heritage of egypt 2

8/3/2019 Heritage of Egypt 2

1/60


2/60


3/60

2318

in this issue:

14

From the Heritage of Africa:The Mysterious Rock Hewed Churchesof Lalibela

Amgad Refai 2

Editor:

Amgad Refai

E-mail: [email protected]

Published by:

Al-Hadara Publishing

Cairo, Egypt

www.alhadara.comE-mail: [email protected]

Fax: (20 2) 3760 58 98

The Heritage ofEgypt

Volume 1 Number 2 Issue 2May 2008

The history, archaeology,and legacy of Egypt

Al-Hadara Publishing

The Publisher and the Editor are notliable for statements made and opinions

expressed in this publication.

Plants in AncientEgyptLoutfy Boulos

Making a GraphicChangeKatie Hollamby

Tutankhamun andthe Golden Age of thePharaohsExhibition in LondonBob Partridge 8

A Memphite tombThe tomb of Kyiri

Wolfram Grajetzki


4/60

From the Heritage of Africa

The Mysterious Rock Hewed Churches Of LalibelaI was holding my breath when the small

Aircraft was ready to land at the small airport

of Lalibela, even I couldnt wait to have somerest in my hotel before I see the wonderfulChurches of Lalibela. Its something I will not

forget, walking in the village , and suddenly astone cross raised from the ground, and before

I wonder about it, my guide told me with veryproud smile on his face This is the roof of Bet

Giorgis and here,the story began

I n t h e 4 t hCentury AD, two

b r o t h e r s f r o m T y r e , S t .

Frument ius andAedesius introduced

C h r i s t i a n i t y t oEthiopia at the time

of King Ezana (303 -350 AD), and St.

F u m e n t i u sconsidered the first

Ethiopian Bishop.

The Ethiopianchurch followed theCoptic Church in

Egypt till the Arabconquest in the 7th

Century, when theEthiopian church

lost contact with anyChristian neighbors.

During the 12thc e n t u r y , t h e

P a t r i a r c h o f

A l e x a n d r i aa p p o i n t e d t h eE t h i o p i a n

Archbishop known as Abuna who was alwaysEgyptian Coptic Monk. 1929, when again

Egyptian monk appointed Abuna, but fourEthiopian Bishops were also consecrated as

his auxiliaries , till 1950 when EthiopianAbuna (Basil) was finally appointed , and in

1959 an autonomous Ethiopian Patriarchate

was established.

The first European to describe Lalibela wasFrancisco Alvarez, who came to the holy city between (1521-1525), and amongst most of

other travelers who used to visit the place afterthat, they used to call it (New Jerusalem).

The Original name of the place is Roha,which used to be the

Capital of Zaguedynasty for over 300

years, then namedafter the name of

the legend King ofRoha, and the last

k i n g o f Z a g u ed y n a s t y K i n g

Lal ibela (1185 -1225).

According to theEthiopian legends,

Lalibela grew upin Roha, when his

brother was the

king, it said that thebees prophesied hisgreat future*, The

king became jealousby those prophecies

about his brother ,tried to poison him,

but the poisonn e a r l y c a s t

L a l i b e l a i n t odeath-like sleep for

three days. Duringthese three days anangel carried his

soul to heaven toshow him the churches which he was to build.

Returned once more to earth he withdrawinto the wildness , then took a wife upon Gods

command with the name of Maskal Kebra,and flew with an angel to Jerusalem , Christ

himself ordered the king to abdicate in favor

2

* Till now Ethiopians believe that bees in dream foretell greatness, and good future.

From The Editor


5/60

The workers probably cut free an oblongblock of stone by sinking a rectangular trench

in the tuff, from this monolith the stonemasons chiseled out the church, shaping theexterior and the interior, retaining stones for

the columns, Pilasters and arches. The roofwas probably decorated by the senior masons

while they were waiting for the less skilledcraftsmen to excavate the walls. At each level

of excavation the finishing sculptural workmay have accomplish the work inside, entry was gained through the uppermost row ofwindows which are usually open, and onlyrarely provided with fillings. The level of theproposed floor was reached first of all on thewestern side of the church in the area of themain entrance.

The excavation of such a great project poses

a number of logistic problems, which might

also be pondered when admiring the finished

work. For example, where was the excavated

of Lalibela, anointed king under the thronename Gebre Maska Lalibela, living himself

an even more severe monastic life than before.Carried out the construction of the churches,

angels worked side by side with the stonemasons, and within twenty four years, theentire work was completed.

King Lalibela built 11 monolithic churchesin Roha; he constructed them in his Capital,

in the hope of replacing ancient Aksum as acity of Ethiopian preeminence. Restoration

work in the 20th century indicates that someof the churches may have been used originally

as fortifications and royal residence.

The churches were hewn out of solid rock

(Entirely below ground leve) in a variety ofstyle, generally trenches were excavated in a

rectangle, isolating a solid granite block, the

block was then carved both externally andinternally, then work proceeding from topdownward.

3

PhotoByAmgadRefai

Bet Giorgis


6/60

4

Icon of the Virgin

Photo

ByAmgadRefai


7/60

stone and earth carried to? How many

thousands humans carries must have been

employed? How were the stones carried away?

The answers of some of thoseq u e s t i o n s n e e d t o o m a n y

researches, and much work from

Archaeologists.

The churches were arranged in

two main groups, connected by

subterranean passageways, one

group, surrounded by a trench 11

meters deep, includes House of

Emmanuel, House of Mercurios,

Abba Libanos, and House of

Gabriel, all carved from a single

rock hill. House of Medhane is the

largest church, 33 meters long, 23

meters wide, and 10 meters deep.

House of Giorgis, cruciform shape,

is carved from a sloping rock

terrace. House of Golgoth, and

house of Mariam is noted for its

Frescoes. The interiors were

hollowed out into naves and given

vaulted ceiling.The paintings in the churches

are all from later date, some

originating in the 15th century,

and some from 17th-18th century.

The first group of churches

The churches of the first main

group lie in their rock cradles one

behind the other north of riverJordan. The whole complex may

be divided into three smaller

groups, Bet Medhane Alem in the east, The Bet

Maryam group in the center, and the twin

5

A monk showing King Lalibela Cross

PhotoByAmgadRefai


8/60

church Golgota Debre Sna with the Selassie

chapel in the west. Each sub-Group has acourtyard of its own, while the whole complex

is surrounded by deep outer trench.

But still the most important church of thisgroup, is the Bet Maryam, and a legend says

that king Lalibela himself favored this churchabove all, having attended mass there daily, abox of the Royal family of Lalibela is still shown

on the western wall of the courtyard. And aswell its beloved for its beautiful paintings.

THE SECOND GROUP OF CHURCHESSouth of River Jordan, a bastion of red tuff

severed from the rock plateau in the north,east and south by a broad artificial outer

trench, 11 meters deep . Another deep centraltrench cuts this area into two parts, leaving at

its end a cone-shaped hill. The original function

6

Lalibela memorial stamps

Roof Painting

PhotoByAm

gadRefai


9/60

have been found in the walls of the courtyard,graves for pious pilgrims and monks.

The legend about Bet Giorgis says that when

King Lalibela had almost completed thechurches, St. George on his white horse

reproached Lalibela for not constructinghouse for him. Then Lalibela promised the

saint the most beautiful church, and the legendsays that St. George supervised the work in the

church in person.*

No doubt that the church of Bit Giorgis is

the most remarkable and special one amongstall other churches in Lalibela for its different

elegant architecture.

The churches of Lalibela designated a

UNESCO world heritage site in 1978, andduring the major holy day celebration it attracts

thousands of pilgrims. The town also serves

as a market centre for the Amhara people.

of this complex of churches not yet clarified,tow of them, Bet Emanuel and Bet AbbaLibanos are planned as church, while the other

two might be part of residence of Zague, andseems since the fall of the Zague, they became

churches too.

The Bet Emanuel church considered to be

the finest and most impressive church in thisgroup with very nice paintings. And Bet Abba

Lebanos connected to the legend that Lalibelaswife Maskal Kebra with the help of angels,

created this church in one night.

BET GIORGIS

The Bet Giorgis is isolated from the othertwo groups of churches, dedicated to the

national saint of Ethiopia. It is located in thesouthwest of the village on a sloping rock

terrace, in its deep pit with perpendicular walls

can only be reached through a tunnel whichis entered from some distance away througha trench. Small round caves and chambers

7

* Monks today still show the hoof-mark of the horse to the visitors.

The village of Lalibela


10/60

Tutankhamun and the Golden Age of the

Pharaohs

Exhibition in London*In the late 1960s a tour of objects from the

Tomb of Tutankhamun toured the world. In1972 the exhibition opened at the BritishMuseum in London and it was, and still is, one

of the most successful exhibitions ever held,drawing record crowds and with people

queuing for hours to see it.

Fifty objects were selected which included the

famous gold funerary mask. This was a timewhen relatively few people were able to travel

to Egypt and it was a unique opportunity tosee some of the splendid objects from the kings

tomb and also an excellent way to mark the

fiftieth anniversary of the tombs discovery byHoward Carter and Lord Carnarvon.

O v e r t h i r t y y e a r s o n a n d a n o t h e r

Tutankhamun exhibition began a tour, startingin Europe and with several venues in the

United States. In March this year it opened ata new Exhibition Centre in London, the O2.

Like the 1972 exhibition, Tutankhamun andthe Golden Age of the Pharaohs also features

fifty objects from the Tomb of Tutankhamun.Some of these were included in

the 1972 exhibition, a gildedimage of the god Ptah, the

alabaster wishing cup, theportable chest, a tall cabinet on

legs, the small childs chair (ofebony inlaid with ivory) and

footstool, the gilded ostrich-feather fan, the little gilded

shrine, a standing figure of theking wearing the red crown, andthe gold dagger. This time,

however, the gold mask is notincluded. It is too important an

object to now leave the EgyptianMuseum in Cairo as it is one of

the main attractions for visitorsthere.

Also included is one of theminiature gold canopic coffins,

a canopic stopper but not thesame one as last time - and a

royal crook and flail but again,

a different set from 1972. All ofthese objects are well known andof the highest quality. In

addition to these objects, someof the main items to be included

in the new exhibition are thekings silver trumpet, a superb

stool, one of the ceremonialshields, three pectorals, the

ankh-shaped mirror-case, an

Bob Partridge

8

* Photos: Bob Partridge, courtesy of the Tutankhamun and the golden Age of the PharaohsExhibition, the Egyptian Supreme Council of Antiquties and the Egyptian Museum in Cairo.

The little Gilded Shrine of Tutankhamun


11/60

9

Detail of the gold and inlaid canopic coffin of Tutankhamun


12/60

alabaster unguent jar(the one with the lion on

the lid), and the box inthe shape of a cartouche.

One of the largest

objects from the tomb to be included is the life-

sized painted woodtorso of the king; the

other main object is thegold and inlaid royal

diadem found on thehead of the kings

mummy.

There are some major

and unique pieces hereand this selection is far

from being a poor

relation of the 1972exhibition. These andthe other objects are

beautifully illustratedand described in a book

Tutankhamun and theGolden Age of the

Pharaohs written by Dr. Zahi Hawass andpublished by National Geographic. The book

is illustrated with specially commissioned (andstunning) photographs by Kenneth Garrett.

This new exhibition is, however, much morethan just Tutankhamun and it aims to put his

reign and time in an historical context. Inaddition to Tutankhamuns treasures, some

seventy other key exhibits are on display, many

of which are major pieces that have not leftEgypt before. Most of these date to just before

his reign and are connected to members of hisfamily.

