But Tanus will have to defy the same gods to attain the reward they have forbidden him, an object more prized than battle's glory: possession of the Lady Lostris, a rare beauty with skin the color of oiled ceder--destined for the adoration of a nation, and the love of one extraordinary man.

    Robins' book, gracefully written and copiously illustrated, cuts through the obscurity of the ages to show us what the archaeological riches of Egypt really say about how these women lived, both in the public eye and within the family.The art and written records of the time present a fascinating puzzle. But how often has the evidence been interpreted, consciously or otherwise, from a male viewpoint? Robins conducts us through these sources with an archaeologist's relish, stripping away layer after interpretive layer to expose the reality beneath. Here we see the everyday lives of women in the economic, legal, or domestic sphere, from the Early Dynastic Period almost 5,000 years ago to the conquest of Alexander in 332 B.C. Within this kingdom ruled and run by men, women could still wield influence indirectly--and in some cases directly, when a woman took the position of king. The exceptional few who assumed real power appear here in colorful detail, alongside their more traditional counterparts. Robins examines the queens' reputed divinity and takes a frank look at the practice of incest within Egypt's dynasties. She shows us the special role of women in religious rites and offices, and assesses their depiction in Egyptian art as it portrays their position in society.By drawing women back into the picture we have of ancient Egypt, this book opens a whole new perspective on one of world history's most exotic and familiar cultures.

    This book reveals the language of this code, including hieroglyphic signs, colour symbolism, the magical meaning of numbers, gestures of the body, the significance of size and shape and of location. The guide sets out to allow the reader to see and understand the formal structure of these ancient works as the Egyptians once did themselves.

    

    and the conquest of Egypt by Alexander the Great in 332 B.C.E., after which Egypt became part of the Hellenistic world. It was a time when Libyans, Kushites, Persians, and Greeks ascended to the throne more frequently than did indigenous kings. The history of this phase of pharaonic Egypt, marked by rapid changes in rule, has been relatively neglected until now.Egypt had become increasingly involved in the affairs of its Near Eastern neighbors (Assyria, Babylon, and Persia) and of the Mediterranean world. These many cultures greatly enriched and influenced pharaonic traditions. At the same time, Egyptian civilization extended far beyond the borders of Egypt itself. One of the most important cultural products of this period is the Old Testament, called here "an inestimable source of information on daily life in pharaonic Egypt". Mysliwiec perceives in recent archaeological discoveries clear evidence that the First Millennium B.C.E. was witness to more than a slow, progressive dying out of the pharaonic past; new and creative elements profoundly altered the culture of Ancient Egypt.Originally published in Polish, The Twilight of Ancient Egypt appeared in 1998 in a German edition. The Cornell edition has been updated by the author and also contains previously unpublished photographs of recently discovered treasures.

    Routledge is an imprint of Taylor & Francis, an informa company.

    

    This profusely illustrated volume uses Carter's own words and those of his contemporaries in letters and diaries - augmented by Carter's own watercolors and excavation photographs to tell the story of his thirty-year obsession with ancient Egypt and his work in the quest for, and unearthing of, Tutankhamun's tomb.

    Even the artistic style of the scenes seems unchanging, but this appearance is deceptive. In this work, Gay Robins offers convincing evidence, based on a study of Egyptian usage of grid systems and proportions, that innovation and stylistic variation played a significant role in ancient Egyptian art.Robins thoroughly explores the squared grid systems used by the ancient artists to proportion standing, sitting, and kneeling human figures. This investigation yields the first chronological account of proportional variations in male and female figures from the Early Dynastic to the Ptolemaic periods. Robins discusses in detail the proportional changes underlying the revolutionary style instituted during the Amarna Period. She also considers how the grid system influenced the composition of scenes as a whole. Numerous line drawings with superimposed grids illustrate the text.