Sunday, 12 April 2020

The golden ring of King Ramses II.

The golden ring of King Ramses II, which carries the image of his horses who saved him from death in the battle of Kadesh .. This ring was presented by Muhammad Ali Pasha to the King of France Charles V in 1827 and then to his current place in the Louvre Museum...
The golden ring of King Ramses II

This is an ancient Egyptian (golden vase) in the form of pomegranate!

This is an ancient Egyptian (golden vase) in the form of pomegranate!

Do not be surprised a lot .. the ancient Egyptians surpassed everything you expected !!
 This is an ancient Egyptian (golden vase) in the form of pomegranate!
 This vase was part of a votive display (meaning offering) that was dedicated to the goddess Bastet, who was taking the form of a cat.

The vase was found in the temple (Bastet) in the area (Tel Basta) in the east - and returns to the third transitional Boston, meaning nearly 3000 years ago !!
 The body of the vase is decorated with small beads engraved in the shape of pomegranate as well. Pomegranate was among the fruits that were introduced into Egypt from Syria at the beginning of the era of the modern state.
The neck of the vase is decorated with four rows filled with exquisite floral motifs. These motifs include a frieze of floral leaves, a series of lotus flowers, bouquets of grapes and small flowers, a description of flowery roses and wreaths of flowers.
The handle consists of a wonderful moving ring that passes through a tape attached to the edge of the vase.
This magnificent Egyptian vase is now in the Egyptian Museum in Tahrir.

gold and lapis lazuli

gold and lapis lazuli

Earring
Egyptian, New Kingdom (19th Dynasty), c. 1295-1186 B.C.
gold and lapis lazuli
Metropolitan Museum of Art

Mummified Ibis

Mummified Ibis

Mummified ibis wrapped in linen bandage, probably a votive offering to the god Thoth, animal remains and linen, 50 cm. Ptolemaic Period, ca. 305-30 BC. From Saqqara. Now in the Ashmolean Museum, Oxford.

Immortal border plate

the true love and feelings between King Akhenaten and his wife, Queen Nefertiti,
From the treasures of the Egyptian Museum in Berlin .. Thus was the true love and feelings between King Akhenaten and his wife, Queen Nefertiti, and their beloved daughters in the era of Amarna.

The true love and feelings between King Akhenaten and his wife, Queen Nefertiti,

the true love and feelings between King Akhenaten and his wife, Queen Nefertiti,
From the treasures of the Egyptian Museum in Berlin .. Thus was the true love and feelings between King Akhenaten and his wife, Queen Nefertiti, and their beloved daughters in the era of Amarna.

Immortal border plate...semna plate.

Immortal border plate...semna plate.
One of the most important sacred tasks of the kings of ancient Egypt is to defend the borders of Egypt and work to expand their borders. Hence, the warrior's kings of ancient Egypt set up practical paintings and rock inscriptions on their sacred duty in protecting and controlling the borders of Egypt .. During his glorious reign, King Senusert III - the greatest warrior kings of the Middle Kingdom period - on the Egyptian military expansion south in Nubia during the era of the Twelfth Dynasty until the Egyptian armies reached the second Jandal region, and constructed a series of Egyptian forts in those southern Bekaa, the most important of which was a bulwark fort at the head of the second Jandal, which was occupying a very important site on the west bank of the Nile at a certain point Ka T represents the boundary of the southern borders of Egypt during the Middle Kingdom and the beginning of the New Kingdom era. This fortress was called "Khum Khao Ra's Shem" which means "the strong is the King (Khu Khao Ra)", and "Kh Khao Ra" is the name of the coronation King Senusert III .. The fortress of Samna became the point that determined the southern borders of Egypt during the reign of this pharaoh, as he himself refers to this through a border plate of obesity that was discovered at the site of the fort and is currently present in the Berlin Museum, and which talked about the pharaoh's assistance Egypt's army to protect the southern borders of Egypt and its role in extending these borders to the south. The painting also talked about the role played by an obese fortress in controlling the movement of the Kushites of the Nuba population in the south when they passed towards the north by the river or land and only allowing the passage of those who came from them for the purposes of trade .. Senusert III recorded on this plate his timeless historical phrase: "The None of my sons can protect the borders that my Majesty has approved, for he is my son and whoever is crucified, and he is an honest example of that son who protects his father, and he protects from his borders... As for whoever sits away from that and does not increase my borders, he is not my son. ”

‘‘The Triumph Scene and Text of Merenptah at Karnak’’

‘‘The Triumph Scene and Text of Merenptah at Karnak’’
The triumph scenes of the pharaohs are the longest-lasting and best-attested iconographic motif of Egyptian culture. As stated by many historians and Egyptologists, they are a purely formal representation of Pharaoh’s timeless role as victor for Egypt and its gods, as also confirmed here. The triumph scenes of the Ramesside warrior pharaohs in which the king is represented smiting different groups of northern and southern enemies with his mace and in the presence of Amun-Re were usually displayed to glorify their victories. The triumph scene and text of Merenptah, which is located at the south end of the inner face of the eastern wall of the “Cour de la Cachette” at Karnak temple, is one of the most significant and important historical sources for Merenptah’s reign; it sheds light on new aspects of his military events and campaigns in Asia and Nubia. Some recent Egyptological studies dealing with the historical texts and battle reliefs of Merenptah in Karnak and elsewhere provide valuable information that could allow a different historical reading and interpretation of the Karnak triumph scene and text. This paper presents a new study of the triumph scene and text of Merenptah at Karnak in light of this context.

