The Decoration of the Pronaos of Petosiris’ Tomb. Themes, Scenes, Styles and Techniques

Sales, José das Candeias

doi:10.25145/j.tde.2016.07.10

Cited by 7 publications

(7 citation statements)

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“…While, in GB 35 in the Necropolis of Petosiris, the flasks contained oil or perfumes for sacrifices (Lembke, 2018) (Fig.26). (Sales, 2016;Byl, 2012)).…”

Section: Fig24 Perfumers Performing Their Dutiesmentioning

confidence: 99%

“…In other word, on the northern wall to the east of the gate, there are scenes of perfume makers (Sales, 2016). Indeed, in the top register, a worker of perfume overturns a wide-mouthed vessel, pouring red berries onto the ground.…”

Section: History Of the Perfume Industry In Greco-roman Egyptmentioning

confidence: 99%

“…Also behind him, one man picks through the berries, while another works on hulling the fruit. After all, in the lower register, the workers are stoking the fire in an oven and stirring the contents of a pan placed in an oven (Venit, 2016;Byl, 2012;Sales, 2016) (Fig.24). (Sales, 2016).…”

Section: History Of the Perfume Industry In Greco-roman Egyptmentioning

confidence: 99%

“…Additionally, in another scene, a man is seated so as to smell the contents, then pouring perfume into a jar under the watching eye of an overseer, and finally carrying two vessels to a man who is seated (Byl, 2012;Lacovara, 2016;Sales, 2016) (Fig.25). Also the married couple "Petosiris and his wife" is wearing wigs and their heads support perfumed cones (Venit, 2016).…”

Section: Fig24 Perfumers Performing Their Dutiesmentioning

confidence: 99%

“…Small perfume flask, late Ptolemaic / early Roman period, alabaster (Kalloniatis, 2019) Perfume flask, Ptolemaic period, Alexandria, "terracotta" pottery (http://antiquities.bibalex.org/Colle ction/Detail.aspx?lang=en&a=178;Sales, 2016) …”

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History of the Perfume Industry in Greco-Roman Egypt

2020

International Journal of History and Cultural Studies

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Further throughout the history of both Eastern and Western civilizations, perfume has marked societal customs related not only to everyday life but also rituals for the gods and for guiding the deceased to the afterlife, such as the use of smoky odors to signify the divine or deified bodies (Tatomir, 2016). Thus, cosmetics' usage has been widespread as a part of daily life and religious rituals (Voudouri's & Tesseromatis, 2015). Also oils in Egypt were of vital importance against the drying heat of the sun, arid winds and hot air of the Nile Valley (Ruiz, 2001). Additionally, Perfumery is the art of collecting all the various fragrant essences (Heuze, 1862). There were several stages to producing perfumed substances, from cultivating the flowers, to storing oils into jars (EL-SHIMY, 2003). In the meantime, cosmetics and perfumes were an important part of life Abstract: There's no doubt that in civilizations from Egypt to Greece, fragrance was spread as a vital element in life and death. Egypt was famous for its perfume throughout the ancient civilizations. In ancient Egypt, Alexandria was famous for the manufacture of perfumes and as the marketplace of several Egyptian products, such as myrrh. Mendes too was famous for its perfume.

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“…While, in GB 35 in the Necropolis of Petosiris, the flasks contained oil or perfumes for sacrifices (Lembke, 2018) (Fig.26). (Sales, 2016;Byl, 2012)).…”

Section: Fig24 Perfumers Performing Their Dutiesmentioning

confidence: 99%

Section: History Of the Perfume Industry In Greco-roman Egyptmentioning

confidence: 99%

Section: History Of the Perfume Industry In Greco-roman Egyptmentioning

confidence: 99%

Section: Fig24 Perfumers Performing Their Dutiesmentioning

confidence: 99%

mentioning

confidence: 99%

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History of the Perfume Industry in Greco-Roman Egypt

2020

International Journal of History and Cultural Studies

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The flax in the “Flora’s image” in the Ariadne House (Pompeian area, Italy) as a symbol of feminine in a wedding sacred to the afterlife

Caneva

Bourmaud

Bellini

et al. 2023

Rend. Fis. Acc. Lincei

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In ancient time, life elements, like plants and animals, and unanimated forces of nature were usually associated with specific meanings related to deities and sacred rituals. In Roman archeology, the strong symbolic value of plants represented in wall paintings and artifacts was proved by several contributions, but this topic is often neglected. In this paper, for the first time, an interpretation is proposed for the plant represented in one of the most iconic paintings in Pompeii, the so-called “Flora” in Ariadne’s house. Here, the analyzed plant is picked by a girl turned away and holding a floral cornucopia, and it plays a relevant role in the scene. Through the analysis of its morphological elements, and comparing them with other ancient representations, we suggest its identification as flax (Linum usitatissimum L.). Flax was an economically and culturally very important plant, widely represented in objects and paintings in the Mesopotamian and Egyptian area. We also suggest that the meaning behind the choice of depict flax was also related to its classical attribution as a symbol of fertility and afterlife as well as linked to the “feminine” sphere. This interpretation, together with other elements of the images, strengthens the already proposed interpretation of the yellow-dressed girl a wife, which is let to go this life for an afterlife, in the figure of Persephone. Graphical abstract

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Stylistic Traces of Amarna Art in Reliefs of the Tomb of Petosiris (Tuna al Gebel Necropolis)

Kuvatova

2022

Old World J. Anc. Afr. Eurasia

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The famous tomb of Petosiris (a high priest of Thoth) in the Tuna al Gebel necropolis on the outskirts of the Middle Egyptian town of Hermopolis Magna is dated by the last quarter of the 4th c. bc. The pictorial program of the tomb, decorated with painted reliefs, has no known parallels in Ptolemaic art. In terms of iconography and style the reliefs rely on both Egyptian and Greek artistic traditions. This study attempts to trace elements of the so-called Amarna style among the whole variety of cultural impacts that shaped the unique character of the reliefs. Not only the visual similarity but also the short distance between the necropoli in Hermopolis Magna and Amarna city support the impetus for looking for pictorial parallels between the reliefs of the Petosiris tomb and the Amarna monuments. Some distinct stylistic details of the reliefs find no matches in Egyptian art but for the Amarna period. Nor do they originate from Macedonian or provincial Greek art. The reliefs of the tomb of Petosiris seem to be the only extant piece of art of the Graeco-Roman period that goes back to Amarna tradition in terms of techniques, style and, to some extent, iconography. The styling of the reliefs relies on three distinct visual paradigms – Classical (namely archaic) Egyptian, Amarna and Hellenistic – and seems to depend on subject matters of the particular parts of the program. The stylistic features deriving from different traditions probably served as a special visual language that helped to convey important meanings and connotations.

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The Decoration of the Pronaos of Petosiris’ Tomb. Themes, Scenes, Styles and Techniques

Cited by 7 publications

References 1 publication

History of the Perfume Industry in Greco-Roman Egypt

History of the Perfume Industry in Greco-Roman Egypt

The flax in the “Flora’s image” in the Ariadne House (Pompeian area, Italy) as a symbol of feminine in a wedding sacred to the afterlife

Stylistic Traces of Amarna Art in Reliefs of the Tomb of Petosiris (Tuna al Gebel Necropolis)

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