FAR FASCIST BEHAVIOUR FROM LYN GREEN AND FACEBOOK FROUP 'FAYUM PORTAITS'!
FAR FASCIST BEHAVIOUR FROM LYN GREEN AND FACEBOOK FROUP 'FAYUM PORTAITS'!POST - containing only quotes from established researchers - which was deleted by the fascist group FAYUM PORTRAITS with the help of the pseudo - 'scientist' Lyn Green (ROYAL ONTARIO MUSEUM). ------------------------------------------------------------------------------ÎÎÎΡΤÎΣΠ- ÏεÏιÎÏοÏ
Ïα μÏνον αÏοÏÏάÏμαÏα καÏαξιÏμÎνÏν εÏεÏ
νηÏÏν - Îνεκα ÏÎ·Ï Î¿ÏÎ¿Î¯Î±Ï Î´Î¹ÎµÎ³ÏάÏην αÏÏ Ïην ÏαÏιÏÏικÏν ανÏιλήÏεÏν ομάδα FAYUM PORTRAITS Ïη βοηθεία και ÏÎ·Ï 'εÏιÏÏημÏνιÏÏαÏ' Lyn Green (ROYAL ONTARIO MUSEUM).
The Girl with the Golden Wreath
painting and gold leaf on wooden panel; perhaps from Hawara (Fayum), Egypt; ca. 50â100 ce [Photography by Michiel Bootsman; courtesy of the Allard Pierson Museum] --------------------------------------------------------------------------------The girlâs portrait offers the visitors a fascinating glimpse not only of the blending of Greek, Roman and Egyptian funerary practices and beliefs, but also the entanglements of Greek, Roman and Egyptian religious, cultural and artistic traditions. The panel portrait was originally inserted into the wrappings of the girlâs mummified remains. Mummification, to be sure, was an age-old Egyptian funerary practice dating back to the Early Dynastic Period (mid 3rd mill. bce [sometimes using Chios pistachio!]). This treatment of the deceased was believed to be necessary to preserve the body for the personâs spiritual entities beyond death, so that the individual could live on in the afterworld. The golden wreath in the girlâs short hair symbolizes her good fortune and divine protection in the afterlife after passing through the judgment before Osiris. During that Judgment, the deadâs heart is weighed against the feather of Maâat. Should they fail the judgement, a monstrous being, called Ammit, would devour the dead. .................................... Some of the wealthiest tombs show that GREEKS [Macedonians included] could also adorn their dead with golden wreaths even before the HELLENISTIC period, and this practice may be related to the mystery cults. In Hellenistic and Roman Egypt, these various funerary and religious traditions merged through the adoption and adaptation of different practices and beliefs. ...................................... The ENCAUSTIC painting technique was first developed in Classical Greece. The decoration of mummies with a panel portrait or one painted on linen was an invention of the Roman period. [NO THIS IS NOT TRUE:] (During the Hellenistic and Roman Imperial period, a more naturalistic stucco mask could be inserted into the mummy). It may be speculated that the invention was somehow related to the Roman conquest. Exactly why painted portraits were suddenly added to the mummified body of the deceased, however, remains uncertain. During her keynote address .. Susan Walker pointed out that the linden wood on which many Fayum portraits were painted generally derives from SE Europe, thus including the heartland of the MACEDONIAN veterans who settled in Egypt in the Hellenistic period. SOURCE: with minor mods & insertions [], "The Girl with the Golden Wreath: Four Perspectives on a Mummy Portrait", Judith Barr, Clara M. ten Berge, Jan M. van Daal and Branko F. van Oppen de Ruiter, mdpi