Set Nakht .. founder of the twentieth family and savior of the Egyptian state.

Most historical opinions indicate that King Six Nakht was descended from the lineage of the kings of the nineteenth family, and some researchers see that he was one of the many sons of King Ramesses the Second, while it was that he was not from the royal family and that he relied on his assumption of the throne on the support of priests and amen as well as the reaction Al-Shaabi is to help the people who killed them in Egypt in the last of the nineteenth family, which resulted in a foreigner taking over the throne. Six Nakht managed to reach the rule of the country after a turbulent and difficult period in which Egypt lived under the rule of Minister Bai and Queen Taosart, widow of King Seti the Second in the affairs of governance. The Great Harris Papyrus, written at the end of the reign of Ramses III and prepared by his successor Ramses IV, referred to the role of six Nakht in saving Egypt from the state of chaos and political disintegration that she lived during the end of the nineteenth dynasty after he was able to isolate the Syrian employee of origin, Bay or Erso, the influential one. The great in the royal court, as it seems that he also belonged to the military establishment known for its great political influence during the Ramesside era .. The rule of Sakht Nakht for a short period, and during his rule which lasted for only two years, Sakht succeeded in restoring order, calm and security in general to the country, and took His rule is in Ramses Bar (Qantair) A present), and set up many architectural installations in many regions of Egypt, such as En (Heliopolis), Menf, Taibeh and Middle Egypt, and also sent economic missions to Sinai to bring turquoise from the Serapit el-Khadem and Nubia. Six nakht was buried in Cemetery No. 14 in the Valley of the Kings on the western mainland, Thebes, which was a tomb for Queen Taosert before, he had begun before his death in carving a cemetery for him in the Valley of the Kings currently bearing the number 11, but this is his death shortly after work began, as he was buried In the tomb of Tausert, the king's mummy was discovered by six Nakht in the environment of mummies that were placed in the tomb of King Amenhotep the Second, which bears the number 35 in the Valley of the Kings, and was succeeded on the throne by his son, the famous king Ramses III, the most important and prominent of the twentieth kings of the family.
Most historical opinions indicate that King Six Nakht was descended from the lineage of the kings of the nineteenth family, and some researchers see that he was one of the many sons of King Ramesses the Second, while it was that he was not from the royal family and that he relied on his assumption of the throne on the support of priests and amen as well as the reaction Al-Shaabi is to help the people who killed them in Egypt in the last of the nineteenth family, which resulted in a foreigner taking over the throne.
Six Nakht managed to reach the rule of the country after a turbulent and difficult period in which Egypt lived under the rule of Minister Bai and Queen Taosart, widow of King Seti the Second in the affairs of governance. The Great Harris Papyrus, written at the end of the reign of Ramses III and prepared by his successor Ramses IV, referred to the role of six Nakht in saving Egypt from the state of chaos and political disintegration that she lived during the end of the nineteenth dynasty after he was able to isolate the Syrian employee of origin, Bay or Erso, the influential one. The great in the royal court, as it seems that he also belonged to the military establishment known for its great political influence during the Ramesside era... The rule of Sakht Nakht for a short period, and during his rule which lasted for only two years, Sakht succeeded in restoring order, calm and security in general to the country, and took His rule is in Ramses Bar (Qantair) A present), and set up many architectural installations in many regions of Egypt, such as En (Heliopolis), Menf, Taibeh and Middle Egypt, and also sent economic missions to Sinai to bring turquoise from the Serapit el-Khadem and Nubia.
Set nakht was buried in Cemetery No. 14 in the Valley of the Kings on the western mainland, Thebes, which was a tomb for Queen Taosert before, he had begun before his death in carving a cemetery for him in the Valley of the Kings currently bearing the number 11, but this is his death shortly after work began, as he was buried In the tomb of Tausert, the king's mummy was discovered by six Nakht in the environment of mummies that were placed in the tomb of King Amenhotep the Second, which bears the number 35 in the Valley of the Kings, and was succeeded on the throne by his son, the famous king Ramses III, the most important and prominent of the twentieth kings of the family.

Painting of the poem of Tuthmos III at the Egyptian Museum in Cairo.