Objects are included from other royal tombsin the Valley of the Kings, notably from the

tombs of Amenhotep II and Thutmose IV. Often

10

The gilded coffin of Thuya

Tutankhamun's Wishing Cup


13/60

damaged by robbers, these objects aresimilar to many intact examples found in

the tomb of Tutankhamun.

The reigns of earlier rulers are also

represented, including Thutmose IV (amagnificent life-sized granite double statue

of the king with his mother is included)and sculpture from the reigns of

Amenhotep III and Akhenaten. One of thelargest pieces in the exhibition is one of

the well-known heads from a colossal statueof Akhenaten found at Karnak, and there

are several other famous Amarna pieces.

Many splendid objects are included from

the tomb of Yuya and Thuya, found someyears before that of Tutankhamun in the

Valley of the Kings. The gilded coffin andmummy mask of Thuya and ornate pieces

of furniture show the wealth of the reignof Amenhotep III.

11

Pectoral of Tutankhamun showing a winged scarab beetle

The gold and inlaid royal diadem

found on Tutankhamun's mummy


14/60

I have been lucky enough to visit the London

exhibition twice. I have seen all the objectsmany times before in Cairo and I was looking

forward to seeing how they would be presentedin this new exhibition.

I was very impressed. This is a truly stunning

exhibition. Most of the objects included arespectacular; they have never looked better and

the information provided in the labelling isaccurate and informative. Each object is given

much more space than is possible in Cairo,and can be seen from all sides.

The quality of the display and lighting meansthat the objects can literally be seen in a new

light. Tutankhamuns carrying chest and smallchair look like they were made yesterday.

The exhibition had been criticised in the UnitedStates and in the UK press for the background

music, but I was so fascinated by the objects Ihave to say that I really didnt notice it! In the

US, the exhibition was accused of beingtheatrical; I think the only instance of this in

the UK version of the exhibition is wherereproduction ancient columns almost

overwhelm a colossal head of Akhenaten.However, perhaps those who criticised the

rooms containing the objects should have spentmore time looking at the objects themselves!

12

In his opening remarks, Dr.Zahi Hawass made it clear that

the aim of the exhibition wasto help raise funds for the newGrand Egyptian Museum which

is being built at Giza and alsoto help to conserve objects in

Egypt. It has recently beenr e p o r t e d t h a t t h e f i n a l

restoration of Tutankhamunssixth chariot, which has never

been on show, has taken place;one can appreciate the time and

costs involved in this work. TheEgyptian Museum now plans to

conserve the four gilded shrines necessary anyway, not just to

enable them to be moved to thenew museum in a few years

time and of course this taskwill have to be undertaken for

every object to be moved. Dr.Hawass said that 75% of the

exhibition ticket receipts willgo to Egypt. At 15 for adults on

week-days and 20 at the weekend, the

Chair of ebony and ivory used by

Tutankhamun when he was a child

Statue of Thutmose IV and his mother


15/60

exhibition is still good value for money.

The exhibition in London is provinghugely popular and it runs until August.

It both educates and enlightens visitorsabout the art and culture of ancient

Egypt and I have no doubt that it willinspire many to want to find out more

about Egypt and even to visit the country. As such the objects on display are

working hard as ambassadors for Egypt.

Most importantly, the objects are helping

to raise much needed funds. When theexhibition closes in London, it will then

travel again to the United States, as willa similar exhibition which is currently

on in Vienna.

By the time all the objects return to Egypt

they will have a new home, the Grand

Egyptian Museum, and one which theywill have helped to fund. I have no doubtthat many people having seen the

London exhibition will want to visit thenew museum and to see all the other

Tutankhamun pieces and the wide rangeof splendid objects from all periods of

Egyptian history which will be on displaythere.

However, if you cannot visit Egypt and you are in London in the next few

months, the exhibition is one mostdefinitely NOT to miss.

For more information on the exhibition y o u c a n v i s i t t h e w e b s i t ewww.kingTut.org

Bob is Editor of the UK magazine

Ancient Egypt

www.ancientegyptmagazine.com

He is the author of a number of books

on ancient Egypt includingTransport in Ancient Egypt

Faces of Pharaohs: Royal Mummies and

Coffins from Ancient Thebes and

Fighting Pharaohs: Weapons and

Warfare in Ancient Egypt.

13

Head of a statue of Queen Nefertiti


16/60

Our knowledge about the plants of ancient

Egypt is based on the plant remains found inthe archaeological sites and tombs, as well asfrom the documented information on papyri

and plant motifs which appear on the temples.Plants have played a major role in the daily

life of ancient Egyptians including agriculture,industries, food, building material, artwork,

and other activities.

Agriculture and agricultural products

Egyptian agriculture was probablyestablished some time during the eighth

millennium BP (before present) with a rangeof domesticated crops. The earliest finds of

Emmer wheat (Triticum dicoccum) and barley(Hordeum vulgare) in Egypt date to 7300-6000

BP marking the beginnings of one of the mostaccomplished examples of plant-people

interaction in history. Ancient Egyptians wereprobably the first people who made bread from

wheat and brewed beer from barley. Theimportance of both bread and beer in ancient

Egypt, widely attested in many documentary

sources, including offering lists, proverbs,scribal exercises, and administrative records.

No meal was complete without bread and beer,and everyone in ancient Egyptian society

partook of them, from pharaoh to the

labouring peasant. The frequency with which

well-furnished tombs were provided withloaves of bread and jars of beer, and the manyartistic scenes of baking and brewing in tombs

demonstrate how the ancient Egyptians aimedfor an equally abundant supply in the after-

life.

Vines (Vitis vinifera) were planted for grapes

either in gardens for home consumption, orin vineyards for the production of fruit for

wine.

Vegetables and pulses

Ancient Egyptians also cultivated onion( Allium cepa) and garlic ( Allium sativum).

Herodotus recorded the vast quantities ofonions and garlic consumed by the buildersof the pyramids of Giza. Garlic, besides a

favourite food, was used medicinally and as apreservative, which may explain its association

with mummies. Several other vegetables werecultivated in ancient Egypt: lettuce (Lactuca

sativa), melon (Cucumis melo), cucumber(Cucumis sativus), watermelon (Citrullus

lanatus), radish (Raphanus sativus), lentil (Lensculinaris), chickpea (Cicer arietinum),

coriander (Coriandrum sativum), cumin(Cuminum cyminum), black cumin (Nigella

Plants in Ancient Egypt

Loutfy Boulos

14

Nymphaea lotus


17/60

sativa), celery (Apium graveolens), fenugreek(Trigonella foenum-graecum), garden pea

(Pisum sativum), faba beens (Vicia faba), lupin(Lupinus albus) and earth almond (Cyperus

esculentus).

Fruit Trees

Three palm trees were known from ancientEgypt: Date palm (Phoenix dactylifera), dom

palm (Hyphaene thebaica) and Medemia palm(Medemia argun). Fruits of these palms were

frequently found among other offerings in thetombs of ancient Egypt.

Other fruit trees in ancient Egypt includesycomore fig (Ficus sycomorus ), Common fig

(Ficus carica), pomegranate (Punica granatum),carob tree (Ceratonia siliqua), Olive tree (Oleaeuropaea), Egyptian plum (Cordia myxa),Christ's thorn (Ziziphus spina-christi), persea

or lebbakh (Mimusops laurifolia) and henna(Lawsonia inermis).

Papyrus

The papyrus plant (Cyperus papyrus), from

which the ancient Egyptians manufacturedtheir writing material, the papyrus sheets,

served to record written information of theiractivities since the third millennium BC in the

form of rolls, as the sheets were joined together.

Papyrus was symbolized by the papyrus

columns frequently seen in temples of ancientEgypt.

Flax

The flax plant (Linum usitatissimum) was

cultivated in Egypt since predynastic times.The majority of the textiles of ancient Egyptians were of linen made of the fibers of flax.

Turning the flax plant into a piece of cloth isan elaborate process. However, a variety of

types of linen cloth were already produced inthe Neolithic period c. 5000 BC. Ancient

Egyptians were probably the first whomanufactured cloth items from plant fibers.

Lotus

Two species are known in Egypt: the white-

flowered Nymphaea lotus and the blue-flowered Nymphaea caerulea, and are still

growing in the canals, especially in the NileDelta region. Lotus flowers were used as

offerings in ancient Egypt. Lotus columns arefrequently seen in the temples.

Tools and objects

Numerous tools and objects of plant origin

are known from ancient Egypt. Mats weremade of sedges such as Cyperus alopecuroides

and Cyperus articulatus. Floor mats were made

15

Hyphaene thebaica

Cyperus papyrus


18/60

from rushes such asJuncus rigidus andJuncusacutus. Baskets were made of culms of theordinary read Phragmites australis and the

bamboo-like reedArundo donax. Palm leavesand grasses were widely used for making

baskets and mats. The most common palmleaves used are those of date palm (Phoenix

dactylifera) and dom palmHyphaene thebaica.

The two grasses used were Desmostachyabipinnata andImperata cylindrica, which areknown as halfa grasses. These two species

frequently grow throughout the country nearcultivated ground, and are still growing in

similar habitats in Egypt.

The strong midribs of date palm leaves were

used for making chairs, tables, beds, anindustry still going on in rural regions and the

oases in Egypt. It is believed that the basket,in which Moses the child was found in the

Nile, was made of the hardy stems ofCeruana

pratensis, a plant still growing along the Nile

banks in Egypt.

Wood

Native and imported woods were used in

ancient Egypt to manufacture different objects.Native species include Acacia nilotica, from

the Nile valley, and Acacia tortilis, a desertspecies, carob (Ceratonia siliqua), sycomore fig

(Ficus sycomorus), olive tree (Olea europaea),

16

Medemia argun

Ficus sycomorus


19/60

Many other plants, growing wild, wererecorded from the excavation sites, their

remains could be identified by comparingthem with the present vegetation.

17

tamarisk (Tamarix aphylla), Christ's thorn

(Ziziphus spina-christi), dom palm (Hyphaenethebaica) and date palm (Phoenix dactylifera ).

Among the imported woods are: field maple( Acer campestre), common box (Buxus

sempervirens), African black wood (Dalbergia

melanoxylon ) , common ash (Fraxinusexcelsior), persea (Mimusops laurifolia), cedarof Lebanon (Cedrus libani), cypress (Cupressus

sempervirens ) and Aleppo pine (Pinus

halepensis).

Different objects were made of these woods,such as arrows, coffin dwells, sarcophagi

dwells, boxes, bowls, spoons, pins, knifehandles, combs, musical instruments, toys,

boats, cabinets, furniture, sculptures, statues,roof timber, wheels, wagons, paddles, barrels,

ladders, water pipes, flooring and monumentaldoors.

Dyes

Ancient Egyptian textiles were dyed mainly

in blue or in red, and less frequently yellowtextiles were met with. The plants used as asource of blue colour were indigo (Indigofera

species) or woad (Isatis tinctorum). Red colourswere mainly from alkanet (Alkanna tinctoria)

and henna ( Lawsonia inermis). Yellow wasmainly produced from pomegranate (Punica

granatum) and safflower (Carthamustinctorius).

Cyperus esculentus

Punica granatum

Acacia nilotica


20/60

It would be hard to argue that there has ever

been a more fascinating civilization that has walked on the face of this earth than theancient Egyptians. The treasures that they have

left behind continue to marvel the 1.8 millionvisitors from around the globe every year that

come to The Egyptian Museum. Yet the waythis national museum has been maintained

since it opened its doors in 1902, is just asastonishing.

The Egyptian MuseumG r a p h i c I m p r o v e m e n t

Project (TEMGIP) began as asimple dream to dramatically

improve the image andfunctionality of The Egyptian

Museum by creating the firstcomplete signage system and

brochure. Walking away fromher initial visit to the

museum in 2004, Rebecca W e i m e r ( a U S A - b a s e d

Graphic Designer) decided toturn her dream into a reality.

