fragment is one of the two stelae of anx 5pss-kA⸗f of the Fifth Dynasty, and the owner of the mastaba tomb G 6040 in Giza. The third fragment is a lintel of 1p-Hr-nfr, the wife of Prj-sn who lived during the middle of the Fifth Dynasty and the beginning of the Sixth Dynasty. This fragment may have been a part of his mastaba tomb LD 78 in Giza.تتهدف تلک الورقة البحثية إلى نشر ثلاثة قطع محفوظة بالمخزن الأثري في أطفيح، وتنتمي إلى بقايا ثلاثة مقابر تهدمت معظم أجزائها. وتکمن أهمية تلک الورقة البحثية في التعرف على أسماء أصحاب تلک القطع الثلاثة؛ حيث إن قطعتين فقط من تلک القطع الثلاثة تحمل أسماء مالکيها (القطعتين الثانية والثالثة)، بينما القطعة الأولى تحمل بقايا ألقاب بدون أي اسم يدل على صاحب تلک القطعة. وتزداد المشکلة أن تلک الأسماء تکرر ظهورها کثيرا في الدولة القديمة. وبعد فحص الألقاب والأسماء التي وردت على تلک القطع وإعادة ترکيب واستکمال النصوص التي وردت على القطعة الأولى، فقد انتهت تلک الدراسة إلى أن القطعة الأولى تخص المدعو "کا خر بتاح فتک تا" من الأسرة السادسة، وصاحب المقبرة G 7652 بالجيزة، بينما القطعة الثانية هي لوحة مستديرة القمة من إحدى لوحتين لشخص يدعى "عنخ شبسسکاف" من الأسرة الخامسة، وصاحب المقبرة G 6040 بالجيزة، أما القطعة الثالثة فهي عبارة عن جزء من عتب يحمل اسم السيدة "حتب حر نفرت" زوجة المدعو "بري سن"، الذي ربما عاش في الفترة ما بين منتصف الأسرة الخامسة وحتى بداية الأسرة السادسة وربما کانت تلک القطعة هي جزء من مقبرته في الجيزة رقم LD 78.تهدف تلک الورقة البحثية إلى نشر ثلاثة قطع محفوظة بالمخزن الأثري في أطفيح، وتنتمي إلى بقايا ثلاثة مقابر تهدمت معظم أجزائها. وتکمن أهمية تلک الورقة البحثية في التعرف على أسماء أصحاب تلک القطع الثلاثة؛ حيث إن قطعتين فقط من تلک القطع الثلاثة تحمل أسماء مالکيها (القطعتين الثانية والثالثة)، بينما القطعة الأولى تحمل بقايا ألقاب بدون أي اسم يدل على صاحب تلک القطعة. وتزداد المشکلة أن تلک الأسماء تکرر ظهورها کثيرا في الدولة القديمة. وبعد فحص الألقاب والأسماء التي وردت على تلک القطع وإعادة ترکيب واستکمال النصوص التي وردت على القطعة الأولى، فقد انتهت تلک الدراسة إلى أن القطعة الأولى تخص المدعو "کا خر
{"title":"Three Old Kingdom Fragmentary Reliefs and Their Owners","authors":"I. A. El-Sattar, Shouikar Salama","doi":"10.21608/JGUAA2.2021.45705.1039","DOIUrl":"https://doi.org/10.21608/JGUAA2.2021.45705.1039","url":null,"abstract":"This paper aims to publish three fragments preserved in the archaeological store at Atfiyah and belong to three mastaba tombs at Giza; two of them were mostly collapsed. The importance of this paper is due to that two fragments of those in question only contain the names of their owners (the second and the third fragments), while the first one bears some titles without its owner name. Although two fragments bear the names of their owners, these names were frequently repeated in the Old Kingdom which makes it more difficult to determine their identity. So, identifying the persons who held these