We return to talking again about the eternal king of Egypt, Thutmose III, the ancient East conqueror and one of the greatest warriors and conquerors of the greatest in ancient history, if not the greatest of them at all, and who possessed a unique strategic ability that he could achieve in his victorious campaigns in Syria and Palestine .. The greatest king of Egypt Warriors immortalizing its unique military and imperial glory on this granite painting that was unveiled at the Temple of Amun at Karnak in Thebes and is presently in the Egyptian Museum in Cairo under No. 34010 .. The historical importance of this painting is due to its narration of the conquests and victories of the warrior Pharaoh Thutmose III and Extending the borders of his vast empire in Syria, Palestine and Nubia by the idol Amun Ra, the good god and master of the Egyptian Empire, which adds a lot of information about his war history as the greatest warrior kings during the era of the eighteenth dynasty, in addition to what was mentioned through his annals at Karnak. It is worth noting that the texts of the painting did not come through a specific historical context, but his victories were listed in a poetic, epic, and legendary framework to a large extent, and they linked the victories of the pharaoh with the desire and will of Amon Ra .. Some paragraphs of this timeless poem say: "Amon Ra, the master of the thrones of the two lands, says: Come to me to have a light, that is, the builders and supporters of the news of Ra (Thutmose III) that never remains, I shone for the sake of your love, that my heart explains with your auspicious coming to my temple, and my hands give you protection and life, what thinner pity you show Towards me, which is why I will hold you in my temple, and give you all the good .. You have strength and victory for all the nations of the earth, spreading your authority and fear in every country, and making terror from you extend until the four pillars of heaven, and put your respect in every body, your war call extends between the nine brackets, and gathered the princes of both lands in the grip of your oath, and extended the hands of their kin All of you, thousands and tens of thousands of you disobeyed the south (the people of the arc) rose to you, then the boards from the people of the north, and threw your enemies under your feet, to destroy the disobedient and revolting, until the people of the east and west condemned you in the length and breadth of the country, you can strike in it the heart where you want Without finding someone to disobey you ... And I crossed you the water of the Euphrates into two strong rivers, triumphantly supported by me. They hear your cry, and they cave caves and bunkers, while I stole their noses, the breath of life. Throw in their hearts the terror of your power, and prayed on your forehead, spreading it eating them, and burning the fire of the people of the lands, then it comes to those who come out of the Asians. What remains and does not excuse, and I have prepared for you victory that permeates him in the land, making everyone who shines light upon him from your flock and your servants, and there are no ones left under the sky who disobey you, they come to you with commanded matters, disguised in their heads, they bring to you the rewards of their countries, and I bring you who go out to your authority, who are small and souls meet, Their bodies are shaking .. I kept you in favor of crushing the princes of Gahi (the Lebanese and Palestinian coast), so I put them under your feet, then I threw on you from my light what made them see you in my image, and I met you to crush the Asians, I struck the princes of the Amuites in the highest of Palestine, and I fired them in the war decorations, you wore them from the back of your horse, and I died to crush East, then I brought you on the land of God, so I showed them to you as a meteor, as a watcher, and I met you to crush the West, which makes the people of Kftio (Crete) and Aashi (any Asian) Cyprus under your authority. They see in you a victorious solution, a young boy of the two horns, which is not overpowering, and I have met you to crush the people of the spots and the marshes, So the people of Mitanni were shaking in front of you with terror and difference, and I showed them to you in the form of M. A magician fills the water with terror, so no one can escape from it.
We return to talking again about the eternal king of Egypt, Thutmose III, the ancient East conqueror and one of the greatest warriors and conquerors of the greatest in ancient history, if not the greatest of them at all, and who possessed a unique strategic ability that he could achieve in his victorious campaigns in Syria and Palestine... The greatest king of Egypt Warriors immortalizing its unique military and imperial glory on this granite painting that was unveiled at the Temple of Amun at Karnak in Thebes and is presently in the Egyptian Museum in Cairo under No. 34010 .. The historical importance of this painting is due to its narration of the conquests and victories of the warrior Pharaoh Thutmose III and Extending the borders of his vast empire in Syria, Palestine and Nubia by the idol Amun Ra, the good god and master of the Egyptian Empire, which adds a lot of information about his war history as the greatest warrior kings during the era of the eighteenth dynasty, in addition to what was mentioned through his annals at Karnak. It is worth noting that the texts of the painting did not come through a specific historical context, but his victories were listed in a poetic, epic, and legendary framework to a large extent, and they linked the victories of the pharaoh with the desire and will of Amon Ra...
Some paragraphs of this timeless poem say:
"Amon Ra, the master of the thrones of the two lands, says: Come to me to have a light, that is, the builders and supporters of the news of Ra (Thutmose III) that never remains, I shone for the sake of your love, that my heart explains with your auspicious coming to my temple, and my hands give you protection and life, what thinner pity you show Towards me, which is why I will hold you in my temple, and give you all the good...
You have strength and victory for all the nations of the earth, spreading your authority and fear in every country, and making terror from you extend until the four pillars of heaven, and put your respect in everybody, your war call extends between the nine brackets, and gathered the princes of both lands in the grip of your oath, and extended the hands of their kin All of you, thousands and tens of thousands of you disobeyed the south (the people of the arc) rose to you, then the boards from the people of the north, and threw your enemies under your feet, to destroy the disobedient and revolting, until the people of the east and west condemned you in the length and breadth of the country, you can strike in it the heart where you want Without finding someone to disobey you ...
And I crossed you the water of the Euphrates into two strong rivers, triumphantly supported by me. They hear your cry, and they cave caves and bunkers, while I stole their noses, the breath of life. Throw in their hearts the terror of your power, and prayed on your forehead, spreading it eating them, and burning the fire of the people of the lands, then it comes to those who come out of the Asians. What remains and does not excuse, and I have prepared for you victory that permeates him in the land, making everyone who shines light upon him from your flock and your servants, and there are no ones left under the sky who disobey you, they come to you with commanded matters, disguised in their heads, they bring to you the rewards of their countries, and I bring you who go out to your authority, who are small and souls meet, Their bodies are shaking...
I kept you in favour of crushing the princes of Gahi (the Lebanese and Palestinian coast), so I put them under your feet, then I threw on you from my light what made them see you in my image, and I met you to crush the Asians, I struck the princes of the Amorites in the highest of Palestine, and I fired them in the war decorations, you wore them from the back of your horse, and I died to crush East, then I brought you on the land of God, so I showed them to you like a meteor, as a watcher, and I met you to crush the West, which makes the people of Kftio (Crete) and Aashi (any Asian) Cyprus under your authority. They see in you a victorious solution, a young boy of the two horns, which is not overpowering, and I have met you to crush the people of the spots and the marshes, So the people of Mitanni were shaking in front of you with terror and difference, and I showed them to you in the form of M. A magician fills the water with terror, so no one can escape from it.

