Ptolemaic temple of Hathor (Thebes), Upper Egypt: a case study Hussein H. Marey Mahmoud* The aim of the present work was to characterize blue pigment samples collected from the Ptolemaic temple of Hathor (Thebes), the western bank of Luxor, Upper Egypt. The characterization of the examined pigments was carried out by means of optical microscopy, scanning electron microscopy equipped with an energy dispersive X-ray detector, micro X-ray fluorescence spectrometry and Fourier transform infrared spectroscopy. On the basis of the chemical composition and microstructure of the samples, the blue pigments were identified as Egyptian blue (cuprorivaite, CaCuSi4O10). Moreover, the micro X-ray fluorescence analysis revealed significant quantities of lead in the glass phase suggesting that a leaded bronze …show more content…
The optical examination of the paint layers showed that the pigments were applied on a thin layer consisting of gypsum (CaSO4 2H2O) and dolomite (CaMg(CO3)2). In addition, some pigment samples showed discoloration mainly in the form of green and black hues. The obtained results helped in improving our knowledge about some painting materials used during the Ptolemaic era of ancient Egypt. Copyright © 2012 John Wiley & Sons, Ltd. Keywords: temple of Hathor; Thebes; Egyptian blue; bronze scrap; OM; SEM–EDS; m-XRF; FTIR Introduction The temple of Hathor The Theban necropolis is one of the most popular archeological sites in Upper Egypt. The ancient Thebes (the present city of Luxor) is located on the western bank of the Nile River (about 650 km south of Cairo). The Egyptian temple domains of Ptolemaic and Roman times formed the center stage for the dramatic performance of various cultic ceremonies, processions, and rituals throughout the years.[1] The Ptolemaic temple of Hathor
The color that was chose to be shined through the sample was purple. The spectrophotometer was set at a wavelength of 400nm to represent the purple color. It was zeroed using the blank meaning the spectrophotometer read zero as absorbance amount. The blank consisted of 5mL of water and 2.5 mL AVM and it was placed in cuvette. A solution with a known concentration of 2.0x10-4 M was used in the spectrometer.
Ancient Egypt is a culture that lasted for thousands of years and with that came an abundance of art and artifacts that are still being examined today. Not much is exactly known about Ancient Egyptian culture but there are somethings that Archaeologist can infer about their culture. One piece that can shed some light onto the ancient Egyptians is the Palette of Narmer. The palette is intriguing both aesthetically and historically we will talk about both.
After extracting, filtering, and condensing the blue and pink dyes off of the candies, it can be determined that the Blue candy is FD & C Dye Blue 1 and the Pink candy is a mix of Yellow 5 and Red 40. During the solvent evaporation for the blue dye, it was observed that when concentrated, the transparency of the dye was similar to that of Blue 1. During the paper chromatography of Project 2 Session 1, the blue dye showed on the chromatogram to have the highest spot height. Similar to the paper chromatography today which the blue dye was observed having the higher spot height as well. Figure 3 of the Project 2 In-Lab Report displays Blue 1 of having an Rf value of .729. The blue dye off of the candy, as seen in Figure 2, has an Rf value of .657.
The Metropolitan Museum of Art. ‘Egyptian Art’, The Metropolitan Museum of Art Egyptian Art. New Series, Vol. 41, No. 3, Egyptian Art (Winter, 1983-1984): pp. 1+3-56
The scientists used a capillary tube to streak the leaf pigment extract on a pencil that was previously drawn a centimeter from the edge of the paper cylinder. The
Benedict, Biuret, Iodine and brown paper bag tests were conducted in order to identify various macromolecules which might be present in the two unknown substances given. Qualitative data was gathered on the bases of clarity, viscosity, odor, state of matter and most importantly color change. The data gathered was then complied in table two of this lab.
Robins, Gay, and Ann S. Fowler. Proportion and style in ancient Egyptian art . Austin: University of Texas Press, 1994. Print.
In the Albany Institute of History and Art there is a gallery that is focused only on Ancient Egypt artwork. The different pieces of artwork throughout the gallery include a highlight of ancient Egyptian daily life and after life. The artworks that are included in this gallery, range from, the colors and materials in jewelry, food and drink, gods and goddesses, everyday objects to preparing for the afterlife.
In this lab, solutions were separated by polarity and affinity to solids by chromatography. Chromatography is the separation of a mixture, where the components move at different rates up a medium. The medium used was chromatography paper, matched with a series of developers to aid in movement of compounds upwards. The distance moved up the paper is measured and the rf is calculated. The distance the pigments traveled is divided by the distance developer traveled. The more polar a substance the further it travels up the paper. The paper works by capillary action and absorption to separate the compounds.
Fayum portraits are remarkably life-like depictions of men, women, and children that were painted onto thin panels of canvas, linen, or wood and placed on top of the outer wrapping of a mummy. Though this moniker is geographically specific to denotes the discovery of a large concentration of portraits in the fertile Fayum region in the late 1880s, these works have been found all throughout Egypt, spanning from the Mediterranean coastal city of Marina el-Alamein to as far inland as Thebes. Though the archaeological background behind the Fayum mummy portraits lacks in extensive depth, the unique stylistic detailing and realism surrounding such portraiture presents a fusion of two traditions: Greco-Roman portrait painting and Egyptian funerary
The topic that will be discussed are different styles of art and architecture throughout Ancient Egypt and what motivated the Egyptians to create theses styles. It will address the different styles based on different important periods of time from which they were developed. After a discussion of motivations for Egyptian art, in the correct historical order, this paper will discuss the Old Kingdom, the Middle Kingdom, the Amarna Period, and finally the New Kingdom.
The experiment used Potassium permanganate (KMnO4), a purple substance; Potassium dichromate (K2Cr2O7), a yellow substance; and Methylene Blue, a blue substance. These substances have molecular weights, 158 g/mole, 294 g/mole and 374 g/mole. A petri dish containing agar-water gel with three wells was obtained as shown in Figure 1. Each well was labelled as potassium permanganate, potassium dichromate and methylene blue. One drop of every prepared substance was carefully placed into its respective wells in the agar-water gel using a dropper. The petri dish was immediately covered to avoid the possible effects of other foreign factors. The substances, each having specific colors, spread in the agar-water gel as shown in
It is a bluish-silver, lustrous metal that tarnishes in moist air, producing a layer of carbonate.
The predynastic period of Egypt began in 3500 bce. Egypt was split between the south and the north and then became unified towards the end of the predynastic period (book). The palette of King Narmer supposedly depicts the events of the unification. The Palette is dated between 3000 bce and 2920 bce. “The Egyptian artist’s portrayal of Narmer combines profile views of his head, legs, and arms with front views of his eye and torso” (book). This representation became the norm in Egyptian art as well as figures being spread out and the pictures being subdivided into registers (book).
Art historians, Egyptologists, and archeologists have made fascinating discoveries about the artifacts, pharaohs, and culture of Egypt since the discovery in 1799 of the Rosetta Stone. It led to the decoding of Egyptian hieroglyphics. Pharaonic names, dates, places, and events could then be reliably organized for linear presentation of ancient Egypt’s long 4,000 year history. Egyptian innovations in burial architecture, mummification, picture language, and huge monument building had both amazed and puzzled scholars for nearly 1,500 years. Pyramid building, obelisk lifting and colossal statue carving reveal a sophistication and simplicity which are at once both attractive and intriguing. This paper will review several specific aspects of Egyptian art ranging from 4000 to 30 B.C.E.