Sommaire
Pages
1-5
Depuis le XIXe siĂšcle, il est parfois avancĂ© que le prince MĂ©renptah, fils de RamsĂšs II, aurait Ă©tĂ© grand prĂȘtre de Ptah Ă Memphis Ă la suite de son frĂšre KhĂąemouaset. Lâauteur montre tout dâabord que les sources utilisĂ©es ne sont pas pertinentes, puis explique quâun grand prĂȘtre de Ptah Ă©tant attestĂ© du rĂšgne de RamsĂšs II Ă celui de MĂ©renptah, ce dernier ne put lâĂȘtre. Deux chaouabtis publiĂ©s rĂ©cemment, mentionnant un grand prĂȘtre de Ptah homonyme, ainsi que le cas de Hori fils de PtahmĂšs sont Ă©galement abordĂ©s.
Since the XIXth century, we can sometimes read in egyptological literature that the prince Merenptah, son of Ramesses II have been High Priest of Ptah at Memphis after his brother Khaemwaset. The author firstly shows that sources used are not relevant. He then explains that a High Priest of Ptah is already attested from the end of the reign of Ramesses II until Merenptah. Consequently, the latter could not have been High Priest. Two shabtis published recently, mentioning a High Priest of Ptah named Merenptah and the case of Hori son of Ptahmes are also discussed.
Pages
7-23
Les Chardanes faisaient partie des Peuples de la mer qui attaquĂšrent lâĂgypte pendant la pĂ©riode ramesside. Les pillards chardanes Ă©taient des ennemis de lâĂgypte au dĂ©but du rĂšgne de RamsĂšs II, qui proclama sa victoire sur eux. AprĂšs leur dĂ©faite, beaucoup dâentre eux furent capturĂ©s et intĂ©grĂ©s dans lâarmĂ©e Ă©gyptienne, devenant lâune des meilleures troupes dâauxiliaires Ă©trangers. Ils furent employĂ©s par les Ăgyptiens pendant toute la pĂ©riode ramesside. Ils servirent comme unitĂ©s dâinfanterie ou comme gardes du corps du roi. Les cĂ©lĂšbres reliefs dĂ©crivant la bataille de Qadech et la bataille de Dapour au temps de RamsĂšs II, la guerre libyenne de MĂ©renptah, ou les guerres libyennes et du nord de RamsĂšs III, mentionnent la prĂ©sence significative des unitĂ©s chardanes dans lâarmĂ©e Ă©gyptienne. Cet article examine et discute le rĂŽle des guerriers chardanes dans lâarmĂ©e Ă©gyptienne pendant la pĂ©riode ramesside.
The Sherden were a part of Sea Peoples who attacked Egypt during the Ramesside period. The Sherden raiders were enemies of Egypt at the beginning of the reign of Ramesses II, who proclaimed its victory on them. After their defeat, many of them were captured and integrated into the Egyptian army, becoming one of the best troops of foreign auxiliaries. They were used by Egyptians during all the Ramesside period. They served as units of infantry or as bodyguards of the king. The famous reliefs describing the battle of Qadech and the battle of Dapour in the time of Ramesses II, the Libyan war of Merenptah, and the Libyan and northern wars of Ramesses III, refer to the significant presence of the Sherden units in the Egyptian army. This paper surveys and discusses the military role of Sherden warriors in the Egyptian army during the Ramesside period.
