Magazine

Additional articles and book reviews

Edition - June, 2014

Editorial – Magazine Edition 10

A very warm welcome to Edition 10 of the Magazine. First, it is with enormous pleasure that we welcome back Brian Alm to the Magazine.  Brian has penned a new series for Egyptological:  “Read Like an Egyptian” — Art in Ancient Egypt.  In Part 1 Brian begins with how art should be defined in the […] [more…]

The shape of this libation vessel imbues the offering with the power of its symbols, ankh (life, living) and ka (spiritual essence), reflecting its religious purpose. 1st Dynasty (3100-2900 B.C.). Metropolitan Museum of Art (MMA), New York.

Read Like an Egyptian — Art in Ancient Egypt, Part 1

Probably only one percent of the ancient Egyptians were literate, and those literate few were royalty, nobility, upper-crust managers and administrators, at least some of the top military people, full-time priests and scribes. But many people could “read” what they were seeing, and understand it without knowing how to read hieroglyphs. The ideas and symbolic iconography were grounded in their culture; the art spoke to them even if their knowledge of the written text was, for the vast majority of the public, rudimentary at best — no doubt limited to a few basic glyphs. [more…]

Meretseger: She Who Loves Silence. The Cobra Deity at Deir el-Medina

Meretseger: She Who Loves Silence. The Cobra Deity at Deir el-Medina

In the Western world the cobra rarely inspires sentiments of benevolence, warmth or good intentions. It is not a cuddly beast. Matters were more ambivalent in ancient Egypt where a range of wild animals were identified with deities imbued with admired values of physical strength, protection and courage, as well as less obviously admirable qualities like aggression, retribution, vengeance and retaliation. Like Sobek, the crocodile deity, and Sekhmet the lioness, the cobra deities comprised a mixture of attributes that centred on their fierce ability to defend themselves and to strike, hissing and spitting poison, to annihilate their aggressors.  [more…]

Discovering Tutankhamun. From Howard Carter to DNA

Book Review: “Discovering Tutankhamun – From Howard Carter to DNA” by Zahi Hawass

It is now some while since Zahi Hawass was finally ousted from office as Secretary General of the Supreme Council of Antiquities, following the fall of the Mubarak government in 2011; but his absolute ubiquity on TV programmes concerning ancient Egypt prior to that date (and the fact that these are repeated endlessly on various satellite/cable and terrestrial channels) means that there is little chance of any reader being unaware of his ebullient and bombastic presence. That presence is now reduced to occasional lectures about his former exploits, and adding to the series of published books that bear his name – of which this is the latest. [more…]

Figure 5 Early Dynastic smiting scene by King Den, British Museum. Photograph by CaptMondo

Editorial – Journal Edition 7 and Magazine Edition 9

A very warm welcome to the new edition of Egyptological. After a rocky few months following the damage that professional hackers inflicted on Egyptological, we have moved the site to a new host and are very pleased to be back.  This is our first new edition since April, so we are delighted to be able […] [more…]

The Significance of the Crossed Arms Pose -  Part 2: Osiris, The Osiris and the Osirides

The Significance of the Crossed Arms Pose – Part 2: Osiris, The Osiris and the Osirides

Is it a futile activity to ask, as I do in this series of articles, “What is The Significance of the Crossed-Arm Pose?” It might be argued, for instance, that variations in the pose at death exhibited by royal mummies simply reflect what embalmers decided to do on the day, or at least the customary practice of a particular undertaker. Similarly, it might be argued that each individual anthropoid coffin might be expected to reveal some unique design characteristic, and that no significance should be attached to the specific hand/arm pose depicted on the lid. [more…]

Marianne Brocklehurst

Marianne Brocklehurst and the West Park Museum, Macclesfield. Part 2

In part 1 I looked at how Marianne Brocklehurst acquired a collection of some 500 Ancient Egyptian objects during the three trips to Egypt that she records in her diary, cartoons, sketches and watercolours. In this section I look at the museum and the collection that Marianne and her brother Francis built for the benefit of the residents of Macclesfield in northwest England. [more…]