MDPI - Publisher of Open Access Journals

16 pages, 12375 KiB

Open AccessArticle

Artistic Production in a Necropolis in Motion

by Nico Staring

Arts 2024, 13(6), 165; https://doi.org/10.3390/arts13060165 - 30 Oct 2024

Viewed by 1258

The present article studies aspects of the artistic production at New Kingdom Saqqara, a necropolis of the ancient Egyptian royal residence city Memphis. Following a brief review of the functions of ancient Egyptian tombs, this article will first set out to scrutinize the tomb-making section of society (e.g., size, membership). Second, the corpus of tombs will be reviewed to uncover the diverse nature of the tomb owners and to investigate access to resources required for tomb making. Third, the article will proceed to place the tombs in spatial and temporal context and reflect on the artistic production in a necropolis in motion. Full article

(This article belongs to the Special Issue Ancient Egyptian Art Studies: Art in Motion, a Social Tool of Power and Resistance)

► Show Figures

Figure 1

16 pages, 1066 KiB

Open AccessArticle

Towards Anti-Colonial Commemorative Landscapes through Indigenous Collective Remembering in Wānanga

by Liana MacDonald

Genealogy 2024, 8(3), 88; https://doi.org/10.3390/genealogy8030088 - 4 Jul 2024

Cited by 1 | Viewed by 1979

Abstract

Statues and monuments are permanent forms of commemoration that interpret and reconstruct public memory in colonial settler societies. Representation through memorialisation is attributed to a genealogy of Western collective remembering that reflects the values, narratives, and experiences of the dominant settler population. Yet, collective remembering and memory can change. This article reports on Indigenous collective remembering practices that were observed in a local government intervention in Aotearoa New Zealand. The Boulcott Memorial Research Project sought iwi Māori (Indigenous Māori tribes) perspectives of the battle of Boulcott’s Farm to change a one-sided colonial memorial that was erected to honour British militia who died in the conflict. Iwi kaipūrākau (representatives) from Te Ātiawa, Ngāti Tama, Ngāti Rangatahi, Ngāti Hāua, and Ngāti Toa Rangatira relayed their perspective of the battle through wānanga (a Māori oral tradition). In wānanga, kaipūrākau were perceived to remember relationally, outside colonial time, and through contemporary concerns and political interests, to advance tribal autonomy and self-determination. In this paper, I show how collective remembering in wānanga offers an anti-colonial ethic and intervention for building commemorative landscapes that can redirect public remembrance beyond the limitations of settler colonial memory and towards perspectives that are in tune with Indigenous peoples’ lived realities. Full article

(This article belongs to the Special Issue Decolonial (and Anti-Colonial) Interventions to Genealogy)

► Show Figures

Figure 1

14 pages, 1884 KiB

Open AccessArticle

The Legacy of Prince Khaemwaset at Saqqara

by Campbell Price

Heritage 2022, 5(3), 2196-2209; https://doi.org/10.3390/heritage5030115 - 12 Aug 2022

Viewed by 4790

Abstract

Saqqara in particular, and the Memphite necropolis in general, constituted the arena for the prolific and significant monumental self-presentations of Prince Khaemwaset, fourth son of King Ramesses II (c. 1279–1213 BCE). The present paper explores the role of the prince in fashioning a persona that addressed past, present and future audiences. This discussion is used to contextualise results of the 2009 Saqqara Geophysical Survey Project, showing the greater-than-expected extent of the New Kingdom necropolis south of the Unas Causeway. It considers responses to the deep palimpsest of the sacred landscape of the Memphite necropolis by—and later commemorations within it of—this notable Ramesside individual. Full article

(This article belongs to the Special Issue The Sands of Time—3000 Years of Human Activity at Saqqara, Egypt)

► Show Figures

Figure 1

23 pages, 9516 KiB

Open AccessArticle

Ptolemaic Cavalrymen on Painted Alexandrian Funerary Monuments

by Sara E. Cole

Arts 2019, 8(2), 58; https://doi.org/10.3390/arts8020058 - 28 Apr 2019

Cited by 6 | Viewed by 9217

Abstract

The multiethnic environment of Ptolemaic Alexandria resulted in cross-cultural transmission of funerary practices and associated material culture that introduced many traditions to Egypt from the Mediterranean world. Along with an influx of mercenaries serving in the Ptolemaic army came cultural and artistic knowledge from their places of origin, which they (or their families) incorporated into their burials. One motif, which appears on late 4th–3rd-century painted funerary monuments from Alexandria, is that of a soldier on horseback, alluding to images of the heroic hunter or warrior on horseback found in tombs in the regions of northern Greece. These Alexandrian monuments commemorated members of the Ptolemaic cavalry, some of whom are identified as Macedonian or Thessalian by accompanying Greek inscriptions. The image of a soldier astride his rearing horse not only emphasized the deceased’s military status, but also established a link with Macedonian and Ptolemaic royal iconography. This type of self-representation served a number of purposes: to signal the deceased’s cultural and geographic origins, demonstrate his elite role in Ptolemaic society and imply connections to the Ptolemaic court, all of which were important to the immigrant inhabitants of early Alexandria as they sought to express their identity in a new geographical, cultural, and political setting. Full article

(This article belongs to the Special Issue Ancient Mediterranean Painting (vol. 1))

► Show Figures

Figure 1

Search Results (4)

Further Information

Guidelines

MDPI Initiatives

Follow MDPI

Saved Queries

Search Filter Reset All

Years

Feature Papers

Subjects

Journals

Article Types

Countries / Regions

Search Results (4)

Further Information

Guidelines

MDPI Initiatives

Follow MDPI