- Egyptology, Egyptian Art and Archaeology, Archaeology, Ancient Quarrying, Hieratic, Amarna Studies, and 35 moreEpigraphy (Archaeology), Ancient Near Eastern Studies, Akhenaten, The Amarna Period, Amarnian Heresy /Nefertiti, Remote Sensing, Coptic (Archaeology), Ancient Roads, Agisoft PhotoScan, Egyptian Archaeology, Ancient Egyptian Religion, Egyptian History, Dr John Ward, Egyptian Execration texts, Execration figures, Reflectance Transformation Imaging, Photogrammetry, Quarry Marks, Dayr Abu Hinnis, New Kingdom (Egyptology), Multispectral Imaging, History of Egyptology, Amarna, Ancient Egyptian quarries, Extraction Techniques, Ancestry and Pathology in King Tutankhamun’s Family, Dayr al-Barsha, Archaeological Graphics & Illustration, Digital Photogrammetry applied to Archaeology, Burial of Nefertiti, Nefertiti, Ancient Graffiti (Archaeology), Ancient Egyptian Magical Texts, Ancient Egyptian Magic, and Middle Kingdom Potteryedit
- Currently involved in the following projects: - Pyramids & Progress : Belgian Expansionism and the Making of Egyptol... moreCurrently involved in the following projects:
- Pyramids & Progress : Belgian Expansionism and the Making of Egyptology, 1830-1952 (EOS project 30885993)
Work Package 5: The main objective of WP5 is to trace the archaeological history of Egyptian antiquities in the collections of the RMAH (Brussels) and the Brooklyn Museum during Jean Capart’s term, and to clarify how the objects of these collections fit in the international excavations of their time. The very large scale British excavations produced contexted artefacts, which due to their dispersal have to a large extent lost their meaning. By tracing assemblages and linking them to the original excavation reports, the scientific importance of what are now essentially orphaned museum artefacts will be valorised. The WP will also aim to derive patterns in acquisition strategies.
The reconstruction of the archaeological contexts will be based on archival research at the museums, combined with personal documentation, excavation reports and diaries. The information gained during this research will be added to the online catalogues of the corresponding museums, and will contribute to a new permanent exhibition gallery at the RMAH which will be devoted to the history of Belgian Egyptology.
- SURA - Unlocking the Photographic Archives of the Pioneering Years of Egyptology at the Royal Museums of Art and History in Brussels (Brain-be 2.0)
SURA (Arabic for photo) is an interdisciplinary project that ties together Egyptology, digital imaging, archival studies and digital humanities to valorise an important but almost completely forgotten historical collection of glass plate photographs kept in the Egyptological library of the Royal Museums of Art and History (RMAH) in Brussels.
- The Limestone Quarries of Dayr Abu Hinnis (Dayr al-Barsha Project)
- Pixel+ & The Portable Light Dome (KU Leuven)edit
Research Interests:
A collection of Prime Cultural Heritage artefacts consisting of Egyptian late Middle Kingdom figurines (c. 1850-1700 BCE), made of unfired clay and covered in inscriptions, is kept at the Royal Museums of Art and History (RMAH) in... more
A collection of Prime Cultural Heritage artefacts consisting of Egyptian late Middle Kingdom figurines (c. 1850-1700 BCE), made of unfired clay and covered in inscriptions, is kept at the Royal Museums of Art and History (RMAH) in Brussels, Belgium. Several of these hieratic inscriptions curse enemies of the Egyptian state, including Canaanite, Nubian and Libyan entities; thus providing invaluable information for Middle Bronze topography in ancient Near Eastern studies. What makes the extensive Brussels group even more exceptional, is the fact that these figurines were discovered in a closed archaeological context in Saqqara, Lower Egypt. Defining and classifying clay and ancient ceramic provenance groups in Egypt is highly complex due to variability in Nile and marl clay deposits. Chemical characterization of this figurine assemblage (n=91) allows to effectively study the potential direct use of clays in the vicinity of Saqqara and characterize the nature of the raw materials used. Additionally, it aims to assess the validity of portable XRF spectrometry for this type of materials and its provenance resolution. Analyses show that very similar clays were used to produce the different morphological types of figurines in the assemblage. The chemical profile indicates the use of a mixed source at Saqqara rather than pure marl or Nile clays, which are common for ancient pottery production.
Research Interests:
The Egyptian collection of the RMAH comprises about one hundred figurines made of unbaked clay, bearing curses written in hieratic script. They represent captured enemies and were buried ritually in order to symbolically neutralise... more
The Egyptian collection of the RMAH comprises about one hundred figurines made of unbaked clay, bearing curses written in hieratic script. They represent captured enemies and were buried ritually in order to symbolically neutralise foreign and domestic enemies and general threats. The red and black pigments used to inscribe these four millennia old objects are now, nearly 90 years after their discovery, faded or damaged. With these Egyptian execration figurines as a case-study, an on-going research project aims to develop new imaging techniques (using interactive 2D, 3D and multispectral images) that can improve the legibility of faded inscriptions and decorations. One of the objectives is indeed to identify and evaluate the factors that may affect the reflection of infrared and ultraviolet light. For the development of these techniques, the project sets out from a comprehensive analysis of the state of preservation of the objects. This article therefore presents the preliminary results of a study of the preservation of the surfaces, the composition of the materials, the possible interventions that the artefacts may have undergone and other factors affecting the legibility of the texts. This report will furthermore elaborate on the conservation reports of the objects and their classification in conservation categories, and provides preliminary observations on the clay and the pigments based on the results of X-Ray Fluorescence analyses.
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Hiëratische inscripties op verwensingsbeeldjes (late Middenrijk) van de Koninklijke Musea voor Kunst en Geschiedenis in Brussel zi jn amper leesbaar. Voor hun ontci jfering zet ten egyptologen innovat ieve beeldvormingstechnieken van de... more
Hiëratische inscripties op verwensingsbeeldjes (late Middenrijk) van de Koninklijke Musea voor Kunst en Geschiedenis in Brussel zi jn amper leesbaar. Voor hun ontci jfering zet ten egyptologen innovat ieve beeldvormingstechnieken van de KU Leuven in.
Research Interests:
Report of the Egyptian Execration Statuettes (EES) Project of the Royal Museums of Art and History, Brussels
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When heritage objects are being transformed into digital representations, the loss of information is inevitable. The challenge lies in developing integrated systems able to minimize this loss and bring together as many different kinds of... more
When heritage objects are being transformed into digital representations, the loss of information is inevitable. The challenge lies in developing integrated systems able to minimize this loss and bring together as many different kinds of recordable characteristics as possible of one and the same object. This contribution presents an approach that combines the detection of colour, surface shape and the reflective characteristics of surfaces by using a selection of IR, Red, Green, Blue and UV light spectra and applying them on 3D models. A multispectral, multi-directional, portable and dome-shaped recording tool has been developed to this end. With the associated software, virtual relighting and enhancements can be applied in an interactive manner based on the principles of photometric stereo: this allows alternating in real time between computations with IR, R, G, B, and UV light spectra. Throughout the testing phases, this non-invasive registration and documentation technique has been applied to monitor and study a vast number of heritage objects, varying from 19th c. BCE Egyptian inscribed clay figurines to medieval illuminations.
Research Interests:
Research Interests:
A building inscription in a limestone quarry at Dayr Abū Ḥinnis dated to Year 16 of Akhenaten proves that Akhenaten and Nefertiti were still the royal couple near the end of his reign. It is the highest known date of Queen Nefertiti and... more
A building inscription in a limestone quarry at Dayr Abū Ḥinnis dated to Year 16 of
Akhenaten proves that Akhenaten and Nefertiti were still the royal couple near the
end of his reign. It is the highest known date of Queen Nefertiti and the latest dated
inscription which can be certainly attributed to Akhenaten himself. The second part of
the article evaluates current theories concerning the final years of Nefertiti and the
successors of Akhenaten in the light of the new text.
Akhenaten proves that Akhenaten and Nefertiti were still the royal couple near the
end of his reign. It is the highest known date of Queen Nefertiti and the latest dated
inscription which can be certainly attributed to Akhenaten himself. The second part of
the article evaluates current theories concerning the final years of Nefertiti and the
successors of Akhenaten in the light of the new text.
Research Interests:
Before the Cinquantenaire Museum (the current Art & History Museum) was introduced as “One of Belgium’s Best Kept Secrets”, it was known all over the world, and Brussels was even occasionally introduced as the capital of Egyptology.... more
Before the Cinquantenaire Museum (the current Art & History Museum) was introduced as “One of Belgium’s Best Kept Secrets”, it was known all over the world, and Brussels was even occasionally introduced as the capital of Egyptology. Renowned Egyptologists would spend their holidays in Brussels, just to get a guided tour in the museum with the Belgian Egyptologist Jean Capart, or to consult the magnificent library housed in the museum. In the interbellum, Capart had turned Brussels into an international centre of Egyptological research.
Capart was not only a great scholar, as the first curator of the Egyptian department he also managed to enlarge the Brussels collection in a monumental way. Between 1900 and 1947, thousands of artefacts entered the museum, making it the largest Egyptological collection of Belgium. Some of the masterpieces were lucky finds, such as the relief of queen Tiye, while others required a lot of effort and negotiations, e.g. the mastaba of Neferirtenef. The majority of the objects, however, can be directly linked to British excavations. This paper focuses on the provenance of the objects from these excavations.
