Karnak’s Quaysides: The Embankments from the New Kingdom to the Kushito-Saite Period

2017 ◽  
Author(s):  
Mansour Boraik
Keyword(s):  
Historical Evolution ◽  
New Kingdom ◽  
Sacred Landscape ◽  
Temple Complex ◽  
Supreme Council ◽  
Axis Parallel ◽  
South Axis ◽  
The Temple ◽  
Rough Cut ◽  
Archaeological Excavations

This chapter focuses on the Kushite sacred landscape and Twenty-fifth Dynasty finds at Karnak. It is based on the results of archaeological excavations undertaken by a team from the Supreme Council of Antiquities directed by the author in the western and southern parts of the Karnak temple complex. The chapter examines textual, iconographical, and archaeological sources that provide evidence of important movements of the Nile during the New Kingdom until the abandonment of the site. The excavations revealed a great embankment at least 6.5 meters high, roughly running on a north–south axis, parallel to the Nile. It was built of rough-cut blocks of sandstone and connected with two quays constructed in front of the temple. Based on the evidence, the chapter draws hypotheses as to the historical evolution of the embankments in front of the temple from the New Kingdom to the Kushito-Saite period.

scholarly journals Documentation and Architectural Interpretation of the Panishail Temple Complex, Maulvibazar, Bangladesh

2021 ◽  
Author(s):  
Kawshik Saha ◽  
Shamsul Arefin ◽  
Gourpada Dey
Keyword(s):  
Sacred Landscape ◽  
Religious Architecture ◽  
Temple Complex ◽  
Heritage Buildings ◽  
Historic Landmark ◽  
Landscape Heritage ◽  
Ancient Monuments ◽  
Physical Features ◽  
The Temple ◽  
Architectural Interpretation

This article represents survey data of historical and architectural documentation of Sri Radha Binod Ashrama locally known as the Panishail temple. Temple architecture is a common feature of traditional religious architecture practice in Bangladesh. This article is a historical and architectural investigation of a less known and mixed type of Hindu temple style in the Bengal region. The Panishail temple complex has a collection of structures that include tomb, temples, and residences aged between fifty to two hundred years. Over the ages, these heritage buildings have displayed a unique architectural style of ancient Bengal and still serving as a living sacred landscape heritage. However, like most of the ancient monuments of Bangladesh, Panishail structures inside this complex stand against the threat of decay and anthropogenic destruction with no effort to conserve them. There is a need for immediate action of research, exploration and preservation to save this historic landmark. This research aims to investigate historic and physical features of the temple complex through a systematic survey and documentation effort. This research will lay a foundation for future conservation intervention on this site. Moreover, this work will significantly contribute to historic temple architecture study in Bangladesh.

New Ramesside Copy of the Teaching of Amenemhat

2021 ◽  
Vol 57 (1) ◽  
Author(s):  
Hana Navratilova
Keyword(s):  
Literary Text ◽  
Educational Practices ◽  
New Kingdom ◽  
Administrative Roles ◽  
Egyptian Culture ◽  
Operational Phase ◽  
The Temple ◽  
Insight Into

A newly excavated ostracon from Abydos bearing the concluding chapter of “The Instruction (a.k.a. Teaching) of King Amenemhat” opens up an interesting enquiry. An ostracon found in the immediate vicinity of a New Kingdom royal memorial temple and carrying an excerpt from a major literary text is an important find, as it develops our insight into New Kingdom educational practices and intellectual quests. The range of ostraca types and text genres appearing in the area of the temple of Ramesses II points to a fully functional temple organization with a building phase and an operational phase, with supplies and literate personnel on site, potentially in different administrative roles. Studies in educational and intellectual pursuits, in turn, are key to expanding our comprehension of the functions—and enjoyment—of Egyptian culture.