Egyptâs millennia-long tradition of accompanying the dead with protective gods is an international hallmark of iconography. Lifelike portraits combined with Egyptian imagery and symbols of the afterlife seem an incongruous juxtaposition but are characteristic during the first three-four centuries C.E., when funerary shrouds painted with traditional flat Egyptian registers of gods enacting rejuvenation rites accompanied lifelike portraits of the dead painted according to the Greek tradition (Riggs 2005:98, figure 39). Where in several centuries there will be a mixture of pagan and Christian symbolism, at this time thereis a co mbination of Greek, Roman, and Egyptian style and iconography that could have made possible the assembly of a triptych or shrine to the memory of a departed Roman who placed religious value in the powerful protection of Isis and Serapis (Rondot 2013:262 [quoting Lorelei Corcoran]). In the portraits of the gods, linearity is replaced by modulation and two-dimensionality by the use of a variety of hues to achieve a three-dimensional portrayal. With their reference to future iconic imagery, it can be seen that representing Egyptian gods in Hellenistic Greek form pointed toward traditional imagery associated with the icon.Pagan icons such as Isis and Serapis provide a historical context for that practice of worship, which in this format comingled with the cult of the dead and bound the living to the deceased in piety.It is only a step to consider the origin of icon painting in this context, and scholars have seen that the religious phenomenon of venerating the icon started in the home, and in Egypt, where Mary first received the epithet Theotokos, a title once reserved for Isis (Mathews 2005:47). SOURCE: Hart, M. L. 2016. âA Portrait of a Bearded Man Flanked by Isis and Serapis,â in Icon, Cult, and Context: Sacred Spaces and Objects in the Classical World, ed. M. K. Heyn, A. I. Steinsapir, Ann I, Cotsen Institute of Archaeology Press, pp. 79-89.
ÎλÏÏÏμο Ïάβανο με ÏÏ ÏιοκÏαÏικοÏÏ ÎÎÎÎÎÎÎÎΥΣ ÏÎ¯Î½Î±ÎºÎµÏ ÏÎ¿Ï ÎµÎºÎ»Î¹ÏÏνÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ μοναδικÎÏ ÎµÏιβιÏÏÎµÎ¹Ï Î±ÏÏ Ïην ΡÏμαÏκή ÎÎ¯Î³Ï ÏÏο. Σε Î±Ï ÏÏ Ïο ÏαÏάδειγμα, μια Î³Ï Î½Î±Î¯ÎºÎ± με Ïοζ ÏιÏÏνα και μανδÏα κÏαÏά νεκÏικÎÏ ÏÏοÏÏοÏÎÏ Î¼Îµ οίνο και άνθη. Το ÏλαίÏιο με ημιÏολÏÏÎ¹Î¼Î¿Ï Ï Î»Î¯Î¸Î¿Ï Ï Ïε ÏοξÏÏή Î´Î¹ÎµÏ Î¸ÎÏηÏη ÏÎ¬Î½Ï Î±ÏÏ Ïην κεÏαλή ÏÎ·Ï Ïηγάζει αÏÏ ÏÎ¹Ï ÏÏÎ®Î»ÎµÏ ÏÏν Î±Î¹Î³Ï ÏÏιακÏν ÏκηνÏν δίÏλα ÏηÏ. ÎÏγÏαÏιÏμÎνο λινÏ, β' μιÏÏ 2Î¿Ï Î±Î¹. --------------------------------------------------------------------------------- -Full length shroud with naturalistic GREEK paintings of the deceased are unique survivals from Roman Egypt. In this example a woman in pink tunic and mantle holds funerary offerings of wine and flowers. The jewelled frame arched over her head springs from the columns of Egyptian scenes beside her. Painted linen, 2nd half of the 2nd c. BRITISH MUSEUM EA68509, Christina Riggs. The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion, pl. 6
BRITISH MUSEUM EA68509, Christina Riggs. The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion, pl. 6
ÎÎÎÎÎÎÎΡÎΦÎÎ
Lyn Green, Royal Ontario Museum, Department of World Cultureshttps://rom.academia.edu/LynGreen?fbc...
https://www.academia.edu/1154089/Quee..., L. 1988. "Queens and Princesses of the Amarna Period" (diss. Univ. of Toronto.
https://www.mdpi.com/2076-0752/8/3/92..., J., C. M. ten Berge, J. M. van Daal and B. F. van Oppen de Ruiter. 2019. "The Girl with the Golden Wreath: Four Perspectives on a Mummy Portrait," Arts 8(3), 92; https://doi.org/10.3390/arts8030092
Hart, M. L. 2016. âA Portrait of a Bearded Man Flanked by Isis and Serapis,â in Icon, Cult, and Context: Sacred Spaces and Objects in the Classical World, ed. M. K. Heyn, A. I. Steinsapir, Ann I, Cotsen Institute of Archaeology Press, pp. 79-89.
