Ancient Egyptian god
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17 episodes with Amun
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2 episodes with Amun
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A death at Karnak, and a lion amongst men. In regnal year 1 (c.1292 BCE), Ramesses II was at Abdju / Abydos. While there, he appointed a new First Priest of Amun (Hem Netjer Tepy en Imen). He chose his candidate by consulting the deity directly, engaging in an oracle with Amun to choose the best option. Shortly after, Ramesses departed Abdju and continued his northward journey. Eventually, he came to Giza, home of the Great Sphinx and the deity that inhabited it... The History of Egypt Podcast: Website: www.egyptianhistorypodcast.com. Support the show via Patreon www.patreon.com/egyptpodcast. Make a one-time donation via PayPal payments https://www.paypal.com/ncp/payment/BHC6MGDBC6SXU. Music and interludes by Luke Chaos www.chaosmusick.com. We have merch! Browse our designs at Dashery by TeePublic https://thehistoryofegyptpodcast.dashery.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the annals of Egyptian history there is no one quite like Ramesses II. He is arguably the most famous, or infamous, of Egypt's pharaohs. His reign would be long (67 years!) and his influence would be incalculable. In this episode, Ramesses "appears" as King, following the death of his father (III Shemu 27). He chooses his royal names (Usir-Ma'at-Ra, Ramesses Beloved of Amun). He buries Sety, in the Valley of the Kings. And he goes before the gods to receive blessings and power... Episode chapters: 00:00 - Introduction to Ramesses II 04:20 - Ramesses Accession Date & Royal Names 12:56 - The Funeral of Sety I (Horus buries Osiris) 20:50 - Ramesses goes before the gods 43:22 - Conclusion For the Hypostyle Hall at Karnak, and Ramesses' “coronation” scenes, see the following volumes: Nelson (1981). The Great Hypostyle Hall at Karnak Volume 1, Part 1: The Wall Reliefs https://isac.uchicago.edu/research/publications/oip/great-hypostyle-hall-karnak-volume-1-part-1-wall-reliefs Brand et al. (2018). The Great Hypostyle Hall in the Temple of Amun at Karnak Volume 1, Part 2: Translation and Commentary. https://isac.uchicago.edu/research/publications/oip/oip-142-great-hypostyle-hall-temple-amun-karnak The History of Egypt Podcast: Website: www.egyptianhistorypodcast.com. Support the show via Patreon www.patreon.com/egyptpodcast. Make a one-time donation via PayPal payments https://www.paypal.com/ncp/payment/BHC6MGDBC6SXU. We have merch! Browse our designs at Dashery by TeePublic https://egyptpodcast.dashery.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices
OK, perhaps "obsessed" is a little over the top, because technically ZEST itself only showed up once, as per custom; but the clues and answers were still quite snappy. Our particular favorite? 46D, Producers of six-packs, SITUPS (nice!). We were also delighted to see 15A, King of the gods, in Egyptian myth, AMON. And while AMON may not translate as "God of Aliases", since AMON is aka AMUN, AMUNRA, AMONRA and AMUNRE, we would not be surprised if it did.For the deets, and some interesting listener mail, have a listen, and feel free to leave us a five star review wherever you are listening to this podcast.Show note imagery: Kobe Bryant, shooting a FADEAWAY.We love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!
GDP Script/ Top Stories for March 18th Publish Date: March 18th From The BG AD Group Studio, Welcome to the Gwinnett Daily Post Podcast. Today is Tuesday, March 18th and Happy Birthday to Gary Sinise ***03.18.25. BIRTHDAY. GARY SINISE*** I’m Peyton Spurlock and here are your top stories presented by KIA Mall of Georgia Annandale Village hosting career fair March 26 Travis Tritt To Headline Buford Fall Concert Georgia Department of Public Safety partnering with ICE All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe! Break 1: Kia MOG (07.14.22 KIA MOG) STORY 1: Annandale Village hosting career fair March 26 Annandale Village is hosting an on-campus career fair on March 26 at 3500 Annandale Lane, Suwanee, from 10 a.m. to 1 p.m. and 3 to 6 p.m. The nonprofit, which supports adults with developmental disabilities and brain injuries, offers positions like RNs, CNAs, LPNs, and direct support professionals. Job offers may be made on the spot, and candidates can apply online beforehand. Annandale provides benefits like signing bonuses, flexible schedules, and extensive PTO, fostering a positive work environment. For details, visit annandale.org. STORY 2: Travis Tritt To Headline Buford Fall Concert Country music star Travis Tritt will headline the Buford Community Center's fall concert on Sept. 13, joined by Drake White and his daughter, Tyler Reese Tritt. The event, held on the concert lawn, starts at 6 p.m., with gates opening at 4:30 p.m. A Marietta native, Tritt is known for hits like “It’s a Great Day to Be Alive” and “Here’s a Quarter.” This annual concert follows last year’s headliner, Tyler Hubbard of Florida Georgia Line. STORY 3: Georgia Department of Public Safety partnering with ICE Georgia's Department of Public Safety (DPS) will train all 1,100 sworn officers under ICE's 287(g) program to identify and apprehend illegal immigrants deemed public safety risks, Gov. Brian Kemp announced. DPS Commissioner Billy Hitchens emphasized the collaboration's role in enhancing community safety. The 287(g) program, authorized in 1996, allows ICE to delegate federal immigration enforcement authority to state and local officers. Georgia's Department of Corrections already participates in the program, assisting with deportations. Critics argue some deportations target individuals whose only offense is being in the U.S. illegally, a civil violation. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We’ll be right back Break 2: STORY 4: Buford Teen — Missing For Over A Year — Found Safe In Tennessee Over a year after disappearing from her Buford home, 17-year-old Asata Amun has been found safe in Tennessee. Authorities discovered she had been in the custody of Tennessee’s Department of Children’s Services under an alias since February 2024. A case manager identified inconsistencies in her statements, leading to her identification as a missing Georgia teen. Arrangements are underway to transfer her to Georgia’s Department of Family & Children Services, while the investigation into her disappearance remains active. Amun had been missing since February 1, 2024, after being seen running from her home on doorbell video. STORY 5: Gwinnett Solicitor General Lisamarie Bristol will seek re-election in 2026 Gwinnett Solicitor General Lisamarie Bristol has announced her bid for re-election in 2026. A Democrat first elected in 2022, Bristol highlighted her office's achievements, including creating a Special Victims Unit, expanding diversion programs, and reducing crime across all categories in Gwinnett. She emphasized her commitment to fighting recidivism, addressing case backlogs, and focusing on serious crimes. Bristol will officially launch her campaign on March 25. The 2026 election will also feature races for Gwinnett County commission, court, and school board seats, alongside statewide and congressional contests. Break: Ingles Markets 2 ***Guide Weekly Health Minute*** 10.15.24 GUIDE HEALTH MINUTE_FINAL*** Break 4: Signoff – Thanks again for hanging out with us on today’s Gwinnett Daily Post Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at www.gwinnettdailypost.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. 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In this episode Chris brings us Opinion Scholarship on the theology of ancient Egypt. This was a fascinating exploration of Egyptian religious hymns and inscriptions which speak of the Creation of the cosmos. We encounter such gods as Ptah, Amun, Atum and Re who stand firmly in the position of Supreme Being. But, how does classical Egyptian polytheism reconcile the notion of God with the gods? Through mystical enlightenment and the notion of a sole, primordial, pre-existing Monad. A divine, conscious singularity; God with a capital 'G'. Don't believe me? Hear it from the horses mouth through the myths of Heliopolis, Thebes, Hermopolis and Memphis. Hear it from the Pyramid Text, Coffin Texts and the Book of the Dead. Enjoy ;)
Secret of Christ in Egypt? Jesus the Amen! | Cub Kuker Supernatural Podcast (EP523) In this video, I'm going to uncover the fascinating connections between ancient Egyptian mysticism and the teachings of Jesus Christ. I'll show you how the Egyptian god Amun-Ra, known as the “hidden one,” symbolizes the unseen divine presence, and how this parallels Jesus being called the Amen, the faithful and true witness, in Revelation 3:14. Just as Amun merged with Ra to reveal the divine, Jesus is the unseen God made visible (Colossians 1:15). I'll also dive into symbols like the Ankh, the Eye of Horus, and the Great Pyramid—ancient emblems that foreshadow Jesus Christ and His mission. The Ankh represents eternal life, the Eye of Horus mirrors divine perception, and the Pyramid with its missing capstone speaks to the divine completion of God's plan through Jesus, the true cornerstone. In this video, I'll help you see how these Egyptian mysteries were not just relics of the past, but hidden truths pointing to the ultimate revelation in Jesus Christ. —— “Unlock Supernatural Abundance Through the Ancient Mysteries of God's Kingdom!”