Tirumala Tirupati: Wait a Moment

2015 ◽  
pp. 1-10
Author(s):  
Stephen E. Maiden ◽  
Gerry Yemen ◽  
Elliott N. Weiss ◽  
Oliver Wight
Keyword(s):  
Waiting Times ◽  
Throughput Rate ◽  
Religious Traditions ◽  
Temple Complex ◽  
The World ◽  
Hindu Temples ◽  
Challenging Students ◽  
The Many ◽  
The Temple

This case examines the queueing issues caused by the growth in popularity of one of the most visited Hindu temples in the world. On January 2, 2015, Ramesh and Vasantha Gupta visit Tirumala Venkateswara Temple, just a day after some 210,000 people crowded the 2,000-year-old site. The case describes the many enhancements that the temple administrator, Tirumala Tirupati Devasthanams (TTD), has implemented since its management of the temple complex began in 1932. The soaring popularity of the temple, however, has led to safety and comfort concerns for pilgrims. While challenging students to consider additional improvements that might benefit pilgrim throughput rate and time in the temple system, the case highlights the tension TTD must manage between maximizing efficiency and maintaining religious traditions. Additionally, the case demonstrates the importance of perceived waiting times in the management of queues.

scholarly journals Фотографии артефактов монгольского цама, сделанные чехословацкими исследователями в 1950-х и 1960-х гг.: новый взгляд на старые документы

2020 ◽  
Vol 13 (6) ◽  
pp. 1513-1523
Author(s):  
Veronika V. Kapišovská ◽  
Keyword(s):  
Diplomatic Relations ◽  
Religious Ritual ◽  
Black And White ◽  
Unique Position ◽  
Temple Complex ◽  
Ritual Dance ◽  
Artistic Heritage ◽  
The Temple

Introduction. This paper deals with two sets of colour photographs of Mongolian tsam masks taken by Czechoslovak archaeologist Lumír Jisl (1921–1969) and art photographer Werner Forman (1921–2010) in Mongolia during the period of 1956–1963. Werner Formanʼs photographs appeared in Lamaistische Tanzmasken. This unpretentious, slim volume, with a text composed by B. Rinchen (with the apparent assistance of a former tsam ceremony master, giving it unequivocal authenticity) holds a unique position: it was published 32 years after the last eye-witness description of the Mongolian tsam given by Shastina in 1935 (including black-and-white photographs), and some two decades before the series of tsam mask photographs featured in Tsultemʼs Mongolian Sculpture and Iskusstvo Mongolii ʻMongolian Artʼ. In contrast, Lumír Jislʼs photographs, apart from the few that were published during his lifetime, were preserved in a family archive for more than fifty years. The goal of this paper is to describe the circumstances under which these colour photographs came into being. A brief account is given of the visits to Mongolia undertaken by Lumír Jisl and Werner Forman. The general background of Czechoslovak-Mongolian cooperation in its first decade after the establishment of diplomatic relations between the two countries is also sketched out. At that time, tsam masks were stored in the Choijin Lama Temple, one of the very few monastic complexes to survive the antireligious campaign of the late 1930s; the temple became shelter to many religious artefacts. In addition to photographing this temple complex, Lumír Jisl photographed the tsam masks during research trips to at least three regional museums. This paper also describes the different goals and visions of both Lumír Jisl and Werner Forman when photographing the tsam masks, resulting in differing modes of execution. In conclusion, I examine the changes in perspective of the Buddhist monks following the general atmosphere of mistrust and fear engendered by the antireligion campaigns and repressions of the late 1930s, as well as the subsequent partial easing of these repressions. Not only were Forman and Jisl both invited to take photographs of religious artefacts, but they also received assistance in doing so. The Mongolian monks who helped Forman and Jisl had to accept, however, the drastically changed status of these artefacts: once sacred items used in religious ritual dance, they were now objects of Mongolian artistic heritage.

