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#1279-1213 bce
holycosmolo9y · 6 months
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A duck bracelet of Ramses II
(maximum diameter: 7.2 cm)
New Kingdom, 19th Dynasty; during the reign of Ramses II
ca. 1279-1213 BCE
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Set and Nephthys 1279-1213 BCE
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damnfandomproblems · 1 year
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I'm giving in and putting in an actual response. just incase people don't check replies (tho if it is the obsessive anti Asian twst person I wouldn't be surprised if they did read them)
it takes... no time at all to look up the history of braids ON WIKIPEDIA and find out their actual history. (don't trust news outlets and blog sites) https://en.wikipedia.org/wiki/Braid A quote from the page:
"The oldest known reproduction of hair braiding may go back about 30,000 years: the Venus of Willendorf, a female figurine estimated to have been made between about 28,000 and 25,000 BC in modern-day Austria.[4] The Venus of Brassempouy from the southwest of France is estimated to be about 25,000 years old and shows a braided hairstyle.
Although many cultures want to take sole credit for the braid, they cannot be traced to a single origin. Like how different versions of Cinderella are traceable to nearly every culture, braids, too, are polygenetic. One early example of hair braiding takes place in 1279-1213 BCE as recorded in the story of Isis: "when some of the queen's maidens came to the well, she greeted them kindly and began to braid their hair."[5]"
While yes, braids do have significant cultural importance in African cultures, largely out of necessity for maintaining their hair, this does not mean that they "invented" the braid. like another person said, braids even appear in cultures that have had zero contact with African cultures. In case you don't know what polygenetic means:
polygenetic
adjective
Having many distinct sources; originating at various places or times.
Of or pertaining to polygenesis; polyphyletic.
one which is composite, or consists of two or more monogenetic ranges, each having had its own history of development.
This can also be attributed to the fact that braids are not exclusive to hair. "A braid (also referred to as a plait) is a complex structure or pattern formed by interlacing three or more strands of flexible material such as textile yarns, wire, or hair."
This means things like clothing, jewelry, rope, and I would even say baskets. Any thing thing that can be shaped into a braid. Are there specific types of braid meant specifically for black hair texture? Yes. There are TYPES of hair braids designed specifically to protect and maintain certain types of hair, and yes such types of braids can be harmful if used on hair textures they were not designed for. However, once again I must remind you that this does not mean that African cultures "invented" braids as a whole.
"okay so are you saying its okay for white people to appropriate black cultures and use those hair styles?" In the event this is what any of you are wondering... That's not what I'm talking about. That is an entirely different topic that I'm not going into. Cuz tbh I don't know and I don't really have a say in the matter.
What I am talking about is debunking the claim that African cultures invented and therefore own braids, and that any other culture or person not apart of African cultures have no right to use a braids in general, and are racist if they do. For the last time. braids are polygenetic. No one owns them or invented them, and everyone has a right to use them. And this was all easily accessible information that you could literally look up and be done in like 5 mins btw. Please learn to do your research.
Posting this response like this. I will be compiling the anonymous response as one post.
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whencyclopedia · 1 year
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ABU Simbel is an ancient temple complex, originally cut into a solid rock cliff, in southern Egypt and located at the second cataract of the Nile River. The two temples which comprise the site were created during the reign of Ramesses II (c. 1279 - c. 1213 BCE) either between 1264 - 1244 BCE or 1244-1224 BCE. The discrepancy in the dates is due to differing interpretations of the life of Ramesses II by modern-day scholars.
It is certain, based upon the extensive artwork throughout the interior of the Great Temple, that the structures were created, at least in part, to celebrate Ramesses' victory over the Hittites at the Battle of Kadesh in 1274 BCE. To some scholars, this indicates a probable date of 1264 BCE for the initial construction as the victory would have been fresh in the memory of the people. However, the decision to build the grand monument at that precise location, on the border with the conquered lands of Nubia, suggests to other scholars the later date of 1244 BCE in that it would have had to have been begun after the Nubian Campaigns Ramesses II undertook with his sons and was built as a symbol of Egypt's power.