The inspiration to pursuethis dream is what fuelled

her to start a non-profito r g a n i z a t i o n G r a p h i c

Change, Inc. that works to

improve the effectiveness,

awareness, and impact of organizations or

causes that supports society and theenvironment, through creating successful

graphic design components and systems.

Sometimes its the simplest things that make

the biggest difference. In this case, its a lackof general information that prevents visitors

from getting the most out of their experienceat this museum. For instance, if you come

across a fist-sized stone that slightly resemblesa human head in a random case without any

Making a Graphic Change

Katie Hollamby

18


21/60

informat ion to te l l you i t ssignificance, youre likely to walk by

it. But if there was a label that told you that this was the earliest 3-Dhuman figure ever found, initiating

sculpture some 7,000 years ago, youwould gain much more appreciation

for it. This is the underlying goal ofTEMGIP.

Graphic Change has been in Cairosince November 2005, producing the

first brochure and developing acomplete signage system, consisting

of 330 signs that will allow visitorsto easily understand what they are

l o o k i n g a t , w h i l e s m o o t h l y navigating the museum. As we

begin to face the enormous challengeo f m o d e r n i z i n g t h i s g r e a t

institution, we are fortunate to havethe support of Graphic Change, an

American non-profit organization.states Dr. Zahi Hawass, General

Secretary of the Supreme Council ofAntiquities (SCA).

In designing the signage system,

there were many things that neededto be considered. It was important

for the overall look and feel of thesystem to marry the Neoclassical

19


22/60

structure of the building with aspects of the

ancient Egyptian culture. A granite-likematerial called Corian was chosen to fabricate

the signs, based on the fact that granite wasnot only widely used by the ancient Egyptians,

but also during the Neoclassical era. Thismaterial was also chosen for its properties of

being more durable than actual granite,making it very easy to clean and maintain.

One of the most important aspects of thesystem is to communicate clearly to the broad

international audience. The use of iconicsymbols is the most effective way to

communicate to all languages and cultures.The idea of using ancient Egyptian

hieroglyphics to identify the various collectionsin the museum as well as its facilities, bridges

the communication gap and lends itself wellto the concept. The use of color was also and

important aspect to consider. Color is a greatway to identify and unify several different

display rooms that have a common theme ortime period. A color code system has been

created to help differentiate multiple time

periods displayed on the lower floor, and

various themes displayed on the upper floor.

Sustainability is key, and plays an important

role in this project. The signage system willtherefore be installed in a framework on the

walls and will be able to click and lock intoplace, making the system not only safe but also

versatile to accommodate continuous changesthat occur within the museum.

Taking sustainability a step further, thebrochure Graphic Change has produced and

copyrighted will be sold at the museum tofinancially sustain the new signage system and

Graphic Changes efforts. The brochurecontains the most up-to-date, complete and

comprehensive maps, created by GraphicChange, now used by the museum to help

create their catalogue database. Each sectionof the museum is clearly color-coded withgeneral information about the topic and items

displayed in that section. Information aboutmuseum hours, admission costs, general

guidelines, information for visitors in

20


23/60

21


24/60

wheelchairs, contact information and generalinformation about the museum itself are also

included.

The entire project has been created byGraphic Change and approved by the SCA.

Corporate or personal sponsorship is now being sought to be able to implement the

project. In order to realize this ambitious and vital project, the Supreme Council of

Antiquities, through Graphic Change, isseeking financial support to assist with the

funding of this important project. states Dr.Zahi Hawass. A variety of companies have

already stepped up to support different aspectsof this project. DuPont has granted a

discounted rate for their Corian material,McDonalds has sponsored the first 3,000

brochures, and Kwik Kopy has printed 75project portfolios that have aided the

fundraising process. Once full fundingbecomes available, it will be a 4 to 6 month

process until the entire system will be installed.

Sponsorship benefits include a company

logo with a line of appreciation permanentlyinside the brochure, a logo on the Sponsorship

plaque permanently displayed inside themuseum, and a logo on 3 banners, prominently

displayed in the museum during theinstallation phase of the project. These benefits

will be seen by approximately 5,000 peoplefrom around the world who visit the museum

everyday; almost 2 million every year. Benefitsalso include an official certificate of

appreciation, (signed by the Secretary Generalof the Supreme Council of Antiquities and the

Minister of Culture of the Arab Republic ofEgypt), that will be presented at the grand

opening event, accompanied by the press.

For more information about this project and

sponsorship, visit www.GraphicChange.org

Companies interested in sponsoring thisproject can contact Rebecca Weimer at

[email protected].

Katie Hollambyis an Event Manager and FineArt Photographer, living and working in Egypt.

22


25/60

The places now famous for ancient

monuments are often not the same, as the onesanciently celebrated. For the New Kingdom,Thebes remains the centre of attention for themodern visitor. There, on the East bank of theNile is the temple of Karnak, and, on the Westthe hundreds of tombs belonging to theofficials at Thebes West.

For a stranger, visiting Egypt around 1150BC, the picture must have been different.Coming from Palestine he would soon reachPerramesse, the royal residence in the Eastern

Delta. As described in poetry of the time, thecity had several monumental temples similarin size to those known from Karnak, there were palaces of the king and the greatmansions of the state officials.

Traveling South, the visitor must havepassed several more towns with major templesand palaces, such as Bubastis or Tell el-Yahudiya. At Heliopolis, there was a further

massive temple complex, on the same scale of

the one we can still see today at Karnak. Acrossthe river, at Memphis, stood the second city ofNew Kingdom Egypt with several palaces andagain a huge temple complex of about the samescale as the one at Heliopolis. All these templesand palaces are today almost entirely vanished:most often, it is even no longer possible toreconstruct the plan of these buildings.

Somewhat better known are the cemeteriesof Memphis, at Saqqara. Especially the tombsand pyramids of the Old Kingdom from about

3000 to 2200 BC are well preserved. However,it should be made clear, that they formed thelowest level at Saqqara protected by sand andlater buildings constructed over them. Thecemeteries of the New Kingdom were at ahigher level. Therefore, they were the first tobe destroyed already in Antiquity. Egyptologistsoften tend to look at the few places with idealpreservation conditions for architecture ororganic material. These places are too oftenregarded as typical for the whole of the countryof a specific period. Thinking about privatetombs of the New Kingdom, most people willthink about the Theban rock cut chapels oftennicely decorated with paintings and sometimes with reliefs. These chapels and the tombsunder them reveal a small part of Egyptiansociety. They belong to the highest courtofficials in the one century from Hatshepsutto Amenhotep III. People in other parts of thecountry and of different income were buriedin different types of tombs. Only in about thelast twenty years have we become fully aware

that there was in Memphis a cemetery of theNew Kingdom with many impressive tombs belonging to the state officials from thefollowing century, the time of aboutTutankhamun to Ramses II in the NineteenthDynasty. These tombs are often poorlypreserved.

One example is the tomb of the overseer ofcraftsmen of the Lord of the Two Countries,Kyiri. His chapel and its decoration may bepresented as one example for a Memphite tomb

chapel of the late Eighteenth or early

A Memphite tomb

The tomb of Kyiri Wolfram Grajetzki

23

Man at scale ( Grajetzki)


26/60

Nineteenth Dynasty, around 1300 BC. The tombof Kyiri must have been already destroyed in

ancient times. All its known decorated blockswere found built into the monastery of St ApaJeremias. Many of the blocks found belong tothe lowest level of the chapel indicating thatit had been enough already in Late Antiquityfound extensively destroyed, the upper blocksremoved much earlier. However, enoughdecorated blocks were found reused in themonastery enable us to reconstruct some walls

and to gain an idea of a typical Memphite tombchapel of the New Kingdom.

Not much can be said about the architectureof this specific chapel. The chapels at Memphiswere most often built along the same line, sothat some general statements are possible.Nevertheless, each tomb had its own solution

for certain problems, so that we will never besure about the plan of the tomb in detail.

Each of the chapels had a main, inner room.This was the place where the funerary ritesfor the tomb owner were performed. Manychapels at Saqqara had even three inner roomsplaced side by side and for certain reasons itcan be assumed that the tomb of Kyiri also hadthree rooms at the back. In front of them theremust have been a courtyard, as can bereconstructed from pillars with the name of

Kyiri and from the blocks found. Whether thetomb had a second courtyard, as many biggertombs, might be doubted. Kyiri did not belongto the highest officials at the royal court;although he was certainly an important person,he did not belong to the absolute top. Hischapel was therefore probably relativelymodest in size.

Scene showing magazines, in the middle there are arrows,

at the bottom there is a chariot ( Grajetzki)

24

Detail of the funerary procession of Kyiri: the coffin and behind it the vizier as guest of the procession ( Grajetzki)


27/60

In the courtyard there must have been shaftsleading down to the burial chambers. Herewere placed the coffins or sarcophagi of Kyiriand his wife and perhaps of other, householdor family members buried there. Nothingsurvived from the burial equipment and theshaft, which is perhaps still lying buried in thesand at Saqqara. It also remains unknownwhether Kyiris chapel had a small pyramid asdid many other New Kingdom tombs atSaqqara.

From the decoration, it can be said that thebest preserved walls of the chapel of Kyiri seemto belong to the small courtyard. On one ofthe long sides were found scenes relating tothe office of Kyiri, on the other side there werescenes relating to his funeral. This arrangementwith daily life on the one side and the passageto eternity on the other side is often found inother Memphite tombs in the period ofTutankhamun to about Ramses II.

On the wall relating to the office of Kyriri,he is sitting on the left together with his wifeIyemia. In front of him a son is making a royaloffering to the Osiris Kyiri. The other part ofthe wall is occupied by scenes of workshops.On the left Kyiri is shown sitting again in frontof a magazine building, where chariots, arrowsand a scale amour shirt are shown. These arecertainly products of Kyiris workshop. Fromother texts we know that Memphis was animportant industrial place. The main deity ofMemphis was Ptah, the god of crafts and arts.Therefore, the titles of Kyiri and his tomb inthe Memphite region do not come as surprise.

On the right side of the wall, the workshopitself was depicted. There is a man shown at ascale and craftsmen working in two registers.We see an oven for metal-working and perhapscarpenters producing furniture. In three lowerregisters are men bringing all these productsto Kyiri. They carry chariots and smallerobjects. From his titles it is certain that Kyiri was in charge of the armour production,especially for chariots. He was overseer of thecraftsmen for chariots, but also overseer ofthe craftsmen of armour production andsimply overseer of craftsmen. From thedepictions in the tomb it seems certain thatmost of these items were produce in one workshop. Chariots and furniture wereperhaps made by the same people in a

specialized combination of metal wood.

The other side of the courtyard presents thefunerary procession of Kyiri. On the left is thecoffin of Kyiri, in a shrine, placed on a boatwith wheels, drawn by cattle. Behind the boat,there are the guests of the procession visible.Kyiri was certainly an important person of hisday and therefore influential people joinedthe procession; most importantly, the firstperson appearing there is the vizier, the primeminister of Egypt. Two viziers governed Egyptin the New Kingdom and one of them had hisoffice in Memphis. In front of the processionfemale mourners are standing and three mencarrying boxes, perhaps part of the burialequipment. At the right end a ritual calledbreaking the read pots is depicted.

Several other scenes in the tomb show Kyiri with his wife. In one of them a monkey isplaying under the chair of his wife. In anotherscene Kyiri is shown in adoration, in front ofthe four children of Horus. In another priestsand female mourners are depicted in front ofhis mummy or he and his wife are kneeling infront of the tree goddess who is pouring waterinto their mouths.