Pages
25-50
Le dessus du couvercle du sarcophage dâOurechnefer, conservĂ© au Metropolitan Museum of Art de New York sous le numĂ©ro d'inventaire 14.7.1b, est le support dâune reprĂ©sentation cosmologique unique Ă ce jour. Lâespace dĂ©limitĂ© par le corps de la dĂ©esse Nout arc-boutĂ©e Ă lâimage de la voĂ»te cĂ©leste, est occupĂ© par un immense cercle qui constitue le centre de la reprĂ©sentation. Il est surmontĂ© par une figure fĂ©minine ouvrant les bras alors quâil est soutenu par une paire de bras levĂ©s prenant appui sur une paire de jambes. Ce cercle, constituĂ© d'un centre et de deux anneaux concentriques, reprĂ©sente non seulement lâĂgypte et ses rĂ©gions limitrophes mais aussi un espace mystĂ©rieux en relation avec lâau-delĂ et la rĂ©gĂ©nĂ©ration. Lâensemble de la reprĂ©sentation est, selon nous, une interprĂ©tation de la premiĂšre heure du Livre du jour, illustrant la dĂ©esse Nout mettant au monde le soleil et donc le cosmos. Cette crĂ©ation iconographique, aux multiples niveaux de lecture, tĂ©moigne dâune conception du monde Ă©laborĂ©e dans laquelle cosmogonie et cosmologie se rejoignent.
The top of the lid of the Wereshnefer sarcophagus, preserved at the Metropolitan Museum of Art in New York under inventory number 14.7.1b, is the support of a single cosmological representation to this day. The space delimited by the body of the goddess Nut, as curved as the celestial vault itself, is occupied by a huge circle which constitutes the representation center. Above it, stands an arm opened female figure while it is supported by a pair of raised arms resting on a pair of legs. This circle, consisting of a center and two concentric rings, represents not only Egypt and its neighboring countries but also a mysterious space in relation to the beyond and regeneration. The whole representation is, in our opinion, an interpretation of the first hour of the Book of the Day, illustrating the goddess Nut bringing the sun into the world and therefore the cosmos itself. This iconographic creation, with multiple levels of reading, testifies to a conception of an elaborate world in which cosmogony and cosmology meet.
Pages
51-88
Des papiers non publiĂ©s de Jacques-Joseph Champollion-Figeac conservĂ©s Ă Grenoble, aux Archives dĂ©partementales de lâIsĂšre, permettent de mettre en lumiĂšre de nouvelles informations Ă propos de lâexpĂ©dition française de 1830 envoyĂ©e Ă Louxor, en Ăgypte, pour rapporter Ă Paris lâobĂ©lisque donnĂ© Ă J.-Fr. Champollion par MĂ©hĂ©met Ali. Pendant leur sĂ©jour Ă ThĂšbes, les officiers de lâĂ©quipe payĂšrent le drogman Youssouf Kashef pour lâextraction du sarcophage de la Divine Adoratrice ĂnkhnesneferibrĂȘ Ă Deir al-MĂ©dĂźna. Il fut transfĂ©rĂ© en France par les officiers, avec lâobĂ©lisque, avec lâintention de le vendre au gouvernement français qui refusa la transaction. En 1836, sans que lâon sache comment, les officiers français purent vendre le sarcophage au British Museum.
From the unpublished papers of Jacques-Joseph Champollion-Figeac kept in Grenoble (Archives dĂ©partementales de lâIsĂšre) new informations are brought to light about the French expedition of year 1830 sent to Luxor, Egypt, to bring to Paris the obelisk given to Jean-François Champollion by Mehemet-Ali. During their stay in Thebes, the officers of the team paid the drogman Y?s?f Kashef for the extraction of the sarcophagus of the Divine Votaress Ankhnesneferibr? at Deir el-Medina. They transferred it to France with the obelisk wanting to sell this monument to the French Government who refused the transaction. In 1836, through an unknown way, the French officers were able to sell the sarcophagus to the British Museum.
Pages
89-101
Perdus en plein dĂ©sert, les bords du Nil sont un biotope prisĂ© par de nombreuses espĂšces animales et vĂ©gĂ©tales, amenĂ©es Ă coexister sur ce territoire restreint. Les plus opportunistes, Ă lâexemple des milans, devinrent rapidement des commensaux de lâHomme, aux yeux duquel ils reprĂ©sentent une figure familiĂšre du folklore animalier. Si fascinante soient-elles aux yeux des artistes de Pharaon, faune et flore sont pourtant perçues Ă travers le filtre de la cosmovision qui les dote dâune valeur symbolique plus ou moins forte et polysĂ©mique. Produit culturel, jusquâoĂč le dessin pharaonique pouvait-il ĂȘtre naturaliste ? Au-delĂ de lâidentification dâun taxon prĂ©cis, le renouveau des approches Ă©thologiques de lâHistoire de lâart Ă©gyptien, permet de mieux saisir le fonctionnement du processus de sĂ©lection qui conduisent lâimagier Ă composer un contenu formel Ă lâattention de ses publics, attentifs Ă la rĂ©actualisation de ses mythes fondateurs.