names is also the aim of this paper. Accordingly, this paper tries to find out the owners of those fragments and their tombs. After examining the names and the titles inscribed on these fragments and after reconstructing and supplementing the texts of the first fragment, the study concluded that the first fragment belongs to KA(⸗j)-xr-PtH:Ftk-tA of the Sixth Dynasty, and the owner of the mastaba tomb G 7652 in Giza, while the second fragment is one of the two stelae of anx 5pss-kA⸗f of the Fifth Dynasty, and the owner of the mastaba tomb G 6040 in Giza. The third fragment is a lintel of 1p-Hr-nfr, the wife of Prj-sn who lived during the middle of the Fifth Dynasty and the beginning of the Sixth Dynasty. This fragment may have been a part of his mastaba tomb LD 78 in Giza.تتهدف تلک الورقة البحثية إلى نشر ثلاثة قطع محفوظة بالمخزن الأثري في أطفيح، وتنتمي إلى بقايا ثلاثة مقابر تهدمت معظم أجزائها. وتکمن أهمية تلک الورقة البحثية في التعرف على أسماء أصحاب تلک القطع الثلاثة؛ حيث إن قطعتين فقط من تلک القطع الثلاثة تحمل أسماء مالکيها (القطعتين الثانية والثالثة)، بينما القطعة الأولى تحمل بقايا ألقاب بدون أي اسم يدل على صاحب تلک القطعة. وتزداد المشکلة أن تلک الأسماء تکرر ظهورها کثيرا في الدولة القديمة. وبعد فحص الألقاب والأسماء التي وردت على تلک القطع وإعادة ترکيب واستکمال النصوص التي وردت على القطعة الأولى، فقد انتهت تلک الدراسة إلى أن القطعة الأولى تخص المدعو \"کا خر بتاح فتک تا\" من الأسرة السادسة، وصاحب المقبرة G 7652 بالجيزة، بينما القطعة الثانية هي لوحة مستديرة القمة من إحدى لوحتين لشخص يدعى \"عنخ شبسسکاف\" من الأسرة الخامسة، وصاحب المقبرة G 6040 بالجيزة، أما القطعة الثالثة فهي عبارة عن جزء من عتب يحمل اسم السيدة \"حتب حر نفرت\" زوجة المدعو \"بري سن\"، الذي ربما عاش في الفترة ما بين منتصف الأسرة الخامسة وحتى بداية الأسرة السادسة وربما کانت تلک القطعة هي جزء من مقبرته في الجيزة رقم LD 78.تهدف تلک الورقة البحثية إلى نشر ثلاثة قطع محفوظة بالمخزن الأثري في أطفيح، وتنتمي إلى بقايا ثلاثة مقابر تهدمت معظم أجزائها. وتکمن أهمية تلک الورقة البحثية في التعرف على أسماء أصحاب تلک القطع الثلاثة؛ حيث إن قطعتين فقط من تلک القطع الثلاثة تحمل أسماء مالکيها (القطعتين الثانية والثالثة)، بينما القطعة الأولى تحمل بقايا ألقاب بدون أي اسم يدل على صاحب تلک القطعة. وتزداد المشکلة أن تلک الأسماء تکرر ظهورها کثيرا في الدولة القديمة. وبعد فحص الألقاب والأسماء التي وردت على تلک القطع وإعادة ترکيب واستکمال النصوص التي وردت على القطعة الأولى، فقد انتهت تلک الدراسة إلى أن القطعة الأولى تخص المدعو \"کا خر","PeriodicalId":32254,"journal":{"name":"Journal of General Union of Arab Archaeologists","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76230259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-17DOI: 10.21608/jguaa2.2020.44883.1038
Gehan Z. Mohamed, K. Mohamed