“She was buried in the same place where she was murdered, at the field in the crops.” Today on the podcast we hear about the life and death of Swedish-Somali journalist Amun Abuhulahi Mohamed, who also worked to advocate for the advancement of women in Somalia. She was shot multiple times in the head by gunmen as she walked to her sorghum and watermelon farm in a rural part of Somalia, 40 kilometres from Mogadishu. She'd moved back to Somalia after years of threats and intimidation in Sweden because of her investigation into Al Shabaab's recruitment of Somali youths in Stockholm in 2009. Presenter: Alan @Kasujja Guests: Abdulaziz Ahmed, Amun's husband, and Abdalle Mumin, secretary general of the Somali Journalists Syndicate Producer: Layla Mahmood
Ready to vibe out with a true queen? On this episode, we're joined by the Grammy-nominated artist, global goddess, and manifestation powerhouse Amun Starr! From her inspiring journey of making Egypt her home to landing a major record deal under Tiësto, Amun shares how she's unapologetically turning dreams into reality. ✨ We're diving into:
Our heroes find the resting place of Pharaoh Amun Sa, and with him the chance to end the curse once and for all. Featuring: Joey as the DM Mark as the Earth Genasi Fighter "Rimal" Bun as the Water Genasi Druid "Beryl" ShortStack as the Dragonborn Artificer "Ellise Deie" Bendy as the Sea Elf Paladin "Amenophis" Enjoy! Podcast: https://anchor.fm/lfrogdnd YouTube: https://www.youtube.com/josephblanchette Twitter: https://twitter.com/FrogCAdventures Patreon: https://www.patreon.com/legendaryfrog
"Jairo Zavala, "DEPEDRO", viene a nuestros estudios para presentarnos su nuevo trabajo grande: "Un Lugar perfecto". Es el séptimo disco de estudio de "DEPEDRO" y en él Jairo Zavala deja claro que la esperanza se trabaja y se ejerce, que el amor muchas veces, también va acompañado de desdicha y de sacrificio y que es fundamental para darle sentido a nuestras vidas. Han participado buenos amigos como Ángela Cervantes, David "El Indio" de "Vetusta Morla" Y Xoel López, entre otros. También hablamos con "Kilema", músico de Madagascar que ha participado en este nuevo trabajo de "DEPEDRO". Juntos recorrieron Madagascar para conocer la situación de la infancia y la importancia de la Música y se ha realizado el documental "FANANTENANA" para la Fundación "Agua de Coco" que trabaja con diferentes proyectos en Madagascar. Sin duda un trabajo excelente de uno de los músicos y compositores más relevantes de los últimos 20 años.""Se calcula que diariamente llegan a las fronteras mejicanas unas 16.000 personas que intentar cruzar México, para llegar a Estados Unidos. La mayoría de estas personas viajan en unas condiciones lamentables y muchas de ellas son expoliadas por diferentes bandas criminales. El hogar-refugio "La 72", es el único lugar de Tenosique, en el estado de Tabasco (Sureste de México) que atiende a miles de migrantes que transitan cada año por el país. La organización "Manos Unidas" apoya varios proyectos en América Latina, enmarcados en la lucha contra la pobreza y la desigualdad y acompaña a "La 72", desde el año 2018 con un proyecto que incluye la atención integral que reciben las personas migrantes al llegar. Hablamos de todo esto con Juan de Amunátegui, responsable de proyectos de "Manos Unidas" en Latinoamérica y desde México interviene el abogado David Ruiz, que trabaja en el asesoramiento jurídico de las personas migrantes."Escuchar audio
The Flava Featuring Indie Artist Brian Poe aka Unk-Tu- Amun The Last Pharoah About Brian Poe: Brian M. Poe first came on to the independent music scene as Unkle Funk .. and released two studio projects under the moniker.. he had been playing music since childhood , but gotten serious about recording about 14 years ago… in 2010 he built his own home studio aptly named The Funk Factory and created his own record label Funk Factory Musik. Tune in to find out more. Tune in to the latest episode of "The Flava" on Tigress315Radio!
Get ready for an engaging and heartfelt episode as we welcome Blü Egyptian, the vibrant band from Chico, California! Zach, Jules, Cam, and Neo join us in the No Simple Road house studio to share their journey from high school jam sessions to festival stages. We start with a few laughs about the amusing challenges of scheduling this long-awaited interview and then dive into their backstory, including the unique Pop Bands class that brought them together. This episode is packed with stories of their growth, experiences, and the dynamic music scene in Chico that shaped their sound. We dive right into Blü Egyptian's extensive touring adventures and the excitement of balancing life on the road. Neo's love for touring likened to perpetual camping, and their transformative experiences at festivals like Hog Farm Hideaway, paint a vivid picture of the band's dedication to their craft. We also touch on the influence of legendary jam bands and the unique genreless jam music movement, showcasing their eclectic musical influences and the friendships that have grown within this dynamic community. Finally, as the band shares their strategies for maintaining physical, mental, and spiritual health amidst their hectic schedules, we delve into their future plans, including the highly anticipated release of their third album, "Chantress of Amun." From performing in unexpected venues to thrilling festival stages, Blü Egyptian's journey is a testament to passion and perseverance. For tour info, merch, news and more head over to: https://www.bluegyptianband.com/ (18:02) High School Origins of Blue Egyptian (27:45) Touring Challenges and Triumphs (32:09) Musical Influences and Touring Adventures (43:23) Evolution of Genreless Jam Music (50:48) Musical Exploration and Evolution (55:08) Growth and Inspiration in Music (01:08:05) The Band's Collective Commitment (01:20:30) Unexpected Stage Appearance and Bass Jam (01:26:41) Band Tour Plans and Album Release -For THE BEST MUSHROOM CHOCOLATES EVER go over to @MELTMUSHROOMS ON INSTAGRAM and shoot them a DM for a menu of all the amazing flavors of MUSHROOM CHOCOLATE BARS and MAKE SURE TO TELL THEM NSR SENT YOU FOR $20 OFF YOUR FIRST ORDER! -FREE SHIPPING from Shop Tour Bus Use The PROMO CODE: nosimpleroad -venuellama.com is back! Head over and sign up for your free Llama Account now and start rating venues! INTRO MUSIC PROVIDED BY - Young & Sick MUSIC IN THE COMMERCIALS BY AND USED WITH PERMISSION OF: CIRCLES AROUND THE SUN OUTRO MUSIC BY AND USED WITH PERMISSION OF: CHILLDREN OF INDIGO No Simple Road is part of OSIRIS MEDIA. Osiris Media is the leading storyteller in music, combining the intimacy of podcasts with the power of music.
In this episode, we look into the idea of Oracular decrees as a predetermined display.Patreon: https://www.patreon.com/MummyMoviePodcast BibliographyBerg, D. A. (1988). The genre of non-juridical oracles (ḫrtw) in Ancient Egypt. Toronto: University of Toronto.British Museum. (2019). British Museum collection database. Retrieved from https://www.britishmuseum.org/research/collection_online/search.aspxBroekman, G, P, F. (2010). The leading Theban priests of Amun and their families under Libyan rule. Journal of Egyptian Archæology, 96, 125–148.Brooklyn Museum. (2019). Brooklyn Museum open Collection. Retrieved from https://www.brooklynmuseum.org/opencollection/search/?advancedČerný, J. (1962). Egyptian Oracles. In Parker, R, A (Ed), A Saite oracle papyrus from Thebes in the Brooklyn museum: papyrus Brooklyn 47.218.3 (pp. 35-49). Providence: Brown University PressDawson, W, P. (1925). An oracle papyrus: B.M. 10335. The Journal of Egyptian Archaeology, 11, 147-8.Dembitz, G. (2010). The oracular inscription of the High Priest of Amun Menkheperre in the Khonsu Temple at Karnak. In Hudecz, A, Petrik, A (Eds), Commerce and Kitchen, K, A. (1995). The Third Intermediate Period in Egypt 1100-650 BC (2nd ed). Warminster: Aris & Phillips Ltd.Lichtheim, M. (2006). Ancient Egyptian literature: The New Kingdom. 2. California: University of California PressLouvre Museum. (2020). Louvre Museum Collection. Retrieved From https://www.louvre.fr/en/moteur-de-recherche-oeuvresLull G, J. (2009). Beginning and end of the High Priest of Amun Menkheperre. In Broekman, G, P, F, Demarée, R, J, and Kaper, O, E (Eds). The Libyan period in Egypt: Historical and cultural studies into the 21st–24th Dynasties: Proceedings of a conference at Leiden University, 25–27 October 2007, 23 (pp. 241–249). Leiden and Leuven: Nederlands Instituut voor het Nabije Oosten and Uitgeverij Peeters. Masson, A. (2010). Un nouvel habitant de la rive est du lac Sacré: Le prophète du pieu sacré Pa-sheri-n-aset. Cahiers de Karnak, 13, 345–357.Moore, T. (2012). Oracles, pharaonic Egypt. Berkeley: University of California.Parker, R, A. (1962). A Saite oracle papyrus from Thebes in the Brooklyn Museum: papyrus Brooklyn 47.218.3. Providence: Brown University PressPorten, B. (1996). The Elephantine Papyri in English: three millennia of cross-cultural continuity and change. Leiden, New York: Brill.Ritner, R, K. (2009). The Libyan anarchy: Inscriptions from Egypt's Third Intermediate Period. Atlanta: Society of Biblical Literature.Ägypten und Altes Testament: Studien zu geschichte, kultur und religion Ägyptens und des Alten Testaments 21. Wiesbaden: Harrassowitz Verlag.Stoneman, R. (2011). The ancient oracles: Making the gods speak. New Haven: Yale University Press.Vernus, P. (2003). Affairs and scandals in Ancient Egypt. (David Lorton, Trans.). Ithaca and London: Cornell University Press. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
"The Pharaoh's sinister smile seemed to whisper love me… but fear me.." Embark on a journey into ancient Egypt's shadows with our latest episode, as we delve deep into the enigmatic life of Akhenaten, the heretic pharaoh whose legacy was damned by his own people. We uncover the intriguing tale of Akhenaten's formative years, shaped under the towering influence of his illustrious father, Amenhotep III. With the help of The Amarna Letters, we'll untangle the mysteries surrounding Akhenaten's bizarre physical traits and his shocking depiction in royal imagery, foreshadowing the turbulence of his later rule. As the young Pharaoh's arrogance grows, we witness Akhenaten's defiance against the powerful priesthood of Amun and his audacious vision to revolutionize ancient Egypt. Finally, we follow The Pharoah in his bold quest to establish a new capital city devoted to the sun god Aten, setting the stage for a monumental upheaval in the ancient world. Tune in to unravel the dark story of the heretic pharaoh, offering insights into one of history's most fascinating and controversial figures. Help support the show on Patreon! Sources and Attributions on our website. Learn more about your ad choices. Visit megaphone.fm/adchoices
