Ancient Egyptian Letters to the Dead

2022 ◽  
Author(s):  
Julia Hsieh
Keyword(s):  
Ancient Egyptian ◽  
The Dead

7. Death

2021 ◽  
pp. 97-109
Author(s):  
Ian Shaw
Keyword(s):  
Eternal Life ◽  
Ancient Egyptian ◽  
Religious Cult ◽  
The Dead ◽  
Attitudes To Death

‘Death’ describes ancient Egyptian attitudes to death and the cult of Osiris, looking at the tomb of King Djer at Abydos. The tomb has been regarded as the ultimate, quintessential royal funerary memorial: the mythical burial place of the god Osiris, whose entire religious cult was intimately connected with the concept of the dead king. The combination of Osiris's associations with fertility and death almost inevitably ensured that he became the ultimate god of resurrection. Thus, it became essential for the mummified body to be associated with Osiris in order to gain eternal life. Of course Egyptian mummification and Egyptian funerary beliefs are important areas of study within the broader subject of ‘death’.

Cursive Hieroglyphs in the Book of the Dead

2020 ◽  
pp. 577-589
Author(s):  
Rita Lucarelli
Keyword(s):  
Middle Kingdom ◽  
Ancient Egyptian ◽  
The Dead ◽  
Book Of The Dead

The script characterizing most scrolls of the ancient Egyptian Book of the Dead is called by scholars Totenbuch-Kursive or “Book of the Dead cursive” and it is characterized by an accentuated level of cursiveness in comparison to monumental hieroglyphs. This script also presents similarities with hieratic, as the latter can be seen as a cursive variant of monumental hieroglyphs. The Book of the Dead cursive occurs on a number of sources, the most popular of which are papyri and linen; however, when tomb walls and coffins are decorated with spells of funerary magic, the latter are written in cursive forms as well. In general, it seems that the Totenbuch-Kursive was employed also for non-Book of the Dead sources, mainly for texts of religious, magical, medico-magical, and ritual texts from the Middle Kingdom on; in that sense, we are dealing with a linear script that is not specific of the Book of the Dead genre of texts only.

Analytical approach to the conservation of the ancient Egyptian manuscript “Bakai Book of the Dead”: a case study

2007 ◽  
Vol 159 (1-2) ◽  
pp. 101-108 ◽  
Author(s):  
Barbara Wagner ◽  
Mateusz L. Donten ◽  
Mikołaj Donten ◽  
Ewa Bulska ◽  
Agnieszka Jackowska ◽  
...  
Keyword(s):  
Analytical Approach ◽  
Ancient Egyptian ◽  
The Dead ◽  
Book Of The Dead

scholarly journals Ritual Art: a Key to the Ancient Egyptian Book of the Dead

1996 ◽  
Vol 16 ◽  
pp. 257-268
Author(s):  
Jørgen Podemann Sørensen
Keyword(s):  
Ancient Egyptian ◽  
Significant Events ◽  
Ritual Dance ◽  
The Dead ◽  
Ritual Drama ◽  
Book Of The Dead

The Bambara sculpture is a ritual object, in fact one of the dramatis personae of a ritual drama. The Civara, as it is called, is carried on the head during the ritual dance as a token of the presence of the mythical antilope which brought agriculture to the Bambara. Besides the male Civara there is also a female one, and in their dance, the two of them dramatize the fertilizing interaction of sun and soil. Without further exploring Bambara ritual, we may notice that a piece of pictorial art is here an integral part of a ritual. It is a mask, carried during the dance and designating its bearer as the mythical antilope. Also belonging to a ritual are the space and the surroundings in which it is carried out. It is well known how ritual places and temple rooms are often structured and decorated to make out the background and the framework of ritual acts. The place of ritual may be designed as an imago mundi, or it may be chosen or named according to mythical prototypes. Temple rooms may be decorated with mythological and cosmological motifs to identify the ritual acts that take place in them as mythical deeds and cosmologically significant events, exactly as the civara-mask identifies the ritual dance in its mythological and cosmological significance.

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