The current paper is concerned with the study and publication of a funerary stela of a man named Ptahmes, which was discovered in Heliopolis and specifically in the eastern area of Ain Shams. It is currently preserved in the magazine of Arab El-Hesn at El-Matariya under registration No. 235. It is made of limestone without any traces of color. Despite being in a good condition, some missing parts are found in the upper half of the pyramidion, there are also some missing parts in the right lower corner and some abrasions in the upper register. The stela under consideration exhibits average quality of workmanship. It consists of two registers of incised engravings separated by a double horizontal line. The upper register contains a scene of Osiris-the only god in this stela- together with the stela’s owner Ptahmes to whom the stela is dedicated. The second register is occupied by a group of individuals, most of them are descendants of the same family: Ptahmes, his mother iry-r, his father pA-qd, and a woman in a mourning position whose identity has not yet been identified. This woman is the one who dedicated the stela for Ptahmes. The article discusses the stylistic features, hieroglyphic texts, and the religious aspects of the pyramidion, which tops the funerary stela and the symbols represented on it. The analysis of the scenes and texts proves with no doubt that, this stela could be dated to the New Kingdom and more precisely to the Ramesside Period.Arabic Abstractتتناول الورقة التالیة دراسة ونشر لوحة جنائزیة لرجل یدعى بتاح مس، وقد عثر علیها فی هلیوبولیس وعلى وجه التحدید فی المنطقة التی تقع إلى الشرق من منطقة عین شمس، وهذه اللوحة محفوظة حالیا فی مخزن عرب الحصن الذی یوجد فی منطقة المطریة وذلک تحت رقم تسجیل 235، وهی لوحة مصنوعة من الحجر الجیری، وتعتبر خالیة تماما من أی أثار للألوان بها. على الرغم من کون هذه اللوحة فی حالة جیدة من الحفظ إلا أنه یوجد بها بعض الأجزاء المفقودة، وتتمثل هذه الأجزاء فیما یلی ذکره: النصف العلوی من الشکل الهرمی والرکن السفلى الأیمن للوحة، هذا الإضافة إلى أنه توجد بعض الأجزاء الأخرى المهشرة فی الصف العلوی. تتکون اللوحة قید الدراسة من صفین من النقوش الغائرة المحززة یفصل بینهما خط أفقی مزدوج، وهی تمثل مستوى متوسط من حیث جودة الفن. یشمل الصف العلوی من اللوحة منظر للإله أوزیر-وهو الإله الوحید الذی تم تمثیله فی هذه اللوحة-وکذلک منظر لصاحب اللوحة وهو بتاح مس الذی کرست له لوحة الدراسة، بینما یتضمن الصف الثانی مجموعة من الأفراد الذین ینحدر معظمهم من نفس العائلة وهم کالتالی: بتاح مس، والدته إیرت-را، ووالده با قد، وکذلک امرأة قد تم تمثیلها فی وضع الحزن وهو وضع الحداد، وهذه المرأة لم یتم تحدید هویتها، وقد کرست هذه اللوحة لبتاح مس. تناقش المقالة السمات الفنیة والنصوص الهیروغلیفیة والبعد الدینی للشکل الهرمی الذی قد تم تمثیله أعلى اللوحة الجنائزیة وکذلک الرموز الواردة به. تبین بشکل واضح من خلال تحلیل المناظر والنصوص الهیروغلیفیة الواردة بلوحة الدراسة أن هذه اللوحة یمکن أن یعود تأریخها إلى فترة عصر الدولة الحدیثة، وعلى وجه الدقة عصر الرعامسة.