Embark on a captivating journey through ancient Egypt as we explore the enigmatic deity, Amun, in our podcast series. Revered as the "Hidden One" and "King of the Gods," Amun's influence stretched from the Old Kingdom to the Greco-Roman period, leaving an indelible mark on Egyptian religion and culture. Join us as we unravel the secrets behind this multifaceted god, delving into his roles as creator, protector, and cosmic force. From his humble origins in Thebes to his ascendance as a national deity, we'll uncover the significance of Amun in the pantheon and his enduring legacy in art, architecture, and royal ideology. Each episode will immerse you in the rich tapestry of Egyptian mythology, shedding light on Amun's mysteries and the profound impact of his worship on ancient society.Read more at https://mythlok.com/amun/
Greeting's heathens and witches,Welcome to the Horn and Cauldron podcast…Deity worship was a crucial part of everyday life in ancient Egypt, and we know of more than 1,500 gods by name. With the exception of the reign of Akhenaten (17 years, in 14th c BCE), the Egyptians were a polytheistic religion. Today, we know the Egyptian deities by their ancient Greek names, and we'll be talking about Amun, Ra, Horus, Hathor, Sekhmet, Maat, Osiris, Isis, Set, Bastet, Anubis, Ptah, and Thoth. We also share their correspondences, and where they fit in with each other. Related episodes: Isis Deep Dive, episode 18: https://youtu.be/uJgMj6YQZh0?si=qIkUbK-1HMdesWh6Bastet Deep Dive, episode 59: https://youtu.be/uaJxmlF_YCM?si=qkSwUlGwz8TXH6atProtection Magic: Banishing and Warding, episode 70: https://youtu.be/8jl7fJQPOVY?si=zGz5oZ72SRxiLRfQ Sources:https://en.wikipedia.org/wiki/List_of_Egyptian_deitieshttps://en.wikipedia.org/wiki/Amunhttps://en.wikipedia.org/wiki/Horushttps://en.wikipedia.org/wiki/Osirishttps://en.wikipedia.org/wiki/Set_(deity)https://en.wikipedia.org/wiki/Thothhttps://en.wikipedia.org/wiki/Hathorhttps://en.wikipedia.org/wiki/Maathttps://en.wikipedia.org/wiki/Sekhmethttps://en.wikipedia.org/wiki/Anubishttps://en.wikipedia.org/wiki/Ptahhttps://en.wikipedia.org/wiki/Ancient_Egyptian_deitieshttps://www.egyptian-witchcraft.com/egyptian-gods-and-goddesses/https://coinandcandle.tumblr.com/post/695837503073239040/anubis-deity-guidehttps://occultist.net/ptah-offerings-rituals-prayers-powers/ ===== Links ===== Patreon: https://www.patreon.com/NerdJiveWebsite: https://www.nerdjive.com/ Etsy Shop: https://norgroveenterprises.etsy.com Jon's Social:TikTok: https://www.tiktok.com/@NerdJiveInstagram: https://www.instagram.com/NerdJive Twitter: https://twitter.com/NerdJive Julie's Social:TikTok: https://www.tiktok.com/@goddessjulessInstagram: https://www.instagram.com/goddessjules/Twitter: https://twitter.com/goddessjuless
The daughters of Akhenaten and Nefertiti were not just "ornaments" for their parents. Like many princesses, they also participated in the religious rituals and royal pageantry of the Egyptian government. In this interview, Courtney Marx (MA, George Mason University) joins us on behalf of the American Research Center in Egypt, to discuss the Amarna princesses and their role as priestesses. We also explore the history of royal women as priestesses and the unique roles they played in the temple rituals. Finally, we explore the aftermath of Amarna: how the visible roles, titles, and imagery of princesses changed following the death of Akhenaten and Nefertiti. The American Research Center in Egypt is celebrating 75 years of work in the Nile Valley. Dedicated to scholarship of the ancient, medieval, and modern worlds, the ARCE supports researchers and students, funds archaeological and scholarly work, and organises many public outreach programs. Learn more about ARCE at their website and follow the ARCE Podcast online and on all podcasting apps. Logo image: Block fragment showing two Amarna princesses (Metropolitan Museum of Art 1985.328.6). Photo by Courtney Marx. Further reading (provided by Courtney Marx): Ayad, Mariam F. “The God's Wife of Amun: origins and rise to power.” In Carney, Elizabeth D. and Sabine Müller (eds), The Routledge companion to women and monarchy in the ancient Mediterranean world, 47-60. New York: Routledge, 2021. Ayad, Mariam F. God's Wife, God's Servant: The God's Wife of Amun (ca.740–525 BC). United Kingdom: Taylor & Francis, 2009. Bryan, Betsy M. “Property and the God's Wives of Amun.” In D. Lyons and R. Westbrook, eds. Women and Property in Ancient Near Eastern and Mediterranean Societies. Washington, DC: Center For Hellenic Studies, Harvard University, 2005. Pawlicki, Franciszek. Princess Neferure in the Temple of Queen Hatshepsut at Deir el-Bahari: Failed Heiress to the Pharaoh's Throne? Études et Travaux 21, 109-127. 2007. Xekalaki, Georgia. Symbolism in the Representation of Royal Children During the New Kingdom. Oxford: Archaeopress, 2011. Troy, Lana. “Patterns of Queenship in Ancient Egyptian Myth and History.” PhD diss., Uppsala University, 1986. Williamson, Jacquelyn. “Death and the Sun Temple: New Evidence for Private Mortuary Cults at Amarna.” The Journal of Egyptian Archaeology 103, no. 1 (June 2017): 117–123. Learn more about your ad choices. Visit megaphone.fm/adchoices
Mr. Amun Thapa is the innovative founder and CEO of Nepal's leading E-commerce startup, Sastodeal. In this podcast, Amun Thapa joins two dedicated workers from Khalisisi, local waste entrepreneurs committed to addressing Nepal's pressing waste management issues. Together, they shed light on the challenges and opportunities within the waste management sector, offering valuable insights into sustainable solutions for a cleaner, greener future in Nepal.
JLF Sullivan suffered a series of setbacks while building a life building a family and business. The path to wellness brought her to Past Life Regression Hypnosis Therapy. After numerous sessions, she remembered memories of past lives. One of which was her life as the Princess of Lemuria. She explores that in her book, "Child of the Universe". Sullivan lays out the Lemurians were among the ancient aliens that colonized Earth. How they had a slave race harvesting crystals which remarkable properties in another star system. And how they reformed their society to abandon war, slavery, and created Amun; a land without need. However, their ancient cousins weren't as wise. These descendants of Atlas formed Atlantis and experimented with indigenous hominids and animals alike. They also inbred and found themselves helpless against a plague. Thus, began the reunification process of Atlantis to Amun/Lemuria. But it was not benevolent nor peaceful. This is her first hand account. #Lemuria #Atlantis #PastLives #Reincarnation #Aliens
公羊形的阿蒙神保护法老阿蒙霍特普三世 (Amenhotep III)，为埃及新王国十八王朝埃及文物，源于卡纳克穆特神庙，材质为花岗岩，长120厘米， 宽83厘米，高203 厘米。雕塑中的公羊为跪姿，而阿蒙神（Amun）雕塑在位于羊前腿之间。阿蒙神是上埃及底比斯的主神，以狮子的身体，公羊的头颅形象出现，因为也被称之为“狮身羊面像”。此器以阿蒙神公羊形态和太阳神拉相互联系。现收藏于意大利都灵埃及博物馆。
Tonight I tell you stories from Egyptian Mythology, including explanations about their context and meaning. We will meet all sorts of gods and creatures: Osiris, Isis, Ra, Horus, Atum, Shu, Geb, Amun, and the other gods from the Ogdoad, Ptah, Sekhmet, Hathor, Bastet, Anubis, Nephthys, and many more... Listen on Youtube: https://www.youtube.com/@LightsOutLibraryov ¿Quieres escuchar en Español? Echa un vistazo a La Biblioteca de los Sueños! En Spotify: https://open.spotify.com/show/1t522alsv5RxFsAf9AmYfg En Apple Podcasts: https://podcasts.apple.com/us/podcast/la-biblioteca-de-los-sue%C3%B1os-documentarios-para-dormir/id1715193755 En Youtube: https://www.youtube.com/@LaBibliotecadelosSuenosov
Winter arrives in the northern hemisphere tomorrow night. That's the time of the winter solstice. Tomorrow and Friday will be the shortest days of the year in the northern hemisphere. The Sun will rise farthest south for the year as well. Over the millennia, many cultures built observatories or temples to watch that sunrise. Doors, windows, or walls were aligned to frame the rising Sun. The alignments often honored the gods, and commemorated the fact that the Sun would be headed northward, bringing longer days. An early example is the Temple of Karnak in Egypt. It was built in Thebes, which was one of ancient Egypt's most important cities. The temple was established about 4,000 years ago, by the pharaoh Senusret I. On the winter solstice, the Sun rose through a narrow passage between high walls. It beamed into a sanctuary dedicated to Amun, the creator god and one of the most important gods of Egypt. The sunrise alignment was perpendicular to the path of the nearby Nile River, giving it extra significance. Several kings added to the temple in ways that emphasized the alignment. And over the centuries, many other temples were built in the complex. Almost all of them kept that same alignment — to the rising Sun on the winter solstice. The exact time of the solstice is 9:27 p.m. Central Standard Time tomorrow — the start of winter, which continues until the spring equinox, in March. Script by Damond Benningfield Support McDonald Observatory
Amun Thapa, the individual behind the inception of Sastodeal and a co-founder of Khaalisisi, additionally serves on the Governing Council of CNIYEF. Furthermore, he previously held a co-ownership position at the Irish Pub.
Karnak, Abydos, foreign wars, and prince Ramesses. In this interview, Prof. Peter Brand joins us once again to explore the life, reign, and legacy of Sety I. We also explore the rise of prince Ramesses (later King Ramesses II), who becomes increasingly prominent in the later years of his father's rule. Links and more info: Peter Brand at Memphis University. National Geographic documentary "Egypt: Quest for Eternity," on YouTube. Peter Brand articles and books on Academia.edu. Peter Brand, The Monuments of Sety I (2000), free pdf version at Academia. Peter Brand, Ramesses II: Egypt's Ultimate Pharaoh (2023) available now via Lockwood Press. Free preview at Academia. Peter Brand (with Rosa Ferleg and William Murnane), The Great Hypostyle Hall in the Temple of Amun at Karnak, volumes II and III (2018) free pdf versions via Chicago University. Volume I (by Harold Hays and William Murnane) also available via Chicago University. Learn more about your ad choices. Visit megaphone.fm/adchoices
An ancient Egyptian princess, an evil curse, and Dr Jekyll and Mr Hyde for some reason. In this episode, we shall look into The Mummy, from 2017, staring the likes of Tom Cruise, Russell Crowe, Sofia Boutella, and Jake Johnson.Email: mummymoviepodcast@gmail.comBibliographyAyad, M. F. (Ed.). (2022). Women in Ancient Egypt: Revisiting Power, Agency, and Autonomy. American University in Cairo Press. Hart, G. (2005). The Routledge dictionary of Egyptian gods and goddesses. Routledge. IMDB. (2023). The Mummy 2017. Retrieved from https://www.imdb.com/?ref_=nv_home Kapiec, K. (2016). Amunet in Thebes - how Hatshepsut developed the cult of the feminine form of Amun. In, 17rh Current Research in Egypology. Nile Scribes. (2017). The Mummy 2017. Retrieved from https://nilescribes.org/2017/07/08/an-egyptological-review-of-tom-cruise-mummy/ Ogden, J. (2000). Metals. Ancient Egyptian materials and technology, 148-177 Price, C. (2017). A review of ‘The Mummy': sex, death and inaccuracy. Retrieved from https://egyptmanchester.wordpress.com/2017/06/10/a-review-of-the-mummy-sex-death-and-inaccuracy/ Rotten Tomatoes (2023). The Mummy 2017. Retrieved from https://www.rottentomatoes.com/ Hosted on Acast. See acast.com/privacy for more information.
