In 1912, an old rest house on the southern tip of Elephantine Island was converted into a museum. Expanded in the 1990s, the museum boasts a collection that focuses on the history of Aswan and Nubia. The displays include mummies, weapons, pottery, utensils, and statues. Outdoors, a garden leads to the ruins of Abu, the pharaonic settlement on the island. Labels are in Arabic and English.
THE MUSEUM
The villa-like main building of the Elephantine Museum was erected in 1902
to serve as residence and office for the engineer in charge of administration
for the first Aswan dam. With an extension to the east, it nowadays houses
finds from the older excavations of the ancient town, as well as from
excavations made in northern Nubia before the first high dam was built. The
Egyptian antiquities administration is preparing a new installation of the
collection following on the removal of a number of objects - including
statues from the Heqa-ib sanctuary (VP 18) and a mummified ram from the
cemetery of the sacred rams belonging to the Khnum Temple (VP 11) -
to
the newly built Nubian Museum in Aswan.
In 7997/2 an additional structure was erected immediately to the north of
the main museum building to document the archaeological work
undertaken at Elephantine since 1969. Among a number of larger objects
exhibited in front of the southern side of this annex are five stelae and stela
fragments. The third from the right dates to the reign of Necho (Dynasty
XXVI; ca. 600 BCE). Its text mentions a fleet of more than 20 ships in
connection with a Nubian rebellion. The fourth piece is the fragmeni of a
stela with an inscription describing measures taken to reorganize temple
property during the reign of Osorkon II (Dynasty XXII; ca. 850 BCE)
following on an inspection tour that revealed irregularities. Visitors should
also take note of the high-quality seated figure in black stone among the
fragments of statuary; it depicts a king of Dynasty XXVI.
Immediately in front of the new addition and to the right of the steps giving
access to it stands a stela of Seti I (Dynasty XIX; ca. 1300 BCE). He was the
ruler who ordered the restoration of damage done to Elephantine's temples
during the Amarna Period (see above, VP 2). Probably in that connection he
commissioned this stela with its lengthy prayer to the god Khnum. Further
along to the north, the entrance platform towers above an ancient well. With
a depth of almost 12 m, lt reaches bedrock. The manner of its construction
dates the well to Dynasty XXVI (ca. 600 BCE). (The repairs near the top were
not made in ancient times.)
Beyond the well, at the edge of the village, a royal statue of Dynasty XVIII
can be seen half-buried in the ground. Its presence may well indicate the
course of the ceremonial causeway that linked the harbor with the temples
of the town. A way station built by Amenhotep III once stood in the vicinity
(see Figs. 3 and 4). It was seen and sketched by members of the Napoleonic
expedition, before it was dismantled down to the very last block in7822.
On the bench-like wall to the left of the steps giving access to the museum
annex, there are exhibited some isolated architectural elements that date to
the Late Antique Period. Adjoining to the right, a pillar of Amenhotep II (ca.
1425 BCE) is set up. It comes from the festival courtyard of the Eighteenth
Dynasty Khnum Temple (see VP 5).
The following gallery tour is recommended for visitors to the museum annex.
(partition to the left) Four maps of Elephantine, ca. 3000 BCE - 3nd
century CE
These maps show the development of the most important features on the
island from the earliest remains of the settlement down through Roman
times.
Map 1 illustrates the original division of what is nowadays the complete
surface area of Elephantine into a series of separate granite ridges. Only the
two largest ridges projected above the surface of the water when the
inundation flooded the Nile Valley during the summer in ancient times.
Beginning in the prehistoric period and down through the first two
dynasties (3000/2700 BCE) the oldest walled town developed on the eastern
ridge; on the western ridge, the dead were buried.
Map 2 makes clear how the ancient town expanded to the "west isle" after
the depression between it and the "east isle" was filled in, and how the
cemetery area on the former was displaced northwards.
Maps 3 and 4 show the increasing size of the temple precincts with their
economic dependencies in the course of the New Kingdom (1550-1080 BCE)
and during the Ptolemaic/Roman Period (3rd century BCE - 3nd century
CE). During the latter phase new structures were erected. In addition to
them, two more temples ("X" and "Y"), whose exact locations cannot be
determined, were erected to the northeast of the Satet Temple, and a
monumental staircase was built in the harbor area to provide a ceremonial
approach to the entire sacred precinct. Presumably by this time at the latest,
residential and industrial quarters will have expanded considerably to
occupy the area now built over by the modern village.