Read more here
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lionofchaeronea · 1 year
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Ushabti (painted limestone) of one Khabekhnet. Artist unknown; 1279-1213 BCE (reign of Ramesses II, 19th Dynasty, New Kingdom). Found in the tomb of Sennedjem at Deir el-Medina; now in the Metropolitan Museum of Art.
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the-cricket-chirps · 5 months
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Statue of the god Ra-Horakhty, c. 1279-1213 BCE. New Kingdom, Dynasty 19, reign of Ramses II. Tell el Maskhuta, Egypt. Granite.
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moneeb0930 · 1 year
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Detail of the plastered and painted wooden outer coffin of Khonsu dating to the reign of King Ramesses II (circa 1279-1213 BCE) during the 19th Dynasty. It was found in Theban Tomb TT1 of his father Sennedjem in Deir el-Medina, an ancient village across the Nile from Luxor. This brilliantly decorated piece (JE 27302) is now in the Museum of Egyptian Antiquities, Cairo, Egypt. Photo: Sandro Vannini (You may want to click the photo to enlarge it and be able to really appreciate the stunning details).
"This wooden coffin bears decoration related to Chapter 17 of the Book of the Dead on its long sides. On one side Anubis can be seen mummifying the body of Osiris (with whom the deceased is now identified), while Isis [left] and Nephthys [right] kneel at either side. Khonsu and his wife observe in the form of human-headed birds. Two lions can be seen above, with the sun-disc rising over the horizon between them. [Khonsu is depicted kneeling on the right, while the goddess Hathor in bovine form is shown on the left]..."
― Hawass, Zahi, Inside the Egyptian Museum, The American University in Cairo Press, Cairo, Egypt, 2010.
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ir-egipto-travel · 2 years
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The Goddess Mut, wearing the Double Crown; on Her forehead, the Uraeus (wearing the Solar disk). Detail from a statue dated to the reign of King Ramses II (ca. 1279–1213 BCE). Now in the Luxor Museum... #IREGIPTO #EGYPTPASSION #MBPLANET #HISTORY #HISTORIC #ancientegypt #egyptology #kemetic #ancientegyptian #egyptologist #anticoegitto #egittologia #egiptologia #antiguoegipto #religion #pagan #paganism #polytheism #kemet #egypt #archaeology #calendar #mut #goddess #goddesses #dailygods https://www.instagram.com/p/CfPg1AxP62k/?igshid=NGJjMDIxMWI=
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harrelltut · 8 months
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kemetic-dreams · 2 years
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Does the lack of a historical record of Jesus compared to thousands of other famous people who lived much earlier, pose a problem given the fact that all you know about Him is from the Bible? Would your answer be the same if you determined that the Bible did in fact contain contradictions and mistakes?
Outside of the New Testament, nothing whatsoever is known about the life of Jesus. Even the year of his birth is given in the Bible as 4 BCE and 9 CE. There are thousands of historical people who lived centuries before, many of whom we not only know the dates of their birth and death, but also the names of their spouse, children, servants, and others who were involved in their lives. Yet outside of the Bible, there are no reports or historical accounts concerning Him that have ever been found.
Here are just a few of those who lived many centuries earlier that we have considerable information about.
Djoser was the Pharaoh of Egypt in the Third Dynasty and reigned in 2686–2649 BCE…a whole 26 centuries before the New Testament.
Khufu reigned in the Fourth Dynasty…2589–2566 BCE.
Hatshepsut, the second woman to rule as a Pharaoh, reigned from 1478–1458 BCE. Thutmose II was her husband who died in 1479 BCE and left a son two years old.
Thutmose III (whose step mother was also a Pharaoh) reigned from 1458–1425 BCE.
Amenhotep III reigned from 1388–1351 BCE. He is well known as being a great diplomat and for his advances in architecture.
Ramses II ruled during 1279–1213 BCE. He had a minimum of ninety-six children with Seti I being the most famous. We even know the names of more than fifty of them.
Remember that Egypt was just a “rock throw” from Jerusalem. They had no difficulty being able to keep a reasonable historical record many centuries before who some say is the most important person to ever walk on the face of the earth.
