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Monday, 24 February 2025

Teaching Egyptian Archaeology with the Harrogate Loan

The blog post for this week has been written by Dr. Christian Knoblauch. Christian is an Egyptology lecturer in the Department of History, Heritage, and Classics at Swansea University. He is a specialist in the archaeology of ancient Egypt and Nubia and is particularly interested in using material culture to explore broader cultural aspects. His research draws on fieldwork projects in Egypt and the Sudan. He is an assistant director of the University of Michigan Abydos Middle Cemetery Project and co-directs with Laurel Bestock (Brown University) the Uronarti Regional Archaeological Project.

Object biographies, life cycles, or itineraries provide new perspectives on the histories and cultural significances of museum artefacts, revealing the journeys and contexts that shape their meanings over time. By emphasising the relationships between objects, people, and places, these approaches encourage viewers, in this case our students, to engage with artefacts not merely as static objects but as active participants in a broader narrative of human experience.

Dr Kasia Szpakowska, formerly of Swansea University, pioneered this approach in our teaching offer through her Second-Year module Introduction to Egyptian Archaeology. This module, which I was lucky enough to inherit and run since 2018, provides students with the unique opportunity to investigate anepigraphic objects (those without writing) in the Egypt Centre using an object life-cycle approach. The teaching approach is object-based and includes lectures and weekly hands-on sessions where students engage directly with the objects they are researching from different perspectives (fig. 1). We are extremely grateful to the Egypt Centre for facilitating extensive access to the collection and collaborating with the department so fruitfully.

Fig. 1: Students researching HARGM9872

 

During the past semester, students in the module wrote their projects on pottery objects from the Harrogate loan currently in the Egypt Centre. As most of these objects have never been studied before, this was an amazing chance to conduct original primary research that contributes to global research. The objects were from the prehistoric and proto-dynastic periods and included C-Ware, B-Ware, W-Ware, and D-Ware. One of the highlights was a black-topped vessel (HARGM9872) with a unique, incised fauna scene (fig. 2).

Fig. 2: HARGM9872

The students are drawn mostly from the Egyptology and Ancient History BA but it is worth remembering that these students are in just their third semester of university and only have two Egyptology module behind them. None of our students have previously worked directly with objects or with ancient pottery, so the learning curve is incredibly steep. Students have to acquire a wide range of skills during the semester.

 

They must learn how to handle objects, record and describe them, analyse their condition, materials, form, production traces and decoration (fig. 3). They must learn to decipher excavation marks, catalogue numbers, and auction catalogues. They learn how to conduct research in excavation reports, exhibition catalogues, ancient technologies, museology, archaeological theory, and local history. In short, they are acquiring first-hand the practical skills and academic knowledge necessary to deal with the types of objects that are found in hundreds of museums and public collections across the UK.

Fig. 3: Measuring HARGM10221
 

Their final assessment for the module is a 3000–4000 word project addressing all aspects of an object’s life-cycle, from the gathering of raw materials along the Nile Valley in prehistory to the object’s current role here in Swansea.

Below is a selection of some of the best life-cycle projects from this last semester on the Harrogate material. The papers shed light not only the production, date, and function of ancient artefacts and their place in society, but they also enhance our understanding of how UK regional collections were formed, and how such objects might fit into contemporary museum spaces and contribute to visitor experience and narratives linking the ancient past with the modern world. Each of these papers is accompanied by a short bio of the author. Note that prior to the module taking place, all the information on the online catalogue for each object was removed until the module had concluded. This way the students had to research the objects themselves rather than relying on information in the catalogue. As a result, some of the information on the objects, such as previous analysis of the contents, may not have been known to the students.

Fig. 4: HARGM10221



Fig. 5: HARGM9833


Life-cycle of HARGM10221 (fig. 4), Jess Bailey, 2024

Bio: I am in my second year of studying Egyptology and Ancient History at Swansea University, having chosen to study the ancient world due to my longstanding fascination with the past. I am specifically interested in the operation of ancient societies, and how they varied across different regions and periods under different powers. In working with an object firsthand, this project allowed me to discover a passion for working with archaeological material and helped me realise how much can be learned about the structures of ancient societies from a single, often mundane, object.