(showcase) Model of Elephantine town during the Ptolemaic/Roman
Period (3rd century BCE - 3rd century CE)
In the main, the model shows a reconstruction of the large temple buildings
and the impressive structures at the riverbank that date to the
60 67
Ptolemaic/Roman Period. (Temples "X" and "Y", which lay somewhcr.e
between the Satet Temple and the monumental staircase at the harbor, irrc
not included, however, since their exact locations are not known). when the
excavations began, scarcely anything remained of the residential buildings
belonging to this occupational phase, because the top of the mound had
already been denuded. The model reproduces what was best preserved in
the uppermost levels - i.e., houses of Dynasty XXX (ca. 350 BCE) to the
northwest of the Khnum Temple and to the northeast, other houses dating tc'r
the earlier thirteenth Dynasty (ca. 1750 BCE). Their differing character is at
once apparant: the older houses are spaciously-situated, one-storey
structures, while the younger houses are two-storey affairs built up against
each other.
@ {ttto*"ase) Head from a statue of the god Ammon-Serapis
Under the Ptolemaic rulers of Egypt, a cult was established for serapis, a
god who originated from the theological association of osiris, the god of the
dead, and Apis, a divine steer. Presumably Serapis provided the Greek
population and the indigenous Egyptians with a common god. He came to
be increasingly identified with Amun (Greek: Ammon) and Zeus in Roman
times when his worship spread far beyond the borders of Egypt. The
fragmentary granite head found on Elephantine is a representation of
Ammon-Serapis, with ram's horns curled around the ears and a bearded
face. The sculpture, that is datable to the period between the first century
BCE and the first century CE, was originaliy covered with a layer of gildeä
plaster of which a few traces remain.
@ ttri.n" to the left) Royal statuary
The torso at the left comes from a granite statue of Amenhotep II (Dynasty
XV[I; ca. 1425 BCE) which depicted the king in an attitude of prayer. The
sandstone torso in the center belonged to a statue of Ramses II (Dynasty XIX;
ca.7250 BCE). At the right stands a torso in black granite from a royal statue
of the Late Period.
@ {t"", wall) Stela of King Setnakht
The stela of Setnakht, founder of Dynasty XX, was discovered broken and
reused in the pavement of a room belonging to a house of Roman date. It
was originally erected in the Khnum Temple during the king's second regnal year (ca. 1185 BCE).
The representation at the top of the stela shows the king offering a figure of
the goddess Maat to the ram-headed god Khnum. (Maat embodied "right
order," which it was the king's duty to maintain.) This scene was once
flanked by the goddesses Satet (at the left) and Anukis (at the right), who
formed with Khnum the divine triad of Elephantine. All that is preserved of
Satet's figure is her feet while only minimal traces remain of the figure of
Anukis.
The main part of the stela is taken up with a long inscription. The text, which
probably numbered 20 lines originally, describes Setnakht's accession to the
throne of Egypt and the defeat of his opponents. Like most official
inscriptions from ancient Egypt, it is less concerned with giving a factual
account of political events - in this case, Setnakht's military coup against
the heirs of Dynasty XIX - than with conforming to an ideological model.
The stela's importance lies in documenting the development of this model
during the New Kingdom. The country's weil-being was believed to depend
upon maintaining an intact relationship to the gods. In the text, divine will
appears as the determining force of history, making itself felt through direct
intervention.
@ t.ignthand niche) Seated statue of Thutmosis II
The statue, which was made during the reign of Queen Hatshepsut,
Thutmosis II's sister and widow (Dynasty XVI[; ca.7490 BCE), depicts the
king in the jubilee cloak. Over 250 years later, a short inscription naming
King Merenptah (Dynasty XIX; ca. 7220 BCE) was added on the lap of the
figure, possibly to enable the later king to benefit from the statue's cult.
@ (partition to the right) Limestone relief of Sesostris I
In connection with the last rebuilding of the Satet Temple, which occurred in
Ptolemaic times (see VP 1), this relief was cut from the segment of a pillar
that had stood in the long-dismantled Twelfth Dynasty Temple (VP 25). A
Demotic inscription was written across it, and then the relief was deposited
in the lowest course of the new temple's foundations. The inscription refers
to the destruction of the New Kingdom temple and to the initiation of the
structure that replaced it under Ptolemy VI and VIII (ca. 150 BCE).
