Clay Sealings from the Pyramid Complex of King Raneferef Kept in the Náprstek Museum: General Features of the Corpus and its Potential to the Study of the Administration of the Royal Funerary Cult

2018 ◽  
Vol 39 (2) ◽  
pp. 19-38
Author(s):  
David Jeřábek
Keyword(s):  
Representative Sample ◽  
National Museum ◽  
The Temple

In the 1980s, the excavations of the Czechoslovak Institute of Egyptology headed by Miroslav Verner excavated large parts of the pyramid complex of King Raneferef (Neferefre)2 and uncovered evidence of the mortuary cult of the king, including ca. one thousand of clay sealings (or sealing fragments). Out of them, a corpus of over three hundred sealings was acquired by National Museum – Náprstek Museum of Asian, African and American Cultures. In most aspects, they make a representative sample of the whole corpus. This paper presents in summary properties of the corpus relevant to the interpretation of the temple administration as it is reflected in the sealing activity.3 After a brief introduction to the site and the organization of the excavated corpus, the attention will be focused particularly on the general patterns of the distribution of sealings with regard to space, type, and attested epigraphical features (titles, names of gods and institutions, other iconographical features), as these are the means to uncover potential correlations between the activity of holders of particular offices (or representatives of particular institutions), particular parts of the temple and particular types of sealings (i.e. particular kinds of sealed containers).

Statuette of Gudea

1927 ◽  
Vol 59 (4) ◽  
pp. 765-768
Author(s):  
S. Langdon
Keyword(s):  
Standing Position ◽  
National Museum ◽  
Belles Lettres ◽  
Western Side ◽  
The Temple ◽  
Circular Base

Three years ago the native Arabs of Tello discovered a group of remarkably fine statuettes in low ground on the western side of Tablet Hill, mound V on the plan of de Sarzec, where Captain Cros found a small headless statuette of Gudea in 1903. The head, however, had been previously found by de Sarzec, and was joined to the torso by Leon Heuzey. A photograph of this statuette is published on plate I of the Revue d'Assyriologie, vol. vi. The monuments recovered by the Arabs from the temple of the god Ningishzida in the Tablet Hill are curiously enough all statuettes. All, with the exception of one, which is published in this communication, were illegally transported out of Iraq, and fortunately one was secured by the Louvre, where it rightfully joined the magnificent group of Gudea statues in the national museum of France. This is a fine alabaster statuette of Ur-Ningirsu, son of Gudea, 46 centimetres high, in standing position, and headless. It is reproduced in Monuments et Memoires publié par L' Academie des Inscriptions et Belles-Lettres, tome xxvii, Statuettes de Tello, par F. Thureau-Dangin, plate ix; the circular base is sculptured in relief with two files of four figures each, which meet just below the feet of the patesi of Lagash.

scholarly journals MOTIF KALAMAKARA PADA TEMUAN PERHIASAN EMAS ERA MAJAPAHIT KOLEKSI MUSEUM NASIONAL JAKARTA

2021 ◽  
Vol 3 ◽  
pp. 36-41
Author(s):  
Waridah Muthiah ◽  
Agus Sachari
Keyword(s):  
Qualitative Methods ◽  
National Museum ◽  
Late Classic ◽  
Interesting Phenomenon ◽  
Important Position ◽  
The Temple

Jewelry in the Classical era in Indonesia, especially in the Late Classic era, occupies an important position in society. Apart from being a symbol of a person's status and position, when discussing the depiction of jewelry on a statue or relief, the jewelry worn by a character is also an indication in determining the identity of the character. Jewelry in the Late Classical era was made of gold, which was considered to have high material, symbolic, and religious value in society at that time. Based on the findings of jewelry in the Late Classic era, especially the Majapahit era, there is an interesting phenomenon, namely the depiction of animal figures as decorations or ornaments. This phenomenon is seen in the crown, earrings, and shoulder harness, as found in Trowulan. In some jewelery, the form of kalamakara (kalamakara) is displayed, which is usually depicted on the gate of the temple, as a repellent to disaster. The depiction of kalamakara in jewelry raises questions about the background behind the depiction. This research was conducted using qualitative methods through observation of four samples of Majapahit era jewelry found in Trowulan, the collection of the Jakarta National Museum. It can be concluded that the existence of kalamakara as a motif in jewelry is related to the meaning of kalamakara in Javanese society, namely as a repellent for disaster. Keywords: jewelry, kalamakara motif, Majapahit era

scholarly journals The Politics of Defining the Legacy of Confucius

2016 ◽  
Vol 8 (2) ◽  
pp. 52 ◽  
Author(s):  
Tianyu Ma
Keyword(s):  
National Museum ◽  
The Public ◽  
Cultural Sites ◽  
China Today ◽  
The Temple ◽  
Over Time

<p class="1Body">Confucius is an extremely popular and well-respected figure in China today, but historically that has not always been the case, as his reputation has constantly evolved over time. Often, changes in how Confucius is viewed have been the result of attempts by various governments over the years to appropriate his legacy for their own purposes. This paper will look at what some of those motives were, and the extent to which governments were successful at achieving them by examining four cultural sites, each of which represents an aspect of Confucius’ legacy: the Temple of Confucius in Qufu, and the Imperial University, National Museum and People’s University in Beijing. By analyzing the legacy of Confucius as it is reflected in these four sites, the paper demonstrates that the ability of governments to shape how he is perceived by the public is limited by the public’s existing views, which are not easily swayed by the government’s unilateral efforts.</p>

scholarly journals Restoration of the Lion of Allat statue from Palmyra after the 2015 devastation

2019 ◽  
pp. 509-519
Author(s):  
Bartosz Markowski
Keyword(s):  
National Museum ◽  
Detailed Data ◽  
Restoration Process ◽  
The Temple

The Lion of Allat statue from the Temple of Allat in Palmyra suffered extensive damages during the 2015 devastation of monuments in the ancient oasis city. Discovered in the mis 1970s, it was reconstructed in 1977 and then preserved again in a new arrangement that recalled the original context of the statue in 2005. In 2017 and 2018, the statue was recreated once again in the gardens of the National Museum in Damascus. The article traces the restoration process, providing detailed data on the current condition of this monumental statue.