The small courtyard in the middle of thetomb chapel was adorned with at least two,

25

Plan of the tomb (reconstructed), the dark black wall are

at least partly preserved ( Grajetzki)


28/60

chapel. In Thebes, and in at many places inUpper Egypt in general there was a statue ofthe tomb owner, showing him and perhapsalso his wife and mother. In Memphis, therewere also many statues placed into the tomb

chapel, but in the main chapel, there was astela, showing the tomb owner and his family.Indeed there was found a fragment of a stelawith the name of Kyiri, most likely belongingto the main chapel.

The tomb chapel of Kyiri is only preservedin loose blocks. From other chapels often, justsingle fragments are known, and anyreconstruction seems impossible for them.Other chapels have been found in excavations,including the famous tomb of the general and

later king Haremhab. While the Old Kingdomis a well known chapter for the history ofSaqqara, the research on the New Kingdomhas just begun. It is certain that futurediscoveries at Saqqara, and also in museumswill reveal a little known part of New Kingdomhistory and art.

Further reading

G. T. Martin, The Hidden Tombs ofMemphis, London 1991 (still the best overview

on the New Kingdom tombs at Saqqara)J. E. Quibell, Excavations at Saqqara (1908-9, 1909-10), Cairo 1912 (the publication of theblocks, see pl. LXV-LXXX)Discussions of the tomb:

A. Horold, Ein Puzzle mit zehn TeilenWaffenkammer und Werkstatt aus dem Grabdes Ky-jrj in Saqqara, in: Es wurde niedergelegtein Schriftstck, edited by N. Kloth, K. Martin,E. Pardey, Hamburg 2003, 193-202

W. Grajetzki, Das Grab des Kii-iri in Saqqara,Jaarbericht, Ex Oriente Lux 37 (2001-2002),

2003, 111-125

but more likely with four pillars. On theseKyiri is shown holding a djed-pillar. This is atypical scene known from New Kingdom pillarsin the Memphite region. One of theinscriptions on the pillars seems to identify it

with Sokar-Osiris, one of the most importantdeities of the Memphite cemeteries, althoughthe further text on the pillar of Kyiri refers toTawer, the province of Abydos in the South.

Altogether, the architecture of the tombs isdifferent from the tombs at Thebes. In Thebes,there were rock cut chapels, in Memphis, therewere chapels built of blocks above ground withthe burial chamber below ground. Beside thearchitecture in general there are otherdifferences between Theban and Memphite

tombs. One of them is the innermost cult

26

The remaining blocks of the funerary procession; most likely once from the south wall of the courtyard (from Quibell)

Three views of one of the pillars (from Quibell)


29/60

Fl o r a o f Eg y p tLo u t f y Bo u l o s

Volume One (Azollaceae - Oxalidaceae)Important families: Azollaceae , Leguminosae, Cruciferae,Caryophyllaceae, Chenopodiaceae, Oxalidaceae..Pages: i-xvi, 419, with 544 line drawings in 67 plates, 94 colour photographs, and index to scientific names.Date of publication: February 1999ISBN: 977-5429-14-5

Volume Two (Geraniaceae - Boraginaceae)Important families: Geraniaceae, Zygophyllaceae, Euphorbiaceae,Malvaceae, Umbelliferae, Asclepiadaceae, Convolvulaceae, Boraginaceae..

Pages: i-xvi, 352, with 409 line drawings in 71 plates, 94 colour photographs, and index to scientific names.Date of publication: November 2000ISBN: 977-5429-22-6

Volume Three (Verbenaceae - Compositae)Important families: Compositae, Verbenaceae, Labiatae, Solanaceae, Acanthaceae, Plantaginaceae,Scrophulariaceae..Pages: i-xvi, 373, with 384 line drawings in 77 plates, 128 colour photographs, and index to scientific names.Date of Publication: December 2002ISBN: 977-5429-25-0

Volume Four Monocotyledons (Alismataceae - Orchidaceae)Important families: Gramineae, Cyperaceae, Alliaceae, Najadaceae,Potamogetonaceae, Iridaceae, Amaryllidaceae, Lemnaceae, Palmae, OrchidaceaePages: i-xvi, 617, with 404 line drawing in 130 plates, 159 colour photographs, key to major divisions andto families, Vernacular-Latin / Latin-Vernacular names, glossary of botanical terms, and cumulative indexto genera and families.Date of Publication: August 2005ISBN: 977-5429-41-2

Orders to: Al-Hadara Publishing7 Abou El-Seoud Street, Dokki 12311, Cairo, Egypt.Fax: (20-2) 3760 58 98 - Mobile: (20-12) 316 48 67

E-mail: [email protected] - E-mail: [email protected]

www.alhadara.com


30/60

>IOUdOUWsOv:dLIde"OUWsOv,cIOUWUXUUOUWNUfOYuDOuUUKuAQUIU{wLHBKNWKtsOv...vbMWFOsLLUzWvbWHULOW...bdXcIOUWrOsNUd".

OUWsvUW:dLIde"OUWs vUW,cIOUWuuLUuJOdKvdsKpvOsIBdsJMNUduOWHNUAOasvUWUVuAUvUKOHWdQJUKt...ncIOUWvMWLUAdLLUzW",LUuJOdIlKvBWIUdUobGuUv.

KdWOsOMUIUd"LIf"BWIUddwJusuluIW,(Jq5),dwJusuOdOuMHfAUBduIWMbbqAU(Jq9).

2-JUqAUUU_uOWAU_uUdWUW,JuXLuWsFMUdKvbBWIUdUKLUvW,JLKWKLdeUcFMUdw:(Jq9).

>Cd

IlCdKvBWIUdIUKWKLMDIWW LOXUb_OdWUMUzNUU615dWUXpNUMIubUOdhUAuLUOW.

>uUWUEOWNduUWUEOWOWUdWUWbUsKnNUOUUKLOXesCUzld{NU,UMUUU615dWCU,IluUWUEOWUbCdJMNUIlKvIBWqjuLHdMtjezsIBddOW(UBMUOW).

92

Jqr(8)

Jqr(9)


31/60

dWGKWLUIqFdUUUvLJsOFNUKnwLU,UbXuU_dsuGQdAvKONUsKnqBUuAVbbdUFqUWp.

ZspubuLKWLLKWCUw_dLUJuXbUsdOWUuBBWQdU_dDuOs(Jq7,8),MNU:

MDIWLMU:IlduJddwALUAdvKIUdtuOsL`UAUbbOWsuq(LU)bBv,dtUQwtHdZwOuUWNrU

tsMUsesbUOs UsOUOsHFKWFUOsDUOsHdOs,FdLMUbWEUuUWwIUd.uILUOs(FOs):IlKvBWIUdATU444dWvsbuoLev_dNvU915dWusAUUl_LdqKtuALUOs,usUAUUl_LdFKIU.uUOs:uIUquILUOsLbKvBWIUdLdvbW_uOWqKWubUOOs.uIBUOsBdOs:uUIds_uUIWUuUOdJusLuWsuOXFNrJUBhunLdsKvu.uGdKOOsLMUKOOs:IlKvBWIUdud_uv

_dKDUOWtuOXFLqNUMUqbOo GdOq.

IUdHULOWwNbbLUv(584-555dW)1-uIUdUvFUdWUW

UMUbLUvubMWIUdUvUNUdwubuOsUwKWIbrbb,LUMUztuIWOdOuMbIUqBWIUdlULdUOWd

OdwFUdWUWwLMDIWALUOW,U

q:

uOuOOsteWOu.

ueUOOsteWAduqb.

uddOsteWJubU.

AUc_uvbUdWUWUIUd(Jq8)

>dIUus_dKDUOWwJus_uqIUdHULOW

UXuGewAuEUdIUdOHW

_dwulbKvKIUd,bdtwU444

82

Jqr(7)


32/60

LUvubqIUd,UFLbKvAuEUdIUdwesuGU_dJUXIuUulbqIUd(Jq7).

Fd_dKDUOWwuLKWKuGLbMWIUdHdIUzbudIbd_LUNU.>ezsIBduOW

vezsUWUKOHWOHNUBMOles,rMAQMNUuOYBdFLUNUKvKOHWOYHduUNUNUw_OULMUUsdoHDd,BBXWBdAuWFObdIBdAdvJOdNcLMUU(Jq1).

>bJMOWdOWvusbFWKKOHWKudOHNUBMOl,rJsNUAUUL`UFdOlAdqIBdKvMAULNMvJMv,UXezsIBduOWIuesLMUOYNUUWUKOHW.

3-FuqwdwJusdWUW_u>dEUd_NWIULMUvBuKOHWuKvJus_u

FdBdsKfuKuUIUd,AQUud

U563dW,LOXFbIDUNUOtbbU-WvbUcUFLqIBuKHU-FdBdudUdKbJMvdv,bqIBdOLXbUOWKdOOsFUKOswuAHvbUUWOjUIBdJuWuIWUIUdvuIWuddXuIWbU,(Jq5),rdXUuJOdEd_UNUwNUWbWHULOW.

OWKdWOsbUBuKHUubudOOsuUlLb_uHJNUv-uUlFKo-IlcuKvBWIUdwMDIWuDWKvUdWUWbKOWOsBdbUIBdAdvezMtuOW.

LUNdQOdEUd_NWKKOHWwUdtsIBdKvJus_uLRW,dec_uLObOsIBds,(Jq6),bzdWLMdLUIBdAdvJOd,MbWBOU.

>QOdIULMUvezsIBddOW wJus_uezsIBddOWwezsUWAFV,UXLUWezsOd,OWKdWIBWIUdJuXuOdBBWwuOWKFWwuKONUKpezs

72

Jqr(5)

Jqr(6)


33/60

LulIUdUUwbbMUobMOZFLdvUUwBWIUdHKv,vJusDj_WbwRvUMNr,BWIUdHKvUXH`KONUuuUDj,bdBWUWBUNULUddOUlbWUW.2-WDOjIUdXAUUQu

HDU UsUzZFWOsIUduHDULdwNubMUdw:

>W_djudUUd{OUUUUl_dJuUWFWJMNUrJsOWIUqAUOs,qJuXWGOdOUvWdWvIUdW_dsOYUNU,UGdMNUudqFUdNUuNrMbB.

kwbMWIUdHULOWUlrFbq

uFUDUwDOj,qMvMHtwUdHULOOsJUUUuU,pdLOWBuW,OWFbsAUDuvrJudtUIdMt_u.

>LdeUDOjIUdBuUUdKvUrutUt,QjudAUFd{vFObsIBdOW

cpJuLdeKvIBdsLbKvBW IUd,ULdeJusFibqfLFuWWWFOU,OWubcLUvWKvbBWIUdubuBOUKvBWIUdKvbLdeKvObOsIBds.

>_dKDUOW"uLKW"UXeWwvLAUqwUNXudMbWLBd(HDU)FLqKvHOnQIjLUWwUNU,QAQudbUKuHdIbdLMNU.

UXQvLdVQMUGvUqBdUXewAuEUdIUdIKv,vUqLIfUXewAuEUdUALUv.

UMU_d(LU)U563dWwbWFBdHULvlOUuFNUEUdIUdKvbBWIUdsNOsALUOWIKOW,JuXdGIAdIL`IWUlUrLU_dKDUOWIWUKWMuUFbUuIUdwNbb

62

Jqr(3)MUOVLMUoLDKWKvIBW

Jqr(4)BWIUdHULOWMuOW


34/60

52


35/60

42


36/60

UDOjFUKIUdQdDOjLb_bOW

IIULDUVKOHWNdpwWdq:LdKW_v

vdKWQOfbWHULOW(853dW),(Jq1),UGdsAUzNUJuIdJMvKOHWUOt,rLbIUdKvuHDULedwpuX,UUwrubIOUWFMBdMbbDOjIUdrNUUXzLUsrMUdDOjLMDIWLdeWKLbFdOWIbLW.