The Ramesside War Scenes and Texts of KarnakTemple.

The various Ramesside war scenes and texts of Karnak temple are principal historical source for all the scholars who interested in the study of imperial policy of Egypt in its territories at Syria and Canaan during the New Kingdom, ancient Egyptian military, the political situation in the ancient Near East during the Late Bronze Age, and Biblical archaeology as well. The Canaanite town of Yenoam was very remarkable in the war scenes and texts of the Ramesside Period, where it has been depicted and mentioned in some of the most important Ramesside military historical sources; as the northern war scenes of Sety I at Karnak, the First Beth-Shan stela of Sety I and the triumph hymn of Merenptah. This paper surveys and discusses the depiction and registration of the town of Yenoam in the Ramesside war scenes and texts of Karnak temple, to shed the light on new historical aspects of this significant strategic town during this period.
The various Ramesside war scenes and texts of Karnak temple are principal historical source for all the scholars who interested in the study of the imperial policy of Egypt in its territories at Syria and Canaan during the New Kingdom, the ancient Egyptian military, the political situation in the ancient Near East during the Late Bronze Age, and Biblical archaeology as well. The Canaanite town of Yenoam was very remarkable in the war scenes and texts of the Ramesside Period, where it has been depicted and mentioned in some of the most important Ramesside military historical sources; as the northern war scenes of Sety I at Karnak, the First Beth-Shan stela of Sety I and the triumphant hymn of Merenptah. This paper surveys and discusses the depiction and registration of the town of Yenoam in the Ramesside war scenes and texts of Karnak temple, to shed the light on new historical aspects of this significant strategic town during this period.

The painting of Mount Burqul and the immortal Military Glory .

The painting of Mount Burqul and the immortal Military Glory of Thutmose III
The painting of Mount Burqul and the immortal Military Glory of Thutmose III
This unique painting erected by the genius of politics and war, Thutmose III, which was known as the triumph of Thutmose III or the Mount Borkel border plate .. This granite border plate is one of the most important historical sources about the wars and campaigns of Thutmose III in Syria, Canaan and Nubia and perhaps to its famous annals in the Karnak Temple This painting was located in the Temple of Amun in Jabal Al-Barqal in Upper Nuba in northern Sudan, near the southern borders of the Egyptian Empire during the reign of Thutmose III... The texts of the painting, which reached fifty lines in the hieroglyphs, included an epic description of the victories of King Hout The third Q in his war campaigns against Syria and Canaan, which included the battle of Megiddo, and his wars against Mitanni (two rivers), with a special mention of his number for the painting his victories on the banks of the Euphrates River in northern Syria after his victory over the Mitannians, as well as his talk about his hunting of elephants in Syria, and his engagement The monarchy was transferred to the Nubians, residents of the south, and so on... The border board of Mount al-Barqal was established in the forty-seventh year of the Pharaoh's era, in order to define the southern borders of his vast empire stretching from the top of the Euphrates to the north to Mount Barqal in Nubia in the south near the fourth cataract... It was found In the year 1920 AD Prior to the Harvard University-Museum of Fine Arts, Mount Burqul, Sudan, you are currently at the Boston Museum of Fine Arts

The prisoners who fell after their defeat before King Ramses III

The picture is of a group of Balest captives who fell after their defeat in front of King Ramses III in the eighth year campaign (Medinat Habu Temple).
The plest (felest) prisoners who fell after their defeat before King Ramses III

Queen Nefertari .. The most famous of Ramessas.