@ (partition to the right) Stela fragment
Monuments associated with both Takelot I and II who lived during the
disturbed times of Dynasty XXII (ca. 950-750 BCE) are far from numerous.
oz 63
Tl-ris piece is one of them. But because of its fragmentary condition it is rrot
clear which of the like-named rulers is mentioned in the text. A noteworthy
feature of the stela's figural decoration is the detailed depiction of thc
symbol associated with the god Osiris at Abydos.
@ {rho*.ase) Coin hoarcl
The hoard was discovered in 19BB hidden beneath a stairway in a house of
the Ptolemaic Period. The circumstances of the find make it clear that the
coins were deposited without benefit of a container of any kind on a single
occasion, rather than over time, and then apparently forgotten. The hoard
includes 679 coins all told. There are three different denominations among
them from the time of Ptolemy II Philadelphos (282-247 BCE). Olrly 39 of the
coins were minted under Ptolemy IV Philopator (222-205 BCE). The value of
the hoard when it was deposited was considerable, being roughly
equivalent to the monthy wages of 50-60 unskilled laborers. The same sum
would have bought 15 large donkeys or about 40 simple garments.
@ {rno*.ase) Foundation deposit
Each rebuilding of the temple was accompanied by a foundation ceremony
when groups of votive objects were buried at certain designated spots. One
such deposit, made when Sesostris I ordered a new Satet Temple, was
discovered under the northwest corner of the temple's enclosure wall.
Besides the bones of sacrificed oxen and Nile geese, iti contents comprised
mainly pottery vessels and four mud bricks r.vith little plaques inscribed for
the king inside them (exhibited in showcase 12).
@ {rno*.ase) Finds from the Satet Temple of the Old Kingdom
When the Satet Temple was renewed, as happened several times during the
Old Kingdom, the votive objects that had accumulated were collected and
buried within the precinct. The most common types of votive gifts recovered
from such deposits were human and animal figurines of faience (less
frequently of stone). The human figures are to be understood as "stand-ins"
that made a direct appeal to the deity on behalf of their donors. Those
depicting children with a hand to the mouth were produced in series and
dedicated in the ten-rple, presumably as thank offerings and as pleas for an
offspring's v',:11-being. The figures of baboons are thought to embody the
dead, dedicated by their relatives in the temple in order to secure for them
participation in the cult and so that they might benefit from offerings made
there. Other types of figures may have expressed a wish for protection in
different circumstances - for example, the boats in the form of hedgehogs
to insure a safe journey.
Cult implements that were no longer needed, like the large ceremonial flint
knife and vessels made of valuable stone for ointment and other
commodities, were also included in the deposits, as were numerous faience
tiles which probably once decorated the walls of the sanctuary. But the
faience plaque with the name and titulary of Pepy I, mounted on the rear
wall of the case, is more likely to have formed part of a foundation deposit.
(showcase) Finds from the Satet Temple of the Old and Middle
Kingdoms
Four plaques, made of faience, Egyptian alabaster, silver, and copper, and
inscribed with the name of Sesostris I, come from a foundation deposit made
by that king (see showcase 10). Several groups of model vessels in pottery,
faience, and Egyptian alabaster also formed part of a foundation deposit.
Amulets, too, could be included in such deposits, because apotropaic and
magical power was attributed to them. But the large quantity of beads, both
loose and strung, that come from the temple may have once belonged to
jewellery used to deck out statuary.
A special group of votive objects is represented by naturally formed,
unworked rocks and clumps of ore imbedded in sandstone (lower left). They
were apparently consideied holy stones because of their resemblance tb
figures. People collected and dedicated them in the temple as votive gifts
down into the Middle Kingdom.
@ {"no*"ase) Small everyday objects
Excavations have turned up objects used and dedicated in the temple,
because they were collected to form deposits and buried in antiquity. By
contrast, finds of well-preserved small objects from the residential quarters
of the town are exceptional. Here some examples are shown:
1) playing pieces of faience (Old Kingdom) and ivory (Middle Kingdom):
2) dice made of sandstone and clay (Late Period); 3) clay figures for the
practice of both the dornestic cult and magic (Middle Kingdom); 4) "New
Year's bottles" in faience (Late Period); 5) spouted bowl in limestone
from the burial of a child made in an abandoned house (Middle
Kingdom); 6) mortar (Middle Kingdom); 7) oil lamps (Rriman).