Lost in the desert, the banks of the Nile are a biotope prized by many animal and vegetal species, brought to coexist in this restricted territory. The most opportunistic, like kites, soon became Humansâ commensals, for whom they are a familiar figure of their animal folklore. However they are fascinating into the eyes of Pharaohâs artists, fauna and flora are perceived through the filter of cosmovision which gives them a symbolic value that is more or less strong and polysemic. As a cultural product, how far could pharaonic drawing be naturalistic? Beyond identifying a specific taxon, the renewal of ethological approaches to the History of Egyptian art, allows us to better understand the functioning of the selection process that leads the illustrator to compose a formal content to the attention of its audiences, attentive to the updating of its founding myths.
Pages
103-115
Sur lâune des parois de la tombe thĂ©baine 143, on peut voir la figuration de deux radeaux, en relation avec le retour dâune expĂ©dition du pays de Pount. Ces radeaux ont souvent Ă©tĂ© interprĂ©tĂ©s comme des embarcations pountites. Les traditions se rapportant Ă la mer Rouge font de celle-ci le lieu oĂč furent inventĂ©es ces embracations et leur existence y est effectivement attestĂ©e jusquâĂ trĂšs rĂ©cemment, notamment dans le sud de cette mer. Si cette figuration est incontestablement le plus ancien tĂ©moignage de lâexistence de ces radeaux, ces derniers nâont pas en revanche atteint lâĂgypte en naviguant mais chargĂ©s sur les navires Ă©gyptiens revenant de Pount.
On one of the walls of the Theban tomb 143, we can see the representation of two rafts, in connection with the return of an expedition from the land of Punt. These rafts have often been interpreted as puntites. Traditions relating to the Red Sea make it the place where these boats were invented and their existence is actually attested there until very recently, especially in the south of this sea. If this figuration is undoubtedly the oldest testimony of the existence of these rafts, they did not however reach Egypt by sailing but were loaded on the Egyptian ships returning from Punt.
Pages
117-129
Le fragment C (KRI V 247, 1â8) est un grand bloc dĂ©tachĂ© qui contient huit lignes de texte provenant de la double stĂšle de RamsĂšs III Ă Karnak. Sa position prĂ©cise a Ă©tĂ© dĂ©battue depuis les annĂ©es 1950. Cet article invoque des arguments philologiques et Ă©pigraphiques permettant de repositionner le bloc au niveau de la partie supĂ©rieure de la stĂšle septentrionale de RamsĂšs III. La nouvelle lecture des lignes 7 Ă 14 de la stĂšle septentrionale â qui est prĂ©sentĂ©e ici en transcription hiĂ©roglyphique, en translittĂ©ration et en traduction â respecte la cohĂ©rence de lâarticulation gĂ©nĂ©rale de lâinscription.
Fragment C (KRI V 247, 1â8) is a large loose block with parts of eight lines of Ramesses IIIâs Great Double Stela in Karnak. Its exact position has been debated since the 1950s. The present paper provides philological and epigraphical arguments for its placement to the upper part of the Northern Stela of Ramesses IIIâs double monument. The new reading of lines 7â14 of the Northern Stela, which is presented here in hieroglyphic transcript as well as in transliteration and translation, respects the coherence of the overall articulation of the double inscription.
5 article(s) - 4 février 2021.
Adrien Louarn
âAgir en mĂąle, Ă©tant une femmeâ
(ENiM 13, p. 311-317 — 30 dĂ©cembre 2020)
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