A few other well known individuals from centuries before include Cyrus the Great 600–530 BCE, Siddartha (Buddha) 563–483 BCE, Confucius 551–479 BCE, Socrates 469–399 BCE, Aristotle 384–322 BCE, Alexander the Great 356–323 BCE, Archimedes 287–212 BCE, and Julius Caesar 100–44 BCE. Important people and major events had a way to get recorded. Let us not forget the great Hippocrates 460–380 BCE or Pythagoras 570–495 BCE either.
Sargon the Great ruled as King of the Akkadian Empire in 2334–2279 BCE. His birth story is so similar to that of Moses that most scholars view it to have been the source of the Moses story. Sargon was known throughout ancient history as the King of kings. He of course was probably the most famous person in Babylon…the place where the story of Moses and the Pentateuch was finalized during the captivity by priests who were trying to unify the Jewish captives, most of whom had been assimilated into the Babylonian culture. (Most refused to return to Jerusalem when Cyrus the Great granted their freedom) To motivate the people, why not give them a remarkable story about a deliverer who they could identify with, especially given his birth story was the same as the great King of kings? Tell them a story about a great supernatural deliverance from slavery but with the threat of severe punishment should they not follow and obey (and fear) the god who so miraculously had delivered them. Why not even incorporate the sacred sabbath day directly into their creation story?
The following translation of the legend comes from J.B. Pritchard’s The Ancient Near East, Volume I, pages 85–86. The inscription was discovered in the Assyrian city of Nineveh in 1867 CE by the archeologist Sir Henry Rawlinson who was excavating the site. The first part follows:
Sargon, the mighty king, king of Agade, am I. My mother was a changeling, my father I knew not. The brother(s) of my father loved the hills. My city is Azupiranu, which is situated on the banks of the Euphrates. My changeling mother conceived me, in secret she bore me. She set me in a basket of rushes, with bitumen she sealed My lid. She cast me into the river which rose not (over) me, The river bore me up and carried me to Akki, the drawer of water. Akki, the drawer of water lifted me out as he dipped his e[w]er. Akki, the drawer of water, [took me] as his son (and) reared me. Akki, the drawer of water, appointed me as his gardener, While I was a gardener, Ishtar granted me (her) love, And for four and [ … ] years I exercised kingship,… Thousands of people much earlier than the first century are found throughout the pages of history. Why would a god block out from history the one and only person that many people claim we are required to know if there be any hope of escaping an eternity in a burning hell?
7. Can you reasonably accept part of the Bible as true if it contains many contradictions and major errors regarding science and history? Just a few: The earth being created in seven days, roughly 6,000 years ago; the sun stood still for an entire day; women were made from the rib of a man; humans existed before plants and other animals (Genesis 2); and 2,500,000 slaves out ran the entire Egyptian military (in one day) and existed in the desert for 40 years without leaving a single trace of evidence that they were ever there.
8. Would it be disconcerting if the New Testament taught that Jesus actually believed that the story of Adam and Eve was a historical fact in addition to other events that are clearly debunked mythologies?
Jesus taught as history the story of Moses and the manna that fed the children of Israel while in the desert thus having Him ratify as historical fact the Exodus as described in the Torah (2,500,000 slaves out running the entire Egyptian military and then lived in a desert 40 years without leaving a single trace of evidence); He also taught the story of Adam and Eve (Matthew 19:4–6) as true history in addition to the story of Noah’s world wide flood (Matthew 24:37–39 and Luke 17:26). Among other things, he taught that blindness and epilepsy are caused by demons and that you did not need to wash your hands before eating.
9. Did you know that the New Testament ratifies the Old Testament over two hundred times? This point is included because many apologists and preachers would have you believe that the New Testament did away with the many cruel and immoral things of the Old. Where is the love and mercy in the New Testament when it ratifies and praises rather than rebukes any of the terrible things taught in the Old Testament? How about the teaching of an eternal hell fire that even the Old Testament never mentioned?