“Child of the Universe'' tells the apocalyptic tale of Atlantis and Lymuria, two ancient civilizations erased from the memory of mankind.Derived from a past life regression hypnosis experience, JLF Sullivan recounts in her debut novel the tumultuous lifetime of Kala, Queen of a matriarchal empire lost forever under a cataclysmic wave. In the chaos of her people's demise, Kala is taken prisoner to the island of Atlantis where she is experimented on for decades in search of a power inherited from her otherworldly ancestors.“Child of the Universe” unfolds an alternative history of our beginnings on this planet and departs as a warning of the apocalyptic parallels surrounding us as we embark into an apprehensive future:“Perhaps it was best that this story remained locked away within me since the great cataclysms. But now my story can no longer stay buried, it must rest once and for all. It is my hope that by sharing this with you, my story will free us from this cycle of destruction we have become entangled in...Maybe you too have dreamt of the great wave of Amun, it's towering greatness only to become your watery tomb. Or perhaps the mysteries surrounding the destruction of Atlantis have pulled your attention time and time again. It is my greatest wish that we may come to remember and understand our lost history so we may break free from the amnesia surrounding our humble beginnings. There is something you cannot deny, something that you have felt for all your days that tells you that you are connected to something greater. The lives we live now and those of the long-forgotten past will begin to show their true relationship as we together journey back to the lands of Amun and Atlantis.”This is the companion novel to "A Hypnotist's Journey To Atlantis" by Sarah Breskman Cosme. If you have ever wondered about alternative theories regarding our origins on Earth or are interested in Ancient Alien theory, Past Life Regression, or Quantum Healing, this book brings a new perspective to the table. Understand the connections of Past Lives and their purpose in our current lives, Lemurian Crystals, Pleiadian starseeds, hybrid alien children, crystal healing, Quantum travel, crystal powers, energy healing, spiritual healing, Mount Shasta Lemurian portal, Telos, Underground cities, animal people of Atlantis, destruction of Atlantis, stone circles, monoliths, the Sphinx and the powers of Ancient Egypt, the Red Crystals and more.Author JLF Sullivan's personal journey into the world of past lives and healing has been detailed in her books "Child Of The Universe," and "The Gift Of The Stars" as well as in the"A Hypnotist's Journey" series by Hypnotist Sarah Breskman Cosme.Before her fortuitous encounter with the metaphysical, JLF Sullivan worked as a journalist in America, Europe, and the Middle East, and also as a business owner and middle school teacher in the Florida Keys. JLF Sullivan holds an MA in International Journalism from the City University of London, an MSc in Development Studies from the School of Oriental and African Studies at the University of London (SOAS), as well as a BA from NYC's Fordham University in International Studies.Currently, she is working on her third book in the Child Of The Universe series, "The Daughters Of Man." In her spare time JLF Sullivan is growing her independent publishing house, "Red Crystal Publishing," and is building an off-grid homestead in Hawai'i with her family.https://www.jlfsullivan.com/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2790919/advertisement
A long lost Egyptian royal cache, theft, and a moral conundrum. It can only be one of the greatest Egyptian films of all time, The Night of Counting the Stars. In this episode, I shall look into the fascinating background information of the film, asses its historical accuracy, and review the film.Email: mummymoviepodcast@gmail.comBibliographyAfrica in motion. (2023). Al-Mumia: The night of counting the years 1969. Retrieved from https://www.africa-in-motion.org.uk/ Aldred, C. (1979). More light on the Ramesside tomb robberies. In J. Ruffle, G. Gaballa, and K. Kitchen (Eds), Glimpses of Ancient Egypt: studies in honour of H. W. Fairman (pp. 96-99). London: Aris and Phillipsal-Salām, S. A., & Toufic, J. (1999). The Night of Counting the Years (aka The Mummy). Discourse, 21(1), 89-126. Belova, G. A., & Graefe, E. (2010). The royal cache TT 320: A re-examination. Der el Kutub. Broekman, G. (2018). The 21st Dynasty: The theocracy of Amun and the position of the Theban priestly families. The Coffins of the Priests of Amun: Egyptian Coffins from the Collection of the National Museum of Antiquities in Leiden, 13-20. Cinema Sojourns. (2022). The Night of counting the years. Retrieved from https://cinemasojourns.com/ Cooney, K, M. (2009). Private sector tomb robbery and funerary arts reuse according to West Theban documentation. In Toivari-Viitala, J, Vartiainen, T, and Uvanto, S (Eds), Deir el-Medina Studies: Helsinki, June 24-26, 2009: proceedings (pp. 16-29). Helsinki : Suomen Egyptologinen Seura ry.Ikram, S. (2001). The iconography of the hyena in Ancient Egyptian art. Mitteilungen des deutschen archaologischen instituts abteilung Kairo, 127-14IMDB. (2023). The night of counting the years. Retrieved from https://www.imdb.com/?ref_=nv_homeJohnston, J. (2013). Rewriting History: Shadi Abdel Salam's ‘The Night of Counting the Years'. A. Dodson et al. A Good Scribe and An Exceedingly Wise Man: Studies in Honour of WJ Tait, 168-176. Rotten Tomatoes (2023). The night of counting the years. Retrieved from https://www.rottentomatoes.com/ Hosted on Acast. See acast.com/privacy for more information.
Sety I (Part 3): The Great Hypostyle Hall of Karnak. In 1302 BCE (approximately) the pharaoh of Egypt Men-Ma'at-Ra Sety I commissioned a remarkable monument. A hall of columns, near the entrance of Karnak sanctuary, would be a gathering place for the gods and the faithful. This hall, called “Sety is Effective in the House of Amun,” is now one of Egypt's most famous (and most photographed) monuments… Details and sources: Date: c. 1302 BCE (Year 2 of Sety I). Music: Keith Zizza and Bettina Joy de Guzman. Enjoy some natural, high-quality skincare with Ra Egyptian, and use the checkout code EGYPT for 30% off your order! https://ra-egyptian.com/ The Hypostyle Hall: Publications by The University of Chicago Epigraphic Survey: https://isac.uchicago.edu/research/publications/oip/great-hypostyle-hall-karnak-volume-1-part-1-wall-reliefs and https://isac.uchicago.edu/research/publications/oip/oip-142-great-hypostyle-hall-temple-amun-karnak Texts: Kenneth Kitchen's Ramesside Inscriptionsvolume 1. Hieroglyph versions at Internet Archive, English translations at Abercromby Press. Peter Brand, Ramesses II: Egypt's Ultimate Pharaoh, out now from Lockwood Press. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this week's episode we nerd out on the esoteric symbolism coded into the fifth numbered card of the Major Arcana of the Tarot, The Hierophant also known as The Pope and the High Priest, Magus of the Eternal Gods. We discuss the divinatory meaning of the card, its etymological roots, biblical references and the priesthoods of Ancient Egypt. We explain why the Pope's zodiacal association is with Taurus and of course what it has to do with Venus and the Moon. In the extended show we discuss the Apis Bull, the birth of the Cretian Minotaur, the magick of the number 5, the golden ratio, the Hebrew letter Vav, The Tree of Life and of course the Gematria woven into the Thoth version of the card. We learned a lot researching this episode, so we hope you will too, thank you and enjoy the show!In the free show we discuss:Pope / Hierophant EtymologyDivinatory MeaningSaint Peter, the Pontifex MaximusInstitutional PowerThe Sign of BenedictionThe Crossed KeysConnections to The High Priestess, Magus and EmperorEgyptian Priesthood of AmunZodiacal TaurusThe Bull of Wall Street?In the extended show available at www.patreon.com/TheWholeRabbit we go further down the rabbit hole to discuss:The Apis BullBirth of the MinotaurThe Pentagram and Number 5The Aeon of HorusThe Hebrew VavCrown and Mace of OsirisPath 16: The Eternal IntelligenceThe Book of the LawNine Inch NailsThe Snake and the DoveEach host is responsible for writing and creating the content they present.Where to find The Whole Rabbit:Spotify: https://open.spotify.com/show/0AnJZhmPzaby04afmEWOAVInstagram: https://www.instagram.com/the_whole_rabbitSources:Book of Thoth:http://www.thule-italia.net/esoterismo/Aleister%20Crowley/Aleister%20Crowley%20-%20The%20book%20of%20Thoth.pdfTree of Life:https://upload.wikimedia.org/wikipedia/commons/1/19/Tree_of_Life_2009_large.pngHebrew Vav:https://www.chabad.org/library/article_cdo/aid/137078/jewish/Vav.htmSupport the show
The gods and goddesses of Ancient Egypt were an integral part of the people's everyday lives for over 3,000 years. There were over 2,000 deities in the Egyptianpantheon, many whose names are well known - Isis, Osiris, Horus, Amun, Ra, Hathor, Bastet, Thoth, Anubis, and Ptah among others - but many more less so who were also important. Support us on Patreon: https://www.patreon.com/whencyclopedia Original Article: https://www.worldhistory.org/article/885/egyptian-gods---the-complete-list/
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Coach Gessie & Dr. Amun Talks The Detox Now, Beating Fibroids + MoreSee omnystudio.com/listener for privacy information.
阿蒙雕像（Statuette of Amun），为约埃及第三中间时期第22王朝的文物，高17.5 厘米，宽度4.7 厘米，重量 0.9 公斤。在这个雕像中，阿蒙传统的站姿和左腿向前。他的特征是他的标志性的平顶王冠，它原先支撑着两个高高的金色羽毛，现在不见了。他戴着神的编织胡须，头戴一根卷毛，左手拿着一个安克徽章，胸前插着一把弯刀。现收藏于大都艺术博物馆。
Horemheb's Lesser-known works and monuments. A selection of "off-cuts" from the Horemheb narrative including the Luxor Cachette, Horemheb's burial(s) of the Apis Bulls, and the rock-cut temple at Gebel Silsila. Music and Interludes: Luke Chaos. Additional music interludes: Keith Zizza. See statues from the Luxor Cachette in Luxor Museum, Wikimedia. Logo image: Horemheb with Amun, from the Luxor Cachette (Photo by Dominic Perry, 2022).