LdKWUOW

OW_ddWbzLWKvAuJuXFi_uKvBWIUdOYFdAdULGcsHDU.

LdKWUWvdKWbbLUvMUuIUdUw,(Jq2),rFJduIUduLUWwbU954-964dWLFdWUAbFELv.

vFNb_OdsUHULOOs{FnHuKHUOduucFNbXHuucsHKXuNrCLXdNr,QUNrpFOAuFOAWuNU

VENu,dWUWwKpHdIBW IUd,KXsuNUbMWUdKvKHU,JUKX_uNU,XBWIUdwAUULbMWIUdHULOW.

dqQOfIUdHULOWvU584dW1-FuqwdKvDOjIUdMbQONU>LFUrDOFOWGdOW

vbIUdAdOW"qLIDr"GdOW"NdMOq"

IbdcbwbbULuIUdKv uBWIUdwbDdoLuLLbsHDU.

>CUfulIUdUCUfulIUddOdwulFMUdNU,u{`(Jq3,4)BuLMUOVIBWAUFd{v,sNUdeALUvUMUOVAutKHWHUHUJMNUuWIdUKvUOs,UGNUzLUDOFW_LuWQAXUUKMddOuHUOUsLObOsIBds

UdW_dWdW,ENdMOZFLdvcp

eLLuWsJqKnupesBWIUd.

UeMuvOFdOdubsWBOULU(eMuvsIBdAdv)LbvUKWMuUKnbAUsOYHUHU,ObAUtuUMbIBdsdHlbAdvvUKWuv2.5,OMLUMHibGdvuv1.0,cpJudHUbAdvsGdvMbUKWuv3.5.

IbGqeMuvsBWIUdGzLUDOFW_LFdW,UGtAUGqbAdvGdvOLUFbwbUUW_uUUUVAdvcJuXtLuWsuOXUGHdLMuOENdAUuLMuKvUOs,OMLUdHlbqULRWvJqJMOW,bquOXbAdvluOXwQHqUlEUdLFKoCUluOXUlBU`DzlLFKo,OYdLMuFUIdUHUb_{vcAGKtLuWuOXUlBU`zl.

>QOdFuqLMUOWKvJusMOZFLdvDjbMWIUd

UWKWLUvwLIj_IvFUdsLDULJAuWuUXuMOWKOW,LFXLUvJMOWKvJqqdWLWIOUJuWDjLbMW,UXKFuqLMUOWdOdwKWdAudUWLJMWpLIUNUUdUuFW,ZspdWwAUMNUwdU,UdWIBWIUd.

>QOdMEULUvKvDOjMOZFLdv

FdDWLUWvJMvLuWJMOWH`Kv

dod{vHdsBWIUd,UddDdo UOs4-5UOs1.5-3UUMWKbU,dULIdewDDt"rJsKvobsUOWFdqUXCOolMJdOsOsd".

UJqUsUbqbKv_dcLbquFWLUdwdjIBWUDj,OYuLMUUXH`KvU_WbKOWUONUIHKW,UbqUJUNUIjvHqUNUUvOFcuNUNqbUMNUuLX.

cpLJsKhUsdLMUOV

32

.LbNUbsLbLUbs

b-KOWHMuLOKW-UFWKu

WdWUWUOeFLdwwIUdHULOW


37/60

UMuWcpFb_KWKLFUbBdWNdUKvFbuLqcObLU"OfUv"UMuW,ONLUC`suNUveMNULUOqCLWKLKp(LKJWvLFbBGOd)BKWOsMvMXFLUUXuUJuvpFNb,KvbFLUvbUWOUOWKLKp.LUNbNbbWbWOUdLFUbALOWKvbMUuKHXsKW

bWIbLW.sWFbtKcsOLUqFLUWOsLFbJOdQnsWUKoKONUOX_dIU"u"NOJq.IlKNUKvub.UIbOX_ddsKsLJuUdOdvNtqsdOtLfUUUVbqBdAIuUOL`LdFWALf,UKvBdUJMHULdJAuU,QnIUusbMOWubKvdOsqMUdIudAUtBdLbq,uj_MOWdoKvuLFbJMHtbOdsuzbIdOsJcLOeFUbuJdMONULJAuWUONUsuzbdOs,LULOeDuLUWOsLbqNOJqcUCUKvOWMUJAu,kKuLFbseUtLUKW.

KHXLFUbMUWdUMWAdvOWvIOre_UvFUMNUvdUbWdjOMNULdUb(b)KLUvFbLKJW"Au"UbdddvOW,HIXlLFUbMUWdUFWAdMHfLMDIWvIOreUbKvMNU(MDIWNOJq)vWLuUsGd:LLuWALUOWBBWFU"uv"LOeHMUJAuuDtc`,LLuWMuOWBBWFULKpLuv

U{UWvUWFUb,OUUcJqFbGOdKLUvdOu.ULLuWuDvNvBBWFU"u"UULFbMbUlLKpLuv,rMUdUIBuIUb_b,bAUNXLFUbMUWdUFWAdlFUbNWMHfFNbKLUbvFb"Ov_"UIdWFbdOuFb"OfUY"LbMWUu,rULOeLUOs_dsIBdLKJvLKoJqMNLUUUUUGdIvUWLKpMUUtIBOdKLFbvXAUztMUHU.U{UWvFLUbMOWFLUMUW,Ib

dXMUbWbWKWOdsLUOuIBu bzocpKWKFLUFJdWUBuI,sr_KWKvpOuqFLUWvLJsUOXNUuOXLBdMLuvMUdWFLUHMUOsbdLbMW.srKWBubWbWMAQ"MVUY"LMDIWdvOWMubMWUucpBd"dU"LMnBudUWLKIWLFUbrMUWdvOW,rKWBOMUFJdWubvMuWKLUvMOWus.

FKuW.bLOeFUbbWbWUbv{UDOFOW,JUX_MOWGLdU{uALfUlrbnLdvNu_LbOb{UqvBqvb_bOYU.cpBUVcbv{UHUbv_{OWFMUdsUvbqvUb_blHUbvvuInIUWLUUp{HUusGLudWKvLFb.

UXMIuqLFUbKvKWOIWUFLU,UDXLu{uULUKMIuuOHWFMBdLFLU,cpUXMUWOsu{uLMEduFtvLFb.JUX_InbKOWuzj_MOWKONUMUduV_OUvUXrNUU{UWvFiMUdHUUBULKpRfLFb,OMLUUXLMUdvKvbIUUbKOWLqAFUzdbMOWvUXdNU,UXLMUd

MHcQKuMIgUvNb"Ov_"bsNb"OfUv"UKuMIgGUzd.IbFXdeWOdvLULFbLBd,KrJsdOUxNWLUUCUBGdKJuJUXInLFbKuUKu_dlUMuJvdevLUBd,OUUesduKJOWUNu_Lbdev_d,UX_LbdevMUUvMLuNUcpMX_eHKOWsuzjNuJqUUXutBdsIuMuUdeONULULvu_UOrvLqCOUbMNd.

UXMBuLBdWAtBdKv_oAdvGdv,LUUHMUOUUNu_LbKIUIWLU.bFVuOtGdvUUvLULFb,JUuLFbILtvLOsLUMu,uHfIOrGdvLBd,UcIOrJrvulLMUdKvD`b.ULFbFdULUtFWUIUKNUNU_l_KOW,ULudzOvKLFbdeLdALf.FdNbbWbWMvFNuU_KWUOWKFLUbMOWFbLULFUb,U{UWvMLjUzbvFUb_BdJdpNdKWKLFbLUQLbqFb_dUMWAdLbMWUuFbLb

22

"Fb_Bd"


38/60

KLKpvOWt"d",cpNd_Lb(uW)UXvNbbWuDvJusbDuvLqUUKvOW_WLuOIOW(Bq)vhNtu,KvUvUIgLqtNtQvId,bEWHU_DuMOKvcOFuvENuvFNbOuUvdUv.

bNJubFLbbFUbNtIuKvLFUbMUW,tUIvMNUFdKOsr_KWuLFbMU"MLUUY"NuuIlvMusdtMU,bKoKOtdo(BdOt).LULFbMUNd"Mud_"UKAXFdsCq_KWbWcMusLFUb,uAtOdOKtLKoNd"OvUv"IU.

JuLFbMU"Mud_"sKOeLbqKOtMUUQLbdFWUXnNULUOqUWKLKpKvLjUULFbu"Hd".RHMUvAJULUOqLfrb_b,OjNcsFMBds

dsLuUsLULUAtOdLFUbMUWdOsUWUW.

FdNbbWbWErNuAOObMUvUaFLULBdWIbLW,QnMLjLFLUcUvFUbNtvpFNbsdIbtdoJUrMUJAuWOjtsFiutKNU,KvpNu_LbrNOJqb_b,sLFUbUUtMUMNUUUtdsNuIlLOlcFMUdKvubuLudzOvKLFbUUUUFUbcLuldNdMOqUuUtvFi_KW,

UuLFbUsjIOr(UbvUWFb"Ov_"QOb)LUL`tUMLuHIbpbtLFLUW,pS{UWNOWMOWdRvLFbUdontLUOqJUvNuUGdMtFLUUuQObKvuLFbU{UWvDUdWKLJUKvLUWdeWvJHKNUcLUOqKLFb.OjULFbu{rsKsUCrCUUsKJNMWUUbzoOdIbW,UXOUUuzjvAJquVcuFdWLUUIUNUdecpKLOU_OW(u)UNUOUUUzbAUzOWvIuWMUu.UdLFbQnsdOsUzKOsUbNLUDOKWOMNLUbqLOqbNLUvbqOjUWqd(OdW)utJuOgLBd,vNtqdUXIuUOsdLUUXIbBdLUOqCLWKLKpOUUIuUtKUd.

UMULFbJUdMUdUUOjFiutKNUIUKNUHUIuWLUWUKvbHMUbKOWsIu.Nu_LbUsUWOdAGqdLFbQLKtQnvFUb_dUFWAdsWW,_jMtIHtdHUUsIHvUOs

MZscHUvuD`JUUMuc{U

KOtMUJAu,UvPnsMBduKvLfAJULUOqLKpLUUXKvWQLUztLf,OjNcFMBdLuUsLUMNvcesNtGdOWUNOJqb_bcUUUUuKvuKvOWULv.bdLFbMUvbWIbLWFbdqvqvcBu,pvNb"Hd"JUX_KWUIWNcFNbGOdODWKGUW

qLFbMUNdObLFbMUUUNdLMMvbAu,ULFbMUKLKp"uu"IbNbsdroMtuUODW{OWvUXsUX_u,bLOeLFUbMUWdUWbNULeMWMIuzFWLUUWLUNUbNu_LbcIbHMUdWuKWbNUeMW,bsNb_dUWbuvLFUbMUWWds_UOsMUOWvKXqbUULdFWLDOKWUzbvLU_ddFW.cDdv_UOsMOKOW_UOsKvOWeWd_UOsKuOW,Fb_UOsMUOWsLqUdtFLULBdWFduddOUKbUzr_vsd_UuMULeMWeudKufFnMOqLdNUvFLUdW._DuMOKvbtKfutFns,U_DucKvOWeWdOLqbtLuWsBUdvMNvdrCLuW,bNdcDdULFUbLKIWNdv"vd""Uu"QuOd,cpLq_DuKufLuWsBUKufdrCLuWsKvLURvKjOMtOsDueWd,Js_IDFWbzdMbbKvJqlBUzdOMLU