We can not simply ignore the fact that the New Testament accepted as historical truth the Old Testament’s stories. The leaders of those events are repeatedly honored and praised in the New Testament without one word of rebuke. The fact that it is not possible to separate the New Testament from the Old becomes even more evident when we count the number of times that the key characters in the Old Testaments are mentioned in the New: Moses 79 times, Abraham 70 times, David 54, Adam and/or Eve 10, and Noah 8 times.
The New Testament clearly ratifies the Old and often uses the Old Testament to explain the New. Again, it is just plain wrong to claim that the Old Testament was done away with, especially if Jesus is the same yesterday, today, and forever and was a key player in many Old Testament events as Christians claim He was.
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weightlosschoice · 2 months
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Ramses II A Balanced Reign
The long reign of Ramses II, spanning an impressive 66 years from 1279 to 1213 BCE, stands as a landmark in Egyptian history. His rule had a profound impact on the nation, leaving behind a complex legacy marked by both significant achievements and notable drawbacks.
Positives Stability and continuity leading to economic growth and cultural flourishing Monumental building projects boosting employment, showcasing power, and leaving lasting cultural and artistic contributions Secured borders through military campaigns, solidifying Egypt's position as a regional power Promoted religious revival, strengthening the role of religion and its institutions in society Negatives
Grand building projects placing a burden on the state treasury and resources, potentially leading to increased taxes and straining the lower classes Emphasis on military campaigns diverting resources from other areas like agriculture and social welfare, potentially impacting the lives of ordinary people Focus on self-promotion and glorification as a god-king potentially fostering social inequalities and solidifying elite power Long reign potentially leading to power struggles among successors and weakening the transition to the next pharaoh As you can see, Ramses II's long reign had both positive and negative consequences for Egypt. His leadership brought stability and prosperity, but it also came at a cost. It is important to weigh these factors carefully when evaluating his overall impact on Egyptian history.
The stability and continuity provided by Ramses II's long reign were significant factors in fostering Egypt's prosperity during his time. Here are some deeper dives into the specific areas you mentioned:
Economic Growth: Trade: Ramses II established and maintained strong trade partnerships with neighboring kingdoms, securing access to essential resources and boosting the economy. He invested in infrastructure like canals and ports, facilitating efficient trade movement. Agriculture: While the focus on monumental projects might have impacted some aspects of agriculture, his reign also saw advancements in irrigation techniques and land reclamation, potentially increasing overall agricultural output. Crafts and industries: The grand building projects spurred demand for various materials and skilled labor, potentially boosting craftsmanship and related industries. Cultural Flourishing:
Arts and Literature: The stability and prosperity nurtured creative endeavors. Artists produced beautiful sculptures, paintings, and reliefs adorning temples and tombs. Literature flourished with new compositions and poems praising the pharaoh and gods. Religion: His reign witnessed a revival of religious traditions, with lavish temple construction and festivals promoting the role of priests and religious institutions. This also served to unify the kingdom under a shared belief system. Education and Scholarship: Scribes and scholars continued to record and preserve knowledge, contributing to the intellectual and cultural heritage of Egypt. Peace and Stability:
Military might: His military campaigns, though not always decisive victories, deterred major invasions and secured Egypt's borders, fostering a sense of security and enabling peaceful development. Diplomacy and alliances: Ramses II pursued diplomatic relations with neighboring powers, forming alliances and treaties that contributed to regional stability and reduced the risk of major conflicts. Internal cohesion: The long reign under one pharaoh potentially fostered a sense of unity and stability within the Egyptian kingdom, contributing to internal peace and order. However, it's important to remember that this "golden age" wasn't without its challenges. The immense projects placed a strain on resources, potentially impacting some social groups more than others. Additionally, the focus on military might and self-promotion might have contributed to societal inequalities.