Nefertari .. The most famous of Ramessas:

The Queen Nefertari, nicknamed "Mariette in death", that is, the beloved deity Mout, was the great royal wife of the most famous pharaohs of Egypt, King Ramses II (1279 - 1213 BC), the third king of the nineteenth family, during the first twenty years of his long reign, and she is the most altruistic In preference he has more than any other wife, but her name means beautiful beauties... The pharaoh honoured her by dedicating one of the rock temples to her and the Abu Simbel small temple that erected Ramses II in Nubia and which was also devoted to the goddess Hathor, next to his great temple there and which the pharaoh devoted to his personal worship and worship The gods Amon and Ptah pardoned my sister. Through the small temple of Abu Simbel many of the scenes recorded for that great Queen, which describes the different relations with the Egyptian gods. Nefertari also appeared through some of the scenes on the walls of the Temple of Ramsium and had a cabin there in partnership with Queen Mother Toya.

It was found in the Hittite capital of Khatushash (present-day Bogaz Koy, Turkey) on one of the permitted plates on which a letter from Queen Nefertari to the Hittite king Khattosel III was found, as well as letters from King Ramses II sent to the wife of Khattusel III Queen Baduhaiba, for the sake of it. Support the bonds of friendship and peace between the two great empires after the peace treaty concluded between Egypt and Khita in the twenty-first year of the reign of King Ramses II, which indicates the political and diplomatic role played by Queen Nefertari during the period of her husband's rule.

Nefertari was for many of the older sons of King Ramesses the Second and they were the princes Amon Hurr Khbash F Free Hare and Num F and Mary Atum and Mary Ra, that they all died during the period of their father’s rule, as was the case of princesses Marit Amun and Hanout Tawi, and that it was as for Princess Pak The death of Nefertari the second and grew Tawi. Providing that Queen Nefertari died shortly after the twenty-fourth year of the rule of the Pharaoh, and was buried in Cemetery No. 66 in the Valley of the Queens. As well as the tomb of Queen Nefertari rock in the Valley of the Queens in the West mainland with the kindest and most beautiful tombs that are there at all, and not under its beautiful colours Pretty bright.

Warriors in the Egyptian Army during the Ramesside Period.

Warriors in the Egyptian Army during the Ramesside Period.
Sheridan was part of the sea people who attacked Egypt during the Ramesside period. Sheridan's invaders were the enemies of Egypt at the beginning of the reign of Ramses II, who declared victory over them. After their defeat, many of them were arrested and merged into the Egyptian army, becoming one of the best foreign auxiliaries. It was used by the Egyptians throughout Ramses' period. They served as infantry units or as a personal guard for the king. The famous inscriptions describing the Battle of Kadesh and the Battle of the Hornet during the time of Ramses II, the Libyan Merneptah war, and the Libyan and Northern wars of Ramses III, indicate the great presence of the Sherden units in the Egyptian army. This paper reviews and discusses the military role of Sheridan's warriors in the Egyptian army during the Ramesside period.

canopic jar


canopic jar

Red ware pottery lid of a canopic jar in the form of a human head; painted black and white.
Materials
pottery
painted
Dimensions
Height: 11 centimetres
Diameter: 15 centimetres
British Museum

School for girls Ancient Egypt

School for girls  Ancient Egypt
School for girls 
Ancient Egypt
First time in scene
Inside cemetry in
Sakarra city
EGYPT

Temple of Hathor.

The ceiling inside the Hypostyle Hall of the Temple of Hathor contains vividly painted scenes and hieroglyphic inscriptions relating to astronomy, astrology, cosmology and the zodiac. Ritual procession of gods and zodiacal beings sailing on the Sun God Re's sacred barque as it journeys along the sun's path. 
Temple of Hathor

Bronze Head of the Cat

Bronze Head of the Cat
 Bronze Head of the Cat goddess Bastet with amber inlays for eyes & gold scarab on the forehead  (26th dynasty) - Carlsberg Glyptotek Museum, Copenhagen, Denmark .

Weeping statue

Weeping statue
 Weeping statue in the  mourning(2nd century AD - found in the Valley of the Golden Mummies, Bahariya Oasis) - Egyptian Museum Cairo .

Carring baby.

Childbirth scene: the mother is helped by her
Papyrus depicting a Childbirth scene: the mother is helped by her handmaidens and the midwife (from a Theban painting - 19th Dynasty)

The tomb of Queen

Nefertati, which indicates the greatness of Egyptian art, despite all these ages the tomb colors are bright and beautiful
The tomb of Queen

The ancient Egyptians are the builders of the pyramids.

the ancient Egyptians are the builders of the pyramids.