The research was conducted within the framework of the EOS Project “Pyramids & Progress. Belgian Expansionism and the Making of Egyptology, 1830-1952”.
Capart was not only a great scholar, as the first curator of the Egyptian department he also managed to enlarge the Brussels collection in a monumental way. Between 1900 and 1947, thousands of artefacts entered the museum, making it the largest Egyptological collection of Belgium. Some of the masterpieces were lucky finds, such as the relief of queen Tiye, while others required a lot of effort and negotiations, e.g. the mastaba of Neferirtenef. The majority of the objects, however, can be directly linked to British excavations. This paper focuses on the provenance of the objects from these excavations.
The research was conducted within the framework of the EOS Project “Pyramids & Progress. Belgian Expansionism and the Making of Egyptology, 1830-1952”.
Research Interests:
The Egyptian collection of the Royal Museums of Art and History (RMAH, Brussels) comprises about one hundred execration figurines made of unfired clay, bearing curses written in hieratic and dating to the late Middle Kingdom. These... more
The Egyptian collection of the Royal Museums of Art and History (RMAH, Brussels) comprises about one hundred execration figurines made of unfired clay, bearing curses written in hieratic and dating to the late Middle Kingdom. These figurines represent captured (foreign) enemies and were buried ritually in order to symbolically neutralise foreign and domestic enemies and general threats. Almost every paper discussing these objects focuses on the major importance of the texts for our knowledge on the geopolitical situation of Egypt around 1850 BC. However, the group is not as homogeneous as it appears in the literature. First of all, the majority of the figurines only refers to Egyptians and their families, while only a small part curses the enemies of neighbouring countries. Not only does the content of the inscriptions vary, the figurines themselves also bear distinct features, suggesting the influence of different craftsmen. This paper proposes a comprehensive typology of the important Brussels group, based on the physical characteristics of the figurines.
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Among the most famous images of ancient Egypt we find the colorful bust of Nefertiti, “the beautiful one has come,” discovered in the workshop of the sculptor Thutmoses at Amarna and currently on display at the Neues Museum, Berlin. It is... more
Among the most famous images of ancient Egypt we find the colorful bust of Nefertiti, “the beautiful one has come,” discovered in the workshop of the sculptor Thutmoses at Amarna and currently on display at the Neues Museum, Berlin. It is safe to say that the image of Nefertiti has come a long way. For a long time, the beauty of her images influenced the general opinion on both her personality as well as on her function in the Egyptian empire. She was either portrayed as merely a beautiful face, or as a schemer hungry for power. The archaeological and textual information has offered a more nuanced image. Nefertiti held a very high position at the court, which is shown in the numerous depictions and symbols that confirm her status and power. The first glimpses of her status were already visible during the first years of Akhenaten at Thebes, and from that moment her star would continue to rise. This chapter describes her changing position at the court and shows that Nefertiti would eventually reach the highest possible position, that of (co-)regent of the Egyptian empire.
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Multi-light, single-camera imaging techniques like Reflectance Transformation Imaging (RTI, including PTM, HSH, and PCA-RBF) and the Portable Light Dome (PLD) have been used by cultural heritage scholars and collection curators... more
Multi-light, single-camera imaging techniques like Reflectance Transformation Imaging (RTI, including PTM, HSH, and PCA-RBF) and the Portable Light Dome (PLD) have been used by cultural heritage scholars and collection curators extensively because of the extra interactive visual information that can be revealed on artefacts when compared to standard digital photography. Besides a virtual relighting of the scanned object, these techniques offer filters to accentuate different aspects of the studied surface. The main focus of RTI, developed at HP, CHI and among others elaborated by ISTI CNR, is aimed at photo-realistic virtual relighting. PLD, developed at KU Leuven, on the other hand, is aimed at extracting surface properties such as surface color (albedo), surface gradient (normals), 3D surface features (height profiles) and reflectance distribution (reflectance maps). PLD and RTI both produce interactive pixel based file formats, which are dissimilar, resulting in incompatible datasets. The pixel+ project (Art and History Museum, KU Leuven, and KBR, Belspo BRAIN-be funded) aims to merge both technologies into one web-based consultation platform, allowing existing PLD and RTI datasets to be viewed in one web environment with their respective viewing filters as well as to illuminate the virtual model. Moreover, as both methods are alike in terms of required input and processed output, pixel+ focuses on other types of integration, resulting in new viewing modes for processed data as well as a novel reprocessing pipeline for existing source images. In addition, for sustainable and flexible web consultation a new open format, based on glTF, is suggested and a first elaboration is presented.
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This paper brings together two approaches to the study of mining and quarrying in New Kingdom Egypt, and in particular the use of copper-based chisels for the cutting of rock faces. The first approach focuses on the investigation of... more
This paper brings together two approaches to the study of mining and quarrying in New Kingdom Egypt, and in particular the use of copper-based chisels for the cutting of rock faces. The first approach focuses on the investigation of chisels’ negatives, with two case studies (Dayr Abu Hinnis and Timna) that exemplify how detailed documentation of chisel marks may yield insights on exploitation techniques, as well as the broader organisation of mining operations. The second approach focuses on experimental archaeology, which here is presented by a preliminary report on experimental manufacturing and use of copper alloy mining tools. The experiments’ results provide a basis for discussing the specific teleology and production aspects of a New Kingdom mining chisel (specifically the one that has been used as a model for these trials), and the experience of using and maintaining such a tool on the copper-bearing sandstone of the ancient mining district of Timna. Preliminary observations concerning the use-wear of chisels (in relation to alloy selection, manufacturing and maintenance techniques), chisel-marks developed under different configurations and the functionality of associated tools are presented. These illustrate the many open questions concerning the use and maintenance of copper alloy tools in ancient Egyptian mines and quarries, and serve as a basis for further research.
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In recent years more advanced imaging techniques have been introduced to study, document, curate and preserve our heritage. Pixel+ focuses on two of them: Reflectance Transformation Imaging/Polynomial Texture Mapping and the Portable... more
In recent years more advanced imaging techniques have been introduced to study, document, curate and preserve our heritage. Pixel+ focuses on two of them: Reflectance Transformation Imaging/Polynomial Texture Mapping and the Portable Light Dome.
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Single-Camera Multi-Light scanning methods like Reflectance Transformation Imaging (RTI) and Portable Light Dome (PLD) are being widely used in the cultural heritage sector. Both technologies followed a long development track in... more
Single-Camera Multi-Light scanning methods like Reflectance Transformation Imaging (RTI) and Portable Light Dome (PLD) are being widely used in the cultural heritage sector. Both technologies followed a long development track in collaboration with cultural heritage partners, resulting in matured technologies. In this short paper, we highlight recent progress with this technique (capturing and modeling reflectance, multi-spectral pipelines, material classification) and present ongoing work of how both technologies can be brought closer together. Finally, we address RTI’s and PLD’s challenges and possible solutions in terms of long term preservation and valorization by the scientific community.
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The Egyptian Execration Statuettes (EES) project creates multispectral 3D images of a series of fragile Egyptian objects of the Royal Museums of Art and History (Brussels) in order to avoid future handling and facilitate their detailed... more
The Egyptian Execration Statuettes (EES) project creates multispectral 3D images of a series of fragile Egyptian objects of the Royal Museums of Art and History (Brussels) in order to avoid future handling and facilitate their detailed study. The texture/colour values on these 2D+ and 3D models are interactive data based on a recording process using infrared, red, green, blue and ultraviolet light spectra. This leads to an easy and cost-effective methodology, applicable to a wide variety of Egyptian heritage objects with pigments on clay, wood and stone. As a case-study, the well-known Brussels ‘Execration Statuettes’ (Middle Kingdom, c. 1900 BC) have been chosen. Their surface is covered with hieratic texts, written in two types of ink (black carbon and red ochre), listing names of foreign countries, places and enemies. The study of this type of artefacts is mostly hampered by the poor state of conservation of the objects – any operation carried out on them can result in considerable material losses – and secondly, by the only partial preservation of the ink traces in visible light. Thus, creating an approach which requires minimal handling but delivers maximal output for research and conservation purposes must be seen as most welcoming. In addition, the system presents itself as an easy-to-use tool and transportable to any collection or excavation in the field. The EES project is financed by the Belgian Science Policy (Belspo): BRAIN.be.
This paper presents the project’s first preliminary results.
This paper presents the project’s first preliminary results.
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The Dayr al-Barshā Project (KU Leuven, Belgium) revealed that the quarry area of Amarna is noticeably larger than was expected. One of the largest quarry sites of the Amarna period is located at Dayr Abū Ḥinnis, ca. 15 km north of Amarna.... more
The Dayr al-Barshā Project (KU Leuven, Belgium) revealed that the quarry area of Amarna is noticeably larger than was expected. One of the largest quarry sites of the Amarna period is located at Dayr Abū Ḥinnis, ca. 15 km north of Amarna. The main exploitation phase can be dated in the Amarna Period, while quarrying continued on a smaller scale in the Ramesside Period, Late Period and Roman/Early Christian period. The most remarkable item of these quarries, apart from their size and number, is the large collection of markings and inscriptions on the ceilings. The majority of the inscriptions are connected to the quarrying process. However, marking the work progress on the ceiling of an exploited quarry seems to be restricted to the Amarna Period, with a revival in the Late Period. Among the inscriptions, a number of quarry marks can be found. The quarry marks resemble the known mason's marks and pot marks of the Amarna Period, but in the quarries, they are often combined with painted ochre lines and (hieratic) dates, confirming a close connection with the work progress.