IDlUvKvOWLUOWKU.cpNdKLd_v LMvuLLuW"Uu"FLuDuvOj.EdUvFUbNtsbWuDv,MbKNUbbd,pVbNUKvbNJuAOObFUbdbbJUNUvbWbW.s_KWIKOKWMUKFLUbMOWvbWuDvuFbbMWU{vMudHOuFIbtUQnsdMU,UIvMtuHWNUDuOsKvOWeWd,rtFd{WRvWIBuU.bdbqBdUYLFb"u"vJdpKvUuo"Mud_"bJsUMUzt,JuLMvsUb

dHFWdFWAJqIuKONUWAdLudFU,Lqc_LbIHUutJuOgLBd.brJAnv(u)Mu_BdsUFbsbWuDv,LUAnsdvNb"MudUY"LObuAUtFbuObuvDDNLUcPnstFd{WNULbKONUIBuvujHuWsdONUJMHNUbUUGOd,bLOeLUbWuDvENudbbsbUU_LbU{UWuUodUNuUvbWIbLW.U{UWv_DucKvOWeWd_DuKufIbNd_Lb

(_dW)vUsUWAUzOWdFWMbONULU

12


39/60

(MvMOu)QObUUUdlvNbbW_d,FddcLFbKLFbLIBuWcUvbOsuDvbW.rosFUbNWsbWIbLWIKOqMU,FdFbBdBUWUHOucUUUdlvNUW_dUWbc_KWMU.LOecLFbuNWDOKWODWdNU

UbKOtMU{OovNUtublIUOdU.bObKVKu_dUWFUbtALfrUIvMNrupcObLKp"vd"UIdsuOdLUdIU,FIbtWsFbt""FOsLf,Qnsbq{rDKoKOtMvuBqDdoUbIuRvLFbcFKuudHFWsu,FMBd_UvtuKtLUMOWU_UuUbdFWDNUUzKWujMUJAutc`s_d.

qbvWLFUbMUWvbW IbLW,bUvKVFUbubHXIdUpUVUbUUHUu_eOWLUVvNU.lIbu{`vMU_dUUWNdtOMLUIBXUWbLULODWtBdvFMUdUOW:dGOdUv,FbMUFbMbUWu,BqOsLFbsdoUb,bKoKvcJusLFLUrLLuWNdOWLUUMAQcFMUd{dAUzOWU{UWvbbMv,JUbULIDuWs

dvBqOt,LUUbNUsdoMIqKOtvulMULdHlsu.ULFbMUKBoLMBnUVAdvKNd,MIrDDtvLquveUdU:_JusNuLb

KvJUNUsIuDUUFUOWAOWsBdbW_d,rcMIuULqOJqMuOJqALUcbCUKvJKONLUsFOsNOdKOHOOsKOsLLU.LOe_DtLIuOLUAtOuddObId(FIbJMbbts

cpJuOJqMuuOLWtuOf).FIbtUMUsLuHOHWUAVBd.LOeUvIHtLIvLBuOsUzDOsdHFOsbsUOsFIbtUMvsKs.srKWOJqALUFbNW"OX"cdKvDDtLKvDUWQOb,JusMUOjtuUUUUsKstAJU,JMnbKtKLUuDteNW"OX"vNUWHMUIBuD`

Iv.sbLFUbvdKONUuFb

02

"ucFbJdp"

"FbBdBUW"


40/60

KsFKuLIBudGOduCUsKs,UDdUvNuUsddJeKv_ubKtLIBu.LOeIUddLbMW_eLBBWKbsHq_KNUeMWULMUdbMOWLKuW,LUHdLMDIWDdFLUDKoKOtrIdFUzKWAdOtWIUOdULqWOUFUWvMUb.

bUvlDuLFLUKLIdLKJOWbsbWuDvIbbIdLKp"VXMuV"vdvOWLqbbUKFLUvbW_dUWAd,vKnsLIdLKJOWvbWIbLWUubFiAUtvFiFMUdvJuMNUBLOr.

bLdKu_dUOWAdvMUIUdrKvOWdU,NUUXKnvdIWMULUUXdLUsKpvMOXvNUWbWIbLW,Ib

bXuNd{UUUOWLLUKWJussbLIUFWLAObsd

Ks,LbcbsLdeNMbvKNdvUt_FWcpvjq{KlrLHdUMUWOsKpbLIUFWUdqIUKs,OdrUNdsUUdOdOb,bFXcDdIWvMUvNb"MudUY".bLOeLUdU_dUOWAdJdbUOeGdUJUWvCKOqKBu,LUKXLNUHUzIWvDl_UIKNUvdWbsNd"MLUUY"Nu

OYDFXGdWsDFWbsd JueXHuNULUzWs.

U"Lf_"sHdIdtuLKuGdvOWsKubWbW,IbBqLIdLKJOWsLFbMUHdUvJUHvFObLUIKqpsdFd{NUKMNV,pvKvsAJqNdvcUbKvJUsWUNUMU.MIrLIdLKJOWvbWbWvLDOs,NLULOeLubIOrUONLUtusFUbsOUUW,JuLIdsLuWsLLdLMbbUOeNUDWHBqOMNULuWsbU,MNvGdWbsUlGdKvubvMLj_uKvusdvMLjUv,FdIdOv_ErLIUdLKJOWUusOYdUIuNUFU.

FbFd{MUFLUMUW,bvWFLUbMOWMbNOUqLFUb_vvBdUq_dUXMvsudFWKnU_uLCHusMUUAV

LGDvUBOdLUVvbUU,b

Gdv,QnBHWUWsMUKOttFd{WRvKOeuqHCvvIBuGOd,vbUGdvAJULUOqUVLIdblFiddt,KVcLIUdUFKuUdGOdsKsvNtAdOWAJUMBVLULuvFU.cp`AJqNdvtdeuIUd_dFbKXMtLIdLKJOW.RvdWbsdUvLUHMU

bqLIBuLeMU.KnIUd_dqFLUWvLUNUOdsIUdOWdevu{OlLMUdvesbNUbKOW,KnIUddLbMWGdOWOdsUzdIUd_dUUbWUzdedGdvOYUXhFLUHMUOscsJMuCUcLMDIWMUOUNr,MIrLIUdNUvds:NLUUsIBuAtOXAObKv_LDWbNUGdvAJUMuWvBd,IbLIBuMUbKtKvOWdGOdMvs

91


41/60

KONU"d".srFMUdLFLUWvIUd_dUbWIbLWUuLvbubvNWLBDWvbGdvbKvLIBu,bcUuLvv_dOsUWUWJqNWIBd,LUbGdbqLBDWvHdKHXLDDUMuXLUbKvdcbsDdLFLUcUvNb

"uu""Hd",UOUUUJMnbqFiLIBuKUGOdU.

bKHXLUIUd_dvbWuDvULMUo,UdLIUdLHuvBdvBFObBduDvOMLUKXLIUdLODWQdUKucFNbUHOuOYMDWMvKvJqUV,bHdJUUOrIUdrvH`NCWvbMUosLNUMvsdUOuUJOdu.URvIUdMvsdoUb,IbLIBuMUvNUt

AdOWHtNULusCKFOs,ULIBuv HuvBdJUu-vNb_dUOWAd-KvFWLbWAd{KFU,vbUKHv(Adv)KvLudzOvKLIdAJUKLUOqLMuWvBd,KnIUd_dvbWbWOLUOMNUvHUOqLFLUWUOdOdNUUXvOWHuvtq

MNUuWMUWdW,rcLAJUMuOWeLIUvcJqLIBuNOWKOV,JcbLIUOdbKOWvIUd_dvUXJvvd_dUWUdOdMIgULMUd,vNUW_ddFWULIdMvUJUqsd,oULIBudWGKIWOLUboGOdHkNULULuvKo

81

"LbqdzOvNduu"

"dWbsdzOOWKNd_d" "FbuHd"


42/60

_dvbWIbLWuUDuLIUdLKJOW,NUUDlUXqLUJOd.

KXIUd_dv_dUWKvOWBUVsKsKvNNUAdOW(AJU),OdUFKuMuOW

KvbNMbt"LV"LuWsLUMUWOjNdtLbvIUQ{UcpBbbUUvUaFLULBdW,JUXLd_vvbONUdBuUKW,Nd_d_LbMUOWLMuWsdvDuOLUFbB`sLqFMUdLFLUWvLOeNULUBdIbLW,cpNd_LbIMuvIKXMNU_Lb(bW)vFLU

OuUOWOLUFb.FbNdLbIUdKWIUsJqLBDWvAJqNdv,LU`MBdvLuWsLUWUWDIuAFUzdMUWW.d`dObcMVv"MHd"bbvAUztKvOWdbrJLqOcJqNdU.vNb"MHd"CUKXLIdLKJOWvAJqNdvJUqLvdtALUvbAuFbMvNdLMMvNdMuvMHfLMDIW,uNduObctOsKLOqLULutLqLuWdOWJUKWBqOMU.bLULKIWqbUWLUUXKOtvNb"MHd",bdU"MHd"LObAuKvIbKuvsMUU_UJOd,ENdpBHWUWvIuLbcbvIOndWbsNU.FbdUOeErUKHtLBduIbUsbLUFLUvObUUvLOl_MWbNd_dKvKusMUvNb"uu"HuIU,bMvcNduuUsNCW,UXUbKOWNcMu,rvsUJUsdOdObLBIu,d`tUFKudrsdOX,FdbKOeFEOrbKtdWLKpsKWFLUvbWIbLWvKGXNUdKWJLUHMv.bLd

Ku_dOsUWUWvMUIUdrKvJq dNUUXqJOdLUUXKOtdU_ddFWsOYrWMHOc.bbDuvLUIUd

71

"bqLLuWNdOWedldtLb"

"LUV"

"ULv"


43/60

61

LuBDWIUs_d_v"Isd"


44/60

dLBdsMUMcBdUq_dJUX

LIUdKvOWHdGOdOdLOIW,bdAJqOCUW,rXDOKWbIOLWIUlMb_UvUUzLW,bUVcDubuVKs,UXInHdAdDsQuAVuVKs.LUJuMvOduuOf(Ju_Ld)IdLKpsNbUq_d.

bbIbOdvNbbW_dvsMULIdLKJOW,JUIdLKJvvObUsdWOdDOKWHuXu_NUInsAV.JsUYbLBdd,JUX{OWd

LKp"Lu"DMWddOXUXIdLKp"FLu"DMWUdOdUNUsdOX.bbdUUFKuIuLKJOWvObtUUUUKvOWBDWOdsKsDNUIvOjNUu.vIUIlErIUdNbbW_d,OYIvs

eFKuMNUUbKvNUUXFKuUBDWAJULUKWKpvFKuuKu_d_vIU.

vbWIbLWULKudUNrKvUWNCW

GdOWUIdsMn,vuvFU0082.Ob"d"

51

r`FLULBdWIbLWMcbFBuvNUWbWbW

..{vLuBDHvUULBdWIbLW

LObKOWOUWHMUUFWKu"UIU"

FiMUsNUW_d_v"Isd"


45/60

41

"bWeW"


46/60

KvtMXLBdIbrsuJKWDuzNUKvHNUvJr,KBWsWdUHUOqdW,deqIKNUKvuUvu_MDKovb,LUbOtBvUrtMXbYsdWMUOJOWunb,sMWOWLqdUOsuOsFUOs:uFUHWvBbLdvKn,ubUNUvIUdUIbv_U.

MUKFVLfLFQUNuUOUvObcLFMv,v{UWJUUAJOKOWLUOWvbMUUdWuLudeb,KpFVudWvLU,lqULKtpBdbvsMnb,SMUDFWHUWUCWUKr,JsUFDONUOLWCUHWuFOdUdesUWLIUWIuUOW,uULJsMDoCUKvFV,qKvULqwLUtUWLIUWBLuwUJU.

cUdIvQLUUsBFObLKvvBFObFULvIbULKtsFUvUOWAdW,sOrBdWbNLUIUKONUes.