64 65
@ {rno*.ase) Household furniture
In general, domestic furniture was limited to simple stools, beds with
headrests, and boxes for the storage of clothing and other valuables.
However, wooden appliquds with figural decoration from houses of the
second and first millennium BCE (1; 2) document the existence of more
Iavishly designed furniture for those periods. But on the whole very little
has been preserved. Items of furniture that were no longer serviceable could
always have been reworked or used as kindling. Complete pieces, like the
box for clothing and the headrests which date to Dynasty VI (ca. 2200 BCE),
were recovered from burials where they accompanied the deceased into the
hereafter.
@ (partition) Four stelae of the late New Kingdom (twelfth century
BCE)
These stelae clearly document the differing competence of workshops on
Elephantine. Three of them come from a sanctuary that was founded
without royal patronage to serve the needs of a local congregation (VP 17,
above). The largest of the stelae was dedicated by the bricklayer Nebnakht
for his father, a granary overseer named Qenen. The decoration shows an
unusual grouping of gods: Amun and the three local deities Khnum, Satet,
and Anukis, are joined by two gods that were especially revered well over
200 km downstream at Thebes. This juxtaposition may have resulted from
the seemingly close relationship between Elephantine and Deir el Medineh,
the artists' and workmen's village on the Theban west bank.
@ {"no*"ase) Toilette articles
A rich assortment of cosmetic utensils and items of jewellery was found in
two Old Kingdom tombs. Small wooden boxes buried with the mummy
contained holders fpr bracelets and the bracelets themselves, made of horn
(exhibited in showcase 77), copper mirrors, two stone vases for ointment
that are still sealed, and one large and one small hairpin. The inscription on
one of the mirrors gives the name and title of its owner: the priestess of
Hathor, Idut. The bowl and pestle for grinding eye paint come from the
settlement. Both men and women used eyepaint which was kept in small,
tubular containers like those made of stone on the top shelf.
@ {rho*.ase) Personal ornament
Appliques for clothing (1) that were often worked in metal are rarely
preserved from the occupational levels of the town, but jewellery, which
became increasingly elaborate over the centuries, is represented in every
period. Pendants were not simply worn as attractive baubles; they also had a
magical function. Protective amulets in the form of udjat eyes (below left)
are documented in every period. Small figures of gods that served as
amulets were first manufactured in the Middle Kingdom; in the Late Period,
they were common. Noteworthy are two holders for bracelets (below and to
the right), complete with bangles made of horn, that were found in a Sixth
Dynasty tomb.
@ ("no*"ase) Religious practices
Despite favourable climatic conditions on Elephantine, wooden statues
depicting gods have seldom survived except in very fragmentary condition.
But they must have once been present in large numbers, as is shown by the
discovery of a hoard comprising bronze accessories for them (beards and
uraei, vulture heads, and other fittings that were attached to crowns) and
limestone inlays for their eyes. The hoard was uncovered in the Roman
terrrace of the Khnum Temple.
Alongside the cults celebrated in the large temples run by the state, domestic
cults and magical practices provided another outlet for religious impulses.
Crude clay figures with bound arms were made during the Old Kingdom to
provide protection against one's enemies. They were inscribed with a magic
spell and then buried. Behind them in the showcase is a representation in
relief of a bound captive from the Middle Kingdom. Other items of interest
here include:
(1) miniature stela from a dwelling of Dynasty XIII; (2) votive statue of
Amun who enjoyed a guest cult on Elephantine (a short hymn to the god is
written on the backpillar); (3) wooden base with an inlaid inscription for a
statuette of Padi-amun (Late Period); (4) clappers used to provide rhythmic
accompaniment to music (Late Period).
@ {r"ut wall) Head from the statue of a god
The style of this piece dates it to the reign of Amenhotep III (Dynasty XVI[;
ca. 7375 BCE). The head belonged to one of the numerous statues that the
king commissioned for temples throughout Egypt. Because the composition
as preserved does not include iconography characteristic of either Khnum or
66 67
Amun, its existence demonstrates that some other male deity was alsct
r'('presented by large-scaled statuary in Elephantine's temples.
@ {rtto*.ase) Trade and administration
'fo
a large extent, the ancient Egyptian economy was centrally managed.