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Pub Date : 2020-11-15DOI: 10.21608/jguaa2.2020.43613.1036
W. K. Elghareb
Microstructure and Damage Assessment of some Ptolemaic pottery objects at Tell Abu Yasin in Sharkia, Egypt: Case StudyThe research has concluded some great importance results in identifying technological process and damage of pottery objects at tel Abu Yasin in Sharkia. Abu Yasin site is one of the most important archaeological sites in Sharkia governorate and east of delta. it dates back to Ptolemaic time age. Many tests, examinations and analyzes were performed to diagnose damage manifestations of some archaeological pottery pieces. Examination and analysis methods were Polarized Microscope (PLM) , Scanning Electron Microscope with Energy Dispersive of X-Ray Unit "SEM- EDX" , X-ray diffraction analysis ( XRD) and thermal analysis ( DTA ),they have played an important role in identification of archaeological pottery technology, surface treatment, manufacture and its deterioration. The research has proved that the clay used in that our archaeological pottery is Nile Clay in tel Abu Yasin site, while tempers (additives materials) are sand " quartz" , grog " pottery powder", limestone powder " calcite" , and burnt straw, the used shaping technology methods of our pottery objects are potter wheel for all three pottery objects, the surface treatment is slip layer in all pottery objects in our site " Tell Abu Yasin site " , burning atmosphere inside the kiln was reduced atmosphere for the first pottery pot and oxidized atmosphere to the second and third pottery pieces. All archaeological Pottery objects in our site suffer from factors of Physiochemical damage, our archaeological pottery pots and plate suffered from soil sediments due to burial in the soil, in addition to phenomenon of fracture, scaling, cracking, weakness, fragility, peeling, stains, poor physical structure and crystallization of chlorides, sulfates, carbonates and phosphates salts as a result of burial in saline clay soil in our site. The research recommends that restoration; treatment and maintenance of these archaeological pottery pieces should base on results of tests, examinations, analyzes and damage assessment that has been proved by the researcher. The research has concluded some great importance results in identifying technological process and damage of pottery objects at tel Abu Yasin in Sharkia. It had proved that used clay was Nile clay; additions were sand, burnt straw, grog and limestone powder. Surface treatment was slip layer in samples, burning atmosphere inside the kiln was reduced for the first pot and oxidized to the second and third piece, it also illustrated mechanical and physiochemical damage, whether from manufacture defects or effect of burial environment, it has proved presence of soil sediments, crystallization of salts "carbonate, sulfates, chloride", cracking, peeling, stains and poor physical structure. The research recommends that it should be treated and maintained based on the results of the tests and analyzes that have been proven by the researcher.A
以埃及Sharkia tel Abu Yasin地区托勒密时期陶器的显微结构和损伤评估为例，得出了一些对鉴定工艺过程和陶器损伤具有重要意义的结论。Abu Yasin遗址是Sharkia省和三角洲东部最重要的考古遗址之一。它可以追溯到托勒密时代。对一些考古陶器的损伤表现进行了大量的试验、检验和分析。检验分析方法有偏光显微镜(PLM)、x射线能谱仪扫描电镜(SEM- EDX)、x射线衍射分析(XRD)和热分析(DTA)等，它们在鉴定考古陶器的工艺、表面处理、制作及其变质等方面发挥了重要作用。经研究证明，我们考古陶器所用粘土为tel Abu Yasin遗址的尼罗河粘土，而回火剂(添加剂材料)为沙子“石英”、酒“陶粉”、石灰石粉末“方解石”和烧过的稻草，我们陶器所用的成型技术方法为三种陶器的陶轮，我们“Tell Abu Yasin遗址”所有陶器的表面处理均为滑层。窑内燃烧气氛对第一罐陶器是还原气氛，对第二件和第三件陶器是氧化气氛。我们现场所有的考古陶器都受到了物理化学破坏的因素，我们的考古陶器罐和盘子由于埋在土壤中而受到了土壤沉积物的影响，此外，我们的考古陶器罐和盘子由于埋在含盐的粘土中而出现了断裂、结垢、开裂、软弱、易碎性、剥落、污渍、物理结构不良以及氯化物、硫酸盐、碳酸盐和磷酸盐盐结晶等现象。研究建议恢复;这些考古陶器的处理和维护应以研究人员证明的测试、检查、分析和损害评估结果为基础。研究得出了一些重要的结果，对识别沙尔基亚阿布亚辛陶器的工艺过程和损坏情况具有重要意义。它证明了使用的粘土是尼罗河粘土;添加了沙子、烧过的稻草、酒和石灰石粉。样品表面处理为滑移层，窑内燃烧气氛还原为第一锅，氧化为第二和第三锅，也说明了机械和物理化学损伤，无论是制造缺陷还是埋藏环境的影响，都证明了存在土壤沉积物，“碳酸盐，硫酸盐，氯化物”盐的结晶，开裂，剥落，污渍和物理结构不良。该研究建议，应该根据研究人员证明的测试和分析结果来治疗和维持它。感谢沙尔基亚扎加齐格大学考古学院院长Ibrahim Al-Qalla教授给予我的帮助和鼓励。我还要向“三角洲东部”沙尔基亚政府的古物检查员表示感谢和感谢。
