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""King Ramesses II ruled Egypt for an extraordinary sixty-six years (1279-1213 BC) during the Nineteenth Dynasty. A great warrior and lavish builder, he fathered dozens of children and is widely regarded as the most celebrated and powerful pharaoh of the New Kingdom. This wonderfully clear, engaging book recounts the dramatic history of the famed red granite colossal statue of Ramesses II now residing in Egypt's Grand Egyptian Museum. One of the biggest statues ever made and part of the urban landscape of modern Cairo, the statue lent its name to Ramses Square and the city's mainline train station, and was so much a symbol of Cairo that it featured in countless Egyptian films. Susanna Thomas recounts the full history of the statue's creation and installation in the Great Temple of Ptah at Memphis during the reign of Ramesses II, its reuse by Ramesses IV, and the later history of the statue during the Greco-Roman and Islamic Periods. The book also provides an overview of how statues were made in ancient Egypt and includes a brief discussion of the statue cults of Ramesses II, kingship, temples, and the expansion of the New Kingdom capital city of Memphis and its temples. The final section covers the history of the statue since its rediscovery and subsequent rescue in the mid-nineteenth century until its installation in the entrance hall of the Grand Egyptian Museum in Giza. Written by a New Kingdom specialist and curatorial expert and illustrated with over 150 images, Ramesses, Beloved by Ptah tells the fascinating story of this magnificent statue within the wider context of statue cults and the reign of Ramesses II, and its subsequent rescue and restoration in modern times.""--

Ramses --- Statues --- Memphis (Extinct city) --- Antiquities.

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Some of the most fascinating sculptures to have survived from ancient Egypt are the colossal statues of Akhenaten, erected at the beginning of his reign in his new temple to the Aten at Karnak. Fragments of more than thirty statues are now known, showing the paradoxical features combining male and female, young and aged, characteristic of representations of this king. Did he look like this in real life? Or was his iconography skilfully devised to mirror his concept of his role in the universe? The author presents the history of the discovery of the statue fragments from 1925 to the present da

Monuments --- Statues --- Akhenaton, --- Statues. --- Karnak (Egypt) --- Antiquities. --- Akhenaton (pharaon ; 13..-1354? av. J.-C.) --- Statues colossales --- Karnak (Égypte ; site archéologique) --- Égypte

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"The reign of the "heretic pharaoh" Akhenaten-the so-called Amarna Period-witnessed an unprecedented attack on the cult of Amun, King of the Gods, with his cult center at ancient Thebes (modern Luxor). A program to reinstate Amun to pre-eminence in the traditional pantheon was instituted by Akhenaten's successors Tutankhamun, Ay, and Horemhab. Damaged reliefs and inscriptions were restored and new statues of Amun and his consorts Mut and Amunet commissioned to replace those destroyed under Akhenaten. In this study, over 60 statues and fragments of statues attributable to the post-Amarna Period on the basis of an inscription, physiognomy, and/or stylistic analysis are discussed, as well as others that have been incorrectly assigned to the era"--

Sculpture, Egyptian --- Egyptian sculpture --- Amon --- Mut --- Amunet --- Amaunet --- Amounet --- Maut --- Mout --- Amana --- Amon, --- Hammon --- Ammon --- Amon-Reʻ --- Amūn --- Amūn-Rēʻ --- Amen --- Αμμων --- Amun-Ra --- Statues. --- Statues --- Amon - (Egyptian deity) - Statues --- Mut - (Egyptian deity) - Statues --- Amunet - (Egyptian deity) - Statues --- Amon - (Egyptian deity) --- Mut - (Egyptian deity) --- Amunet - (Egyptian deity)

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La spécialisation de plus en plus grande et le cloisonnement de nos domaines de recherche (histoire, histoire de l’art, archéologie...) conduisent le plus souvent à étudier et à publier séparément, malgré leur complémentarité, les sources épigraphiques et les sources iconographiques. Des salles de nos musées aux rayons de nos bibliothèques, documents sculptés et documents inscrits forment des ensembles "disjoints". Or, statuaire et épigraphie, signa et tituli, étaient dans l’Antiquité des éléments conçus ensemble, comme les deux volets d’un même message, indissociables dès la première formulation. Cette conjonction d’un texte et d’une image définit précisément le monumentum si caractéristique de la pratique commémorative romaine. Cet ouvrage, centré sur la question du monumentum romain, regroupe les communications présentées lors du colloque "Signa et tituli. Monuments et espaces de représentation en Gaule méridionale sous le regard croisé de la sculpture et de l’épigraphie" (Aix-en-Provence, 26-27 novembre 2009). À la suite d’une approche méthodologique, l’ouvrage propose une série d’études sur différents lieux de la société romaine où se croisent données iconographiques et épigraphiques : les espaces civiques de représentation, les espaces et monuments funéraires, les espaces de la religion.

Archaeology --- epigraphy --- sanctuary --- sculpture --- epitaph --- funerary architecture --- statues --- épigraphie --- sanctuaire --- épitaphe --- statue --- Épigraphie --- Statuaire --- Architecture

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Portrait sculpture, Egyptian. --- Egyptian portrait sculpture --- Statues --- Sculpture égyptienne. --- Antiquités --- Sculpture, Egyptian --- Égypte --- Egypt --- History --- Antiquities