C)r,er the centuries there developed an increasingly strong system of
governmental supervision which is documented archaeologically by large
tluantities of sealings made of unbaked Nile mud. These were once applied
to vessels and the lids of boxes, to the doors of storage chambers, and to the
cords tied around rolls of papyri. The seals used during the Old Kingdom
were cylinders made of wood or stone, incised with hieroglyphic
inscriptions. The cylinders were rolled over clumps of clay. Subsequently,
scarabs and other stamp seals that employed ornamental designs alongside
hieroglyphs came to replace cylinders.
The great majority of the sealings found during the excavations served to
secure containers and storage chambers. Impressions of the official seal of a
rnayor of Elephantine named Ameni-seneb are found on two fragmentary
strips of clay (left rear) that are typical of sealings used during the Middle
Kingdom to secure the contents of jars. Ameni-seneb is also known from his
statue that was set up in the Heqa-ib sanctuary (VP 18). The papyrus that
was sealed with the impression of a Hyksos seal did not originate in
Elephantine but was sent to the island from elsewhere during the Second
Intermediate Period.
In Late Antique times, stamp seals were also used to decorate pottery.
A rare find is the small vessel of Dvnastv XXVI date that held three little
linen bags, each filled with 15 l/) grarns of chopped silver. The bags
clocument the existence of a measure of fixed weight, intermediate between
loose silver, which had to be weighed again and again, and coins with their
standardized value.
In this showcase visitors can also see:
(1) a Tell el-Yahudiya juglet from Palestine (Dynasty XIID; (2) a sherd of a
vase imported from Attica on the Greek mainland; (3) wooden labels with
Aramaic inscriptions (Dynasty XXVII).
@ {rno*"ase) Weaving and sewing
Workshops run under governmental supervision were probably located in
the immediate vicinity of the large temples. But arts and crafts were also
practiced in the home, as finds of various implements dispersed through all
levels of the settlement show. The prevalence of spindle whorls and awls,
needles and tweezers document working with fabric and leather. The form
of such implements altered little over the centuries. Loom weights, however,
did undergo a significant change. The earliest were carved from stone or
made of fired clay, but from the late New Kingdom irregularly shaped loom
weights formed from lumps of Nile mud replaced them. The simplification
of their manufacture may possibly reflect an increased demand for loom
weights, the result in turn of a significant increase in the production of
fabric.
@ {rno*"ase) Hunting, fishing, and farming
Fish was a staple of the diet on Elephantine, as would be expected for an
island town. Fishing was done in an organized fashion with trawling nets
that were weighted with sinkers in various shapes (10). To keep the nets
open when they were towed through the water, lancet-shaped wooden
floats (11) were used.
Flint working was highly developed during the Old Kingdom for the
manufacture of weapons and tools (see the ceremonial knife in showcase 11);
thereafter metal gradually came to replace flint, except for the blades of
some wooden tools like sickles. Broken metal tools are seldom found by
archaeologists, because they were not discarded but regularly melted down
instead to obtain raw material for new tools. Other objects in this showcase
include:
(1) model boat with an inscription in Old Kingdom hieratic; (2) throw sticks
(Late Period); (3) wooden sickle (Middle Kingdom); (4) winnowing scoop
(Late Period); (5) threshing stick (Late Period); (6) arrow (Late Period);
(7) iron knife (Roman); (8) harpoon (Middle Kingdom); (9) arrowheads
(Late Period).
@ {rtto*.ase) Crafts and trades
In addition to the tools used in workshops, many others were found that
had once been employed for building houses and the temples. Among them
are:
(1) plumb bobs made of stone and (2) wooden mallets, as well as (3) sanding
stones and tools for polishing dark hardstone. The device in the middle of
the case may have been used to smooth wall plaster. The limestone relief
(left rear) represents either a model or a trial piece for the decoration of a
temple wall. The mould (4) was used to form an oil lamp (Roman Period),
while small moulds (5) served the production of faience amulets. The copper
irxes (6) date to the Second Intermediate Period.
@ {rno*.ase) Statuary
Most canonical statues and statuettes found at Elephantine were intended
for the temples (like the figure of a late Middle Kingdom king in the center
of the case), but other forms of expression developed in Egyptian small
sculpture. The discovery of busts and small statuettes in the residential
quarters of the town documents the inofficial worship of gods and the
existence of memorial cults. It is, however, not always possible to
clistinguish such figures from those made to serve some magical purpose,
like the terracottas which depict a woman and child on a bed.