A Werner A2 ewer from Byzantine Cartagena and the distribution of bronze cast vessels in the western Mediterranean around 600 CE

2021 ◽  
pp. 1-26
Author(s):  
Joan Pinar Gil ◽  
Jaime Vizcaíno Sánchez
Keyword(s):  
Mediterranean Basin ◽  
Western Mediterranean ◽  
Northern Adriatic ◽  
Trade Networks ◽  
Ancient City ◽  
The Mediterranean ◽  
The Temple ◽  
Archaeological Excavations ◽  
The Mediterranean Basin ◽  
Early Byzantine

Abstract During the 6th and 7th c. CE, Carthago Spartaria (modern Cartagena) became one of the most important cities in the Byzantine province of Spania. Recent archaeological excavations at Cerro del Molinete have significantly increased our knowledge of the ancient city, enabling the exploration of an early Byzantine neighborhood built over the Roman Forum district. A cast bronze ewer of type Werner A2 was found in a pit dug over the temple that presided over the Forum. The associated materials, mainly pottery and glass vessels, are compatible with a deposition between 580/90 and 650/60 CE. This assemblage improves our understanding of the trade networks interconnecting the Mediterranean basin during the 6th and 7th c. CE. In this context, we argue that the unknown production center of the A2 ewers was located in the northern Adriatic, probably in Ravenna.

Art, Architecture, and National Memory-Making

2021 ◽  
Author(s):  
Maurizio Peleggi
Keyword(s):  
Buddhist Art ◽  
Sacred Landscape ◽  
National Cultures ◽  
Artistic Value ◽  
National Memory ◽  
National Heritage ◽  
Social Meanings ◽  
Dialectical Tension ◽  
Art And Architecture ◽  
The Temple

Works of Buddhist art and architecture, in addition to having cultic use and artistic value, also enjoy prominence in the national heritage of several Asian countries regardless of the following Buddhism presently enjoys in each. While rooted in the millenary process of the formation of national cultures, this prominence is more immediately the outcome of archaeological investigations, architectural restorations, and museum collections that were initiated in the late 19th century by colonial officials, and royal commissioners in independent Siam and Japan, and continued by postcolonial governments, often with international support. The examination of Buddhist art and architecture as vehicles of national memory-making can be framed conceptually by the dialectical tension between their cult value as continuing foci of devotion and their exhibition value as evidence of cultural achievement. Four aspects of this productive tension are emphasized: the foundational tension in Buddhism between the doctrine of impermanence and the cult of relics; the tension between Buddhist monuments as elements of the diffuse sacred landscape and, conversely, of individual countries’ historical landscape; the tension between the place and reception of buddha images in the temple and, instead, in the museum; and finally, the tension between the traditional pious care for Buddhist monuments and their modern, scientific conservation. Owing to these productive tensions, works of Buddhist art and architecture continue to generate spiritual, cultural, and social meanings—in particular identitarian and mnemonic associations—even though in multiethnic and multireligious societies, these meanings are not uncontested.

The Dikpālas of ancient Java revisited: A new identification for the 24 directional deities on the Śiva temple of the Loro Jonggrang complex

2012 ◽  
Vol 168 (2-3) ◽  
pp. 274-313 ◽  
Author(s):  
Andrea Acri ◽  
Roy Jordaan
Keyword(s):  
Art History ◽  
Ninth Century ◽  
Master Plan ◽  
Unresolved Issue ◽  
Central Java ◽  
Clockwise Direction ◽  
Temple Complex ◽  
History Of ◽  
Prime Objective ◽  
The Temple

Caṇḍi Śiva, sacred centre of the famous ninth-century Loro Jonggrang temple complex at Prambanan, Central Java, is decorated with numerous iconic and narrative reliefs. Starting from the eastern staircase and traversing the perambulatory in a clockwise direction, we find the narrative reliefs of the Rāmāyaṇa on the balustrade wall on our left, and the iconic reliefs of twenty-four seated male deities, each flanked by several attendants – collectively referred to in the accompanying iconographic plan as ‘Lokapālas with attendants’– on our right, that is, on the temple body proper. The prime objective of the present inquiry is propose a new identification of this set of twenty-four deities forming Śiva’s entourage, which remains an unresolved issue in the art history of Central Java. Our findings will have implications for our understanding of the iconographical master plan of Loro Jonggrang, and, in a wider sense, of certain developments in Indo-Javanese and Balinese iconography.

The Temple Complex at Horvat Omrit

2015 ◽  
Author(s):  
Michael C. Nelson ◽  
Daniel Schowalter ◽  
John Andrew Overman
Keyword(s):  
Temple Complex ◽  
The Temple
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