Amun is a new fighter in the UFL (United Fight League) which we learned about in a few episodes back with Harrison Rogers, but he's not new to the fight game altogether. Amun is joining the show to talk about his very diverse sports / athletic background, and discuss his journey to becoming a professional MMA Fighter. In his last fight, during UFL 1, he fought another guest of ours, Jackson Filho and we'll discuss the way that fight went down as well! Stay tuned to find out more of Amun's opinions on the UFL and the structure they have to provide health care for their fighters. Amun will open up about that part of the sport and how that impacted his training overall! You don't want to miss it! Again, apologies are given for my audio (on my side) of the interview as there were connection issues during the recording If you'd like to follow Amun on his journey, make sure to check out his social media pages!! Instagram: https://www.instagram.com/amun_cosme_mma/ Facebook: https://www.facebook.com/amun.cosme Watch Party: https://millions.co/amun-cosme-mma?fbclid=IwAR0k9VJOS8WEEJyEz2JFrVyrPtSeNXHlLLgono7anWEII2GdKAgfJykyoDg ________________________________________ Calling ALL entrepreneurs!! If you are a business owner, and you are interested in utilzing online sales, then you MUST USE this tool to help you with it! ClickFunnels will allow you to have an enterprise account to do everything you need for your business! (Including: Websites, funnel building, emails, products, etc) Make sure to get a solid deal by going HERE for your offer! ________________________________________ Ripp'd Nutrition is a locally owned and operated supplement store here in Boise, Idaho. Hours of Operation: Mon - Fri 9 - 6 Sat 10 - 5 Sun 10 - 4 Phone # 208-832-8781 If you have any questions just give me a call 208-965-1096 or DM them on Instagram They offer free one on one and group supplement consultations (Like high school sports teams for players and parents) If you wante to try out the Ripp'd Series you won't be dissappointed, but you can also check out the other brands that they offer like Hypd Sups, Insane Labz, Bucked Up, Innova Pharm, Chaotic Labz and many more!! Come check them out if you live in the Boise, Idaho region! Address is: 1120 N Milwaukee St, Boise, ID 83704 ________________________________________ If you enjoy the show and would like to WATCH the interviews, make sure to give me a follow on YouTube and catch the full VIDEO conversations there as well! Followon YouTube: https://www.youtube.com/channel/UCqHG9H7vljaLwQ765GIdBQA ________________________________________ If you want to get healthy and enjoy a solid tasting protein bar (that doesn't taste like "astronaut food" (as my mother would say) then you need to get on with BUILT! You can get 10% off your order by using referral code: GTGSHANEL So just head to https://builtbar.com?baapp=GTGSHANEL today and get your order put in! It helps us both out ;)
What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Welcome back. Can you look at a piece of jewelry and say, maybe not exactly where it came from, but the period? It's late; it's early? Can you look at one and know? Sara: To put it in a bigger perspective, something about this collection of material that makes it so special is that it is all from documented archaeological excavations that were carried out in the early 20th century. Jewelry can be quite challenging if you have no context for a piece other than by comparing it stylistically to other known examples. It can be quite difficult sometimes to try to approximate when and where something was made, or to say with 100% certainty that it's even ancient if you have no context for it. A lot of the same materials and techniques that were used in antiquity are used or can be mimicked today. But with all of this material, it came from documented archaeological excavation, so we know exactly where it was found. Thanks to that context, we are able to say approximately the time period in which it must have been made and used and placed in the tomb. I suppose you could compare other surviving examples with what we now know from the archaeological record, but with this material, we are able to be absolutely certain of its authenticity and the time period in which it was being made and used because we have that archaeological context. Because Nubia had such a close relationship with Egypt and they engaged in so much exchange, there are some pieces that are found in Nubian contexts that might have been made in Egypt and imported to Nubia. It's often very difficult to say precisely where something was made because they were using very similar techniques and materials and iconography. So, there are a number of pieces in the exhibition that we think might have been manufactured in Egypt and then imported into Nubia. But even where that's the case, those objects clearly have value to the Nubians because they speak to their cultural and religious beliefs and priorities. Sharon: So, people would wear this jewelry in life, the pectorals or amulets. Did they have the same thing in their grave? Were they buried with what they wore, or did they have something special for it? Is it something made just to be buried with? Sara: It's both, actually. These royal tombs contained rich assemblages of jewelry. Some of the items do appear, based on signs of wear, to have actually been worn in life and then placed in the tomb with the deceased. There are also pieces that appear to have been made specifically to go in the burial, things that are very, very delicate and seem like they would not have been able to work in real life, or certain objects that are made specifically for funerary contexts. There's one piece in the exhibition from the Napatan Period that's really exquisite. It's this large, gold repoussé image of the goddess Isis, who is kneeling and stretching her wings out in a protective gesture, but at the tips of her wings and below her legs are these little tabs that each have a hole punched in them. The piece is too delicate, it seems, to have been something that someone would wear in life. And because of those little tabs with the punched holes, we believe it was probably manufactured specifically for this king's burial, and that it was meant to be sewn into the linen mummy wrappings that were used to mummify his body. Often there were amulets, protective icons, pieces of jewelry that were incorporated into the wrappings during the mummification process. So, it's both. Some of these pieces were probably worn in life and then taken to the tomb, and some of them were made specifically for the burial context. Sharon: I'm surprised you can even tell the difference between Egypt and Nubia with the cross-pollination. You talk about Isis. Being an expert, how does somebody know it was Egyptian? The only thing I've heard is that earrings were Egyptian. There weren't earrings before that. Sara: It's actually the other way around. This is one of the areas where the Nubians may have influenced the Egyptians. Earrings appear in Nubia before they appear in Egypt, so it's possible the Egyptians got the idea for earrings from the Nubians. As I mentioned, too, the fly pendant ornament originates in Nubia and gets adopted by the Egyptians. So, there is influence going in both directions, and where the Nubians incorporate Egyptian religious ideas, religious iconography, protective icons, they're still adapting it. They're not directly copying it necessarily. They're adapting it to their local traditions, to the types of materials they work with, to the types of objects and ornaments they make. It's not necessarily just a direct copy. In some instances, it is hard to tell whether a specific piece was made in Nubia versus Egypt. But with the burials themselves, we know these are Nubians and not Egyptians because we're looking not just at the jewelry, but at the overall burial itself, the whole object assemblage, the types of materials they're being buried with. In addition to the jewelry, there would be things like vessels, pottery, tools, weapons, things that give us a bigger picture. The cultural identity is not just the jewelry, but also the way in which they're buried and the place in which they're buried. In the Kerma Period, they used a very distinctive type of burial. They used tumulus burials, these big, beehive-shaped mounds, which was a distinctive type of burial. Over time those mounds get larger and larger, and we can tell that some of them must have belonged to Kerma rulers. Even though there are now written records during that period, we're going strictly by the archaeological record. In the Napatan Period, they actually used Egyptian hieroglyphs for monumental inscriptions. We do start to get some written records that we can read, and when these kings' and queens' tombs were excavated, there were often items within the tomb inscribed with their names. So, we know who these tombs belonged to, and they belonged to Nubian and Napatan kings and queens. It's really looking at the big picture and not just at the jewelry specifically to identify who these items belonged to and whose burials they come from. Sharon: First, I want to know how anybody even knew these tombs were there. Everything you're describing, at least from the description of what was in the tombs, is what Carter found when he opened the tomb just a few years later, maybe 10 years later. I'm just wondering how they knew these tombs were there. How did they know that? Was it just the beehives that were standing on a farm? Sara: The material that's in the MFA Boston was all excavated in the early 20th century, from 1913 to 1932, by a joint Harvard/MFA Boston expedition led by an American archaeologist named George Reisner, who worked in both Egypt and Sudan. He took a team to Sudan that ended up excavating at Kerma, Napata and Meroë. He was tremendously successful in what he discovered, and he essentially rediscovered the city of Kerma. There have been excavations within the city itself, but they also discovered this vast cemetery outside of the city containing tens of thousands of these tumulus burials. Then at Napata and Meroë, they're utilizing pyramid burials, which are still visible on the landscape. You can walk up to them. He was really the first to do these rigorously documented, professional archaeological excavations of these places, and he found a tremendous amount of material. I should also mention the way it ended up in Boston is that, at the time, Sudan practiced the partage system, so he finds would essentially be split 50-50. About half the materials remain in Sudan, where it is now in the national museum in Khartoum, and about half the material was allowed to be taken back to Boston by Reisner, where it became part of the MFA collection. So, the MFA is now home to the largest and most significant collection of Nubian archaeological material in the world outside of Khartoum. Sharon: Did they suspect that there were these kingdoms, but nobody ever found them? Is that what happened? How did he start digging? Sara: To be perfectly honest, I would have to go back and double check how he determined exactly where he wanted to begin. Sharon: Why should we care about the Nubians? Why should we care about these kingdoms? You describe how it kept moving further south. That's usually because of agriculture. What caused them to move, besides invasion? Sara: That's a broad question. I don't know that we necessarily know for certain what was motivating them to move from one city to the next. In terms of the question of why we should care, that's something we could ask about any ancient civilization. It does raise this broader question about relevance that a lot of audiences are asking. I would say for Nubia especially, this is the region in northeastern Africa where some of the earliest civilizations of ancient Africa are arising. This is an incredibly important region that was also a real crossroads for international trade, given their connections to the Red Sea, into central Africa, into sub-Saharan Africa, and eventually out into the broader Mediterranean world. This was a very interconnected place with rich natural resources where some of the earliest complex civilizations of ancient Africa arise, so I think we absolutely should care about it. Speaking in terms of jewelry specifically, this is the place where some of the most exquisitely crafted, sophisticated pieces of ancient jewelry in the world were produced. They were incredibly skilled artisans who developed techniques for working with these materials that in some cases, like I mentioned with the enameling, were believed to have been invented in the modern era until recently. Sharon: That's amazing. I always have to think about the fact that they didn't have electric lights and they had to work by candlelight. They had to deal with sunlight only. I don't know exactly how to phrase this, but most of the time, if I were to take a piece from the little room of jewelry at the Getty Villa, and I want to take it out and put it on my wrists, nobody would know the difference. Would you say that's the same with a lot of this? Sara: I think so. It always strikes people how contemporary some of these pieces look. They look like things that could have been made today. Sharon: Were they going back or was this the start of it? Were they going back and building on what had been done before? Sara: They were really pioneers. They were developing new techniques and new styles for working with this material. In the pre-Kerma phase, in the archaeological record, there are items of personal adornment that are made from things like shell or imported faience sometimes, simple strings of beads, that kind of thing. But then as they develop kiln technology to make pottery, they're also able to apply that to making faience and eventually glass. They develop, as I mentioned, these very sophisticated techniques for working with different semiprecious stones, for working with gold, for working with glass and enameling. They're really not looking back to any existing precedent. They are developing these techniques for the first time. Sharon: That's amazing. You wonder why each civilization or each culture seems to have certain things that are ubiquitous, like a ram's head. You wonder, where did it start? What keeps your attention about all of this? Is it the cross-pollination? Sara: I don't even know where to begin answering that. I find this material endlessly fascinating. Every time you look at it, you see or appreciate