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In the previous years, 3D imaging has found his way into the world of Egyptology. This lecture will present two case studies where 3D technology is used for the documentation of hieratic inscriptions. The inscriptions, painted in (red)... more
In the previous years, 3D imaging has found his way into the world of Egyptology. This lecture will present two case studies where 3D technology is used for the documentation of hieratic inscriptions. The inscriptions, painted in (red) ochre or black paint, were applied on different carriers, and required a different methodology.
The Egyptian collection of the Royal Museums of Art and History (RMAH Brussels) contains a large number of small decorated and/or inscribed objects. Some of these objects are currently in a bad condition - any operation carried on them can result in considerable material losses -, making it necessary to document them in such a way that it allows future scholars to study them in detail without handling them. The EES Project therefore aims to create multispectral 3D images of these fragile objects with a multispectral ‘minidome’ acquisition system, based on the already existing system of the multi-light Portable Light Dome (PLD). The texture/colour values on the created 2D+ and 3D models are interactive data based on a recording process with infrared, red, green, blue, and ultraviolet light spectra. Software tools and enhancement filters have been developed which can deal with the different wavelengths in real-time. This leads to an easy and cost-effective methodology which combines multispectral imaging with the actual relief characteristics and properties of the physical object. The system is transportable to any collection or excavation in the field.
As a case study, the well-known Brussels “Execration Figurines” (Middle Kingdom, c. 1900 BC) were chosen. These figurines are made of unbaked clay and covered with hieratic texts, listing names of foreign countries and rulers. The study of this type of collections is mostly hampered by the poor state of conservation of the objects, but also by the only partial preservation of the ink traces in visible light. The method has also been applied to other decorated objects of the RMAH collection, such as a Fayoum portrait, ostraca and decorated objects made of stone, wood and ceramics. The final goal will be to publish the newly created multispectral 3D images on Carmentis (www.carmentis.be), the online catalogue of the RMAH collection, making them accessible to scholars all over the world.
The second case study presents the quarry inscriptions of the New Kingdom limestone quarries at Dayr Abu Hinnis (Middle Egypt). These gallery quarries contain hundreds of hieratic inscriptions, written on the ceiling. The texts are mainly related to the general administration of the quarry area. In documenting the abundance of ceiling inscriptions and other graffiti, we had to decide upon a practice that would allow not only to capture the "content", but also to document the location and orientation of each record. Every inscription can be photographed in detail, but this is insufficient to provide the reader access to vital information concerning the spatial distribution of the inscriptions, which may, for instance, relate to the progress of work.
After experimenting with a variety of other methods, we adopted a photogrammetric software for 3D modelling photographs of the quarry ceilings, AGISOFT PHOTOSCAN, which uses structure from motion (SFM) algorithms to create three-dimensional images based on a series of overlapping two-dimensional images.
The ultimate goal of this whole labour-intensive process in the quarries is not the creation of pure three-dimensional models, but rather to generate an orthophoto of the entire ceiling of a quarry. Based on these images, each graffito could be analysed in context.
Athena Van der Perre
The Egyptian Execration Statuettes (EES) Project (RMAH Brussels)
Dayr al-Barsha Project (KU Leuven)
athena.vanderperre@gmail.com, a.vanderperre@kmkg-mrah.be
For more information and (first) preliminary results, see:
http://www.kmkg-mrah.be/conservation-ir-uv-and-3d-imaging-egyptian-execration-statuettes
https://portablelightdome.wordpress.com/2015/05/06/first-preliminary-results-of-the-egyptian-execration-statuettes-ees-project/
The EES project is financed by Belspo Brain-be Pioneer: BR/121/PI/EES
The Egyptian collection of the Royal Museums of Art and History (RMAH Brussels) contains a large number of small decorated and/or inscribed objects. Some of these objects are currently in a bad condition - any operation carried on them can result in considerable material losses -, making it necessary to document them in such a way that it allows future scholars to study them in detail without handling them. The EES Project therefore aims to create multispectral 3D images of these fragile objects with a multispectral ‘minidome’ acquisition system, based on the already existing system of the multi-light Portable Light Dome (PLD). The texture/colour values on the created 2D+ and 3D models are interactive data based on a recording process with infrared, red, green, blue, and ultraviolet light spectra. Software tools and enhancement filters have been developed which can deal with the different wavelengths in real-time. This leads to an easy and cost-effective methodology which combines multispectral imaging with the actual relief characteristics and properties of the physical object. The system is transportable to any collection or excavation in the field.
As a case study, the well-known Brussels “Execration Figurines” (Middle Kingdom, c. 1900 BC) were chosen. These figurines are made of unbaked clay and covered with hieratic texts, listing names of foreign countries and rulers. The study of this type of collections is mostly hampered by the poor state of conservation of the objects, but also by the only partial preservation of the ink traces in visible light. The method has also been applied to other decorated objects of the RMAH collection, such as a Fayoum portrait, ostraca and decorated objects made of stone, wood and ceramics. The final goal will be to publish the newly created multispectral 3D images on Carmentis (www.carmentis.be), the online catalogue of the RMAH collection, making them accessible to scholars all over the world.
The second case study presents the quarry inscriptions of the New Kingdom limestone quarries at Dayr Abu Hinnis (Middle Egypt). These gallery quarries contain hundreds of hieratic inscriptions, written on the ceiling. The texts are mainly related to the general administration of the quarry area. In documenting the abundance of ceiling inscriptions and other graffiti, we had to decide upon a practice that would allow not only to capture the "content", but also to document the location and orientation of each record. Every inscription can be photographed in detail, but this is insufficient to provide the reader access to vital information concerning the spatial distribution of the inscriptions, which may, for instance, relate to the progress of work.
After experimenting with a variety of other methods, we adopted a photogrammetric software for 3D modelling photographs of the quarry ceilings, AGISOFT PHOTOSCAN, which uses structure from motion (SFM) algorithms to create three-dimensional images based on a series of overlapping two-dimensional images.
The ultimate goal of this whole labour-intensive process in the quarries is not the creation of pure three-dimensional models, but rather to generate an orthophoto of the entire ceiling of a quarry. Based on these images, each graffito could be analysed in context.
Athena Van der Perre
The Egyptian Execration Statuettes (EES) Project (RMAH Brussels)
Dayr al-Barsha Project (KU Leuven)
athena.vanderperre@gmail.com, a.vanderperre@kmkg-mrah.be
For more information and (first) preliminary results, see:
http://www.kmkg-mrah.be/conservation-ir-uv-and-3d-imaging-egyptian-execration-statuettes
https://portablelightdome.wordpress.com/2015/05/06/first-preliminary-results-of-the-egyptian-execration-statuettes-ees-project/
The EES project is financed by Belspo Brain-be Pioneer: BR/121/PI/EES
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http://www.belspo.be/belspo/brain-be/themes_project_nl.stm#pp2012 The Egyptian collection of the RMAH comprises about one hundred execration figurines made of unbaked clay, bearing curses written in hieratic script (a cursive writing... more
http://www.belspo.be/belspo/brain-be/themes_project_nl.stm#pp2012
The Egyptian collection of the RMAH comprises about one hundred execration figurines made of unbaked clay, bearing curses written in hieratic script (a cursive writing system related to hieroglyphs) and dating to the Middle Kingdom (c. 1850 BC). These represent captured (foreign) enemies and were buried ritually in order to symbolically neutralise foreign and domestic enemies and general threats. Nearly 90 years after their discovery, the red and black pigments used to inscribe these four millennia old objects are now faded or damaged. The Execration texts on these figurines are regarded as one of the most renowned collections of written sources for ancient Near Eastern studies, Egyptian history and Biblical studies for the early 2nd millennium BCE. When it comes to documenting every characteristic of an object in a highly detailed way, clay artefacts inscribed with ink and other pigments, such as the aforementioned figurines, pose a particular challenge. These three-dimensional media with curved surfaces hold traces of writing that, in some cases, have faded or have disappeared completely. The study of these objects is generally hampered by their poor state of conservation, any handling can result in a considerable loss of material (and therefore also valuable information). The EES project aimed to develop new imaging techniques (using interactive 2D, 3D and multispectral images) that can improve the legibility of faded inscriptions and enhance the decorations on clay objects. Combining 3D digitisation and multispectral imaging in a userfriendly and transportable system, that is also manageable by curators, conservators, researchers and other stakeholders in the museum, is a truly pioneering project. It must facilitate the management of recorded collections and offer numerous possibilities for historical and art-technical studies on these objects, while the future handling is limited to a minimum, thus ensuring their sustainability.
The Egyptian collection of the RMAH comprises about one hundred execration figurines made of unbaked clay, bearing curses written in hieratic script (a cursive writing system related to hieroglyphs) and dating to the Middle Kingdom (c. 1850 BC). These represent captured (foreign) enemies and were buried ritually in order to symbolically neutralise foreign and domestic enemies and general threats. Nearly 90 years after their discovery, the red and black pigments used to inscribe these four millennia old objects are now faded or damaged. The Execration texts on these figurines are regarded as one of the most renowned collections of written sources for ancient Near Eastern studies, Egyptian history and Biblical studies for the early 2nd millennium BCE. When it comes to documenting every characteristic of an object in a highly detailed way, clay artefacts inscribed with ink and other pigments, such as the aforementioned figurines, pose a particular challenge. These three-dimensional media with curved surfaces hold traces of writing that, in some cases, have faded or have disappeared completely. The study of these objects is generally hampered by their poor state of conservation, any handling can result in a considerable loss of material (and therefore also valuable information). The EES project aimed to develop new imaging techniques (using interactive 2D, 3D and multispectral images) that can improve the legibility of faded inscriptions and enhance the decorations on clay objects. Combining 3D digitisation and multispectral imaging in a userfriendly and transportable system, that is also manageable by curators, conservators, researchers and other stakeholders in the museum, is a truly pioneering project. It must facilitate the management of recorded collections and offer numerous possibilities for historical and art-technical studies on these objects, while the future handling is limited to a minimum, thus ensuring their sustainability.