This papyrus is discovered, and unfortunately, the Egyptian land has emerged proving that the ancient Egyptians are the builders of the pyramids.

The Temple of Edfu is an Egyptian temple located on the west bank


The Temple of Edfu is an Egyptian temple located on the west bank
The Temple of Edfu is an Egyptian temple located on the west bank of the Nile in Edfu, Upper Egypt. The city was known in the Hellenistic period as Koinē Greek: Ἀπόλλωνος πόλις and Latin Apollonopolis Magna, after the chief god Horus, who was identified as Apollo under the interpretation graeca.[1] It is one of the best-preserved shrines in Egypt. The temple was built in the Ptolemaic Kingdom between 237 and 57 BC. The inscriptions on its walls provide important information on language, myth and religion during the Hellenistic period in Egypt. In particular, the Temple's inscribed building texts "provide details [both] of its construction, and also preserve information about the mythical interpretation of this and all other temples as the Island of Creation.

stolen treasures.

stolen treasures

THE ARCHAEOLOGICAL LOOTING OF EGY stolen treasures

In the first half of the nineteenth century, the rediscovery of Pharaonic monuments wine accompanied by a lucrative trade in antiquities
When in 1798 Napoleon Bonaparte began his famous expedition to Egypt could not assume that the work of the hundred and fifty scholars who accompanied him would trigger an Egyptological fever throughout Europe. It was responsible for the publication, from 1809, of the investigations of these scholars in a monumental work entitled The description of Egypt, illustrated with more than three thousand original prints. Unfortunately, the fascination with the mysterious world of the pharaohs also generated an insatiable demand for Egyptian antiquities by collectors, and this led to turning over the first half of the nineteenth century, one of the greatest archaeological looting of the history. Indeed, many European explorers, half archaeologists, half smugglers, rushed to the land of the Nile where, under the indulgent gaze
and accomplice of the pashas (Ottoman governors) and other Egyptian authorities, amassed a rich booty that today adorns the windows major European museums.
from 1815, the two main protagonists of this traffic were Bernardino Drovetti and Henry Salt, respectively consuls of France and England in Egypt. Through its "agents", both held a hidden war for the most valuable works of Pharaonic Egypt. While in Cairo showed good face and better manners, his envoys toured the country equipped with a sign or official permission from the Ottoman Sultan looking for parts to swell the collections of their employers.
In this company, Drovetti started with an advantage. Destined to Egypt since 1803, he knew best the country's politics and had become intimate Pasha, Mohamed Ali. He chose as agents and "diggers" the sculptor Jean-Jacques Rifaud and artist Frédéric Cailliaud. At first, Henry Salt was a bit overwhelmed by them, but in 1816 he met Giovanni Belzoni, who seemed the right person for the job.

A war between consuls
Giovanni Belzoni was a giant two meters tall, who had worked in a circus strongman and had come to Egypt to propose a hydraulic system Mohamed Ali, efforts that had failed. Contracted by Salt, between 1816 and 1819 Belzoni reaped a series of spectacular discoveries like that of the tomb of Seti I, the temple of Abu Simbel or the entry into the pyramid Kefrén- they did make the history of Egyptology although his methods were always controversial.
Over time, Salt and Drovetti zones of influence, with the Nile as a border divided. An antiquarian who visited Egypt then said, "had established a peace treaty. Like two kings, made ​​the river the border of the respective possessions were awarded themselves in Egypt. " But despite these agreements, also they not lacking conflicts between men and Drovetti Salt. For example, when Belzoni came to Thebes to move a colossal statue of Ramses II, called "Young Memnon" he had enormous difficulty finding workers because of the boycott of the local governor, in cahoots with Drovetti. On another occasion, in Karnak, while carrying the Philae obelisk commissioned by William Bankes - an English nobleman who, after encapricharse the monument during a trip would take him to England to adorn the gardens of his mansion, Belzoni was suddenly surrounded by Arabs who worked for Drovetti, led by two Piedmontese foremen armed with pistols. They grabbed the reins of his donkey and cast him into face having "stolen" the obelisk in question, although, in the end, the incident did not pass over.