something new, the intricacy of it, or as I mentioned, the ways in which this jewelry for the ancient Nubians is not just a status item. It's not just something beautiful to look at and wear. It's imbued with all of these layers of meaning. It reflects so many aspects of Nubian society and Nubian beliefs and Nubian practices. Because of the relative lack of written records from ancient Nubia, we are reliant on the archaeological record. So much of this jewelry helps us more broadly understand ancient Nubian society. I think you can come back to it and look at it over and over again and find new levels of meaning in it every time, as well as being able to appreciate how beautiful it is. Sharon: But you must have seen a lot of ancient jewelry. You've seen Greek and Roman and Egyptian and Nubian. What keeps your attention? What's so fascinating that it would keep your attention for so long? Sara: I think everything I just mentioned. The jewelry across ancient societies is fascinating for those same reasons, that it typically is not just about beauty and personal adornment. It's also reflective of cultural and religious beliefs, but I think it's the fact that this material is some of the earliest of its kind as well. As I mentioned, they're pioneers in developing new techniques or adopting techniques from other places and reengineering them as they did with faience, which was being made in Egypt prior to Nubia. They reengineered it, figured out how to make it for themselves. They were developing these unique techniques like the glazed quartz, the enameling techniques. It's incredible to think that 3,000, 4,000 years ago, people were making these items and developing these technologies and with handmade tools and natural light, and it would be very difficult to control temperatures of a kiln. It's incredible. Sharon: It is incredible. I know the Getty Villa is different than the Getty Center. The Getty Villa is a replica of a Roman villa, and it has a little room that has just jewelry. It's very small. It's a jewel box of a room, really. Do they have Nubian jewelry in there? Sara: We do not. We do not own any ancient Nubian jewelry in our permanent collection at the Villa. The Villa is a separate site from the Getty Center. We are home to the Getty Museum's Antiquities Collection specifically. Our permanent collection of antiquities is predominantly Greek, Roman and Etruscan. This Nubian exhibition is part of a broader initiative we've been engaged in in recent years, where we're trying to bring in special exhibitions featuring material from other ancient cultures and civilizations so our visitors can get a bigger picture of the ancient world. It's also so we're not perpetuating this idea that in antiquity, Greek and Roman are all there is. There's so much more than that. What's reflected in our permanent collection is Greek and Roman. So, through this special exhibition program, we're able to highlight other cultures. We also recently had a big exhibition on ancient Persia that included some stunning items of Persian jewelry. Sharon: I missed that one. Sara: We don't have any Nubian or Egyptian jewelry in our antiquities collection, so this is a unique opportunity. As I mentioned, this material is housed at the MFA Boston, so it's a unique opportunity for people on the West Coast to see a major exhibition of ancient Nubian material, but it is quite different. You can see some stylistic similarities like I mentioned with the Meroitic Period, when they have those trade connections to the Greco-Roman world. You can see stylistic similarities between some of our Greco-Roman pieces and some of the pieces in the Meroitic section of the exhibition, but it is very distinctive. It's a nice counterpoint. We have at the Getty a pretty significant collection of ancient, engraved gemstones as well as some Hellenistic gold jewelry and finger rings. You can see similarities. Finger rings with carved bezzles became very popular during the Meroitic Period as well, so you can see some similarities there with the rings being made in the Greco-Roman world. Sharon: If you haven't seen the little room with jewelry there, you could take any piece from the Greco-Roman era—and it's probably true of the Nubian era, too—and put it on, and nobody would know the difference if you went to the market. Sara: Yeah. Sharon: Something I came across mentioned the role of women in Nubia, that there was a stronger role. Can you tell us something about that? Sara: Yes, it seems throughout ancient Nubian history, in the Kingdom of Kush, royal women held particularly high status. We can see that in a few different ways. We can see that in their burials. We can see it some of their individual items of jewelry, which I'll mention, and we also see it in some of the practices that were being implemented, the roles that royal women had. In the Napatan period, there were a group of royal women who became associated with the god Amun and were sent to Thebes in Egypt, which was the Egyptian center of the worship of Egyptian Amun. These women were made into high priestesses of the god at his temple there. So, they held these very high-ranking, powerful positions, and these were royal women who were relatives of the Napatan kings who were also ruling in Egypt. They had great religious significance in this very important role, where they were sent to Egypt as god's wives of Amun, what we call them, or high priestesses of Amun. During the same period, there are some items of jewelry in royal women's tombs at Napata that speak to their importance. For instance, there's a piece in the exhibition that is easy to overlook because it's very small, but it's definitely worth taking the time to look at. It's a little silver pendant that shows the goddess Hathor, who I mentioned previously is the goddess of love and fertility and motherhood who gets adopted and becomes very important in the Nubian culture. It's an image of Hathor, and she is nursing a Nubian queen named Nefrukakashta. The item was found in her tomb. So, she is receiving, essentially, divine lifeforce from Hathor through being nursed by her. This is important because this was also a composition we see in Egypt, but there it's only the kings who appear being nursed by Hathor. The king is embodying a divine role as pharaoh, so he receives divine lifeforce from Hathor. You never see royal women in ancient Egypt in this pose being nursed by Hathor, but in Nubia, we see it. The status of royal woman is higher there. They're considered worthy of being show in this position of being nursed by the goddess herself. By the time we get to the Meroitic Period, the final phase of the kingdom, there's actually a series of queens who take the throne for themselves and they rule as sole rules. These were very powerful women ruling over the Kingdom of Kush in its final phase, one of whom even famously fought off attempts at invasion by the Roman emperor Augusts. She signed a peace treaty with him to protect the border between Nubia and Egypt, which at that time had become a Roman province. So, royal women in ancient Nubia achieved very high status. Sharon: I think that's very interesting. I could talk to you for hours about the history of women and what happened after that. Thank you so much, Sara, for being with us today. I just want to remind you about the exhibit. I listened to a webinar and looked at the press release. It looks like it will be a very interesting exhibit. I look forward to seeing it in person live. It's through April 13. Dr. Sara Cole is the assistant curator. Thank you very much for being here today. Sara: Thank you so much for having me. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Sara received her Ph.D. from Yale, which is amazing. She's an expert in ancient history and a specialist in material culture of Greco-Roman Egypt. She has studied the cross-pollination of cultures, and we'll hear a lot more about it today. Sara, welcome to the program. Sara: Thank you for having me. Sharon: So glad to have you. Tell us about your own journey. Did you come to jewelry through antiquities or archaeology, or the other way around? Sara: Yes, through my study of archaeology and Egyptology as a graduate student. That was primarily my introduction to this material. I became familiar with Nubia primarily through the MFA Boston's tremendous archaeological collection of Nubian material. When I was a graduate student at Yale back in, I think, 2011, I took a graduate seminar on Nubian archaeology with a Nubian specialist named Maria Gatto. In one of our classes, we took the train to Boston and got to spend a day going through the storerooms of the MFA looking at Nubian material. We were primarily looking at pottery that day, but we did get to see some other objects as well. In 2014, MFA put on its own small exhibition featuring their Nubian jewelry collection, so that brought that material a little bit more into public view. Then in 2019, the MFA did a big exhibition bringing out highlights of their full Nubian collection that was called “Ancient Nubia Now.” Since 2019, they very generously sent parts of this collection to different museums for exhibitions around the world. We're very fortunate at the Getty Villa that we were able to borrow some of these stunning pieces of jewelry and personal adornment from that collection for this current exhibition. Sharon: I have to ask you. When you were younger, you say you were interested in Egypt and ancient periods, but very few people go into archaeology. How is it that you stuck with it? Sara: Museums were really my entry point to the ancient world as a child, which I think is true for a lot of us. I grew up in a small town in Virginia and wasn't exposed to major museum collections as kid, but we had a small, local museum. It featured mostly local contemporary artists, but one summer they put on view a small touring exhibition of Egyptian material from the Virginia Museum of Fine Arts in Richmond. I was probably 11 or 12 years old. That was my first exposure to ancient Egyptian material, and I just found it incredibly captivating and compelling, and I stuck with that interest. I ended up doing a bachelor's degree in classics and then my Ph.D. in ancient history, where I studied a combination of Egyptology, classics and art history. But I've always had a great passion for museums in particular because it was my personal entry point to the ancient world. We do have the opportunity, through putting on exhibitions like this, to reach such wide audiences and to bring this material to their attention, things they've maybe never seen or considered before. It's a really wonderful opportunity. Sharon: It really is. When you say Nubia, a lot of us haven't really thought about Nubia or Nubian jewels. That's the entry point or the foundation. What is Nubia? What do you mean by Nubian? Sara: That's a great question, because I think a lot of people have heard of Nubia but they're not quite sure what it is. Traditionally it has received a lot less attention than ancient Egypt, which is this huge, looming civilization. When we talk about ancient Nubia, we're really talking about a geographical region that was located immediately south of ancient Egypt. They were neighbors. In terms of modern-day geography, it reached essentially from Aswan in what is now southern Egypt down to about Khartoum in present-day Sudan. The contemporary political border between Egypt and Sudan cuts across part of what was ancient Nubia, when the border was located further north between Nubia and Egypt. So, it's essentially this geographical region going across part of what is today southern Egypt and northern Sudan. For parts of its ancient history, Nubia as a region was actually home to several different cultural groups. It wasn't always a single, unified culture. So, when we talk about Nubia, we're talking about the geographical area, and then there were different cultures that lived within Nubia. Around the third millennium B.C., a political institute called the Kingdom of Kush—because the region was known as Kush in antiquity—arose at the city of Karma in what is today Sudan. It eventually came to conquer essentially all of the region of Nubia. The Kingdom of Kush lasted on and off for a period of almost 3,000 years, and it moved to different capital cities in different phases. It first arose at Kerma in the third millennium B.C., then moved further south to a capital called Napata, which was also along the Nile River, around 750 B.C. Then in its final phase, starting around 350 B.C., it was centered at a city even further south on the Nile River called Meroë. So, when we talk about ancient Nubia, we're talking about that region, but for this exhibition, we're really focusing on items of jewelry that were worn by royalty and the elite of the Kingdom of Kush that were found at these three successive capital cities. Sharon: I was going to ask you if Napata and—is it Morocco? Sara: Meroë. Sharon: Meroë. I've heard so much about it, but did they all have jewelry? Did the royalty all have jewelry at all three of these sites? Sara: Yes, absolutely. Throughout human history, I think in all cultures we see personal adornment as a universal means of self-expression. It's a means of expressing status and power. But also in antiquity, much of this jewelry, either the materials themselves or the iconography incorporated into it, had symbolic religious significance. Items of jewelry were often amuletic and protective, or they could signify one's status in society, one's role. They reflect a lot about an ancient culture's social organization, religious beliefs, communities, etc. These items of jewelry speak to so much more than being aesthetically beautiful status items. So, yes, even very early in Kerma and even in pre-Kerma archaeology, we find items of jewelry in the archaeological record. Jewelry was very essential, especially for rulers and for individuals of high status, to express themselves in ancient Nubia. Sharon: Did both men and women have jewelry? Sara: Yes, they did. Men, women, children, and sometimes even very prized royal animals were adorned with jewelry. Sharon: Were these from tombs or graves? Sara: Yes, essentially all of the items in this exhibition were excavated from royal and wealthy burials. This was material that people valued in life but also chose to take with them to the grave. As a I mentioned, a lot of these pieces have iconography that is protective or amuletic, which would have particular significance in the context of