Research Interests:
Research Interests:
The execration figurines at the Royal Museums of Art and History in Brussels were discovered in Saqqara in the 1920s. The collection comprises over a hundred figurines and three small rectangular coffins, all made of unfired clay and... more
The execration figurines at the Royal Museums of Art and History in Brussels were discovered in Saqqara in the 1920s. The collection comprises over a hundred figurines and three small rectangular coffins, all made of unfired clay and dating to the late Middle Kingdom. The figurines are covered with execration texts: hieratic inscriptions in red or black, listing names of foreign places, rulers and/or individual enemies. By focusing on the direct neighbors of Egypt – Libya, Nubia and the Levant – as well as on Egyptian enemies, these figurines are often regarded as crucial primary sources for our knowledge of the political geography of the region. But how do they look now…? The Brussels group was selected as case study for a pioneering project seeking to develop a multispectral, multi-light and easily transportable imaging system. The relief and texture/color values are consultable as interactive data based on a recording process using infrared, red, green, blue and ultraviolet light spectra computed with photometric stereo algorithms. The project thus enables a renewed and in-depth study of this collection valued by Egyptologists, archaeologists and curators. This poster presents its preliminary results.
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This dissertation studies the limestone quarries of the greater Dayr al-Barsha region (Middle Egypt). The focus lies on the Amarna period gallery quarries of Dayr Abu Hinnis (c. 1350-1332 v. Chr.). The first chapter gives an overview of... more
This dissertation studies the limestone quarries of the greater Dayr al-Barsha region (Middle Egypt). The focus lies on the Amarna period gallery quarries of Dayr Abu Hinnis (c. 1350-1332 v. Chr.).
The first chapter gives an overview of the building history of Amarna, and describes the use of limestone in the city. The development of talatat blocks is discussed, as is the known information on Amarna period quarries in general. The chapter continues with a description of the greater Dayr al-Barsha region, including topography, geography and previous research. At last, the methodology and objectives of this study are discussed.
In the second chapter, the focus lies on the quarry as a production unit. The exploitation techniques of the Amarna period are described and compared to previous and later exploitation phases. One of the most important results is the creation of a chisel mark typology, which enabled the identification of Amarna period quarries based on the remaining chisel marks. This chapter also describes the logistics and infrastructure connected to a quarry area.
A quarry ceiling appeared to be the favourite place of the scribes for keeping their administrative notes. Hundreds of hieratic inscriptions, combined with lines, drawings and non-textual marking systems, refer to the work progress, the destination of the quarried stones and the general organisation of a quarry unit. A comprehensive overview of the different types of inscriptions and markings can be found in the third chapter.
Since the total amount of gallery quarries at the area is over 400, it was not possible to describe these all in detail. Therefore, a selection of 10 representative quarries was made. The detailed description of these quarries can be found in chapter 4. The abundance of inscriptions, and the fact that their relative position was important for the study of the general organisation, made it impossible to use the standard documentation methods. 3D ceiling maps were created, based on hundreds of photos, with the help of photogrammetric software. These maps have been added to the thesis in the Appendices.
The last chapter describes the most remarkable inscription of the area. On a pillar in the back of Quarry 320, a building inscription was written. The most important part of the inscription is in fact the date. The text is dated to the 16th regnal year of Akhenaten and adds important information to the history of the city and its rulers. Nefertiti is still mentioned as the Chief King’s Wife, so this not only proves that she was still alive, but also that the royal couple still reigned together. It also shows that significant construction works were still taking place at the end of Akhenaten’s reign.
At last, the general conclusions are given, followed by the appendices.
Supervisor: Prof. Dr. Harco Willems
Co-Supervisor: Dr. Jacobus van Dijk
The first chapter gives an overview of the building history of Amarna, and describes the use of limestone in the city. The development of talatat blocks is discussed, as is the known information on Amarna period quarries in general. The chapter continues with a description of the greater Dayr al-Barsha region, including topography, geography and previous research. At last, the methodology and objectives of this study are discussed.
In the second chapter, the focus lies on the quarry as a production unit. The exploitation techniques of the Amarna period are described and compared to previous and later exploitation phases. One of the most important results is the creation of a chisel mark typology, which enabled the identification of Amarna period quarries based on the remaining chisel marks. This chapter also describes the logistics and infrastructure connected to a quarry area.
A quarry ceiling appeared to be the favourite place of the scribes for keeping their administrative notes. Hundreds of hieratic inscriptions, combined with lines, drawings and non-textual marking systems, refer to the work progress, the destination of the quarried stones and the general organisation of a quarry unit. A comprehensive overview of the different types of inscriptions and markings can be found in the third chapter.
Since the total amount of gallery quarries at the area is over 400, it was not possible to describe these all in detail. Therefore, a selection of 10 representative quarries was made. The detailed description of these quarries can be found in chapter 4. The abundance of inscriptions, and the fact that their relative position was important for the study of the general organisation, made it impossible to use the standard documentation methods. 3D ceiling maps were created, based on hundreds of photos, with the help of photogrammetric software. These maps have been added to the thesis in the Appendices.
The last chapter describes the most remarkable inscription of the area. On a pillar in the back of Quarry 320, a building inscription was written. The most important part of the inscription is in fact the date. The text is dated to the 16th regnal year of Akhenaten and adds important information to the history of the city and its rulers. Nefertiti is still mentioned as the Chief King’s Wife, so this not only proves that she was still alive, but also that the royal couple still reigned together. It also shows that significant construction works were still taking place at the end of Akhenaten’s reign.
At last, the general conclusions are given, followed by the appendices.
Supervisor: Prof. Dr. Harco Willems
Co-Supervisor: Dr. Jacobus van Dijk
Research Interests:
Nefertiti, “de schone is gekomen”. Hoewel Nefertiti, mede dankzij haar wereldberoemde buste, behoort tot de meest spraakmakende figuren uit de Oudheid, is de koningin achter dit beeld nauwelijks gekend. Als een van de gewichtigste... more
Nefertiti, “de schone is gekomen”. Hoewel Nefertiti, mede dankzij haar wereldberoemde buste, behoort tot de meest spraakmakende figuren uit de Oudheid, is de koningin achter dit beeld nauwelijks gekend. Als een van de gewichtigste personages uit de Amarna-dynastie had ze echter een belangrijke taak te vervullen.
De tumultueuze periode waarin ze leefde, én vooral de damnatio memoriae na haar dood, zorgen ervoor dat onze kennis over haar leven vandaag nog steeds zeer beperkt is. Hierdoor was ze een gedroomd onderwerp voor talrijke verzinsels en speculaties. Recent onderzoek bracht echter een aantal nieuwe, verrassende feiten aan het licht. Hieruit blijkt dat Nefertiti meer was dan alleen een mooi snoetje, maar dat ze zelf een aantal belangrijke touwtjes in handen had. Na het overlijden van haar echtgenoot, de zogenaamde ketterkoning Echnaton, zou ze zelf de troon bestijgen en gedurende een korte periode heersen over Egypte. Over de periode na haar dood zijn nog steeds talloze vragen onbeantwoord gebleven. Wat gebeurde er met Semenkhkare, de gedoodverfde troonopvolger? Hoe past Toetanchamon in dit hele verhaal? En vooral, waar is Nefertiti nu?
Tijdens deze lezing gaat egyptologe Athena Van der Perre in op de recente ontwikkelingen in het onderzoek naar deze bekende koningin en weerlegt ze een aantal van de gangbare theorieën over haar leven en dood.
De tumultueuze periode waarin ze leefde, én vooral de damnatio memoriae na haar dood, zorgen ervoor dat onze kennis over haar leven vandaag nog steeds zeer beperkt is. Hierdoor was ze een gedroomd onderwerp voor talrijke verzinsels en speculaties. Recent onderzoek bracht echter een aantal nieuwe, verrassende feiten aan het licht. Hieruit blijkt dat Nefertiti meer was dan alleen een mooi snoetje, maar dat ze zelf een aantal belangrijke touwtjes in handen had. Na het overlijden van haar echtgenoot, de zogenaamde ketterkoning Echnaton, zou ze zelf de troon bestijgen en gedurende een korte periode heersen over Egypte. Over de periode na haar dood zijn nog steeds talloze vragen onbeantwoord gebleven. Wat gebeurde er met Semenkhkare, de gedoodverfde troonopvolger? Hoe past Toetanchamon in dit hele verhaal? En vooral, waar is Nefertiti nu?
Tijdens deze lezing gaat egyptologe Athena Van der Perre in op de recente ontwikkelingen in het onderzoek naar deze bekende koningin en weerlegt ze een aantal van de gangbare theorieën over haar leven en dood.
