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Baghdad stands, like an Island, in the midst of a vast pestilent marsh”, as he wrote to Sir Stratford Canning on 6 November ( Add. MS . 38.943, f. 11r). Nevertheless Layard’s “old enemy, intermittent fever” did not completely restrict his enjoyment of Baghdad social life, as he reported to his friend Ross

In: The British Museum’s Excavations at Nineveh, 1846–1855
Author: Arlette David

× ? 1.1.5 Royal Horses The horses, paired as a team to the chariot, are major actors in the royal journey scenes, highlighted by positioning, motion markers, relief depth, color, accessories, and size, the King’s horses being the largest living bodies in the pictures

In: Renewing Royal Imagery
Author: Arlette David

, Kush, and all lands tremble for you, their arms for you in salute to your ka, begging for life as a voiceless man, being about: “Give us breath,” the fear of you blocking their nose, the end of their prosperity. See your power over them as a blow. Now your roar has ruined their body like fire consuming

In: Renewing Royal Imagery
Author: Arlette David

transformed into a banquet (festive gathering, drinking party) 100 in Dynasty 18, marks the perpetual interaction between the deceased, his material sustenance, and the living. 101 Some of the depicted participants at the feast are dead, sitting ‘like he used to when he was on earth’ ( mi҆ sḫr.f n wn

In: Renewing Royal Imagery
Author: Arlette David

) 1.1.1 The Actors The number of actors varies considerably in the scenes. 1.1.1.1 Aten Akhenaten used the image of an orb with a frontal cobra to which a life sign is appended and rays ending in hands to represent his god Aten, an abstract

In: Renewing Royal Imagery

-European was motivated by a split within the preexisting PIE animate gender and that the split was sex-based”, and he notes (as Luraghi does in 2011, though not in 2009b) that Meillet had already proposed in 1931 that the PIE feminine arose within the “common” or “animate” gender: “that the creation of the

In: Hrozný and Hittite

For many readers, the phrase “tree of life” will immediately evoke thoughts of the garden of Eden. Charles Echols has situated this tree for us among other life-giving trees and plants mentioned in a variety of ancient Near Eastern texts, and Amy Balogh has explored the iconographical context

In: The Tree of Life

, a style that he believed derived from Tanis Tanis under the influence of Asiatic populations living in the Delta. 6 He supported Golenischeff’s dating of the sphinxes; however, he ascribed the Nilotic dyads to Ramses II Ramses II and Cairo CG 395 Cairo CG 395 to the Hyksos (pls. XXXIX, XL ). J

In: Visualizing Coregency

specific, living individual – thus offering more room for interpretation and acceptance of differing artistic conventions. 14 Further complicating this issue is the idea that a portrait is created primarily for aesthetic reasons, while a representation serves additional functional or ideological purposes

In: Visualizing Coregency

.w-msi҆-sw Mri҆.y-I҆mn.w ḳn m ꜥnḫ Etymology ( I ): The toponym is a genitive construction between a royal personal name, with an epithet ḳn m ꜥnḫ ‘brave in life’, and the hydrographic term ẖnm.t ‘well’. Location ( I ): Given the inscription at Umm

In: Toponymy on the Periphery