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The Aspects of Animal Sanctification in the Graeco-Roman Monuments in Egypt.(Study in Classical Influences)\ud

By Hisham Elsayed Abdelazim Aglan

Abstract

The aim of this study is to explore the relation between the Greeks, Romans and the sacred animals in ancient Egypt. It investigates the classical elements relating to this theme in arts during the Graeco-Roman Periods, and provides artistic and archaeological proofs for the existence of this sanctification among the Greeks and Romans. This aim has been achieved through answering a number of questions: Did the Greeks and Romans believe in the idea of the animal sanctification and participate in it? How can one account for the classical elements that appeared in the representations of the animals in art? Were there stelae, statues and dedications made for the sacred animals by the Greeks and Romans? Thus, I have provided a comprehensive study of one of the most important phenomenon in ancient Egypt, the sanctification of the animal. Many Greek dedications were made to the sacred animals during the Greco-Roman period, especially to the crocodile in El-Fayoum. These dedications are considered an aspect of the animal sanctification. I have investigated in this study the dedications on the temples, the stelae and also the statuettes group of military figures with animal heads as ex-votos. The study explores the classical elements and the influences that appear in the representations of the tombstones of the Graeco-Roman period which carry the shapes of the sacred animals accompanying the deceased. This has been done through studying many stelae from Kom Abou Bellou and Alexandria to prove that the representation of the sacred animals on those stelae was one of the aspects of animal sanctification

Topics: ddc:930
Year: 2013
OAI identifier: oai:USBKOELN.ub.uni-koeln.de:5261

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  236. (2002). The best example is a mummy of a boy (L, 133 cm), found at Hawara and dated back to 100 -120 AD. It is covered with many layers of linen and the bandages are complicated. There are also gilded stucco buttons in the middle of the bandages
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  238. (2006). the early existence of Kom Abou Bellou stelae makes this explanation weak. 484 479 J. Assmann , Der Ka als Double, in: Das Double
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  243. The Global Egyptian Museum 2004c The Global Egyptian Museum ,Seated cat,
  244. The Global Egyptian Museum 2004d The Global Egyptian Museum,
  245. The Global Egyptian Museum 2004e The Global Egyptian Museum , Stela with the Agathos Daimon,
  246. The Global Egyptian Museum 2004f The Global Egyptian Museum, Relief fragment of the Agathos Daimon,
  247. The Global Egyptian Museum 2004g The Global Egyptian Museum ,Stele for Djehutira and his mother Takemet,
  248. The Global Egyptian Museum 2004h The Global Egyptian Museum, Tomb stela for Kety and Senet,
  249. The Global Egyptian Museum 2004h, Internet-publication Fig.155 Painting on the eastern wall of the tomb of Petosiris at El-Mezawaqa,
  250. (1978). The hair is arranged in curls. There is a jackal beside their on a shelf.
  251. (2002). The hair took the shape of short braids. The representation here is similar to those of Kom Abou Bellou, so that, it could date back to the same time of Kom Abou Bellou stelae. Dating: 2 nd century
  252. (1975). The inscription reads: 265 Bernand
  253. (2007). The Land of the Body: Studies in Philo's Representation of Egypt ,Mohr Siebeck ( doi
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  255. The lintel carries dedication to Pnepheros and Petesouchos. This piece is considered the superior part of the inscription which part was found in 1923-1930 inside a house.
  256. (2011). The mummy dates back to the Graeco -Roman period because of the geometrical bandages which appeared only in the GraecoRoman period. The bad condition of the mummification indicates that this mummy was an ex-voto
  257. (2004). The name ―Bellou‖ is probably derived from god Apollo who had a temple in this city, precisely to the north of the necropolis.
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  263. (1998). The similar representation appeared on a stela from Samos
  264. (1986). The whole camp was surrounded with large and high defensive wall with five doors flanked by two defensive towers in the shape of a horse. The pylon of the temple and the two obelisks became part of this enclosure wall
  265. There are incised lines below the banquet scene. These incised lines were intended to contain the funerary inscription.
  266. There is a bronze statuette (H.42 cm), preserved
  267. (1980). This site possessed the tomb of King Djer (Predynastic period) that was later regarded as the tomb of Osiris. Therefore, it became a pilgrimage center as it was thought that the head of the god was buried there. 66 63 Griffiths 1980, 236 64 Griffiths
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  273. Vermeule 1959, 26 Pl.XXII, 70 Fig.121 God Tutu (Tithoes) represented on a stele wearing Roman scale armour.
  274. Vermeule 1959, 59 Cat. No. 210 Fig.118 Limestone statuette represents Horus sitting on a throne, and wearing Roman military clothes. London, British Museum Inv.
  275. Vittmann 2003, Abb.117 Fig. 6, a-b Procession represented on the lowest frieze of the Petosiris tomb‘ s noas.
  276. (2005). xvi Fig.35 Plan of the ibis catacomb at Abukir.
  277. (1978). years old, farewell!
  278. years old, loves his children, the 3 rd year,
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