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Nefertiti is een van de meest tot de verbeelding sprekende personages uit de geschiedenis van het oude Egypte. Echtgenote van de zogenaamde ketterkoning Echnaton, (stief)moeder van Toetanchamon, mooiste vrouw van Egypte,… Nefertiti is... more
Nefertiti is een van de meest tot de verbeelding sprekende personages uit de geschiedenis van het oude Egypte. Echtgenote van de zogenaamde ketterkoning Echnaton, (stief)moeder van Toetanchamon, mooiste vrouw van Egypte,… Nefertiti is niet onder een noemer te vatten. Door de tumultueuze periode waarin ze leefde, weten we bovendien maar weinig over het leven (en de dood) van deze intrigerende vrouw. Zo ontstonden tal van verzinsels en speculaties die gaandeweg ‘feiten’ werden. Fake feiten.
Recent wetenschappelijk onderzoek, waarin egyptologe Athena Van der Perre een belangrijke rol speelde, bracht een aantal nieuwe en verrassende feiten aan het licht. Zo blijkt dat Nefertiti niet langer als een - weliswaar mooi - leeghoofdje kan beschouwd worden, maar dat ze zelf de touwtjes in handen had. Ze zou uiteindelijk zelfs de troon bestijgen na het overlijden van haar echtgenoot. Dat beeld staat in schril contrast met de gangbare opinie die meent dat Echnaton na zijn dood gedurende een zeer korte periode werd opgevolgd door een zekere Semenkhkare, die op zijn beurt werd opgevolgd door de kind-koning Toetanchamon. In dat verhaal speelde Nefertiti slechts een bescheiden bijrolletje.
Athena Van der Perre gaat tijdens deze lezing in op de recentste ontwikkelingen in het onderzoek naar de zogenaamde Amarna-dynastie en beantwoordt zoveel mogelijk vragen over de mooie koningin Nefertiti.
Recent wetenschappelijk onderzoek, waarin egyptologe Athena Van der Perre een belangrijke rol speelde, bracht een aantal nieuwe en verrassende feiten aan het licht. Zo blijkt dat Nefertiti niet langer als een - weliswaar mooi - leeghoofdje kan beschouwd worden, maar dat ze zelf de touwtjes in handen had. Ze zou uiteindelijk zelfs de troon bestijgen na het overlijden van haar echtgenoot. Dat beeld staat in schril contrast met de gangbare opinie die meent dat Echnaton na zijn dood gedurende een zeer korte periode werd opgevolgd door een zekere Semenkhkare, die op zijn beurt werd opgevolgd door de kind-koning Toetanchamon. In dat verhaal speelde Nefertiti slechts een bescheiden bijrolletje.
Athena Van der Perre gaat tijdens deze lezing in op de recentste ontwikkelingen in het onderzoek naar de zogenaamde Amarna-dynastie en beantwoordt zoveel mogelijk vragen over de mooie koningin Nefertiti.
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Orde, en dan vooral het bewaren van de orde, was een belangrijk aspect van de Egyptische maatschappij. Om orde te creëren in de dagelijkse wanorde ging men gebruik maken van magische rituelen en bezweringen, waartoe ook het execratie- of... more
Orde, en dan vooral het bewaren van de orde, was een belangrijk aspect van de Egyptische maatschappij. Om orde te creëren in de dagelijkse wanorde ging men gebruik maken van magische rituelen en bezweringen, waartoe ook het execratie- of verwensingsritueel behoort. Dit ritueel zou rebelse activiteiten van vijandig gezinde personen, zowel buitenlanders als Egyptenaren zelf, en van bovennatuurlijke krachten voorkomen en/of tegenhouden. Men ging de vijand bezweren door het reciteren van magische teksten en het vernietigen van beeldjes, gemaakt uit was, hout, of klei.
Archeologische en tekstuele bronnen tonen aan dat zogenaamde execratie- of verwensingsrituelen uitgevoerd werden doorheen de Egyptische geschiedenis. De vroegste varianten van het ritueel dateren uit het Oude Rijk, de meest recente uit de 14e eeuw na Chr. Wat echter niet algemeen bekend is, is dat een van de belangrijkste assemblages van verwensingsbeeldjes, daterend uit het Middenrijk (ca. 1850 v. Chr.), zich bevindt in de Egyptische collectie van het Jubelparkmuseum (KMKG Brussel).
De figurines, gemaakt uit ongebakken klei, zijn beschreven met hiëratische teksten die de vijanden van Egypte opsommen. Aangezien hier verwezen wordt naar volkeren en steden uit Azië, Nubië en Libië, vormen deze objecten een zeer belangrijke bron voor de reconstructie van de politieke antieke geografie van het Nabije Oosten in de 12e dynastie.
De voorbije twee jaar waren deze beeldjes de protagonisten van het Egyptian Execration Statuettes (EES) Project. Hoewel het hoofddoel van het project de ontwikkeling van een multispectraal 3D-beeldvormingssysteem was, werd een aanzienlijk deel van de tijd besteed aan diepgaand onderzoek naar de figurines. De laatste resultaten van het project komen dan ook uitgebreid aan bod in deze lezing.
Dit onderzoek kadert binnen het EES Project van de KMKG, gefinancierd door Belspo Brain-be Pionier BR/121/PI/EES (Coördinator Luc Delvaux, co-coördinator Hendrik Hameeuw).
Archeologische en tekstuele bronnen tonen aan dat zogenaamde execratie- of verwensingsrituelen uitgevoerd werden doorheen de Egyptische geschiedenis. De vroegste varianten van het ritueel dateren uit het Oude Rijk, de meest recente uit de 14e eeuw na Chr. Wat echter niet algemeen bekend is, is dat een van de belangrijkste assemblages van verwensingsbeeldjes, daterend uit het Middenrijk (ca. 1850 v. Chr.), zich bevindt in de Egyptische collectie van het Jubelparkmuseum (KMKG Brussel).
De figurines, gemaakt uit ongebakken klei, zijn beschreven met hiëratische teksten die de vijanden van Egypte opsommen. Aangezien hier verwezen wordt naar volkeren en steden uit Azië, Nubië en Libië, vormen deze objecten een zeer belangrijke bron voor de reconstructie van de politieke antieke geografie van het Nabije Oosten in de 12e dynastie.
De voorbije twee jaar waren deze beeldjes de protagonisten van het Egyptian Execration Statuettes (EES) Project. Hoewel het hoofddoel van het project de ontwikkeling van een multispectraal 3D-beeldvormingssysteem was, werd een aanzienlijk deel van de tijd besteed aan diepgaand onderzoek naar de figurines. De laatste resultaten van het project komen dan ook uitgebreid aan bod in deze lezing.
Dit onderzoek kadert binnen het EES Project van de KMKG, gefinancierd door Belspo Brain-be Pionier BR/121/PI/EES (Coördinator Luc Delvaux, co-coördinator Hendrik Hameeuw).
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Doorheen de faraonische geschiedenis vonden zogenaamde execratie- of verwensingsrituelen plaats. Deze rituelen zouden rebelse activiteiten van vijandig gezinde personen, zowel buitenlanders als Egyptenaren zelf, en van bovennatuurlijke... more
Doorheen de faraonische geschiedenis vonden zogenaamde execratie- of verwensingsrituelen plaats. Deze rituelen zouden rebelse activiteiten van vijandig gezinde personen, zowel buitenlanders als Egyptenaren zelf, en van bovennatuurlijke krachten tegenhouden. Men ging de vijand bezweren door middel van magische teksten en het vernietigen van substituten, zoals beeldjes gemaakt uit was, hout, of klei.
De Egyptische collectie van het Jubelparkmuseum bevat een grote groep verwensingsbeeldjes uit het Middenrijk (ca. 1850 v. Chr.). Deze figurines, gemaakt uit ongebakken klei, zijn beschreven met hiëratische teksten die de vijanden van de farao opsommen. Aangezien hier verwezen wordt naar volkeren en steden uit Azië, Nubië en Libië, vormen deze objecten een zeer belangrijke bron voor de reconstructie van de politieke antieke geografie van het Nabije Oosten.
Deze lezing zal eveneens de resultaten bespreken van het Egyptian Execration Statuettes (EES) Project. Het hoofddoel van dit project is de creatie van multispectrale 3D-beelden van een serie fragiele Egyptische objecten uit de KMKG collectie. De eerder vermelde verwensingsbeeldjes werden uitgekozen als testgroep.
De Egyptische collectie van het Jubelparkmuseum bevat een grote groep verwensingsbeeldjes uit het Middenrijk (ca. 1850 v. Chr.). Deze figurines, gemaakt uit ongebakken klei, zijn beschreven met hiëratische teksten die de vijanden van de farao opsommen. Aangezien hier verwezen wordt naar volkeren en steden uit Azië, Nubië en Libië, vormen deze objecten een zeer belangrijke bron voor de reconstructie van de politieke antieke geografie van het Nabije Oosten.
Deze lezing zal eveneens de resultaten bespreken van het Egyptian Execration Statuettes (EES) Project. Het hoofddoel van dit project is de creatie van multispectrale 3D-beelden van een serie fragiele Egyptische objecten uit de KMKG collectie. De eerder vermelde verwensingsbeeldjes werden uitgekozen als testgroep.
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The EES project aims to create multi-spectral 3D images of a series of fragile Egyptian objects of the RMAH collection in order to avoid future handling and facilitate their detailed study. The texture/colour values on these 2D+ and 3D... more
The EES project aims to create multi-spectral 3D images of a series of fragile Egyptian objects of the RMAH collection in order to avoid future handling and facilitate their detailed study. The texture/colour values on these 2D+ and 3D models are interactive data based on a recording process with visible light, infrared and ultraviolet. This leads to an easy and cost-effective methodology, applicable to a wide variety of Egyptian heritage objects with pigments on clay, wood and stone.
