One of the most intriguing motifs of Egyptian religious iconography is the representation of ‘pantheos’, a composite deity with additional animal heads and other animal attributes, as well as magical and religious symbols. This group is commonly described in Egyptology as pantheistic, although the new definition of ‘polymorphic’ has recently been proposed. This term does not lean towards any particular area of interpretation, but simply refers to a single visual aspect of the motif.The group of Late Egyptian, Ptolemaic and Roman objects with this type of representation consists of statuettes, magical stelae, amulets, illustrations on papyri and gems. The main feature of polymorphic deities is their additional animal elements, which are attached to the basic corpus. These elements are mostly heads, wings and other parts of the animal’s body, although polymorphic depictions also sometimes contain ithyphallic or androgynous elements. The most important element of polymorphic iconography and its interpretation is the multi-headed nature of the images. This suggests both that complicated thought processes created the composition of the depictions and that they had a close relationship to magic and religion. A polymorphic representation was not a simple visualisation of just one religious idea or god, but was testament to the diverse thinking behind popular and official beliefs in ancient Egypt in the second half of the 1st millennium BC and in later times. The debate on polymorphism centres either on the possible search for a personal, universal god with a solar, hidden aspect or focuses on the magical, practical dimension, which provided protection for the people from evil powers and dangers.
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Key definitions Academic art (academism) – style in painting, sculpture, graphic and other visual arts connected with activities of European academies of fine arts in 19 th century. The main centres were Paris, London. Rome, Madrid, Munich, Vienna and Petersburg. Classical themes and techniques, apparently conservative, but opening way to the modern artistic style. Orientalism in visual arts - style in European painting, sculpture, graphic and architecture inspired by oriental cultures, visible from the end of Eighteenth and all Nineteenth centuries. Persons (painters) Lawrence Alma Tadema (1836-1912) Jean-Léon Gérôme (1824-1904) Edwin Long (1829-1891) Henryk Siemiradzki (1843-1902) Paul / Paweł Merwart (1855-1902) Ludwik Wiesiołowski (1854-1892) Focus on: Oriental artefact as detail Oriental story as personality
Input definitions: Economy – the core is the allocation of goods and resources Model – theoretical and simplified concept of reality the aim of which is to illustrate mechanisms governing the reality Two assumptions: we do not treat Near East economy as a whole problem with precise statistical data referring to the ancient times Models: circulations: production, storage, distribution and consumption G=f(P, R, T, I), where G is global income (produced goods),P – people, R – resources, T – technology and I – institutions cooperation between state (including religious institutions) and private sector question of existence of market economy - demand and supply with price or its equivalent as a tool of relation Terms and persons to clarify: nmḥ (Egyptian) - people, who had own land and paid taxes to the royal treasure = ἐλεύθερος (Greek) tamkaru (Akkadian) - royal clerks who performed long-distance trade for fixed prices embeddedness - economic behaviour in certain historical and social conditions as well as cultural and even religious ones John Maynard Keynes – British economist (1883-1946) - Keynesianism idea assumes a great role of the state as the creator of demand Key problem: correspondence of contemporary economic models with the reality of the ancient Near East Question of the talk: translation of economic rules current in our times into different realities in the earlier times – continuity vs. change
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