 

Life-cycle of HARGM10221 (fig. 4), Douglas Burke, 2024

Bio: Hello, I am Douglas Burke, a second-year Egyptology and Ancient History student from Massachusetts, USA. My passion for Egyptology began in childhood, fuelled by online college courses and countless visits to museums and exhibits with my parents. While researching universities with strong Egyptology programs, Swansea University stood out with its comprehensive and well-regarded curriculum. The added attraction of the Egypt Centre, where I can handle artefacts, solidified my decision to join Swansea and pursue my academic dreams.

 

Life-cycle of HARGM9833 (fig. 5), Hannah Wilkins, 2024

Bio: I am studying a Bachelor of Arts in Ancient History and Egyptology, a passion I have had since primary school. The ancient world is such an important field of study to me, considering its parallels with our modern world, these are the people who have influenced who we are today, it is fascinating to be able to study and understand them. Taking this module furthered this idea, providing insight into the Egyptian Predynastic culture, their customs, practices, and values. I was also introduced to the archaeological world, learning and applying the steps taken to understand the objects discovered, now being able to share this with those interested.

Monday, 3 February 2025

The Seven Hathors on the Philae Mammisi

This blog post has been written by Sandra Ottens, who has been working as a secretary at the municipality of Amsterdam for thirty years. Sandra studied Egyptology at Leiden University (BA and MA) from 2006 to 2012. She started blogging about her Egyptological adventures when her class attended a two-month study semester in Cairo, visiting a large number of excavation sites (https://egyptoblogie.wordpress.com). Sandra joined the excavations in Amheida (Dakhla Oasis) as an assistant epigrapher to Professor Olaf Kaper for one season in 2012. She wrote her MA thesis on the Seven Hathors, a group of seven goddesses who predicted the fate of newborn children. This blog post is about the Seven Hathors at Philae, which is written here to coincide with the Egypt Centre’s course on Gods and Goddesses currently taking place.

The seven Hathors were known in Egyptian fairy tales as a group of goddesses who come to visit a newborn child and foretell its fate. This can be found in the tales of the Doomed Prince and the Two Brothers. Consequently, they were mentioned in a number of medico-magical spells, in order to try to control their powers. In the Graeco-Roman Period, we find the seven Hathors depicted in temples where they bring good wishes to the temple’s child deity and sing praises to the mother goddess. They are often shown in the mammisi (birth house) of the temple, but also near doorways and along processional routes. 

If you have been to the island of Philae near Aswan (fig. 1), you will have seen the mammisi with its lovely columns with Hathor faces. This birth house stands in the forecourt of the Isis temple. It was built for the celebration of the divine birth of Horus, the son of Isis and Osiris.

Fig. 1: Philae Mammisi


On the same wall (the outside of the mammisi), a little further to the left, is this scene depicting the seven Hathors (fig. 2). Behind the seven Hathors a small king Ptolemy XII is shown, kneeling on an offering stand, and presenting two vessels. Here the Hathors are shown playing tambourines (hand drums) and singing praises before Isis, lady of the Abaton, and before Hathor, lady of Biggeh. The island of Biggeh was next to the original location of Philae. It had an Abaton (Greek for ‘untrodden place’), associated with a burial place of (a part of the body of) Osiris. The island of Philae had a Hathor temple as well as an Isis temple.

Fig. 2: The seven Hathors


In the fairy tales the seven Hathors are represented as a uniform group, speaking as with one mouth (fig. 3). However, in the temples they are individually named as goddesses from specific locations where Hathor temples stood. Egypt had a large number of Hathor sanctuaries throughout the country, as well as in mining areas abroad, so there were many locations to choose from. Almost every scene depicting the seven Hathors has a unique combination of Hathor sanctuary names.

Fig. 3: The procession


Here is a translation of the texts: 

·  Isis: Words spoken by Isis, giver of life, lady of the Abaton, mother of the god of the golden falcon. You are celebrated in every country, since your Majesty was born in Dendera.