{"title":"Microstructure and Damage Assessment of some Ptolemaic pottery objects at Tell Abu Yasin in Sharkia, Egypt: Case Study","authors":"W. K. Elghareb","doi":"10.21608/jguaa2.2020.43613.1036","DOIUrl":"https://doi.org/10.21608/jguaa2.2020.43613.1036","url":null,"abstract":"Microstructure and Damage Assessment of some Ptolemaic pottery objects at Tell Abu Yasin in Sharkia, Egypt: Case StudyThe research has concluded some great importance results in identifying technological process and damage of pottery objects at tel Abu Yasin in Sharkia. Abu Yasin site is one of the most important archaeological sites in Sharkia governorate and east of delta. it dates back to Ptolemaic time age. Many tests, examinations and analyzes were performed to diagnose damage manifestations of some archaeological pottery pieces. Examination and analysis methods were Polarized Microscope (PLM) , Scanning Electron Microscope with Energy Dispersive of X-Ray Unit \"SEM- EDX\" , X-ray diffraction analysis ( XRD) and thermal analysis ( DTA ),they have played an important role in identification of archaeological pottery technology, surface treatment, manufacture and its deterioration. The research has proved that the clay used in that our archaeological pottery is Nile Clay in tel Abu Yasin site, while tempers (additives materials) are sand \" quartz\" , grog \" pottery powder\", limestone powder \" calcite\" , and burnt straw, the used shaping technology methods of our pottery objects are potter wheel for all three pottery objects, the surface treatment is slip layer in all pottery objects in our site \" Tell Abu Yasin site \" , burning atmosphere inside the kiln was reduced atmosphere for the first pottery pot and oxidized atmosphere to the second and third pottery pieces. All archaeological Pottery objects in our site suffer from factors of Physiochemical damage, our archaeological pottery pots and plate suffered from soil sediments due to burial in the soil, in addition to phenomenon of fracture, scaling, cracking, weakness, fragility, peeling, stains, poor physical structure and crystallization of chlorides, sulfates, carbonates and phosphates salts as a result of burial in saline clay soil in our site. The research recommends that restoration; treatment and maintenance of these archaeological pottery pieces should base on results of tests, examinations, analyzes and damage assessment that has been proved by the researcher. The research has concluded some great importance results in identifying technological process and damage of pottery objects at tel Abu Yasin in Sharkia. It had proved that used clay was Nile clay; additions were sand, burnt straw, grog and limestone powder. Surface treatment was slip layer in samples, burning atmosphere inside the kiln was reduced for the first pot and oxidized to the second and third piece, it also illustrated mechanical and physiochemical damage, whether from manufacture defects or effect of burial environment, it has proved presence of soil sediments, crystallization of salts \"carbonate, sulfates, chloride\", cracking, peeling, stains and poor physical structure. The research recommends that it should be treated and maintained based on the results of the tests and analyzes that have been proven by the researcher.A","PeriodicalId":32254,"journal":{"name":"Journal of General Union of Arab Archaeologists","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76249221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-15DOI: 10.21608/jguaa2.2020.39008.1034
Manal Abdelhamid
The concept of intercession is deeply originated in the Eastern Orthodoxy through the reciting of the Intercession Prayer, addressing the Christ, as the main intercessor, and other holy figures including the Virgin, the saints, the martyrs and even angels to intercede on behalf of faithfuls and deliver their prayers to God. Deisis is one of the intercession theme aspects that is widely illustrated in murals and icons of Christian Egypt. It is represented in different compositions, but mainly consists of three main figures; the Christ Pantocrator flanked by the two main intercessors: The Virgin Mary and John the Baptist, then many other elements and figures were added emphasizing the divinity of the Christ and the intercession practice.This study aims to highlight the unique place of the Virgin Mary and John the Baptist in Orthodox liturgy and their important role as intercessors for the salvation of the mankind through the different depictions of the Deisis in Christian Egypt.The Deisis theme is widely represented in Christian Egypt on a different collection of materials specially paintings since the sixth century AD. The word Deisis is derived from the Greek word δέησις meaning supplication or prayer, mainly represented in artistic context including Virgin Mary and John the Baptist on either side of the Christ Pantocrator in different postures. The Deisis appears usually in two forms: either as independent unit, or as the central theme of a larger and more complex composition: The Last Judgment scene of which the Deisis constitutes the center; or