Boycotts and Thugs
Between them, there were episodes of the real dirty war. On his first trip down the Nile, Belzoni found on the island of File a group of sixteen carved stone blocks whose thickness lowered to more easily transport their return. But to go through the island found that the reliefs had been mutilated and an anonymous hand had written with charcoal and French on them. Operation manquée, "failed operation"
The work of Belzoni, Cailliaud and other nurtured the market antiques in Europe with all sorts of valuable pieces. The same Henry Salt met three large collections. The first sold to the British Museum, but for less money than spent on getting it; the second was to stop at the behest of Champollion, the Louvre Museum, at the right price, and the third was auctioned at Sotheby's in a thousand lots, which earned him an important benefit. As for the impressive collections gathered by Drovetti, one was acquired by Carlos Felix de Saboya and forms the basis of the Grand Egyptian Museum in Turin; another went to the Louvre, again at the request of Champollion, and the last examined by the Egyptologist Richard Lepsius, ended in Berlin.
In addition to the collections of Salt and Drovetti, other works came to Europe in those years, as the Metternich Stela, dating Nectanebo II era, Mohamed Ali gift to Prince Metternich in 1828. The Champollion himself, in the expedition that made Egypt between 1828 and 1829 together with a group of twelve scholars, including his disciple Ippolito Rossellini, asked the pasha to be sent to Paris an obelisk of Thebes as a gift to King Philip of Orleans, in commemoration of Napoleon's expedition in 1798. Although he had promised to the British, Mohamed Ali agreed to the request and in 1836 the obelisk was erected in the place de la Concorde in Paris.

Treasures safe
It must be said that sometimes the output of these monuments was preferable to stay in the Nile Valley, where the Egyptians themselves were responsible for destroying them. At the end of the day, they wore centuries using them as stone blocks for their houses and palaces, or just to make lime. It is known that a small temple disappeared completely between the time when the wise and engineers Napoleon catalogued and visit other European travellers just a few decades later.
The plundering of the monuments of the Nile Valley was reaching alarming proportions when he arrived someone decided to tackle it: the French Auguste Mariette.
the first time I stepped on Egypt, in 1850, he did the custom of the Louvre Museum bought Coptic papyri with which to complete his collection. However, the Copts dignitaries did not accept their proposals, so that Mariette decided to use the funds the museum for archaeological excavations, which led him to discover the Serapeum of Saqqara, a set of underground galleries that housed large sarcophagi of granite with mummified sacred bulls Apis.

At last an Egyptian museum
Mariette realized the threat that illegal excavation and export of antiquities represented for the Egyptian archaeological heritage. Therefore, returning in 1857 to the country of the Nile, he went to Mohamed Said Pasha to propose the creation of an institution in charge of safeguarding the pharaonic legacy. That was how in 1858 the Egyptian Antiquities Service in conjunction with the Museum of Bulaq, the germ of the present Egyptian Museum, where pieces recovered expose themselves created. Unfortunately, the pasha still thought he could dispose of items at will, as private property, so that every visitor swanky coming to Egypt gave him a part of the collection as a sign of deference.
The fight against smuggling antique continued in the following years. The second director of the Antiquities Service, Gaston Maspero, managed in 1881 to discover and stop the looting cache of Deir al-Bahari, an excavated tomb in the Theban mountain where the mummies of some of the most important pharaohs of the New Kingdom were found, discovered by chance by the brothers Abd al-Rassul ten years ago. Maspero's work was so effective that to meet the demand began to appear on the market counterfeits of excellent quality, that not a few of the great museums bought and have had or have exposed. Sometimes the craving of collectors loses.

The jewelry industry in ancient Egypt .

The woman is the first lover of decoration throughout the ages, so she mastered the drafters of the jewellers, incited to satisfy her creative taste, and competed in the creation of her new artisans.

The Egyptian woman became famous for her love of jewellery and jewellery, and the men also wore jewellery with women, as they had evidence of their owner's wealth, in addition to beautifying and decorating his image in front of society.

He described the branches of plants, seashells, hard stones, and bones, which are the first materials used by the ancient Egyptian in making jewellery, and that was in relation to El-Badary and Naqada era, that is, in prehistoric times.

The ancient Egyptian used to collect these artefacts, through flax or cow hair and worked on painting them with glass materials for a bright export, which would give them more acceptance.

Then the jewellery industry developed over time as the first "Pharaonic family". The ancient Egyptian gained the ability to make jewellery from precious and semi-precious stones, and some minerals such as gold and silver.

The gold jewellery industry also flourished so much that it reached its peak during the middle and modern countries, so the accuracy of the ancient Egyptian goldsmith appeared in creating an impressive array of high-end gold craftsmanship in an unprecedented way, which loves the overload of missions that extract the minerals. Which was fed with many types of precious stones known in Egypt; including inlays of gold and silver with agate and turquoise?

Pharaonic women were not only across different families who used jewellery for happy occasions, but it went beyond that to their use in general in daily life. It is strange that the ancient Egyptians were keen to keep a large dimension of jewellery inside their tombs, and large numbers of them were found from: "wreaths, crowns, or collars of natural and false hair, and various types of cosmetic trinkets, such as small rosettes, golden hoops, Easy ribbons of jewellery.