UXOUIdWvBbNUUvLU,FdsdNUeNUFNU_bcGKHt_v,MtIXLUOKt:e,IOKuW,MUU.

UdeMBdUOUvLUOKt,LbKHtsHsLBdIbrsKHWu9191wXb(vJqvb)FOdsub_W,LqLU"ULW_d"BvuUKNUsHsLBdIbr,ULU"IOKuW"

OLqdIMOWMrsNrLOoLUOULbWJFOOW RKtbONUuUNutOdvb_OW,JsCOtJdUXAotU_Oqsvdt,COnOtUJdlFBdbYuVDu,FdwuXtsULtUbKOW,uUdWDubWvHsFULv,LKJU-sqp-WBOWuUbvLFtBdsdUGOd,srUMtUFUOscOWLu{uOW,OsHddLFOW,OsdLFUd.

FqErObcpuLUt"ULUOs"uudtdUOWvFbbUNUWvMXFULvvIdFAdsANUUMIU_OOs,vcLUbBvU

31

"uUMOq"

"FbKu"


47/60

MBddWvdlDdWsNNUObUOd,ClbUOLMvuvNu,cLqU,UbFKtv{lMNuUOt_UOs,KosUdWbb,bHUUpssMXJOJvvUMcBdMNCWvBd""UdU_Er,fLUOUtKvfOJOWLbvBdMXOuUvdUv,scFBd_OdIv`FiLUOKtq"KIOW""ef"OdLU.

JsMBdNU_dLUuNdMOqOUKvUOt..

MNdAdUvOULBdOsbdLWBdWv LUOKtsdLUvLUHUsMNdMbGdvquOLUAtDIfLFwLu,bMlUscDIfOuvBUzbOWGMvMNdbWLULUIdWWFcsLUKsdsvUWUd,MuXJuMUtOsMUKvLULqdOsLKNUKvdvOUMULWsHOULNsdvAnsCUfLOKW_UsHMOW,UWLutLLU:FusMNd..NwKKWbFWsLdd,LIDuUuOIOWUOWuONUdvUAtKu,v`wHW_Od,lprHIbUWMU

IdJKWOuWIUdW.

LuOIv,RbLOFUcLFUvuMOW,sULbDHvObtOsFIUuOoJOrLUv(v_HJd)ObgOduv(vLuOIvAFdGMUzv)LbuvUkdOr(vAFd)..UFOsMUUU_WUCWDKlvdWIb,LUUutFiHMUOsAJOKOOsqLuFOb(7981-4691)cds{FtIdvSsdzOfuOFdvuUtsDUAFV,

LbUv-RfsBudLBdbY(9881-6591) cdvuUtbWsOdsLFUvvGqNUU,qutUzDOWCLW"uVef"LFd{WUOULKfAuUIUd,uW"MBOVuw"LHtDdo_d,uW"bWJMbW"LFd{WNuUEWJMbWOdU..vLOFUBVvFMvLULBdeCUvQObOrMNCWIbuBdbb.

ULMNq_HsUudBdHduOW,LUOtsFUvIuduKu,JMttvpAJKWudW,vcHsUbIObMOWFOMW,djUDIu

LurFYvFUrd,LU{HvKOtUFUsU JuKWdW,vLUHolLFUvbWvRsNUsqBd,uVlIOrLUOWdWHsbYvFUr,bLqKvqcMUiULeWOsOrUOrdWvHUqCuMQULUsHWJuOWFKt-vHfuX-LOrBKWUMXLBd,bKmcLeWvLUNCWBd,OYLqHW

21

"dMOq"

"Ud"


48/60

dLUUSUWLUtvdOUsFULWHuUJUQUW!"..UUUBbzOfuIbUbIOIW!

cuvbuMvbNdJdvLUtLbWHMuLOKWsBOUsUaFdvsBOWsKb,bdLUFMu"OaKb"U1191{LsFd{rAUldsLbWtbuUKLvUv,rMUuU,NUDKVKOtAdadMt,UMaLUOWadOFXLOFUFdMWMONUOU,ULJsB`MUU"buU"LbJU_DUOOscsdub,JMt-bsp-GdvLObHWLBdW,vXLUOqMrsOUKOWJUWvFDvOdd,FdsCUNUeNUIUNULuULodU,KLUbpvLUOKt:Ud,e,UIu,IOKuW,ULUOs,ULW_d...cOdLUOKtLFdUdsuuMOW{bueULUKv.

LuU-vIOIW-rJsb,qUXFtuWsULbOsv_HJdAFdLdGMU

JuOWvU{XUWLUNCWBd,X vFDOqFLqtMubFbVAFVLlJUOHt,q_dvbDFXJuWMtJUQtANdWeObLFUbKONU,vuXcUXuvUUtvFUUfbMNUMIU,vNvsLUctvUdOXFbCUUBOBUsuvDf7291,lpreMtUFbpFUIdU,lcrBqUKvJUQtLFUbKONUlJuWsJUMHOcKLUcGdLUwMu,vMUsItQUsBuKONU,bUVFi_CUvdLUBdFuizot,QUzOfu:"LbHUKcs

11

"BdW"

"ObOWUuHMuUf

UNUU9291sLUdMOq""LuLUFbKuU_JMbW"


49/60

01

"bWOWUOrBd"


50/60

DXAQdWHMOWbWvBd-Mcds

eU-UrMULuU(1981-4391),NuUBdENdFbHvUKvbUCULBdWIbLW,uMUdjLtdWMOWUW,UbUvOZBdMNCWLBdWbWFbu9191LUt_Nd"NCWBd"LAObJqUzKWsdOX,bCUMXqIU_WMHOcUtLObDWBdU7291sLKWdUFOWFW,UONUHIdq_MOU,uMUBdGeUHMt,OHuUUzecOWscLU(vAdtLBGd)BUuUfU0291HuUKvUHMUOsHdOOsbOOsLd92UU..._rspKtt

MUbdLBdWUbUCUFNUsUU, KNLUvpLUOUELWMXLBdIbr,MFesLUOUHsbYvU,qIbsLUOKtOGtbbLlOsdLFUd.

UUuDUVrbcIbULbWHMuLOKWUIUdbAUzNUQbWUAdvcLU,UCUdZrbMNUMW1191,OYU

dOt_KvFt,cpUUBddvFY

bWHsvUvHfUdtKvHIW_OdunLUMATLbWONU,MUvUfbLUHUs_UHMOW,LUFtKvUWNUFbNUdt,MbUXuuMOWvBdU9191UduUKFuLAUWvcbvuNWFLUdDUv,JMtrLJssHdVUdWMIqddFULOW_vFbU,rJsUtFJuLdLtFLqLUFdsAUduMOW,ubLUt"NCWBd"RbLFMvBuuMOW,sHWvcUzLUeLBdvJAnsNNUUOb,MNiObU_dLUvNu,ONVIut_DuWvFObbBdIbLWvUUbKONUdMOs,LUFMvFLUNLUErNdLBdWSBOdudOq,LUKXsqeFLUWKXBdUMOs,IvzLUvNuUMWv{LOdAFVLBddWt.

MbUUvBdIKt_WKNUUmdU,XIBUzbUt,dKOtMBVLObbWHMuLOKWvdONUqAdMu,JMtcHCHdHMtCOWMt,UuFtIKbLv_IU(qp)uqbUvLlDIUFKOUvLLl,cUFUvcsHId_OWEKrLUv,FMvcbUuIqMUDIUdOWcKbBOUNULUOKt,UWLUdMtsUHs"udt",FbbHutOtsLUOKtdzFWFbKuOr_W,MNULUObOUUdevqsIUdJMbW,UsudtvBdKY_sIdFAdsJdKvHMUOs_UVLIOLOsNU,FCNrUsUctcsFKrKvbNrLbWHMuLOKWJMtHuKONrLOFU,LUFqDKUMNUKOtsABOULduWvDIW_IdOWMXudNUNr,JMtdMQMHtscDIWuU,Of

Ij_tsOsvsUEWGdOWqKvUztKIdW uLdIBOd,q_tsMcdUtQtMcLBd,uuKICOWuMOW,srULUvuUdUUFU,KrJnBMlLUOqeOrdWuMOW,qFqsubUKUaLBdJHUAFVvMUCUIUWGe.

dcLunKOtCVLKpR_UJuW,dsIVMBVd,FdKUqKLLUKWsJuWvUzNUUeUNUUMHOcLUtbIUtLFUbKONU,UKvFbLqvUbdsuqlLUOdKb,sMUUdUddlKDW

.ebsOVMUUbAJOKv

9

FY_WLMuUtdWMULuUvuWHMuLOKWLBd

"LUNCWBd"


51/60

MUMUCUwBd81uOW8002

LBduIbUHUKwOW2uOu8002

LMUrLUd9uOu8002

KrdwBdIbLW61uOu8002

HLBdIbr03uOu8002

BULBdIbr6Df8002

wUAduwdBd,MErJWJMbW

LurIUw_dUwsCULBdWIbLW

KKWU{dUWsCULBdWIbLW

KIONU_UbubKOrubs

KIwLU{dUW11UUIUWuu.KvbLurIUwUY

sMBnNdLdIUUKt.


52/60

JcUXLJUWUKvdoCULBdW,UXIOIW{WqNuLJUOuUOWJOd,UULJsKCULBdWIocbKrFdW,UXLJUwLdedzOOWwIvMNUFKrJVMNULFU.

sgnidaeRrehtruF

-bFeeU`,dOWFKOrwBdIbLW,(uMAu),LJWFdOW,b54,bIuOWKDUWMAdUIUd,IUWUIuw(IUd,6831/6691).

-LbbLUbsU,UadOWFKOrwBd,e_,FBdHduw,LJWFdOW,NOWLBdWFUWKJU(4791).

-LOdV,dKWFKOrFUwwBdIbLWOU(UWUOdwUaIbrMAu),FdwKMAdul(IUd,0991).

-UeLuId,tuwwLFIbbMOWbOuWwBdIbLW,w:UOU,WKLOWJLWBbUKOWdMNu-UFWJMbW,FbUl(1002),511-161.

-MUNwbsbMFOr,LFuAUUwFIUzbbMOWIbLW,McbWFBuUOWvNUWFBdOuUw-dUw,UWuOdMAusrULBdW,d:./bKOrubs,KOWU(UFWIUd,6241/6002).

uLJWIbUKuBdbJOdsFMUWLJULFUb,MbUIuuUeUKuIuW:"KwGuJVtwLJW".

LJWLJsbbLJWOLUKw:

1-HkJVuUzo. 2-LUWADWIUOWqLJWUNUKuuvLLlLOjNU.3-FKOru{uUOuWMOWFiOcubss

bOsLOes.4-bLFMOOsFidFKr(UDVNMbW)UbbwcLOb.

JcUXLJWwpesIbrKFVUrJsIBuKvHkJV,LUKeUKONU,JMNUJUKY.FdsbMBuLKp"HdV"(s_d31)dlFiLFKuUsJUUIbLWt"u"OFddsUuKOuuOf,UIqsqbdLJWcbwCdLKpUz:"dUpUWLKpwLJWdlUAU".

FKuLFUwCLNULJWUXLJULBdWedUFbbsLDuUw

KuHKp,DV,BObW,dU{OU,Ua,MOj,bUW,dOr,uVFJdW.Ibw_U(bKLwAUduOd)BdFdde_Cq_U.IbFKrHWKLUOuU(quu,UOf,

OUu,u)FKLuOdsBdsLJU LBdWIbLWwIUuHKpNMbW,UXKOuuOfMnLUWdesIUOOsFKOLOOsUOs.