Objects of daily use often took the form of small sculpture. Examples shown
here include the stand for a lamp or incense burner shaped as a monkey
holding a column. It was made during the Middle Kingdom, like the little
ivory figure (1) that represents the middle section of an ointment spoon.
Nubian influence is apparent in the simply worked, seated statuette (2) from
the Second Intermediate Period (17th-L6th centurv BCE).
@ tria" wall) Three Middle Kingdom statuettes
The statuettes to the left and in the middle once stood in the Satet Temple of
the Middle Kingdom; that to the right was found in a house of the Late
Period (see VP 24),but it probably originally stood in the Heqa-ib sanctuary
(VP 18). All three figures depict dignitaries of some status. The husband in
the pair statuette eventually became the highest ranking administrator at
El-Kab, while the man depicted in the squatting figure to the right managed
to assume the kingship briefly during Dynasty XIII (ca. 1700 BCE).
@ {rno*.ase) Recent finds
This showcase is reserved for selected recent finds. For information on the
objects see the labels in the case.
@ tria" wall) Marriage contract
The document, written in Demotic script, is the best preserved papyrus from
a family archive that numbered seven rolls. They were found in a disused
oven belonging to a house of Dynasty XXX (ca. 350 BCE).
68 69
In the contract, which is dated to the eighth regnal year of Nectanebo lI,
Peteesis declares that he took Tareshut as his wife and that he received from
her clothing, a copper mirror, a pot(?) made of the same material, and one
deben of silver. (At the time, a deben would have purchased about ten
women's dresses.) Should he disown her or should she leave him of her own
free will, the contract specifies that he return these items to her immediately.
If Peteesis does not fulfill this stipulation, he is obliged by the contract to pay
Tareshut a set monthly maintainance in grain, oil, and silver until he has
reimbursed her in full for the goods she brought to the marriage. In a clause
that is otherwise unknown in a marriage contract, the wife for her part
agrees to return the clothes she might be wearing at the time of divorce or
separation, freshly washed, to her husband on a date he specifies. Finally,
Peteesis declares that he cannot claim to have returned the silver, mirror,
pot(?), and garments so long as the contract remains in Tareshut's
possession. The document is signed by the scribe Harsiesis who drew it up.
At least ten and perhaps as many as sixteen persons witnessed the contract.
Their signatures are on the back.
@ {rtto*.ase) Writing
A cursive form of writing now called "hieratic" was developed from the
hieroglyphic script for everyday use early on (four fragments of hieratic
texts on papyrus from the Old Kingdom are mounted on the rear wall of the
case). In the course of the last millennium BCE an even more abbreviated
script - Demotic - evolved from hieratic (e.g., the letter at the left from the
second century BCE). After the conquest of Egypt by Alexander the Great in
332 BCE and the introduction of Greek as the language of government,
official documents were composed in Greek. The fragment mounted in the
middle at the top of the rear wall of the case records a petition submitted to
the king about an injustice experienced in the third century BCE. The
contemporaneous papyrus immediately to the right records the verdict of a
judicial collegium.
The cheapest and thus most common medium for writing was the sherd, a
piece of broken pottery that could be picked up at random almost anywhere.
Sherds were used mostly for receipts or for compiling lists, but artists also
employed them for making sketches. Whole vessels, too, could be used as
surfaces for writing. The bowl at the lower right, inscribed inside and out
with a list of names and commodities received, was found in a dwelling of
Dynasty XiI (see VP 19). The list is dated to Year 46 of an unnamed king, in
all probability Amenemhet III. The outfitting of an expedition that was sent
to Nubia to produce charcoal is also mentioned.
70 77
@ {sno*case) Pottery of the Old and Middle Kingdoms
The most common finds on Elephantine, and from the residential quarters of
the town in particular, are sherds - bits of pottery from vessels that hrrd
been broken into a few or several pieces. Occasionally nearly complctc
vessels are also excavated. For the archaeologist, pottery is particularly
valuable, because the development of vessel forms, the composition of the
wares from which they were made, and the treatment of the surface furnish
dating criteria that are sometimes accurate to within a decade. Thus pottery
can and often does provide a means of dating the different levels of a
settlement when other indicators are lacking. The variations in the shape of
bread moulds is a case in point. In the Old Kingdom, bread was baked in
comparatively large conical vessels with a flat base (examples on the upper
shelf, at the right and to the rear). During the First Intermediate Period the
volume of the mould decreased; by the Middle Kingdom, the standard
bread mould was long and narrow. In the New Kingdom, finally, the length
of the mould was about half the Middle Kingdom size (example in the
foreground).