Among the types of famous jewellery: those bracelets, anklets, rings, necklaces, and belts that were worn by both women and men, such as waist belts, and belts hanging from them with vertical straps. The pectoralis also one of the most important types of jewellery that did not appear except in the ancient Egyptian civilization, which is a jewellery worn on the chest square, rectangular or trapezoidal shape, and was attached to a thread with beads, and among the most important bras that are known from the era of the Middle Kingdom about (1900 BC) Made of gold and set with semi-precious stones, such as (Lamathist) stone, brown agate, feldspar, lapis lazuli, turquoise, rock crystal, and Obsidian.

The Egyptian jeweller also decorated the vests with the symbols and names of the kings, believing that they were a guarantee of prosperity, life or permanence, according to what is indicated by the inscribed form on them.

The bra was also made of gold, sometimes of gold-plated metal. It is also painted yellow if it is made of less metal, such as copper or other, to take the form of gold, and what are the girls in the Egyptian countryside wearing the bra so far, even if the bra is another name; it is "gold card".

The colours inlaid with the jewellery had meaning for their beliefs. An example of blue represents protection from evil or envious eye, and the green colour overflows with rest and vitality and brings back youth. As for the scarab, made of green or blue faience, or semi-precious stones. Finally, the ancients believed that the exercise they wore in the bras for the purpose of protection and guarding, and was worn in the organs believed to have been exposed to dangers, such as the neck, wrist, and joint, Fingers and middle.

Scientists are still the most popular jewellery yet. They are worn in the wrist, and it was one of the most beautiful fences that were found in the tombs of the twelfth princesses of the family, and women still adorn them.

As for anklets, they are worn in the foot. The ancient Egyptian knew the wreaths and the anklets since prehistoric times, and it was made of materials such as bone, wood, skin and hair, then worked beads in the threads of the system, and these beads were made and were studded with semi-precious stones or glass, and may be used In everyday life, it is dark or decorative for their adornment, or they are placed with the deceased in the burial chamber, or they are depicted on the walls or on the surfaces of the coffins, or the deceased wears it himself.

A headwear made of tree wreaths and flower buds also spread. Strips of cloth were used to tie the hair as an ornament, or so as not to obstruct the vision at work, and then made wigs and hoods as a wig from linen braid, sometimes from real wool or hair, and decorated gold rosettes inlaid with semi-precious stones, or with stained glass like the wreaths that wore them The wife of Rahotep, or the daughters of Khanohotep.

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

The jewelry industry in ancient Egypt .

Qaitbay Citadel Qaitbay Citadel in Alexandria .

Qaitbay Citadel Qaitbay Citadel in Alexandria

Qaitbay Citadel Qaitbay Citadel in Alexandria is located at the end of Pharos Island in the far west of Alexandria and was built in the place of the old lighthouse of Alexandria, which was destroyed in the year 702 AH following the devastating earthquake that occurred during the reign of Sultan Al-Nasir Muhammad bin Qalawun.

Sultan Al-Ashraf Abu Al-Nasr Qaitbay began building this castle in the year 882 AH and finished building it in the year 884 AH. It is a separate building 60 meters long, 50 meters wide and 4.5 meters thick.

When Sultan Qaytbay visited the city of Alexandria in the year 882 AH / 1477AD, he went to the ancient site of Al-Manar and instructed that he build a tower on its old foundation, known later as the Qalbiyat or Tabiah Qaytbay. The construction was completed two years after the date of construction.
Qaitbay Citadel Qaitbay Citadel in Alexandria

The reason for the interest of Sultan Abu Al-Nasr was Qaitbay in Alexandria due to the many direct threats to Egypt by the Ottoman Empire, which threatened the entire Arab region, and the Mamluk Sultan Qansuh al-Ghouri took care of the castle and increased its importance and shipped it with weapons.

The Qait Bey Citadel was built on an area of ​​approximately 17550 square meters. The outer walls of the fortress and its military enclosures were built on this area. It is a group of fences which are to increase the fortification of the castle. These walls are two large walls of huge stones that surround the castle from the outside and inside prepared for the protection of the castle, the first wall is the outer wall and surrounds the castle from the four sides, the eastern side of this wall overlooks the sea and its width is two meters those eight meters and does not include any towers, either The western side is a huge wall thicker than the rest of the castle walls with three round towers intersected by this oldest remaining part, while the southern side you can reach the eastern port and three round towers with a door in the middle, while the northern side overlooking the sea directly and is divided into priest lower part
Qaitbay Citadel Qaitbay Citadel in Alexandria

It is a large roofed corridor built directly over the rock, with several rooms. As for the upper part, it is a corridor with narrow openings overlooking the sea. As for the inner walls, they are made of stone and surround the main tower on all sides except the northern side. This wall is permeated inside. A group of adjacent rooms prepared as barracks for the soldiers, which are free of any openings except for the door openings and sliding doors, which are designated to be ventilation holes on one side and defence holes on the other hand.
The main tower of the castle, which is located in the northwestern part of the castle area, and the main tower of the castle is a three-storey building with a square layout that exits from each of its four corners a circular tower rising from the surface of the main tower. The tower was built with solid limestone.

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