·  Hathor: Words spoken by Hathor, great one, lady of Biggeh, noble one, mighty one, mistress of the goddesses, lady of drunkenness, lady of jubilation, lady of singing, lady of myrrh, mistress of wreath binding

·  Text column behind Isis and Hathor: It is the great goddesses, the ladies of Egypt, who associate themselves with Biggeh in peace. Their father Ra is pleased at their sight and jubilates each day upon seeing them.

·  Text above the seven Hathors: We play the tambourine for you, you lady of the Abaton, Isis, giver of life, lady in Biggeh. We celebrate your Majesty, who rejoices in life, Hathor, great one, lady of Biggeh. We play the harp for you, you sovereign of Bugem, you lady of the whole of Egypt. We praise to the height of heaven and jubilate to the breadth of the earth, so that your hearts are pleased, great powers, for life, duration and prosperity for the Pharaoh.

·  First Hathor: Words spoken by Hathor, lady of Thebes, Amunet, foremost in Karnak: "Jubilation for you, jubilation for your ka, Isis, giver of life, lady of the Abaton".

·  Second Hathor: Words spoken by Hathor, [lady of ...]: "Jubilation for you, noble one, lady of jubilation, eye of Ra, foremost of Biggeh".

·  Third Hathor: Words spoken by Hathor, lady of Qusae, queen of the people, who protects her brother: "The tambourine is beaten for you, noble one, lady of the two lands, gold, daughter of Ra, mistress of the goddesses".

·  Fourth Hathor: Words spoken by Hathor, lady of Heracleopolis, mother of Ra: "(I) praise you, who radiate as gold, falconess of Edfu, mistress of Biggeh".

·  Fifth Hathor: Words spoken by Hathor, lady of Atfih, mother of the great glorified god: "The tambourine is played for you, noble one, mistress of the goddesses, Hathor, great one, lady of Biggeh".

·  Sixth Hathor: Words spoken by Hathor, lady of the Southern Sycamore: "For you the tambourine is beaten, for your ka, great mistress, lady of the Abaton".

·  Seventh Hathor: Words spoken by Hathor, lady of the Red Lake, who protects her father from her enemies: "Praise for your Majesty, who is pleased with life inside Edfu and foremost in Philae".

·  King: Cartouches of Ptolemy XII Neos Dionysos.

 

Sources

Champollion, [J. F.] 1844. Monuments de l’Égypte et de la Nubie: notices descriptives conformes aux manuscrits autographes, vol. 1. Paris: Firmin Didot Frères. [178 (lower)-179 (middle), 619 to 178 and 179 ('colonne A')]

Guglielmi, W. 1991. Die Göttin Mr.t: Entstehung und Verehrung einer Personifikation. Probleme der Ägyptologie 7. Leiden: Brill. [95 note 217; 98 note 239]

Gutbub, Adolphe 1973. Textes fondamentaux de la théologie de Kom Ombo, 2 vols. Bibliothèque d’étude 47. Le Caire: Institut français d’Archéologie orientale. [325 (d)]

Junker, Hermann and Erich Winter 1965. Philä-Publikation II: Das Geburtshaus des Tempels der Isis in Philä. Österreichische Akademie der Wissenschaften, Denkschriften der Philosophisch-Historischen Klasse Sonderband. Wien: Hermann Böhlaus Nachf. [220–223]

Porter, Bertha and Rosalind L. B. Moss 1939. Topographical bibliography of ancient Egyptian hieroglyphic texts, reliefs, and paintings VI: Upper Egypt: chief temples (excluding Thebes), Abydos, Dendera, Esna, Edfu, Kôm Ombo, and Philae. Oxford: Clarendon. [228 (225)–(226)]

Rochholz, Matthias 2002. Schöpfung, Feindvernichtung, Regeneration: Untersuchung zum Symbolgehalt der machtgeladenen Zahl 7 im alten Ägypten. Ägypten und Altes Testament 56. Wiesbaden: Harrassowitz. [76]