Riggs, C. 2006. The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion, pl. 6, Oxford and New York: Oxford University Press, 2006.
The Girl with the Golden Wreathpainting and gold leaf on wooden panel; perhaps from Hawara (Fayum), Egypt; ca. 50â100 ce [Photography by Michiel Bootsman; courtesy of the Allard Pierson Museum] --------------------------------------------------------------------------------The girlâs portrait offers the visitors a fascinating glimpse not only of the blending of Greek, Roman and Egyptian funerary practices and beliefs, but also the entanglements of Greek, Roman and Egyptian religious, cultural and artistic traditions. The panel portrait was originally inserted into the wrappings of the girlâs mummified remains. Mummification, to be sure, was an age-old Egyptian funerary practice dating back to the Early Dynastic Period (mid 3rd mill. bce [sometimes using Chios pistachio!]). This treatment of the deceased was believed to be necessary to preserve the body for the personâs spiritual entities beyond death, so that the individual could live on in the afterworld. The golden wreath in the girlâs short hair symbolizes her good fortune and divine protection in the afterlife after passing through the judgment before Osiris. During that Judgment, the deadâs heart is weighed against the feather of Maâat. Should they fail the judgement, a monstrous being, called Ammit, would devour the dead. .................................... Some of the wealthiest tombs show that GREEKS [Macedonians included] could also adorn their dead with golden wreaths even before the HELLENISTIC period, and this practice may be related to the mystery cults. In Hellenistic and Roman Egypt, these various funerary and religious traditions merged through the adoption and adaptation of different practices and beliefs. ...................................... The ENCAUSTIC painting technique was first developed in Classical Greece. The decoration of mummies with a panel portrait or one painted on linen was an invention of the Roman period. [NO THIS IS NOT TRUE:] (During the Hellenistic and Roman Imperial period, a more naturalistic stucco mask could be inserted into the mummy). It may be speculated that the invention was somehow related to the Roman conquest. Exactly why painted portraits were suddenly added to the mummified body of the deceased, however, remains uncertain. During her keynote address .. Susan Walker pointed out that the linden wood on which many Fayum portraits were painted generally derives from SE Europe, thus including the heartland of the MACEDONIAN veterans who settled in Egypt in the Hellenistic period. SOURCE: with minor mods & insertions [], "The Girl with the Golden Wreath: Four Perspectives on a Mummy Portrait", Judith Barr, Clara M. ten Berge, Jan M. van Daal and Branko F. van Oppen de Ruiter, mdpi
Egyptâs millennia-long tradition of accompanying the dead with protective gods is an international hallmark of iconography. Lifelike portraits combined with Egyptian imagery and symbols of the afterlife seem an incongruous juxtaposition but are characteristic during the first three-four centuries C.E., when funerary shrouds painted with traditional flat Egyptian registers of gods enacting rejuvenation rites accompanied lifelike portraits of the dead painted according to the Greek tradition (Riggs 2005:98, figure 39). Where in several centuries there will be a mixture of pagan and Christian symbolism, at this time thereis a co mbination of Greek, Roman, and Egyptian style and iconography that could have made possible the assembly of a triptych or shrine to the memory of a departed Roman who placed religious value in the powerful protection of Isis and Serapis (Rondot 2013:262 [quoting Lorelei Corcoran]). In the portraits of the gods, linearity is replaced by modulation and two-dimensionality by the use of a variety of hues to achieve a three-dimensional portrayal. With their reference to future iconic imagery, it can be seen that representing Egyptian gods in Hellenistic Greek form pointed toward traditional imagery associated with the icon.Pagan icons such as Isis and Serapis provide a historical context for that practice of worship, which in this format comingled with the cult of the dead and bound the living to the deceased in piety.It is only a step to consider the origin of icon painting in this context, and scholars have seen that the religious phenomenon of venerating the icon started in the home, and in Egypt, where Mary first received the epithet Theotokos, a title once reserved for Isis (Mathews 2005:47). SOURCE: Hart, M. L. 2016. âA Portrait of a Bearded Man Flanked by Isis and Serapis,â in Icon, Cult, and Context: Sacred Spaces and Objects in the Classical World, ed. M. K. Heyn, A. I. Steinsapir, Ann I, Cotsen Institute of Archaeology Press, pp. 79-89.