You're right, the military might showcased by Ramses II's campaigns played a significant role in securing Egypt's borders and fostering a sense of security, leading to peaceful development. Let's dive deeper into this aspect:
Deterrence and Border Security: Pre-emptive strikes: Ramses II launched campaigns against potential threats like the Hittites and Libyans, aiming to neutralize them before they could invade Egypt. This proactive approach helped deter major incursions and kept enemies at bay. Strategic alliances: He formed alliances with neighboring kingdoms, creating a buffer zone and potentially gaining crucial intelligence on potential threats. Fortress system: He strengthened existing and built new fortresses along Egypt's borders, serving as defensive outposts and deterring incursions. Impact on Peaceful Development:
Secure trade routes: By securing borders, Ramses II ensured the safety of trade routes, enabling the flow of goods and resources vital for the economy. Investment in infrastructure: The sense of security allowed for investments in infrastructure like canals and irrigation systems, boosting agricultural productivity and economic activity. Stability for cultural flourishing: The peaceful environment nurtured artistic expression, literary works, and religious practices, contributing to the richness of Egyptian culture. Nuances and Debates:
Not all victories: While some campaigns were successful, others like the Battle of Kadesh were inconclusive. Historians debate the true extent of Egyptian military dominance during his reign. Cost of campaigns: Maintaining a large military and waging campaigns imposed a financial burden on the state, potentially diverting resources from other areas. Impact on conquered populations: Egyptian campaigns brought conquered territories under their control, raising questions about the treatment of subjugated populations. Overall:
Ramses II's military campaigns did play a significant role in securing Egypt's borders and fostering a sense of security, contributing to a period of peaceful development. However, it's important to consider the nuances and potential downsides of his militaristic approach when evaluating its overall impact.
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Awe-Inspiring Temples and Tombs: Exploring Ancient Egypt
Did you know that the ancient Egyptians built their pyramids by measuring the earth's circumference? Did you know that the pharaohs were buried in underground tombs, often filled with gold, jewels, and other treasures?
The Egyptians built pyramids as significant monuments of their power. They believed that after death, they would become gods and live in these giant structures for all eternity.
Let’s explore your Luxury Egypt tours and these awe-inspiring temples and tombs on your next trip to Egypt!
Temple of Amenhotep III
The Temple of Amenhotep III is one of Egypt's most beautiful and awe-inspiring temples. Located in Luxor, this temple was built during the first half of the 14th century BC by Amenhotep III, son of Thutmose IV and Queen Mutemwia. The construction lasted 30 years and was completed under his successor Akhenaten (Amenhotep IV).
The temple faces east towards Karnak Temple, which houses significant deities such as Amun-Ra, Ra-Horakhty and Ptah, among others.
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Temple of Seti I
Located in Abydos, Upper Egypt, the Temple of Seti I am dedicated to the god Osiris. It was built by Seti I and his son Ramesses II.
The main hall is decorated with scenes from different periods of Egyptian history. There are also many statues inside; some made of stone and others carved out of wood or ivory, depicting various gods and goddesses.
The Colossi of Memnon
The Colossi of Memnon are two massive statues (colossi) of Pharaoh Amenhotep III. The statues were originally made to represent the king as a seated figure, but later they were recarved to show him as a standing figure.
The statues depict King Amenhotep III in a striding stance with his hands resting on his hips and wearing the nemes headdress with uraeus, associated with kingship from early on in Egypt's history.
Karnak Temple Complex
 Admire the Karnak Temple Complex when you are on tours Egypt as it is a vast collection of ancient temples and chapels, built by the pharaohs of the New Kingdom. The complex is located on the west bank of the River Nile in Thebes.
The Great Hypostyle Hall contains 134 columns that support its roof and walls.
The site also houses two colossal statues: one representing Amenhotep III and another depicting Ramses II.
Luxor Temple
Located in Luxor, Egypt, the Luxor Temple is one of the most popular tourist sites in Egypt. It was built during the reign of Amenhotep III (1417-1379 BCE) and was dedicated to Amon-Ra (also known as Amun). The temple was expanded by Ramses II (1279-1213 BCE) to include a pylon gate and two courts with hypostyle halls. Today, visitors can see these additions and many sculptures originally created for this site.
The Luxor Temple receives over 3 million visitors each year worldwide to see what remains after thousands of years!