the so-called Great Deisis, which is a fuller and more complete rendering of the Commemoration or Intercession Prayer, including the Deisis group, angels, prophets and various categories of saints and symbols of the four evangelists were added, all imploring the aid of Christ. This Great Deisis has a central place in the row of icon panels above the Royal Doors of the Iconostasis emphasizing the value and importance attributed to the intercession practice. This popular composition represents the unification between the three most important figures of the Christian hierarchy: Christ, the Virgin, and John the Baptist. Sometimes in a developed form of the Deisis, in addition to the Christ, the Virgin and the Baptist, also angels, apostles, prophets and other saints are depicted.The Christ Pantocrator “Ruler” or “Preserver of all” is represented either enthroned or standing, wearing a chiton and a himation, with the right hand raised in blessing and the left hand holding the Gospel. Scholars say that this composition also shows the Christ as ruler enthroned in his Kingdom between two interceding courtiers. After the Christ, there are many intercessors who please God by their deeds, they are acceptable to him, present in his Kingdom, and their voices are heard. They have been addressed during the service in specific order; the Virgin, The Angels, Archangels, St. John the Baptist, Disciples, Apostles, Prophet
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Pub Date : 2020-08-23DOI: 10.21608/jguaa2.2020.30439.1032
Elsayda-Nafesa El-Shamy, Moamen Othman
ABSTRACTThis study was done on a piece of archaeological leather document preserved in Egyptian museum storeroom under No.JE90809 SR 5/13677, excavated 1966. The leather document showed different aspects of deterioration types. Different analytical methods were used for identifying the components of the leather document to explain its mechanism of deterioration process. Analytical methods were used: visual assessment, documentation process by high resolution camera and scanner in multispectral imaging (MSI), diagnostic examinations using Multi Spectral Imaging (VIS-UV-IR), isolation and identification of different types of fungi, investigation of the surface morphology and animal type using digital light microscope (Dino light), stereo microscope (S.M.) and polarizing microscope (P.M.), identification of ink binder, amino acids degradation and tanning materials by Fourier transformation infrared spectrophotometry (FTIR) it is a qualitative analysis to give general information concerning collagen, identification of inks by X-ray diffraction (XRD), measuring the thickness by micro meter. In addition to suggest a new method for Museum show for the archaeological leather document as the preparation of a new method of exhibition is considered one of the most important goal of this study, because the current method of exhibition is considered one of the most important reason for the deterioration of the studied document. The results revealed that the microscopic examinations of samples clarify that the type of skin used was sheep in comparison with the standard samples. Also it explained the deformation of the appearance, contaminations from stains and dusts, and damages caused by physical factors. X-ray diffraction results showed that the ink used was made of carbon black ink. In addition the results showed that thickness measurement numbers were different which give indicate to somehow the manufacturing process was not so perfect. Also the results of FTIR proved the degradation of the collagen in the archaeological leather document, the binding agent was Arabic gum and the leather was tanned with vegetable tanning. Isolation and identification of micro-organisms clarified the most dominant fungi isolated from the archaeological leather document were: Aspergillus niger, Aspergillus sulphureus, Aspergillus versicolor, Aspergillus sydowii, Penicillium chrysogenum, Penicillium islandicum, Alternaria alternate, Aspergillus flavus, Aspergillus terreus. Finally, the storage of the leather document was very poor which led to different aspects of deterioration. That prompted the author to suggest a new method for exhibition for the archaeological leather document.The results of investigations revealed that the microscopic examinations of samples clarify that the type of skin used was sheep in comparison with the standard samples. Also it explained the deformation of the appearance, contaminations from stains and dusts, and damages caused by physical factors.