the tomb. These are images that are going to protect you as you are making your transition to the afterlife. So, all of the material was excavated from burials. That is primarily where we find these high-status jewelry items still surviving. They survive because they were buried, and people didn't have the opportunity to reuse them or repurpose the materials. Sharon: First of all, I think I forgot to say that this exhibit is only on until April 3, which comes up quickly. I can't remember if I said that or not. Sara: Yes, two more months to go see it at the Villa. Sharon: When you say it's like a dynasty or the Kingdom of Kush lasted 3,000 years, I have this idea that it rose high and then it was—I don't want to say nothing, but they weren't reading. It was like the Dark Ages in a sense, really dark, and then it rose again in a different place. How did that work? Sara: The Kingdom of Kush went through fluctuations over that 3,000-year period. I wouldn't necessarily call it dark ages. The Nubians simply never developed the same tradition of extensive written records like we get from Egypt, so much of our knowledge of Nubia comes from the archaeological material. We just don't have extensive written historical documentation from this region. It wasn't part of the culture. They had a very complicated relationship with their neighbor to the north, Egypt, which is largely the reason for these periods of rise and fall. The Kingdom of Kush arose, like I mentioned, at Kerma in Sudan, during which time in northern Nubia, there were other cultural groups inhabiting that region who were in conflict with Egypt. The Kingdom of Kush eventually was able to take that region and unify Nubia under its rule. Kerma flourished for almost 1,000 years, from about 2,400 B.C. until roughly 1,550 B.C. But what happened around 1,550 was that Egypt entered into a very powerful period in its history, the New Kingdom, the rise of the Eighteenth Dynasty, and those kings invaded Nubia and took over. They occupied Nubia for about 500 years, during which time we don't have a tremendous amount of archaeological evidence for what was going on. But it seems like Nubians and Egyptians were essentially coexisting in Nubia during this period. As you can imagine, over 500 years, there's a huge amount of cross-cultural exchange as a result of the Egyptian presence in Nubia. Some Egyptian religious ideas get incorporated into local Nubian tradition, as does a lot of iconography. There are a lot of ways in which the Nubians start adapting some Egyptian concepts to their own local practices. Then the Egyptians get pushed out of Nubia around 1,000 B.C. approximately. The Kingdom of Kush starts to regroup and rebuild itself, and it reappears fully around 750 B.C., now at the capital city of Napata. What's interesting at the beginning of the Napatan phase is that the Nubians turn the tables on Egypt and invade them. They take over Egypt and rule for about 80 years. For that 80-year period, staring around 725 B.C., the Kingdom of Kush is at its greatest extent, going all the way from what is today Sudan up to the Mediterranean coast, ruling over both Nubia and Egypt. After that 80-year period, they get pushed out of Egypt but are still ruling the Kingdom of Kush from Napata. We see some really interesting ways in which the rulers of that 80-year period adapted an Egyptian mode of self-presentation. They're trying to present themselves as legitimate pharaohs in Egypt. They start presenting themselves in a way that is adapted from earlier pharaonic styles of self-presentation. Even though the Nubian kings are spending some time in Egypt, they choose to be sent back to Napata for their royal burials, and they start using pyramid tombs during this period. They start practicing mummification and incorporating some Egyptian-style object assemblages into their burials. We see some of those practices get adapted during this 80-year period, including the incorporation of a lot of Egyptian religious iconography into their jewelry. We see those trends continue later, even when they're no longer ruling in Egypt. Then during this Napatan phase, which lasts roughly 400 years, they start to gradually shift the capital further south to this third city of Meroë. By around 350 B.C., both the administrative capital and the royal cemetery have moved to Meroë, and this is the final phase of the Kingdom of Kush. This is a phase that lasts from roughly 350 B.C. to 350 A.D., when the Kingdom of Kush falls. It corresponds with the conquests of Alexander the Great throughout the eastern Mediterranean and ancient Near East, the rise of his successor kingdoms and then the rise of the Roman Empire. But throughout all of this, the Kingdom of Kush maintained its political independence. It never became part of Alexander's territories; it never became part of the Roman Empire, unlike Egypt, which did. They had a complex relationship with Rome, who at times tried to take Nubia unsuccessfully, but they were also connected to these vast trade networks that connected the Mediterranean and the Near East throughout the Roman Empire. It was a very cosmopolitan place, ancient Meroë. They were very closely connected through trade networks to the rest of the world. They were also producing some incredibly high-status pieces of jewelry with really exquisite craftsmanship. Then the Kingdom of Kush falls around 350 A.D. That's the big picture of what we're looking at here, with the history of the Kingdom of Kush and its different phases. Sharon: When you say Nubia, is that the same as the Kingdom of Kush? Do you mean the Kingdom of Kush or Nubia are one in the same, I guess? Sara: Nubia in antiquity was known as Kush, and then the Kingdom of Kush is the political entity ruling over that region. Sharon: Did the jewelry change over the years? Sara: It did, yes. We do see that even across these different phases, each one has a distinctive aesthetic. There is no single, unified Nubian look to the jewelry. Different fashions change over time. Different popular materials come in and out of fashion. In Kerma, in the earliest phases, we see jewelers making items out of locally available and imported organic materials. They're making use of things like hippo and elephant ivory to create cuff bracelets. They're making use of shells they imported from the Red Sea coast and fashioned into different items. They were also importing faience from Egypt. Ancient faience was a man-made, blue-green, glazed, quartz-based ceramic material that was very popular in Egypt. The Kermans were importing it initially, but then they developed their own faience-making technology and were able to produce their own. So, we start to see the use of this man-made material. They're using gold. Nubia in antiquity is known primarily as a land of gold because of their rich gold resources in the Eastern Desert. That was their main coveted natural resource. They had incredibly skillful techniques in working with gold. We see them using locally available semiprecious stones, things like carnelian and amethyst. They work with quartz in some really interesting ways. Quartz is found alongside gold, so it was probably symbolically associated with gold. Gold was valued not only because it was this very prized economic resource, but it was also an imperishable material. It was associated with immortality and the sun, and it was very highly symbolically valued. They would take quartz and do an interesting treatment that, as far as I am aware, is distinctive to ancient Kerma. They would take the quartz, either shaping it into spherical beads or taking chunks of it in its raw form to use as pendants, and they would put a blue-green glaze over it and fire it in a kiln to create a hard, shiny, translucent blue surface that creates this stunning, glass-like appearance when it's done successfully. It was a delicate technique. You had to be very careful, because if you raised the temperature in the kiln too quickly, the quartz would fracture and burst, and you would lose your item of jewelry you were making. They had to be very careful in this process, but again, as far as I know, this is a distinctive Kerman technique, a distinctive way of working with quartz. Those were the types of materials they were utilizing to make items of jewelry. There's also a particular ornament we start to see in Kerma that is really interesting and later gets adopted by the Egyptians, which is the fly pendant. They are these large pendants that were often worn in pairs strung around the neck, and they represent flies. We have an example in the exhibition where the head is made of gilded bronze and the wings are carved out of ivory. These are found in soldiers' tombs. They appear to have been given as a medal of honor to high-status members of the Nubian military. We can ask why they would choose a fly of all things to honor a member of the military, and we believe it's because if you go to Egypt, if you go to the Nile Valley, you will experience that the flies are very big and mean and aggressive. So, we think these fly pendants are a way of associating the aggression and the tenacity of the Nilotic flies with the aggression and the tenacity of Nubian warriors. Later these fly pendants actually get adopted in Egypt as well as a military medal of honor. So, those were the kinds of things we find at Kerma. As I mentioned, that period comes to an end with this big invasion of the Egyptians around 1,500 B.C. Then when the Kingdom of Kush rearises at Napata around 750 B.C., they invade Egypt. They take over, and we start to see how this 500-year period of intense cross-cultural interaction has resulted in the introduction of a lot of Egyptian iconography into the royal jewelry. We start to see a lot of images of goddesses like Hathor and Isis, who became very important in the Nubian pantheon. There is an Egyptian god called Amun who becomes introduced as the supreme god of ancient Nubia, but in his Nubian form specifically, he takes the form of a ram or a man with a ram's head. We believe that before this period, there was probably an indigenous ram god who Amun became assimilated with. So, we see a lot of ram iconography in the jewelry. There's a lot of iconography associated with the goddess Hathor, who was this Egyptian goddess of love, fertility, beauty and motherhood with whom Nubian queens and royal women became particularly associated. We see a lot of that kind of iconography. We see protective icons that have been introduced from Egypt, things like the Eye of Floridus, the scarab beetle, that kind of thing. They're working a lot in faience still. There are some queens' tombs from this period where these large faience plaques are very popular, again in the shapes of religious protective imagery, amuletic icons, gods and goddesses. They were big plaques that were strung on strings of beads and worn around the neck, essentially meant to sit over the chest to protect the pectorals. We see a lot of that kind of thing, this incorporation of new iconography, new religious ideas, sometimes a very Egyptian mode of self-presentation that they've adopted from the Egyptians. They're working in faience; they're working in gold. We do see some silver during this period. Silver was not locally available; it was an imported material, but we do see a lot of skilled gold work during this phase. They are developing some very sophisticated techniques for how to fashion items of jewelry, but also things like golden vessels. This is a phase where we start to see that Egyptian influence and some increasing sophistication in the techniques with which they're working, with both these man-made and locally available resources. In the Meroitic Period, we see those gold working techniques really hit their stride. There is some tremendously sophisticated gold work made during the Meroitic Period, where they're using techniques like granulation and filigree and very delicate wirework. At Meroë, they also start producing glass. Glass beads start to appear in the jewelry. Something that Meroë distinctively is also known for is the use of a wide range of enameling techniques. They would take powdered glass and apply it to the surface of items of jewelry, and then heat it to fuse it and create it a hard, shiny, colorful surface. There were multiple enameling techniques they developed at Meroë, some of which, prior to their discovery at Meroë, were thought to have not been invented until the modern era. There were techniques they developed at Meroë, and the knowledge of that technology was lost and rediscovered in modern times. This is also a phase during which we see, as I mentioned, a kind of cosmopolitan international style developing. We do see some Greco-Roman influences coming into play in the form of large, dangly pendant earrings and the development of new color schemes, for instance. There was a color scheme at Meroë that was especially popular, which was red, white and black. They would use cornelian, which was a popular material, to achieve the red and then import obsidian for black and travertine for white. Each phase has its own distinctive repertoire of objects and iconography and manufacturing techniques that were being used. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. END OF PART ONE
Drink HRW sponsors this podcast A company which focuses on the health and longevity of people. www.drinkhrw.com use code: SNIPES10 for 10% off Today I have a discussion with a US music artist Amun Starr. @amunstarr is a singer and composer who has won awards for her incredible works. Although she is talented in her craft, we discuss more on her divine interest in modern and ancient Egypt. Most people who have visited Egypt recollect a feeling of familiarity or peace. The seraphic and tranquil energy is something which can't be denied. We discuss her experiences and thoughts and comparisons on some religious texts, and vibrational frequencies and touch on her book The Ka Method which is available on Apple Books. please support Amun in purchasing her digital book by downloading here. https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewBook?id=1557184466
Art, Justin, and Alicia discuss Magneto's potential second father and alibi as well as an assassin. Justin and Alicia can be found on their podcast, The X-Wife Podcast. Art is also on Creepy Critters, Over Innsmouth, and Into the Rewatch podcasts You can help by donating to Patreon. Find us on Twitter, Instagram, and TikTok as @alphabetflight or at the Hodge Pod Facebook Group.
