Amenhotep III

Kozloff, Arielle P.

doi:10.1017/cbo9780511997679

Cited by 11 publications

(2 citation statements)

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“…8 Perhaps serendipitously the sphinx in St. Petersburg lends itself quite aptly to this reading. Amenhotep III ruled over an Egypt that was peaceful and prosperous, a reign rife with architectural and sculptural achievements (Kozloff 2012). He also ruled on the eve of one of the greatest revolutions of Egypt's history.…”

Section: Conflicts Of Interestmentioning

confidence: 99%

Slavic and Eastern-European Visuality

2023

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Section: Conflicts Of Interestmentioning

confidence: 99%

Slavic and Eastern-European Visuality

2023

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“…The fact that the two versions of the arm have different pigment compositions can give new clues as to the painting process. The paintings in the tomb of Menna were supposedly split between specialized draughtsmen and less skilled artisans: details in the brushwork in the tomb of Menna suggest that at least four different draughtsmen-scribes worked there [6,34]. Betsy Bryan suggested that draughtsmen sketched and at times applied paint, but that those artisans of lower rank did not sketch [1].…”

Section: Plos Onementioning

confidence: 99%

Hidden mysteries in ancient Egyptian paintings from the Theban Necropolis observed by in-situ XRF mapping

Martinez,

Alfeld,

Defeyt

et al. 2023

PLoS ONE

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The material study of ancient Egyptian paintings began with the advent of Egyptology during the 19th century. By the 1930s, a lot had already been sampled and described. The limited palette for example has been analysed from actual painted surfaces but also from pigments and painting tools retrieved on site. However, most of these studies took place in museums while the painted surfaces, preserved in funerary chapels and temples, remained somewhat estranged from this primary physical understanding. The artistic process has been also reconstructed, mainly from the information presented by unfinished monuments, showing surfaces at different stages of completion. A lot of this modern and theoretical reconstruction is, however, based on the usual archaeological guessing game that aims at filling the remaining blanks. Our interdisciplinary project has decided to experiment on-site with state-of-the-art portable analysis tools, avoiding any physical sampling, to see if our knowledge of the work of the ancient Egyptian painters and draughtsmen could be taken at a further stage, while based on physical quantification that could be seen as a stronger and more reliable foundation for a redefined scientific hypothesis. The use of XRF mapping has, for instance, been applied to a known case of correction by surface repaint, something that is supposedly rare in the ancient Egyptian formal artistic process, while another fully unexpected one was discovered during the analytic exploration of a royal representation. In both cases, the precise and readable imaging of the physical composition of the painted surface offers a renewed visual approach based of chemistry, that can be shared through a multi- and interdisciplinary approach. However, this also leads to a more complex description of pigment mixtures that could have multiple meanings, where the practical often leads towards the symbolic, and from there hopefully to a renewed definition of the use of colours in complex sets of ancient Egyptian representations. At this stage, though the progress in this on-site material assessment of ancient works of art definitely means astonishing progress, one humbly has to face the fact that these ancient treasures shall still retain part of their defining mysteries.

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Flatfoot over the centuries: the background of current conservative and operative treatments

Biz,

Cerchiaro,

Mori

et al. 2023

International Orthopaedics (SICOT)

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Purpose Although flatfoot is a widespread human condition, historical medical texts and ancient illustrations on this deformity are extremely rare. Nowadays, doubts regarding its management remain unsolved. This historical review aims to identify the presence of pes planus since the prehistoric era and examine the treatments proposed over the centuries up to the present. Method For this propose, we performed an extensive electronic search of the relevant literature, complemented by a manual search of additional sources from archaeological to artistic, literary, historical, and scientific accounts, describing flatfoot and its treatment in different eras. Results Flatfoot accompanied the evolutionary timeline of human species: from Lucy Australopithecus to Homo Sapiens. It was described among various diseases suffered by Tutankhamun (1343–1324 B.C.), while the first anatomical description dates to Emperor Trajan (53–117 A.D.) and the medical studies of Galen (129–201 A.D.). It was also represented in the anatomical drawings of Leonardo da Vinci (1452–1519) and Girolamo Fabrici d'Acquapendente (1533–1619). Historically, the conservative treatment by insoles was the only one proposed until the nineteenth century. Since then, the most popular surgical procedures performed for correction have been osteotomies, arthrodesis, arthrorisis, and tendon lengthening and transfer. Conclusion During the centuries, conservative therapeutic strategies have not radically changed in their substance, while operative ones have become the protagonists during the twentieth century up to the present. Nevertheless, after more than 2000 years of history, there is no consensus regarding the best indication for the flatfoot and if it really needs to be treated.

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Amenhotep III

Cited by 11 publications

References 0 publications

Slavic and Eastern-European Visuality

Slavic and Eastern-European Visuality

Hidden mysteries in ancient Egyptian paintings from the Theban Necropolis observed by in-situ XRF mapping

Flatfoot over the centuries: the background of current conservative and operative treatments

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