Conclusion
The temples and tombs of Egypt are among the most awe-inspiring structures in the world. They represent a bygone era when people could build with unmatched skill, precision, and artistry. Their enduring beauty inspires us today as we marvel at these monuments from millennia ago. So, pack your bags for tours in Egypt and enjoy your next travel.
Source: Awe-Inspiring Temples and Tombs: Exploring Ancient Egypt
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fleurdufeu · 1 year
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Ancient Egyptian Figurines Depicting Baboons
Baboons were associated with Thoth god of scribes, the moon, mathematics, science, magic, and sacred texts.
amulet of squatting baboon BCE 664-333 Late Period
figure of a baboon BCE 664-525 Late Period
statuette depicting a worshiping baboon BCE 1279-1213 New Kingdom, Ramesside
from the Metropolitan Museum of Art’s digital collection
@is-the-primate-vid-cute
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marinaelaine · 1 year
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A Great Timeline
      Throughout the years of time, art has had the opportunity to grow and progress, while changing the course of history in the process. The advancements in art throughout time, from the prehistoric Paleolithic period until the Late Medieval period in Italy, brought about ways in which both self-expression and identity could be discovered and portrayed through art while also celebrating cultural and religious beliefs. 
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      Beginning at approximately 33,000 to 30,000 BCE in what is considered the Paleolithic Period, some of the first examples of paintings and engravings by humans were created. Covering the walls of the Chauvet Cave in southern France are hundreds of paintings and engravings featuring handprints, geometric patterns, and over 400 representations of different animal species. The prehistoric creators of these works of art scraped their wall canvases clean before utilizing charcoal, manganese dioxide, and hematite to create forms of paint. In a time in which language, ideas, techniques, and cultures were still forming, the paintings of the Chauvet Cave show that the people of the Paleolithic Period respected and valued the beauty of nature. The handprints on the walls provide one of the very first representations of a sense of identity. While it remains a subject of debate, there is the possibility that the paintings of the cave have symbolic and religious importance, and that the art might have played an important role.  
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      The Sumerian culture of Mesopotamia excelled greatly in forms of art such as pottery, sculpting, weaving, and the creation of large architectural structures called ziggurats. Religious values and beliefs were of extreme importance, something that is reflected in both the artwork and architecture of the Sumerian people. The votive figures known as The Sumerian Worshipers from the Temple of Tell Asmar date from approximately 2900 to 2600 BCE. Crafted from limestone, alabaster, and gypsum, each has its own individualized size and appearance, yet all stand in the same solemn upright stance. The large, focused eyes display the attentive and respectful gaze towards the deities that they believed in and were dedicated to worshipping.  
      Some of the Sumerian votive figures that have been recovered have names inscribed on them, a portrayal of individuality incorporated with celebrating religious beliefs. The votive figures of this time period are an early example of religious sculptures, an inspiration for the advancements in religious art that were yet to come.
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      The Egyptian people had a fierce devotion to their rituals and beliefs, especially when it came to the event of death. To the Egyptians, death was not considered to be the end, and a great amount of time went into the creation of individual tombs and coffins to help the deceased on their way to the afterlife. The paintings within Egyptian tombs show the clear devotion that Egyptians had to their rituals and beliefs, and the hopefulness and determination that they had to achieve their goal of eternal life.  
      Located in Thebes in the Valley of the Queens, Queen Nefertari’s tomb is considered to be the largest, most well-known, and exquisitely embellished tomb of the site. A woman well ahead of her time, Queen Nefertari was very educated and highly active in the diplomacy of her country. In the tomb painting Queen Nefertari Playing Senet dated from approximately 1279 to 1213 BCE, Nefertari is sitting playing the game of senet while dressed in her regal attire. The complicated game involves thirty squares which can help or hinder a player’s progression to winning against their opponent. When shown in a tomb, the squares symbolically correlate to the assistance or threats that a person might face while on their way to the afterlife. Nefertari is shown playing senet alone, illustrating her independent struggle and fierce determination to win on her journey through life and achieving immortality.  
