Origins of Writing in Northeastern Africa

Author(s):  
John Coleman Darnell

The Egyptian hieroglyphic script is one of the longest attested continuous uses of a writing system in world history. Between the late fourth century CE and the early nineteenth century, knowledge of the hieroglyphic script was lost, and the complexities of its mixed system of phonetic and ideographic signs delayed decipherment until the discovery of the Rosetta Stone and the work of Jean-François Champollion and other pioneers. Egyptian hieroglyphic writing originated between 3300 and 3100 bce, on the basis of evidence attested in funerary and petroglyphic contexts; the early date of phonetic hieroglyphic writing in Upper Egypt confirms the independent development of the ancient Egyptian and Mesopotamian writing systems. Rather than emerging abruptly and fully formed during the reign of a Dynasty 0 ruler c. 3250 bce, hieroglyphs appear to have a millennium-long “proto-history.” Decorated ceramics, small inscribed objects, and a large corpus of Upper Egyptian and Nubian rock art indicate that visual communication prior to true writing in Upper Egypt could express key early political and religious concepts, developing a form of “iconographic syntax.” Careful examination of predynastic iconography thus provides the conceptual missing link in the origins of writing in Northeastern Africa. The marginal environments of ancient Egypt—the Western Desert and Sinai Peninsula—also preserve evidence for the development of the world’s first alphabetic script, a writing system that emerged c. 1800 bce from contact between ancient Egyptian scribes and Semitic speakers who participated in Egyptian expeditions, with signs deriving from Egyptian scripts. During the 2nd century bce, the Meroitic script, with signs also originating in both cursive and hieroglyphic Egyptian scripts, developed in the ancient Nubian kingdom of Meroe and remained in use for as many as 700 years.

Author(s):  
Pascal Vernus

Egyptian hieroglyphic script is figurative; its signs are images depicting the realia of the pharaonic universe in the same manner as do the figurative arts. To become script signs these images undergo three constraints: calibration, dense and harmonious arrangement, and orientation (i.e. direction of reading). Its figurativity, its flexible manner of engaging with the writing surfaces, and its complex system of encoding the linguistic data provide the hieroglyphic script with important specific potentialities that were carefully exploited in its symbiotic adaptation to objects and monuments and in its enriching the linguistic messages it conveyed with ideological connotations. Egyptian hieroglyphs—but not the very hieroglyphic writing system!—were borrowed in the Meroitic hieroglyphic script and chiefly in the Proto-Sinaitic alphabet. Via this alphabet and its Semitic successors, some hieroglyphs are ultimately the ancestors of European characters.


1863 ◽  
Vol 20 ◽  
pp. 323-325
Author(s):  
C. Nicholson

In the year 1857 Sir Charles Nicholson returned to London after a visit to Upper Egypt, where he had made a large collection of objects of antiquarian interest, including several stelae, sepulchral inscriptions, papyri, and inscribed linen cloth. Amongst the latter was one containing, in hieroglyphic writing, a part of the 129th chapter of the Book of the Dead. The document is itself of no particular interest. It presents a few new homophons. From the style of writing it is of an early date, and is probably of a period contemporaneous with the XVIIIth dynasty.


Antiquity ◽  
2001 ◽  
Vol 75 (287) ◽  
pp. 89-94 ◽  
Author(s):  
Denys A. Stocks

Rose granite was a favoured, but difficult, stone to work in ancient Egypt. Recent sawing, drilling and cutting tests of the granite in Aswan suggest how exacting were those tasks for craftworkers.


Author(s):  
Tamás A. Bács

Repetition or the practice of copying preeminently structured artistic activity in ancient Egypt. Besides its role in training, as a technique of learning to practice an art, and also serving documentary purposes in creating record copies, it served as a conscious artistic strategy in the act of representation. Different modes of the practice coexisted, such as replication or the effort to reproduce perfect replicas, differential reproduction that encouraged variation as well as emulation and could result in transformation, and finally eclectic imitation that characterized “archaism.” What were deemed as appropriate to serve as models for imitation in ancient Egyptian visual culture at any moment depended not only on the particular aesthetic and historical contexts but also on their accessibility, be it physical or archival.


Author(s):  
Frédéric Bauduer

Thanks to mummification, the physical remains of many rulers of ancient Egypt are still observable today and constitute a valuable source of information. By evaluating the age at death and sometimes elucidating the degree of kinship and circumstances of death, our knowledge of ancient Egyptian history becomes more precise. Different pathologic conditions have been found and the evolution of the mummification process can be seen through time.The most spectacular discovery was that of Tutankhamen’s mummy, the single totally undisturbed tomb, associated with a fabulous treasure.The mummy of Ramses II has been extensively studied, the only one that flew to Paris where an irradiation was delivered in order to eradicate a destructive fungal infection.The identification of Akhenaten’s mummy and the explanation for his peculiar appearance are still unsolved problems.Noticeably, many Royal mummies remain of uncertain identity or undiscovered hitherto.


2019 ◽  
pp. 244-318
Author(s):  
Fredrik Hagen

The chapter surveys the evidence for ancient Egyptian libraries during the period 1600–800 BCE. It looks at both private and institutional libraries, defined as collections of papyri with literary texts, with a notable focus on archaeological context, and the use and materiality of manuscripts. Given the paucity of archaeological remains of temple and palace libraries, many indirect sources play a key role in the analysis, including book labels, administrative titles, and patterns of transmission for literary texts. Private libraries are better attested, and here the main groups are described with a particular focus on their importance for reconstructing the circulation and reception of literature. Finally, the chapter includes a rare case study where an historical individual and his family can be identified as the owners of a private library.


1987 ◽  
Vol 73 (1) ◽  
pp. 245-246
Author(s):  
Renate Germer

This article provides a complete, analytical list, with provenance and date, of the plant-remains from ancient Egypt in the Manchester Museum.


Author(s):  
Nicola Harrington

Social status, religious affiliations and beliefs, wealth, power, aspirations, and desires were all expressed through ancient Egyptian iconography, but children and the process of growing up are rarely the main focus of artistic compositions. While the selectiveness of ancient sources may mean that we cannot reconstruct an accurate or comprehensive picture of the experience of childhood in ancient Egypt, figured ostraca and other imagery at least provide insights into the contribution children made to the economy and to family life in antiquity. This chapter explores the contexts in which children were depicted, to show that the lived reality of youth is accessible at least insofar as it was relevant to the medium, intended audience, or the context in which images were displayed.


Author(s):  
Christina Riggs

‘Four little words’ analyses the meanings of ‘Ancient’, ‘Egyptian’, ‘art’, and ‘architecture’ in order to understand how Egyptian art and architecture are studied and discussed, why and how they have influenced the modern world, and whether iconic examples of Egyptian artworks and buildings are in any way representative of cultural norms and lived experience in the ancient past. When is ‘ancient’ Egypt? Where and what was ‘Egypt’ in antiquity and how did its people describe themselves and their land? Art and architecture are considered to comprise those objects made in such a way that their form and materials contribute to their representational power, social or symbolic significance, and aesthetic qualities.


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