IbU_LBdwu{lbvLOWJVLJU,NcJOrIuMt:"UUbFddOLWsOXsIBuwGd,tLssBdBVcUwFb".UMBucpvdNW"ef"ubwJV.

IbKmbuUzowUvLJUds022OIWMUXLHdbWKONU,Lul,LuU,FUKOs,NWNULFMOWQdLJW.UXNW

"AU"NWJUWunQNU"wBbLJW".UXMBuAOdOsOsdvcJUUKpbbwJWLFb,wbdUn"us"IuUVdW:"OgwJVwuLOssJV".IbdKLJUKFUKOsONUUL`LbdLJWLIUKWLKp_dLUJWUUbW.

_LBdOsUuwUdOrHk,NMUhIu:"JWLKpbbuUWv

dOr".

- Jaylan Said Abd El-Hakeem, Thoth, The Master of El-

Ashmunein, A Comparative Study with the god Hermes,M.A. Thesis under supervision of Prof. Dr. Mohamed

Abdelhalim Nureldin and Prof. Dr. Enayat Mohamed

Ahmed, Guiding Department, Faculty of Tourism and

Hotels, Alexandria University (Alexandria, 2004).

- Patrick Boylan, Thoth, The Hermes of Egypt, A Study

of Some Aspects of Theological Thought in Ancient

Egypt(Oxford, 1922; Ares Publishers, Inc., Chicago,

1979).

- C. J. Bleeker, in: Hathor and Thoth, E. J. Brill (Leiden,

1973), 106-160.

- Herbert Spie, Der Aufstieg eines Gottes ,

Untersuchungen zum Gott Thot bis zum Beginn desNeuen Reiches, Dissertation zur Erlangung der Wrde

des Doktors der Philosophie der Universitt Hamburg,

Gutachter: Prof. Dr. H. Altenmller & Prof. Dr. D. Kurth,

Disputation: 24. April 1991, 9.30 Uhr (Hamburg, 1991).

7


53/60

JUW,t"uw",vUVLKpOfUw,LKuJUWbdKvMUdLUKWrGdwFUbuOKtDu,C`sMBuLBUWLFUbUXwLQdzOwKLJU.

ulLJWUXLJWIlwLFUbIBuLRUFKOLOWbMOW.FqsCqKWJULFUbJWFbdOuKLKpOfUw,wUsUWIuIHNUKvLUOWUOsKwUW_Lb,edIHNULMUd

KJOW,KvUwLbqdLONW"AU"NW

6

DuWLUsU{OW


54/60

4-HgUJV:t3dm-rpmthdhs(rd-U):UAdKvrHUzndCLUWUONUsFKuU.

5-UsJV:t3dm-rprtn-mh(r-dd-

U): uLKrJquVbMOW_UOd,ULquOWdKvMBubMOW.

6-zOfLJW:t3dm-rpmpt-yrh(d-Vd-U):dBOULJW,JULqIUUdNLW,qUs(ms)wFbMOj,JUVLKJw,UqrLKp,zOfdoFLqUIBdLKJw.

7-LAdKv_dwJV:t3dmrpm3tss-yrh(d-AUdU):uLFMwU_dbMOW,DOWFKLOWwLJW.

8-OsLJW:t3dmyri(d-U):uLusBMOnJV.

9-UJV:t3dm-rpmsc-mds(r-gd-U):uLusbULJW.

5

UJUVw"JV"unQt"cFdqw,cFdqHUzndwJV".

2-HgJW:ssdhs(-g):FdUqcuOHWBOWduW,OYLqvUVcKIVIUUNLW,q"IU{w""UrLIUFW".UunQtdFKOLUNUOsJW,UdVLqJW,NrbNrKvJUWOqHkLDuU.

3-HgJV:t3dm-rpdhs(d-U):

ucAdKvLJU,dlOqHkFLq OuwKLuHOs,ULqIUUNLWd.

JUVHd_wCULJW

uJW


55/60

_LO.bcDwFUbIUdwIU,Oe,uOd,Mn,qDW,Ou,UOf,u,dU,Hj,Ob,Od,ug,uLq,us,wFUbOdq"dOu,u,OKW,b",wBuq"BdLKpMuVUY".

NWNULFMOWQdLJU:1-"AU"NWJUW2-ef3-Uu4-UX5-UX6-uv7-u8-d9-u01-u11-X21-Mu

UXLJWbsLuWsLuHOs,Kn UNruOHOWVOFWLKNr.r:

1-JUV:ss(g):uLusJUW,Ma,dLDuU.wUMBOWIuLbKLOc:"sUUUdwJVB`OMUKJV".

-)nnS("Ms",FMw:UU.4

-)hs,sS("g,m",FMw:UWUU.5

-)t.cS("FX",FMw:DUUUUMOU.6

-)wdfS("Hb",FMw:"d"QUWJU.7

-)w3t("U",FMw:UU.8

-)fc9,it.piS("Ow,n",FMw:UUsuUFb.01

-)tT("X",FMw:UU)skoobfossertsim(.11

LUOdKLJUULBDKUUOW:

-OXJU:(d-),"-t3dm-rp".-OXUt:(d--d),"rtnt3dm-rp".-OXUIBd:(d--d-U),"3c-rpt3dm-rp".-OXJUW:(d-Au),"wssrp".-JUJUW:(X-Au),"wssts".

IbdLBDK`)t3dm-rp(Mc_dUW(Id72.),qcdwMBuLBdWvMBnId

4

4-Wb.III,460:1-5

5-Wb.III,476:16-479:9;ef.478:18-19 f.

6-Wb.IV,418:10-419:19.

7-Wb.IV,461:11-17.

8-Wb.V,349:16-18.

9-Wb.IV,36:5 f.

10-Wb.IV,36:11.

11-Cf. Wb.V, 338:7-8.

FbJWdOu


56/60

LDKlKvUCULBdWIbLWbt

ObKuKW_vWNcUbNUUXNrUFKrFKLUUOsbOs,NOTNrqFKrLFdW,KvNULJWwCrOsMUNUqUJssdFKrLFdWwFKuHMuFLUbUWOdU.

wUtsLJUwBdIbLWdewykztesseWwUtcAdU7791slleDnelhU(usrLROsUaLJU)bd:"sFdOUsLJUwBdIbLW

qFBdNOKOMw". ulUd"s"OfbOoBbCULBdWIbLW_UOd,sOMNU::KpUJOdwIINUCULBdWwOUsKHW(UFKu,,LFU,Hs,FLU,a)-UULJsbLUUqUFKuLFULKWKvd_dU(dsHUdOd)OdUsuJUW,wFdwMNULUWJVwBdUbY.cuUzoBuUHUznd_dUUXHkFMUWwJUsNeAJqL`

KbOsUKONU.

DOjOUwbMWMUu

UOU:KGWLBdWIbLWHKXUJOdsLHdwFdsLJWuUzoJV,MULJW,uUznFbbwAGKNUFUKuwLJW,KNURbcIOIWuFW,wuLJUKvBddvqdFKrLFdWb.

UU:LJUcUCrJVOsMUtUFdUr"t3dm-rp",ucIUqwBDKUMUbW"JV""LJW".LJUwqJUUDKVBMOHUKJVd{UNU,uOIUdoLq..a.

JcUUUMWKLJUwBdIbLW.GiMEd srMvLJWNOwIbNUbJVNU,ScLMAQFUqLJWJqLHUOrw_UIbLWbWwq_Us.

LDKlKvLBUOuUOWudHHWOuUOOsLHJdsFKLOOsHMUOsUuduMbUNrLBdKvUFWUCULBdW,srUbsuNuvLJUJUzMWKvBdKvuUzow{FXwLFUbIBuLRUbMOWFKOLOW.

OfKvLOWJVQKFKOrsdLHdw wKGWLBdWKbWKv"U,HWd,DuW..a".LHdbWKvFMv"U":-)t.rc("d",FMw:UUsdKb.1

-)t.3dM("U",FMw:UUHWd.2

-)t.ddM("",FMw:UUwUWQdKJKLWUIW.3

LJWwBdIbLW..bKOrubs

UKGWLBdW-KOWU-UFWIUdAUJW_JMbW

3

1-Wb.1,208:17-19.

2-Wb.11,187:5 ff.

3-Wb.11,192:16..


57/60

vcFb: UaUdBdFbUv-Uu8002

zOfddbUv

MUdCUKMAd

[email protected]

[email protected]

www.alhadara.com

Fax: (20 2) 3760 58 98


>IuMAdDUWHuWKCUKMAd.>EdUMAdMaUQuSUvsMUd.>uvcLDuWFdUCdsutMUdzOfddqFdsutUONU.

CUKMAd

9

3 LJWwBdIbLW ..bKOrubs

51 32r`FLULBdWIbLWMcbFBuvNUWbWbW..{vLuBDHv

FY_WLMuUtdW

MULuUvuWHMuLOKWLBd

ebsOV

WdWUWUOeFLdwwIUdHULOW.LbNUbsLbLUbs


58/60

MbUbUwFLqLKW"dBd"UIdNUJuDuWBKOWBbFWdMuU,JMtC`cOJuFcwbW,OYLOlLUzIWUIUVIUzNUFMUW,LUbDKVUNbd.cbUsLMUVJub"dBd"dMuU,wNu(MUd-Uu-Ld).

***

LJsLduUlFAdssDfKvUQuU,OYtwqcOuMcWFuUzWUUUCj-U5681-bbsrKLUUrJsLNrKv,uFUrKOq,_U"OLfMddb".

b"db"w"Hu"UuULb,rUaw"uMduOb" U8881,rUdvUFW"dOs"BqKvWbuMNUwKrLBdUU4981QusdJvBqKvcbWcBh.U"db"wIbWOqcMvJd_uAdOWKCUGdOW,u{UCqCUAdOWIbLWKvCUFUr.LUtUsbBDK`"NBOV"cKItKvLMDIWuFWUOs"Bd""OeuUOU".

b"db"bfUaIbrwUFW"OJUu"U4981OYfMUwdIW"FNbbUAdOW"OB`UKLBdUUaAdIbrtU6981.

U"db"KWKLOWLBduKvuLOs(5091-7091)LBUWUbBu,OYUQqOqqUDOltsIUdFUbKv{HwMOqwMuBdLUu.

U"db"KvWUKGWLBdWIbLW,OuUOW,cFdWFdOW,LUUtNrJOdsCUwUXwAd_v

Ibr,UWLRHUFKLOWMNU,wFbsLNUUt"UaBdMcbFBuvGeHUw",LKtLdFwdzl"O IbLWLBd"wAdUwLWKbU6091,LlONU"db"dLtKOeWJqhbrFdvUabLuuW.

U"db"dJuKvFWHUzddWUFWOJUuLBdU9191,LUrdOtU2391OJuCuw"UOWuMOWKFKu".

uv"OLfMddb"Ld"dzW"utsbtLBdwUwsLdU5391,rMtwUW"dMu""Hu",LUr{lKWddWud,wbNUJuWLBdWwpuXIbdMNULUUtcFUrKOqsqCULBdWIbLW.

vU5891,U"unuu"CuLFOWUOW_dJOW-wNU"db"U8291-BOhUzeMuWLqr"OLfMddb"_CqRnUKOeWMUUaIbrvUq0001OW.UsBqKvUzeU5891u"uUOd"sUFW"uUuMU"sRHt"wYsUa-WUOWsFUrIbruUauw",dsBqKONUU7002u"uUOu"sUt"KWOuUOf-FUUWOUOuOWwAddUw".

q"db"sULMUUUztULJsOUt,EqdzLUFMU,wqKLWNU,edbNUUVKrb{UtddoLFdW.

FbUv

Uu8002


KLWzOfdd


59/60


60/60

MW_v-FbUvUu8002


Fd03MOtBd

heritage of egypt 2

Documents