As a case-study, the well-known Brussels “Execration Statuettes” (Middle Kingdom, ca. 1900 BC) have been chosen. Their surface is covered with hieratic texts, written in two types of ink (black carbon and red ochre), listing names of foreign countries and places. The study of this type of collections is mostly hampered by the poor state of conservation of the objects (in this case unbaked crude clay) - any operation carried on them can result in considerable material losses - and
secondly, by the only partial preservation of the ink traces in visible light. Thus, creating an approach which requires minimal handling but delivers maximal output for research and
conservation purposes must be seen as most welcoming. In addition, the system presents itself as an easy by scholars to use tool and transportable to any collection or excavation in the field. This project is financed by the Belgian Science Policy (Belspo): BRAIN.be.
This lecture will focus on the first preliminary results of the project.
As a case-study, the well-known Brussels “Execration Statuettes” (Middle Kingdom, ca. 1900 BC) have been chosen. Their surface is covered with hieratic texts, written in two types of ink (black carbon and red ochre), listing names of foreign countries and places. The study of this type of collections is mostly hampered by the poor state of conservation of the objects (in this case unbaked crude clay) - any operation carried on them can result in considerable material losses - and
secondly, by the only partial preservation of the ink traces in visible light. Thus, creating an approach which requires minimal handling but delivers maximal output for research and
conservation purposes must be seen as most welcoming. In addition, the system presents itself as an easy by scholars to use tool and transportable to any collection or excavation in the field. This project is financed by the Belgian Science Policy (Belspo): BRAIN.be.
This lecture will focus on the first preliminary results of the project.
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De regering van Echnaton en Nefertiti en de bouw van hun nieuwe hoofdstad zijn veelbesproken onderwerpen binnen de Egyptologie. Nieuwe informatie kwam tevoorschijn uit onverwachte hoek, een steengroevencomplex ca. 15 km ten noorden van... more
De regering van Echnaton en Nefertiti en de bouw van hun nieuwe hoofdstad zijn veelbesproken onderwerpen binnen de Egyptologie. Nieuwe informatie kwam tevoorschijn uit onverwachte hoek, een steengroevencomplex ca. 15 km ten noorden van Amarna, nabij het dorp Dayr Abu Hinnis. Het complex valt sinds 2004 onder de concessie van het Dayr al-Barsha Project (KU Leuven).
Deze lezing zal zich niet enkel toespitsen op de vernieuwende technieken die aangetroffen worden in de steengroeven, maar ook op de historische achtergrond van de belangrijkste exploitatiefase. De ontginning van talatat-blokken zorgde voor een kentering binnen het bestaande productie- en transportsysteem. De honderden inscripties kunnen beschouwd worden als een van de belangrijkste bronnen, maar ze bevatten meer dan alleen werkgerelateerde informatie. De invloed van de Amarna kunstenaars is vaak zichtbaar.
Maar waren de steenkappers van Echnaton de enige die werkzaam waren in het gebied? De ontdekking van Ramessidische inscripties bewijst het tegendeel. Ook in de Late Tijd en de Romeinse/Vroegchristelijke periode werd het gebied intensief gebruikt.
Deze lezing zal zich niet enkel toespitsen op de vernieuwende technieken die aangetroffen worden in de steengroeven, maar ook op de historische achtergrond van de belangrijkste exploitatiefase. De ontginning van talatat-blokken zorgde voor een kentering binnen het bestaande productie- en transportsysteem. De honderden inscripties kunnen beschouwd worden als een van de belangrijkste bronnen, maar ze bevatten meer dan alleen werkgerelateerde informatie. De invloed van de Amarna kunstenaars is vaak zichtbaar.
Maar waren de steenkappers van Echnaton de enige die werkzaam waren in het gebied? De ontdekking van Ramessidische inscripties bewijst het tegendeel. Ook in de Late Tijd en de Romeinse/Vroegchristelijke periode werd het gebied intensief gebruikt.
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Onderzoek dat de laatste vier jaar in de regio Dayr al-Barsha (juist ten noorden van Echnatons hoofdstad Amarna) heeft plaatsgevonden, heeft aangetoond dat het stedelijke gebied rondom Amarna zich veel verder uitstrekte dan altijd werd... more
Onderzoek dat de laatste vier jaar in de regio Dayr al-Barsha (juist ten noorden van Echnatons hoofdstad Amarna) heeft plaatsgevonden, heeft aangetoond dat het stedelijke gebied rondom Amarna zich veel verder uitstrekte dan altijd werd gedacht. Tot meer dan tien kilometer ten noorden van de stad werden steengroeves gevonden waar talatatblokken werden gedolven, en een in 2010 en 2014 voor het eerst opgegraven deel van een nederzetting toont aan dat hier een koninklijke arbeidersnederzetting gelegen moet hebben. Onderzoek van wegpatronen toont aan dat in het hele gebied havens moeten zijn geweest waar vrachtschepen afmeerden om steen te laden. Andere wegen leidden door de woestijn in een boog naar Amarna. De voetafdruk van Amarna is door deze recente ontdekkingen tweemaal zo groot geworden dan hij was.
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The Dayr al-Barshā Project (KU Leuven, Belgium) revealed that the quarry area of Amarna is noticeably larger than was expected. One of the largest quarry sites of the Amarna period is located at Dayr Abū Ḥinnis, ca. 15 km north of Amarna.... more
The Dayr al-Barshā Project (KU Leuven, Belgium) revealed that the quarry area of Amarna is noticeably larger than was expected. One of the largest quarry sites of the Amarna period is located at Dayr Abū Ḥinnis, ca. 15 km north of Amarna. The main exploitation phase can be dated in the Amarna Period, while quarrying continued on a smaller scale in the Ramesside Period, Late Period and Roman/Early Christian period. The most remarkable item of these quarries, apart from their size and number, is the large collection of markings and inscriptions on the ceilings. The majority of the inscriptions are connected to the quarrying process. However, marking the work progress on the ceiling of an exploited quarry seems to be restricted to the Amarna Period, with a revival in the Late Period.
Among the inscriptions, a number of quarry marks can be found. The quarry marks resemble the known mason's marks and pot marks of the Amarna Period, but in the quarries, they are often combined with painted ochre lines and (hieratic) dates, confirming a close connection with the work progress.
Among the inscriptions, a number of quarry marks can be found. The quarry marks resemble the known mason's marks and pot marks of the Amarna Period, but in the quarries, they are often combined with painted ochre lines and (hieratic) dates, confirming a close connection with the work progress.
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Dayr Abu Hinnis ligt een vijftal kilometer ten noorden van Dayr al-Barsha. De site staat vandaag vooral bekend als koptisch bedevaartsoord. Verspreid over drie wadi's liggen echter honderden steengroeven, rijk aan inscripties uit de... more
Dayr Abu Hinnis ligt een vijftal kilometer ten noorden van Dayr al-Barsha. De site staat vandaag vooral bekend als koptisch bedevaartsoord. Verspreid over drie wadi's liggen echter honderden steengroeven, rijk aan inscripties uit de Amarna periode. Tijdens de campagne van 2010 werd de exploitatie van deze groeven in het Nieuwe Rijk voor het eerst nauwkeurig onderzocht. De duizenden inscripties gaven intussen al een deel van hun geheimen prijs, maar roepen minstens evenveel nieuwe vragen op.
Deze lezing brengt een overzicht van de eerste resultaten van dit onderzoek en gaat dieper in op de relatie met Amarna, de betekenis van de inscripties en de moderne factoren die het gebied bedreigen.
Deze lezing brengt een overzicht van de eerste resultaten van dit onderzoek en gaat dieper in op de relatie met Amarna, de betekenis van de inscripties en de moderne factoren die het gebied bedreigen.
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Within the framework of the research projects RICH (KU Leuven) and EES (Royal Museums of Art and History, Brussels), a multispectral, multi-directional, portable and dome-shaped acquisition system has been developed in collaboration with... more
Within the framework of the research projects RICH (KU Leuven) and EES (Royal Museums of Art and History, Brussels), a multispectral, multi-directional, portable and dome-shaped acquisition system has been developed in collaboration with the ESAT-VISICS research group of the KU Leuven. The Multispectral (MS) dome consists of a hemispherical structure, with an overhead camera and LEDs emitting in five different parts of the electromagnetic spectrum, ranging from ultraviolet (UV) over visible to infrared (IR) light, regularly covering the dome's inside surface.
Detail on the coffin of Butehamun (panel of the legs of the left wall), Royal Museums of Art and History, Brussels, Inv. E.5288 (© RMAH). Compilation of MS PLD screenshots (PLD viewer 7.01.04).<br> <strong>a</strong>.... more
Detail on the coffin of Butehamun (panel of the legs of the left wall), Royal Museums of Art and History, Brussels, Inv. E.5288 (© RMAH). Compilation of MS PLD screenshots (PLD viewer 7.01.04).<br> <strong>a</strong>. General colour view of the investigated area surface with indication of the location of zoom 1; <strong>b</strong>. Zoom 1, demonstrating the ability to measure the surface topography in three dimensions; <strong>c</strong>. Five visualisations of the same area (zoom 2, indicated in Figure 7b) with different underlying normal maps, based on the image datasets made with the five spectral bands in the MS PLD system.