The rounded base which is characteristic of Egyptian pottery led to the
invention of ring-like jar stands in the early Oldkingdom. The fragment at
the upper left with its octagonal opening must have been made to support a
vessel of unusual geometric shape. Vases with a red polished surface
predominated among the prized vessels of the Old Kingdom (see the
washbasin and pitcher at the left below and the dish beside them to the
right). From the late Middle Kingdom, pottery was produced with an
untreated surface. Vessels of highly polished black ware (below and in front
to the left) are quite exceptional. Down to the present, they have not been
found outside Elephantine except in Karnak Temple at Thebes.
Red polished vessels with a black-smoked rim were made in Egypt only
during predynastic times and into the Archaic Period when production of
them ceased. But the Nubian cultures in the vicinity of Elephantine
continued to practice this decorative technique. Other pottery produced by
the same cultures was characterized by incised decoration (examples on the
upper shelf).
@ {rno*.ase) Pottery from the New Kingdom down through the Late
Antique Period
Painted pottery was made only during certain periods of Egyptian history.
ln the predynastic period, for example, pottery decorated with geometric
and figural designs was widely distributed. But with the exception of some
rare pieces from the Middle Kingdom (see the sherds on the rear wall of the
case to the left), painted vases were not made again until the beginning of
the New Kingdom. A typical example is the biconical vessel with red and
black stripes. Under Amenhotep III, blue-painted pottery came into fashion,
but it was hardly common, everyday ware. There are a few vases that were
further embellished with applied figural decoration. An example is the
fragment from an elaborate show piece (above left) with handles formed as
bound Nubian and Syrian captives. Imported vessels may have provided the
inspiration for such decoration, just as foreign influence accounts for the
idea to add handles to jars that first caught on in Egypt at the beginning of
Dvnastv XVI[.
@ stot"ge vessel
This huge jar was found in a house dating to Dynasty XXX (see VP 17)
where it was let into the floor and served to store grain.
book your tour with us
Egyptfemaletourguide.com
egyptraveluxe.com
egyptlocalguide.com
contact us :+201006838961 or +201006838653
- Egypt Local Guide
- Authentic Egyptian Experiences
- Local Insights in Egypt
- Tailored Egypt Tours
- Personalized Guided Tours
- Cultural Experiences in Egypt
- Local Egyptian Guides
- Off-the-Beaten-Path Tours
- Hidden Gems Exploration
- Bespoke Egypt Adventures
- Egypt Heritage Tours
- Unique Cultural Encounters
- Private Guided Experiences
- Egypt Travel Expert
- Local Knowledge Tours
- Custom Egypt Itineraries
- Exclusive Egypt Exploration
- Egypt Tour Planning
- Local Secrets Unveiled
Uncover Hidden Gems with Female Tour Guides in Egypt
Exploring Egypt with a female tour guide provides a unique opportunity to uncover hidden gems and experience the country in a more authentic way. Here’s why female guides are your best choice for discovering Egypt’s lesser-known treasures:
1. Local Expertise
Female guides often have strong local connections and knowledge, giving them access to hidden gems and off-the-beaten-path locations that typical tours might miss. Their expertise ensures a more immersive and authentic experience.
2. Personalized Tours
Female guides excel in creating personalized itineraries tailored to your interests. Whether you’re passionate about history, eager to explore local markets, or interested in cultural experiences, a female guide can customize your tour to make it truly special.
3. Unique Cultural Insights
Female guides bring unique cultural insights, particularly regarding the roles and contributions of women in Egyptian history and society. Their perspectives add depth and context to your experience, making your tour more informative and engaging.
4. Enhanced Comfort and Safety
Travelers, especially women and families, often feel more comfortable and secure with female guides. Their attentiveness to clients' needs ensures a safe and enjoyable journey.
5. Support for Gender Equality
By choosing a female tour guide, you support gender equality and empower women in the tourism industry. Your choice helps promote greater opportunities for women in Egypt.
Expert Female Tour Guides for Your Egyptian Adventure
When planning your Egyptian adventure, choosing an expert female tour guide can enhance your experience in many ways. Here’s why you should consider a female guide for your trip:
In-Depth Knowledge
Expert female guides possess extensive knowledge of Egypt’s history, culture, and landmarks. Their expertise ensures you receive detailed and accurate information, enhancing your understanding and appreciation of the sites you visit.