Some Problems of Romano-Parthian Sculpture at Hatra

1972 ◽  
Vol 62 ◽  
pp. 106-110 ◽  
Author(s):  
J. M. C. Toynbee
Keyword(s):  
The Body ◽  
National Museum ◽  
The South ◽  
The West ◽  
The Face ◽  
Curly Hair ◽  
The Temple

In 1964 there was found in Temple C at Hatra a life-size marble head with cleanshaven face (PI. V, 1 and 2), now in the Iraqi National Museum in Baghdad. It was lying on the podium behind the altar at the south end of the temple, and would seem to have fallen there from the place in which it had been set. The head, of which the face is extremely well preserved, appears to have been deliberately cut from the body across the neck, just below the chin. But of the body no trace has as yet come to light in Temple C or elsewhere.The head, with its heavy, fleshy countenance, its lack of moustache and beard, its furrowed brow, facial folds, and full chin, is clearly the portrait of an elderly Roman. These features immediately distinguish it from the rather lean, smooth, flat-cheeked, moustached and bearded portraits of Hatrene kings, noblemen and so forth. Furthermore, it must be the portrait of a Roman prior to Hadrian's time, when, as is well known, thick curly hair and thick curly beards and moustaches came into fashion for men in the West.

scholarly journals Damophon of Messene

1906 ◽  
Vol 12 ◽  
pp. 109-136 ◽  
Author(s):  
Guy Dickins
Keyword(s):  
National Museum ◽  
The Temple

Our knowledge of Damophon of Messene is primarily derived from the fragments of the great group made by him for the temple of Despoina at Lycosura, and discovered there by M. Cavvadias during the excavations undertaken in the summer of 1889. The best known fragments are the three heads and the piece of embroidered drapery in the National Museum at Athens, but a great number of smaller pieces exist in the magazines at Athens and in the museum recently erected at Lycosura.From Pausanias we learn that Damophon erected many statues in Messene and in the sanctuary of the Great Goddesses at Megalopolis; that he worked at Aigion and Lycosura; and that he was entrusted with the repairs of the Zeus of Pheidias at Olympia. There is no mention of Damophon in other classical writers.

A Fragment of Sculpture

1958 ◽  
Vol 78 ◽  
pp. 13-13
Author(s):  
A. R. Burn
Keyword(s):  
Left Shoulder ◽  
National Museum ◽  
Great Pleasure ◽  
End To End ◽  
The Temple

Many years ago, on my first visit to Greece, I scrambled down from the Temple at Sunium to bathe off the cape. Half-way down, I came across a fragment of worked marble c. 7 in. long, heavily discoloured on the fractured side; the break was ancient (Plate 111(a)). It was lying on a 20° slope, and just why its seaward journey had been interrupted at that point was not evident. I put it in my pocket and took it home, explaining it to myself and other people to whom I have shown it as a piece of an architectural moulding. Actually, its worked side, from end to end, is slightly concave, but I explained this as the result of wear.It was not until after many (far too many) years that, having still never seen an architectural moulding at all resembling my fragment, I began to wonder if it belonged to a piece of sculpture; and it was reserved for a student, Mr. James Picken, of Glasgow, to ask, ‘Could it be a piece of hair?’ Now at last I took the step of looking up Gerke's illustrations of a statue found at Sunium: the famous kouros. Its hair, I saw, was rendered in the manner of my fragment, with concave ‘waves’ meeting in salient ridges (Plate III(b)). Ifit had been rendered in the commoner manner, with convex waves, I might have been less slow to recognise it. Also, the kouros had a piece missing above the left shoulder, which, it seemed, might well be my fragment (Plate 111(c)). It only remained to take it to the National Museum at Athens, to have the great pleasure of finding that it was indeed the missing piece, and to leave it for re-attachment where it belongs.

Automation Surprise

2017 ◽  
Vol 7 (1) ◽  
pp. 28-41 ◽  
Author(s):  
Robert J. de Boer ◽  
Karel Hurts
Keyword(s):  
Flight Control ◽  
Representative Sample ◽  
Aviation Safety ◽  
Control Mode ◽  
Cognitive Errors ◽  
Laboratory Studies ◽  
Airline Pilots ◽  
Flight Operations ◽  
Widespread Phenomenon ◽  
Few Data

Abstract. Automation surprise (AS) has often been associated with aviation safety incidents. Although numerous laboratory studies have been conducted, few data are available from routine flight operations. A survey among a representative sample of 200 Dutch airline pilots was used to determine the prevalence of AS and the severity of its consequences, and to test some of the factors leading to AS. Results show that AS is a relatively widespread phenomenon that occurs three times per year per pilot on average but rarely has serious consequences. In less than 10% of the AS cases that were reviewed, an undesired aircraft state was induced. Reportable occurrences are estimated to occur only once every 1–3 years per pilot. Factors leading to a higher prevalence of AS include less flying experience, increasing complexity of the flight control mode, and flight duty periods of over 8 hr. It is concluded that AS is a manifestation of system and interface complexity rather than cognitive errors.

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