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      Known for their Classical art and emphasis on honoring gods or the achievements of rulers, the Greeks could at times focus on softer, more personal art. To honor their dead, the Greeks would use stone slabs called stelai (singular is referred to as stele) and carve images of the person to be remembered for use at the burial site in the cemetery. Marble grave stele of a young woman and servant circa 400 to 390 BCE portrays the typical Classical Greek style, but in a more intimate way. A woman is shown leaning in a pose potentially inspired by Aphrodite. Standing beside her with a jewelry box is a younger, smaller girl with her hair cut short in mourning. There is a tenderness between the two, insinuating that there is a possibility that they are sisters rather than mistress and servant. The Greek people were able to show individualized depictions of lost loved ones, while still honoring their gods and cultural beliefs in regard to death. 
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      The Qin Dynasty ushered in China’s first emperor, Shihuangdi. Shortly after taking over the throne, Emperor Shihuangdi began the construction of his large tomb which took almost four decades to complete. Though the tomb blends in with the lush natural landscape from the outside, the inside consists of several thousand terracotta soldiers complete with 100 wooden chariots. The soldiers stand ready for battle, some with remaining traces of bronze or wooden weapons. Each soldier has a similar yet different face, with each having slightly unique and abstracted physical or facial features. Emperor Shihuangdi is said to have had hundreds of thousands of men in his army that protected his empire. Even in death, his terracotta soldiers proudly and symbolically stood to guard and protect their ruler and his final resting place. The Chinese were exceptionally skilled and achieved great artistic and technological advancements that have been beneficial contributions to the world. Shihuangdi’s mausoleum of soldiers brings the cultural belief of protecting the spirit into an exceptionally lifelike and artistically revolutionary portrayal. 
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      Portrait of a Married Couple (Terentius Neo and Wife) from approximately 75 CE illustrates the advancement of personal portraits in the era of Imperial Rome. Instead of the ideal proportions and features of the Classical style, the lineaments of the couple are extremely lifelike. From the spacing of the eyes, to the shapes of the ears and mouths, it is safe to assume that this wall painting resembles what the pair would have looked like in actuality.  
Not only do the physical characteristics of the pair create a more personalized work of art, but the objects that they hold in their hands also signify even more about them in a subtle way. Terentius Neo holds a scroll, displaying his academic achievements. His wife holds a writing tablet with a stylus, demonstrating her abilities to read and write. This portrait is of two educated individuals that were proud of their accomplishments and were able to express it through art. It is also worth noting that this portrait shows a wife at the same level as her husband, something relatively rare for the time period. Rather than being painted smaller in the hierarchal scale or shown without her writing utensils, she was shown as the intelligent and equal woman that she was.  
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      In the Basilica of San Vitale located in Ravenna, Italy, the south wall of the apse features the impressive mosaic Empress Theodora and her Attendants from the year 547 CE. San Vitale contains some of the largest, most intricate, and best-preserved mosaics of the Early Byzantine period. While Emperor Justinian was an avid church builder, Empress Theodora was the main driving force behind the design and construction. Her place in prominent artwork that mirrors the mosaic of  Emperor Justinian and his Attendants, located on the north wall, displays both her regal importance and influence. Dressed in royal purple with a nimbus around her head to symbolize her power, Empress Theodora is shown bringing offerings to Jesus Christ.  
      The mosaics throughout the Basilica of San Vitale follow the theme of offering, something of great importance to the Christian religion. Empress Theodora and her Attendants, along with the other mosaics of San Vitale, portray self-expression and identity as well as the high regard that religious beliefs were held.
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      Considered to be “the first great monument of Islamic art,” the Dome of the Rock was created at the location where Muhammad is said to have been lifted to Heaven. The rock is also believed to be the site in which God created Adam, the place in which Abraham was commanded by God to sacrifice his son, as well as the location of the temple of Solomon. While it is of great importance to the Muslim people due to Muhammad, it also is significant to those of the Jewish and Christian faiths as well due to these other biblical stories. Completed in 691, the Dome of the Rock is the Islamic religion’s way of honoring itself and its beliefs through architecture. With its beautiful marble detailing and stunning glass mosaics combined with Byzantine style, it stands tall as a way to honor the triumph of the Islamic religion. The Dome of the Rock serves as a reminder of the unique connections between different religions and remains a very holy site to this day.