Horemheb's Great Decree. Sometime during his reign, King Horemheb proclaimed a new set of laws. Taking aim at corruption and abuses-of-power (allegedly happening throughout Egypt), the pharaoh went hard on corrective measures. Punishments could range from beatings to disfigurement, exile, and death. Horemheb was not messing around. But what was he really trying to achieve?Episode details, pictures and references at www.egyptianhistorypodcast.comIntro music by Keith Zizza www.keithzizza.netInterludes and Outro music by Luke Chaos www.twitter.com/luke_chaosLogo: Horemheb and Amun. Photo by Richard Mortel via Flickr.com.BibliographyG. de la Bédoyere, Pharaohs of the Sun: The Rise and Fall of Tutankhamen's Dynasty (2022).C. Eyre, The Use of Documents in Pharaonic Egypt (2013).A. Gnirs, ‘Haremhab - ein Staatsreformator? Neue Betrachtungen zum Haremhab-Dekret', Studien zur Altägyptischen Kultur 16 (1989), 83–110.A. M. Gnirs, Militär und Gesellschaft: Ein Beitrag zur Sozialgeschichte des Neuen Reiches (1996).A. M. Gnirs, ‘Coping With the Army: The Military and the State in the New Kingdom', in J. C. Moreno García (ed.), Ancient Egyptian Administration (2013), 639—717.R. Hari, Horemheb et la reine Moutnedjemet ou la fin d'une Dynastie (1965).W. Helck, Urkunden der 18. Dynastie: Ubersetzung zu den Heften 17–22 (1961).J.-M. Kruchten, Le décret d'Horemheb: traduction, commentaire épigraphique, philologique et institutionnel (1981).K. Pflüger, ‘The Edict of King Haremhab', Journal of Near Eastern Studies 5 (1946), 260–76.YouTube: Guy de la Bédoyere, "Horemheb, the 'Enlightened Despot,'" https://youtu.be/-jCEo21_hK4 Hosted on Acast. See acast.com/privacy for more information.
Synopsis: The Canaanite cities of Tel-Rehov and Beth-Shean were re-founded by the Pharaoh Thutmose III in the wake of the Battle of Megiddo. By the early Iron Age, their size, location and wealth drew the attention of the Pharaoh Shoshenq I. “(Thutmose) was in their center, Amun being the protection of his person in the melee, and the strength of Set pervading his members…Then (the enemy) saw his majesty prevailing over them, and they fled headlong to Megiddo with faces of fear.” – The Battle of Megiddo Inscription Map of the Early Iron Age Near East: https://audio.ancientworldpodcast.com/Map_Near_East.jpg Map of Early Iron Age Southern Syria and Canaan: https://audio.ancientworldpodcast.com/Map_Canaan.jpg Episode Images: https://audio.ancientworldpodcast.com/C13_Images.pdf References and Further Reading: https://audio.ancientworldpodcast.com/C13_References.pdf Please contact sales@advertisecast.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
All Episodes can be found at www.thecryptopodcast.org Podcast Coaching + All Social Media + Donations link https://bio.link/podcaster Our Facebook Group can be found at https://www.facebook.com/thecryptopodcast ======================== About my Guest: Current community manager at 21.co. Parent company of Amun and 21shares. Podcaster, Youtuber, Ex-ETH miner. Looking for that next POW fix. What we Discussed: - Crian's Crypto Journey - Mining and the recent changes - Eth 2.0 - Helium Mining - 21 Shares Company - How to Protect your Meta Mask Wallet - His Podcast Inside Crypto - Lunar and Stable Coins - Thoughts on Regulation - The Real Situation with China & Taiwan - NFT's and more Where to find Crian: twitter.com/crianpadayachee https://www.tiktok.com/@insidecrypto21 https://www.instagram.com/crianpadayachee/ https://www.youtube.com/c/AmunCryptoNews --- Send in a voice message: https://podcasters.spotify.com/pod/show/roy-coughlan8/message
In this week's episode Kara and Jordan discuss the God's Wife of Amun position and their relationship to Egyptian politics at the time. Who held this position? What responsibilities came with it? What powers were instilled in the office? We had a great time recording this one! CW// sexual themes
We're finally discussing the other covens in the Twilight Saga! The Romanian, Mexican, Irish, Egyptian, Amazon, Denali, French (?), and Jame's coven, plus a few nomads. Many questions arise... like: do any of these vampires have last names? Who is this French coven that's not in the books? And will Kebi ever break free from her oppressive relationship with Amun?!
Amun Holdings Limited - owner of both 21Shares and Amun, Inc. - introduced the first crypto exchange traded product (ETP) to market back in 2018. Although the collaborative ARK Investments and 21Shares bitcoin spot ETF was recently rejected in the US, 21Shares remains the world's largest provider of crypto ETPs with 30 unique products currently trading across exchanges. In this episode of The Scoop, recorded at the Bitcoin 2022 conference in Miami, 21Shares and Amun co-founders Hany Rashwan and Ophelia Snyder sat down with host Frank Chaparro to discuss the current landscape of crypto ETPs, and explain why they believe the rise of crypto index tokens and crypto basket ETPs are signs of a maturing industry. As Snyder commented during the interview: "'Is bitcoin going to zero this year?' is no longer a continuing ongoing narrative. That changes things. It means that people are starting to look at crypto as an asset class, as an industry, as a theme… It's not, 'ok, will bitcoin now exist?' It's now: ‘Ok, well crypto is definitely going to exist, so what is the S&P 500 of crypto?' While 21Shares has the most ETP offerings on the market, other firms are also developing crypto basket products such as Bitwise's recently announced NFT index fund (though this fund is only available to accredited investors). Given their positions in the market, both Rashwan and Snyder are very aware of the institutional funds flowing into the crypto: something the two have continued to witness despite the market's drawdown over the last few months. As Snyder explained: “I had a very interesting conversation with one of our lead market makers about a week ago talking about what's going on in this market actually, and what are they seeing on the trading side, and one of the key takeaways is this: the institutions are actually forming thesis based investment philosophies. So they look at fundamentals… they develop a thesis and they invest.” Episode 30 of Season 4 of The Scoop was recorded at the Bitcoin 2022 conference in Miami with The Block's Frank Chaparro and 21Shares and Amun co-founders, Hany Rashwan and Ophelia Snyder. Listen below, and subscribe to The Scoop on Apple, Spotify, Google Podcasts, Stitcher or wherever you listen to podcasts. Email feedback and revision requests to podcast@theblockcrypto.com. This episode is brought to you by our sponsors Fireblocks, Coinbase Prime & Cross River Fireblocks is an enterprise-grade platform delivering a secure infrastructure for moving, storing, and issuing digital assets. Fireblocks enables exchanges, lending desks, custodians, banks, trading desks, and hedge funds to securely scale digital asset operations through the Fireblocks Network and MPC-based Wallet Infrastructure. Fireblocks serves over 725 financial institutions, has secured the transfer of over $1.5 trillion in digital assets, and has a unique insurance policy that covers assets in storage & transit. For more information, please visit www.fireblocks.com. About Coinbase Prime Coinbase Prime is an integrated solution that provides institutional investors with an advanced trading platform, secure custody, and prime services to manage all their crypto assets in one place. Coinbase Prime fully integrates crypto trading and custody on a single platform, and gives clients the best all-in pricing in their network using their proprietary Smart Order Router and algorithmic execution. For more information, visit www.coinbase.com/prime. About Cross River Cross River is powering today's most innovative crypto companies, with banking and payments solutions you can rely on, including fiat on/off ramp solutions. Whether you are a crypto exchange, NFT marketplace, or wallet, Cross River's API-based, all-in-one platform enables banking as a service, ACH & wire transfers, push-to-card disbursements, real-time payments, and virtual accounts and subledgers. Request your fiat on/off ramp solution now at crossriver.com/crypto. Learn more about your ad choices. Visit megaphone.fm/adchoices
Today on EP. 239 of the BlockHash Podcast, Head of Tokens James Wang and Brandon Zemp talk about Amun. Amun takes the guesswork out of investing by automating your portfolio. Continue your DeFi journey with a clear advantage! The podcast is available on… Apple Podcasts: https://podcasts.apple.com/us/podcast/blockhash-exploring-the-blockchain/id1241712666 Amazon Music: https://music.amazon.com/podcasts/6dc84ee4-845b-4bea-b812-b876daab2c7e/BlockHash-Exploring-the-Blockchain Spotify: https://open.spotify.com/show/4AGqU8qxIYVkxXM4q2XpO1 Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9iNmNhNWM0L3BvZGNhc3QvcnNz Website: www.blockhashpodcast.com On Social Media… Website: https://amun.com/ Twitter: https://twitter.com/amun Discord: https://discord.com/invite/Hfr7XFgNxV Find Brandon Zemp & the podcast on Social Media… Instagram: https://www.instagram.com/theblockhash/ Instagram: https://www.instagram.com/zempcapital/ Twitter: https://twitter.com/zempcapital Facebook: https://www.facebook.com/theblockhash LinkedIn: www.linkedin.com/in/brandonzemp Sign up for the newsletter… (FREE) Blockchain Weekly: https://www.getrevue.co/profile/zemp (MEMBERS ONLY) Blockchain Insider: https://www.getrevue.co/profile/zemp/members
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