Treated area on the coffin of Butehamun (top frieze and panel of the trunk of the left wall), Royal Museums of Art and History, Brussels, Inv. E.5288 (© RMAH). Compilation of MS PLD screenshots (PLD viewer 7.01.04).... more
Treated area on the coffin of Butehamun (top frieze and panel of the trunk of the left wall), Royal Museums of Art and History, Brussels, Inv. E.5288 (© RMAH). Compilation of MS PLD screenshots (PLD viewer 7.01.04). <strong>a</strong>. General view of the investigated area surface;<strong> b</strong>. Result with the UV reflections; <strong>c</strong>. Result with the IR reflections; <strong>d</strong>. False colour Green-Blue-UV; Zoom 1 and Zoom 2. Visualisation of surface relief with normal map based on reflections by the IR dataset.
When heritage objects are being transformed into digital representations, the loss of information is inevitable. The challenge lies in developing integrated systems able to minimize this loss and bring together as many different kinds of... more
When heritage objects are being transformed into digital representations, the loss of information is inevitable. The challenge lies in developing integrated systems able to minimize this loss and bring together as many different kinds of recordable characteristics as possible of one and the same object. This contribution presents an approach that combines the detection of colour, surface shape and the reflective characteristics of surfaces by using a selection of IR, Red, Green, Blue and UV light spectra and applying them on 3D models. A multispectral, multi-directional, portable and dome-shaped recording tool has been developed to this end. With the associated software, virtual relighting and enhancements can be applied in an interactive manner based on the principles of photometric stereo: this allows alternating in real time between computations with IR, R, G, B and UV light spectra. Throughout the testing phases, this non-invasive registration and documentation technique has bee...
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This dissertation studies the limestone quarries of the greater Dayr al-Barsha region (Middle Egypt). The focus lies on the Amarna period gallery quarries of Dayr Abu Hinnis (c. 1350-1332 v. Chr.). The first chapter gives an overview of... more
This dissertation studies the limestone quarries of the greater Dayr al-Barsha region (Middle Egypt). The focus lies on the Amarna period gallery quarries of Dayr Abu Hinnis (c. 1350-1332 v. Chr.). The first chapter gives an overview of the building history of Amarna, and describes the use of limestone in the city. The development of talatat blocks is discussed, as is the known information on Amarna period quarries in general. The chapter continues with a description of the greater Dayr al-Barsha region, including topography, geography and previous research. At last, the methodology and objectives of this study are discussed. In the second chapter, the focus lies on the quarry as a production unit. The exploitation techniques of the Amarna period are described and compared to previous and later exploitation phases. One of the most important results is the creation of a chisel mark typology, which enabled the identification of Amarna period quarries based on the remaining chisel marks. This chapter also describes the logistics and infrastructure connected to a quarry area. A quarry ceiling appeared to be the favourite place of the scribes for keeping their administrative notes. Hundreds of hieratic inscriptions, combined with lines, drawings and non-textual marking systems, refer to the work progress, the destination of the quarried stones and the general organisation of a quarry unit. A comprehensive overview of the different types of inscriptions and markings can be found in the third chapter. Since the total amount of gallery quarries at the area is over 400, it was not possible to describe these all in detail. Therefore, a selection of 10 representative quarries was made. The detailed description of these quarries can be found in chapter 4. The abundance of inscriptions, and the fact that their relative position was important for the study of the general organisation, made it impossible to use the standard documentation methods. 3D ceiling maps were created, based on hundreds of photos, with the help of photogrammetric software. These maps have been added to the thesis in the Appendices. The last chapter describes the most remarkable inscription of the area. On a pillar in the back of Quarry 320, a building inscription was written. The most important part of the inscription is in fact the date. The text is dated to the 16th regnal year of Akhenaten and adds important information to the history of the city and its rulers. Nefertiti is still mentioned as the Chief King’s Wife, so this not only proves that she was still alive, but also that the royal couple still reigned together. It also shows that significant construction works were still taking place at the end of Akhenaten’s reign. At last, the general conclusions are given, followed by the appendices. Supervisor: Prof. Dr. Harco Willems Co-Supervisor: Dr. Jacobus van Dijk
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The EES project aims to create multi-spectral 3D images of a series of fragile Egyptian objects of the RMAH collection in order to avoid future handling and facilitate their detailed study. The texture/colour values on these 2D+ and 3D... more
The EES project aims to create multi-spectral 3D images of a series of fragile Egyptian objects of the RMAH collection in order to avoid future handling and facilitate their detailed study. The texture/colour values on these 2D+ and 3D models are interactive data based on a recording process with visible light, infrared and ultraviolet. This leads to an easy and cost-effective methodology, applicable to a wide variety of Egyptian heritage objects with pigments on clay, wood and stone. As a case-study, the well-known Brussels “Execration Statuettes” (Middle Kingdom, ca. 1900 BC) have been chosen. Their surface is covered with hieratic texts, written in two types of ink (black carbon and red ochre), listing names of foreign countries and places. The study of this type of collections is mostly hampered by the poor state of conservation of the objects (in this case unbaked crude clay) - any operation carried on them can result in considerable material losses - and secondly, by the only partial preservation of the ink traces in visible light. Thus, creating an approach which requires minimal handling but delivers maximal output for research and conservation purposes must be seen as most welcoming. In addition, the system presents itself as an easy by scholars to use tool and transportable to any collection or excavation in the field. This project is financed by the Belgian Science Policy (Belspo): BRAIN.be. This lecture will focus on the first preliminary results of the project.
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In the previous years, 3D imaging has found his way into the world of Egyptology. This lecture will present two case studies where 3D technology is used for the documentation of hieratic inscriptions. The inscriptions, painted in (red)... more
In the previous years, 3D imaging has found his way into the world of Egyptology. This lecture will present two case studies where 3D technology is used for the documentation of hieratic inscriptions. The inscriptions, painted in (red) ochre or black paint, were applied on different carriers, and required a different methodology. The Egyptian collection of the Royal Museums of Art and History (RMAH Brussels) contains a large number of small decorated and/or inscribed objects. Some of these objects are currently in a bad condition - any operation carried on them can result in considerable material losses -, making it necessary to document them in such a way that it allows future scholars to study them in detail without handling them. The EES Project therefore aims to create multispectral 3D images of these fragile objects with a multispectral ‘minidome’ acquisition system, based on the already existing system of the multi-light Portable Light Dome (PLD). The texture/colour values on the created 2D+ and 3D models are interactive data based on a recording process with infrared, red, green, blue, and ultraviolet light spectra. Software tools and enhancement filters have been developed which can deal with the different wavelengths in real-time. This leads to an easy and cost-effective methodology which combines multispectral imaging with the actual relief characteristics and properties of the physical object. The system is transportable to any collection or excavation in the field. As a case study, the well-known Brussels “Execration Figurines” (Middle Kingdom, c. 1900 BC) were chosen. These figurines are made of unbaked clay and covered with hieratic texts, listing names of foreign countries and rulers. The study of this type of collections is mostly hampered by the poor state of conservation of the objects, but also by the only partial preservation of the ink traces in visible light. The method has also been applied to other decorated objects of the RMAH collection, such as a Fayoum portrait, ostraca and decorated objects made of stone, wood and ceramics. The final goal will be to publish the newly created multispectral 3D images on Carmentis (www.carmentis.be), the online catalogue of the RMAH collection, making them accessible to scholars all over the world. The second case study presents the quarry inscriptions of the New Kingdom limestone quarries at Dayr Abu Hinnis (Middle Egypt). These gallery quarries contain hundreds of hieratic inscriptions, written on the ceiling. The texts are mainly related to the general administration of the quarry area. In documenting the abundance of ceiling inscriptions and other graffiti, we had to decide upon a practice that would allow not only to capture the &quot;content&quot;, but also to document the location and orientation of each record. Every inscription can be photographed in detail, but this is insufficient to provide the reader access to vital information concerning the spatial distribution of the inscriptions, which may, for instance, relate to the progress of work. After experimenting with a variety of other methods, we adopted a photogrammetric software for 3D modelling photographs of the quarry ceilings, AGISOFT PHOTOSCAN, which uses structure from motion (SFM) algorithms to create three-dimensional images based on a series of overlapping two-dimensional images. The ultimate goal of this whole labour-intensive process in the quarries is not the creation of pure three-dimensional models, but rather to generate an orthophoto of the entire ceiling of a quarry. Based on these images, each graffito could be analysed in context. Athena Van der Perre The Egyptian Execration Statuettes (EES) Project (RMAH Brussels) Dayr al-Barsha Project (KU Leuven) athena.vanderperre@gmail.com, a.vanderperre@kmkg-mrah.be For more information and (first) preliminary results, see: http://www.kmkg-mrah.be/conservation-ir-uv-and-3d-imaging-egyptian-execration-statuettes https://portablelightdome.wordpress.com/2015/05/06/first-preliminary-results-of-the-egyptian-execration-statuettes-ees-project/ The EES project is financed by Belspo Brain-be Pioneer: BR/121/PI/EES
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Archaeological Three-Dimensional Recording and Reconstruction of Pharaonic features in the greater Dayr al-Barsha region (Middle Egypt) The pharaonic limestone quarry complex of Dayr Abu Hinnis (Middle Egypt, ca. 1350 BC) presents the... more
Archaeological Three-Dimensional Recording and Reconstruction of Pharaonic features in the greater Dayr al-Barsha region (Middle Egypt) The pharaonic limestone quarry complex of Dayr Abu Hinnis (Middle Egypt, ca. 1350 BC) presents the investigating egyptologist with a set of original problems. The ceilings of these vast subterranean quarries, some of which have a depth of nearly 100m, are covered in graffiti, quarry marks, and inscriptions of the ancient quarrymen. These inscriptions frequently include dates through which the exploitation of the quarry can be followed chronologically. Other features of interest are clusters of non-textual marks and historic inscriptions. Traditional methods to document the position of these elements are inadequate, as they can only cover small individual parts and never the entire quarry ceiling. Therefore we searched for a new methodology to map these vast areas. After a few trials and errors with different software packages, we finally landed on Agisoft PhotoScan. The methodology, advantages, and challenges that this approach offers, will be discussed. In addition to the quarries, we also applied the same technique to other archaeological features.