Personalized Attention
Female guides are known for their personalized approach, tailoring tours to your specific interests and preferences. This personalized attention makes your tour more meaningful and enjoyable.
Unique Perspectives
Female guides provide unique perspectives, especially on the roles and contributions of women in Egyptian history. Their insights offer a more balanced and comprehensive view of the country’s rich heritage.
Strong Communication Skills
Female guides typically excel in communication, ensuring their narratives are engaging and informative. Their ability to connect with clients of all backgrounds adds to the quality of the tour.
Enhanced Comfort and Safety
Travelers often feel more comfortable and secure with female guides. Their attentiveness and understanding of clients' needs ensure a safe and pleasant journey.
Book Your Customized Egypt Tour with a Female Guide
Booking a customized tour with a female guide in Egypt ensures a tailored and unforgettable travel experience. Here’s how to do it:
Identify Your Interests
Determine what you want to see and do in Egypt. Whether it’s exploring ancient temples, cruising the Nile, or experiencing local cuisine, having a clear idea of your interests will help you find the right guide.
Research Reputable Guides
Look for reputable female guides or tour companies that specialize in personalized tours. Read reviews and testimonials to ensure you’re choosing a guide with a proven track record of providing excellent service.
Communicate Your Needs
Contact your chosen guide and communicate your interests, preferences, and any specific requirements you may have. Good communication is key to ensuring a successful and enjoyable tour.
Customize Your Itinerary
Work with your guide to create a customized itinerary that suits your interests and schedule. A personalized tour allows you to explore Egypt at your own pace and focus on the aspects that interest you most.
Enjoy Your Experience
Relax and enjoy your customized tour, knowing that your guide has tailored the experience to meet your needs. Their local knowledge and expertise will enhance your understanding and appreciation of Egypt’s rich history and culture.
Discover Cairo with a Female Guide
Cairo, with its rich history and vibrant culture, is best explored with a knowledgeable guide. Here’s why you should consider a female guide for your Cairo adventure:
In-Depth Cultural Insights
Female guides bring deep understanding of Cairo’s history, culture, and landmarks. Their narratives provide a richer and more nuanced view of the city, making your tour more informative and engaging.
Personalized Itineraries
Female guides excel in creating personalized itineraries that match your interests and preferences. Whether you’re fascinated by ancient sites, eager to explore local markets, or interested in modern Cairo, a female guide can customize your tour to make it truly special.
Enhanced Comfort and Safety
Travelers, especially women and families, often feel more comfortable and secure with female guides. Their attentiveness to clients' needs ensures a safe and enjoyable journey.
Access to Hidden Gems
Female guides often have strong local connections, providing access to hidden gems and off-the-beaten-path experiences that typical tours might miss. This local expertise enhances your trip, providing a more authentic and immersive experience.
Support for Gender Equality
By choosing a female tour guide, you support gender equality and empower women in the tourism industry. Your choice helps promote greater opportunities for women in Cairo.
Top Female Guides for Your Egyptian Journey
Choosing the right tour guide can make a significant difference in your travel experience. Here are some top female guides to consider for your Egyptian journey:
Expert Knowledge
Top female guides possess extensive knowledge of Egypt’s history, culture, and landmarks. Their expertise ensures you receive detailed and accurate information, enhancing your understanding and appreciation of the sites.
Personalized Service
The best female guides provide personalized and attentive service, tailoring tours to meet your specific interests and preferences. Their ability to customize your itinerary ensures a memorable and enjoyable experience.
Empathy and Understanding
Top female guides are often highly empathetic and understanding, making them more attuned to the needs and concerns of their clients. This quality enhances the overall travel experience, especially for women and families.
Strong Local Connections
The best female guides have strong local connections, providing access to hidden gems and off-the-beaten-path experiences. This local expertise adds depth and authenticity to your tour.
Excellent Communication Skills
Top female guides typically have excellent communication skills, making their narratives engaging and informative. Their ability to connect with clients of all backgrounds adds to the quality of the tour.
Hiring a female tour guide in Egypt offers numerous benefits, from uncovering hidden gems to enjoying personalized service and unique cultural insights. Don’t miss the opportunity to explore Egypt with an expert who can provide a memorable and enriching experience. Book your female tour guide today and embark on an unforgettable adventure!
Comments
Post a Comment