ÎλÏÏÏμο Ïάβανο με ÏÏ ÏιοκÏαÏικοÏÏ ÎÎÎÎÎÎÎÎΥΣ ÏÎ¯Î½Î±ÎºÎµÏ ÏÎ¿Ï ÎµÎºÎ»Î¹ÏÏνÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ μοναδικÎÏ ÎµÏιβιÏÏÎµÎ¹Ï Î±ÏÏ Ïην ΡÏμαÏκή ÎÎ¯Î³Ï ÏÏο. Σε Î±Ï ÏÏ Ïο ÏαÏάδειγμα, μια Î³Ï Î½Î±Î¯ÎºÎ± με Ïοζ ÏιÏÏνα και μανδÏα κÏαÏά νεκÏικÎÏ ÏÏοÏÏοÏÎÏ Î¼Îµ οίνο και άνθη. Το ÏλαίÏιο με ημιÏολÏÏÎ¹Î¼Î¿Ï Ï Î»Î¯Î¸Î¿Ï Ï Ïε ÏοξÏÏή Î´Î¹ÎµÏ Î¸ÎÏηÏη ÏÎ¬Î½Ï Î±ÏÏ Ïην κεÏαλή ÏÎ·Ï Ïηγάζει αÏÏ ÏÎ¹Ï ÏÏÎ®Î»ÎµÏ ÏÏν Î±Î¹Î³Ï ÏÏιακÏν ÏκηνÏν δίÏλα ÏηÏ. ÎÏγÏαÏιÏμÎνο λινÏ, β' μιÏÏ 2Î¿Ï Î±Î¹. --------------------------------------------------------------------------------- -Full length shroud with naturalistic GREEK paintings of the deceased are unique survivals from Roman Egypt. In this example a woman in pink tunic and mantle holds funerary offerings of wine and flowers. The jewelled frame arched over her head springs from the columns of Egyptian scenes beside her. Painted linen, 2nd half of the 2nd c. BRITISH MUSEUM EA68509, Christina Riggs. The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion, pl. 6
BRITISH MUSEUM EA68509, Christina Riggs. The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion, pl. 6ÎÎÎÎÎÎÎΡÎΦÎÎ
Lyn Green, Royal Ontario Museum, Department of World Cultureshttps://rom.academia.edu/LynGreen?fbc...
https://www.academia.edu/1154089/Quee..., L. 1988. "Queens and Princesses of the Amarna Period" (diss. Univ. of Toronto.
https://www.mdpi.com/2076-0752/8/3/92..., J., C. M. ten Berge, J. M. van Daal and B. F. van Oppen de Ruiter. 2019. "The Girl with the Golden Wreath: Four Perspectives on a Mummy Portrait," Arts 8(3), 92; https://doi.org/10.3390/arts8030092
Hart, M. L. 2016. âA Portrait of a Bearded Man Flanked by Isis and Serapis,â in Icon, Cult, and Context: Sacred Spaces and Objects in the Classical World, ed. M. K. Heyn, A. I. Steinsapir, Ann I, Cotsen Institute of Archaeology Press, pp. 79-89.
Riggs, C. 2006. The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion, pl. 6, Oxford and New York: Oxford University Press, 2006.
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