[摘要]本文对一份保存在埃及博物馆库房的考古皮革文献进行了研究。JE90809 SR 5/13677, 1966年挖掘。皮革文件显示了不同方面的变质类型。采用不同的分析方法对皮革文件的成分进行鉴定，以解释其变质过程的机理。分析方法:视觉评价、多光谱成像(MSI)中高分辨率相机和扫描仪的记录过程、多光谱成像(VIS-UV-IR)的诊断检查、不同类型真菌的分离和鉴定、数字光学显微镜(Dino light)、立体显微镜(S.M.)和偏光显微镜(pm)对表面形态和动物类型的调查、油墨粘合剂的鉴定、用傅里叶变换红外分光光度法(FTIR)对氨基酸降解和鞣制材料进行定性分析，给出胶原蛋白的一般信息，用x射线衍射(XRD)对油墨进行鉴定，用微米测量厚度。除了为考古皮革文献提出一种新的博物馆展示方法外，准备一种新的展示方法被认为是本研究最重要的目标之一，因为目前的展示方法被认为是研究文献变质的最重要原因之一。结果表明，与标准样品相比，样品的显微检查澄清了所用皮肤的类型是绵羊。它还解释了外观的变形，污渍和灰尘的污染以及物理因素造成的损坏。x射线衍射结果表明，所用油墨为炭黑油墨。结果表明，厚度测量值不同，说明制造工艺不完善。FTIR结果也证实了考古皮革文献中胶原蛋白的降解，结合剂为阿拉伯胶，皮革鞣制采用植物鞣制。微生物的分离鉴定表明，从考古皮革文献中分离到的优势真菌有:黑曲霉、硫曲霉、花色曲霉、西多曲霉、黄曲青霉、岛曲青霉、互交霉、黄曲霉、地曲霉。最后，皮革文件的储存非常差，这导致了不同方面的恶化。这促使作者提出了一种新的考古皮革文献展示方法。调查结果显示，样品的显微镜检查表明，与标准样品相比，使用的皮肤类型是绵羊。它还解释了外观的变形，污渍和灰尘的污染以及物理因素造成的损坏。x射线衍射结果表明，所使用的黑色墨水是由碳墨水制成的。结果表明，厚度测量值不同，说明制造工艺不完善。FTIR结果也证实了考古皮革文献中胶原蛋白的降解，结合剂为阿拉伯胶，皮革鞣制采用植物鞣制。微生物的分离鉴定表明，从历史皮革文献中分离到的优势真菌有:黑曲霉、硫曲霉、花色曲霉、西多曲霉、黄化青霉、岛屿青霉、互交霉、黄曲霉、地曲霉。最后，手稿的储存很差，导致了不同方面的恶化。这促使作者提出了一种新的博物馆展示考古皮革文献的方法。
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