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      The mid 11th through the 12th centuries brought about the introduction of Romanesque art. Quite literally meaning “Roman-like,” this style of art took inspiration from Roman art while also merging other artistic and local styles and traditions to form something all its own creation. Hildegard of Bingen’s book paintings are a great example of the Romanesque style. As a very young child, Hildegard was said to have begun receiving holy visions from God. She began recording these visions, creating books filled with words and powerful images. The Universal Man illumination from Liber Divinorum Operum circa 1165 shows the rare self portrait of Hildegard herself. Seated at the lower left-hand corner, Hildegard is shown recording the vision of the man. This sense of identity and self-expression in what is considered a holy artwork is revolutionary, especially for a woman of the time.  
Taking inspiration from the Romans, the man shows ideal proportions and appears to be at one with the world. At the very top, we see the head of God above his creation of man. The Universal Man shows immense similarities to Leonardo da Vinci’s ideal proportioned Vitruvian Man three centuries or so later, and captures how Roman artistic influences have continued on throughout time.
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      Italy in the 13th century faced political problems as the Holy Roman Empire fought to maintain full control. Many individuals, particularly those of higher classes, commissioned art with religious themes to show their dedication to the Church and to their faith. Late Medieval Italian art such as Giovanni da Milano’s Madonna and Child with Donors from the year 1365 exhibits a couple being welcomed into Heaven by the Madonna and an infant Jesus Christ. Most likely set above a tomb, the donors were able to honor their religious beliefs even after death. The tempera on wood painting with gold ground may portray flatter and more two-dimensional figures, but the symbolism is as bold as ever. With hands clasped in prayer, the couple celebrates their faith through art while incorporating themselves into it.  
      In conclusion, the evolution of art has been both noteworthy and largely significant. What began in the Paleolithic Period as simple paintings and engravings of animals and geometric shapes on the walls of caves led the way to more individualized and self-expressive works of art. From the embellished tomb walls of the Egyptian New Kingdom, the defensive Qin Dynasty’s terracotta soldiers, the lifelike and symbolic wall portrait paintings of Imperial Rome, the mosaics of Byzantine churches, to the first Islamic architecture all the way to Late Medieval Italy’s portrayals of real people devoted to their faith. Each time period brought about some sort of change in the history of art and incorporated ways in which both self-expression and identity could be discovered and portrayed while also celebrating cultural and religious beliefs.
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This life-size statue is identified as that of Ramesses I by his name and titulary on the two sides of the throne. Inscription on left-hand side of the king: "King of Upper and Lower Egypt, User-maat-re ('Great of justice is Re') Setep-en-re ('The Chosen One of Re'), Son of Re, Ramesses Mery-amun ('Ramesses beloved of Amon'), may he be given life like Re, beloved of Amun-Re, King of the Gods, Lord of Heaven." Right-hand side, as left, ending .may he be given life eternally, beloved of Hathor, Lady of Medjed." Ramesses II, the third and greatest king of the Nineteenth Dynasty of Egypt, reigned over the Egyptian Empire for two-thirds of a century, 1279-1213 BCE, and oversaw vast building projects. In particular, Ramesses completed a royal residence in the eastern Delta, and named it Per-Ramesses ('House of Ramesses"), in his own honour. These tasks required huge numbers of people, including foreign residents, who were conscripted for public work. The Pharaonic store- cities, Pithom (from the Egyptian: pr-itm = House of Atum) and Ramesses (from the Egyptian: [pr-] r'mss = House of Ramesses), mentioned in Exodus 1,11, were located in the Delta region near the land of Goshen, where the children of Israel settled under Joseph. (at Bible Lands Museum) https://www.instagram.com/p/CcQ03ycLrdg/?igshid=NGJjMDIxMWI=
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lionofchaeronea · 2 years
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Pectoral (gold, glass, and turquoise) of Ramesses II (r. 1279-1213 BCE), depicting his cartouche with the vulture-goddess Nekhbet and the cobra-goddess Wadjet. Now in the Louvre.
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