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A building inscription in a limestone quarry at Dayr Abū Ḥinnis dated to Year 16 of Akhenaten proves that Akhenaten and Nefertiti were still the royal couple near the end of his reign. It is the highest known date of Queen Nefertiti and... more
A building inscription in a limestone quarry at Dayr Abū Ḥinnis dated to Year 16 of Akhenaten proves that Akhenaten and Nefertiti were still the royal couple near the end of his reign. It is the highest known date of Queen Nefertiti and the latest dated inscription which can be certainly attributed to Akhenaten himself. The second part of the article evaluates current theories concerning the final years of Nefertiti and the successors of Akhenaten in the light of the new text.
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A building inscription in a limestone quarry at Dayr Abū Ḥinnis dated to Year 16 of Akhenaten proves that Akhenaten and Nefertiti were still the royal couple near the end of his reign. It is the highest known date of Queen Nefertiti and... more
A building inscription in a limestone quarry at Dayr Abū Ḥinnis dated to Year 16 of Akhenaten proves that Akhenaten and Nefertiti were still the royal couple near the end of his reign. It is the highest known date of Queen Nefertiti and the latest dated inscription which can be certainly attributed to Akhenaten himself. The second part of the article evaluates current theories concerning the final years of Nefertiti and the successors of Akhenaten in the light of the new text.
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A multispectral, multidirectional, portable and dome-shaped acquisition system is developed within the framework of the research projects RICH (KU Leuven) and EES (RMAH, Brussels) in collaboration with the ESAT-VISICS research group (KU... more
A multispectral, multidirectional, portable and dome-shaped acquisition system is developed within the framework of the research projects RICH (KU Leuven) and EES (RMAH, Brussels) in collaboration with the ESAT-VISICS research group (KU Leuven). The Multispectral Portable Light Dome (MS PLD) consists of a hemispherical structure, an overhead camera and LEDs emitting in five parts of the electromagnetic spectrum regularly covering the dome’s inside surface. With the associated software solution, virtual relighting and enhancements can be applied in a real-time, interactive manner. The system extracts genuine 3D and shading information based on a photometric stereo algorithm. This innovative approach allows for instantaneous alternations between the computations in the infrared, red, green, blue and ultraviolet spectra. The MS PLD system has been tested for research ranging from medieval manuscript illuminations to ancient Egyptian artefacts. Preliminary results have shown it documents and measures the 3D surface structure of objects, re-visualises underdrawings, faded pigments and inscriptions, and examines the MS results in combination with the actual relief characteristics of the physical object. Newly developed features are reflection maps and histograms, analytic visualisations of the reflection properties of all separate LEDs or selected areas. In its capacity as imaging technology, the system acts as a tool for the analysis of surface materials (e.g. identification of blue pigments, gold and metallic surfaces). Besides offering support in answering questions of attribution and monitoring changes and decay of materials, the PLD also contributes to the identification of materials; all essential factors when making decisions in the conservation protocol.
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This paper brings together two approaches to the study of mining and quarrying in New Kingdom Egypt, and in particular the use of copper-based chisels for the cutting of rock faces. The first approach focuses on the investigation of... more
This paper brings together two approaches to the study of mining and quarrying in New Kingdom Egypt, and in particular the use of copper-based chisels for the cutting of rock faces. The first approach focuses on the investigation of chisels’ negatives, with two case studies (Dayr Abu Hinnis and Timna) that exemplify how detailed documentation of chisel marks may yield insights on exploitation techniques, as well as the broader organisation of mining operations. The second approach focuses on experimental archaeology, which here is presented by a preliminary report on experimental manufacturing and use of copper alloy mining tools. The experiments’ results provide a basis for discussing the specific teleology and production aspects of a New Kingdom mining chisel (specifically the one that has been used as a model for these trials), and the experience of using and maintaining such a tool on the copper-bearing sandstone of the ancient mining district of Timna. Preliminary observations concerning the use-wear of chisels (in relation to alloy selection, manufacturing and maintenance techniques), chisel-marks developed under different configurations and the functionality of associated tools are presented. These illustrate the many open questions concerning the use and maintenance of copper alloy tools in ancient Egyptian mines and quarries, and serve as a basis for further research.
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This paper is a chapter in "Studies in Experimental Archaeometallurgy. Methodological Approaches from Non-Ferrous Metallurgies", which can be purchased directly at the publisher's website:... more
This paper is a chapter in "Studies in Experimental Archaeometallurgy. Methodological Approaches from Non-Ferrous Metallurgies", which can be purchased directly at the publisher's website:
https://www.editions-mergoil.com/fr/monographies-instrumentum/209-studies-in-experimental-archaeometallurgy-methodological-approaches-from-non-ferrous-metallurgies.html
https://www.editions-mergoil.com/fr/monographies-instrumentum/209-studies-in-experimental-archaeometallurgy-methodological-approaches-from-non-ferrous-metallurgies.html
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Een verborgen parel in de beroemde Egyptologische bibliotheek van de Koninklijke Musea voor Kunst en Geschiedenis (KMKG) is een bijzondere collectie van zo’n 7000 fotografische glasnegatieven. Jean Capart (1877–1947) bracht de selectie... more
Een verborgen parel in de beroemde Egyptologische bibliotheek van de Koninklijke Musea voor Kunst en Geschiedenis (KMKG) is een bijzondere collectie van zo’n 7000 fotografische glasnegatieven. Jean Capart (1877–1947) bracht de selectie samen. Ze werpt een uitzonderlijk licht op de boeiende beginjaren van de Belgische Egyptologie. Het recent gelanceerde Sura-project, in samenwerking met de KU Leuven, heeft de wetenschappelijke studie en ontsluiting van deze collectie op het oog. Belspo financiert het project in het kader van het Brain-be 2.0-onderzoeksprogramma.
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In het begin van de 20e eeuw ondernamen de Belgische egyptoloog Jean Capart en zijn medewerkers verschillende reizen naar Egypte. Met een passie voor fotografie documenteerden zij het land aan de Nijl in al zijn facetten. De... more
In het begin van de 20e eeuw ondernamen de Belgische egyptoloog Jean Capart en zijn medewerkers verschillende reizen naar Egypte. Met een passie voor fotografie documenteerden zij het land aan de Nijl in al zijn facetten. De egyptologische bibliotheek van de Koninklijke Musea voor Kunst en Geschiedenis in Brussel herbergt deze belangrijke collectie van ca. 14.000 fotografische glasnegatieven. De meer dan 200 foto's die hier zijn geselecteerd, schetsen het verhaal van deze pioniersjaren van de Belgische egyptologie. Ze geven eveneens een caleidoscopisch beeld van het Egypte van weleer, met dramatische landschappen, eeuwenoude monumenten, archeologische expedities en het dagelijkse leven in al zijn verscheidenheid.
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Au début du XX ème siècle, l'égyptologue belge Jean Capart et ses collaborateurs ont entrepris plusieurs voyages en Égypte. Avec un sens aigu de la photographie, ils ont documenté cette terre sur les rives du Nil sous toutes ses facettes.... more
Au début du XX ème siècle, l'égyptologue belge Jean Capart et ses collaborateurs ont entrepris plusieurs voyages en Égypte. Avec un sens aigu de la photographie, ils ont documenté cette terre sur les rives du Nil sous toutes ses facettes. La bibliothèque égyptologique des Musées royaux d'Art et d'Histoire de Bruxelles abrite cette importante collection d'environ 14.000 négatifs photographiques sur plaques de verre. Les plus de 200 photographies réunies ici illustrent ces années pionnières de l'égyptologie belge. Elles brossent en même temps un tableau kaléidoscopique d'une Égypte d'un temps révolu dans toute sa diversité, avec ses paysages spectaculaires, ses monuments antiques, ses expéditions archéologiques et sa vie quotidienne.
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In the early 20th century, Belgian Egyptologist Jean Capart and his collaborators undertook several voyages to Egypt. With a keen eye for photography, they documented the land on the Nile in all its facets. The Egyptological library of... more
In the early 20th century, Belgian Egyptologist Jean Capart and his collaborators undertook several voyages to Egypt. With a keen eye for photography, they documented the land on the Nile in all its facets. The Egyptological library of the Royal Museums of Art and History in Brussels houses this important collection of about 14,000 photographic glass negatives. The more than 200 photographs selected here illustrate these pioneering years of Belgian Egyptology. They simultaneously offer a kaleidoscopic view of Egypt of a bygone era, with dramatic landscapes, ancient monuments, archaeological expeditions and daily life in all its diversity.