著者

高橋 寿光 西坂 朗子

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.59, no.1, pp.2-13, 2016-09-30 (Released:2019-10-01)

参考文献数

18

被引用文献数

1

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The second boat pit of Khufu is located on the south side of the pyramid of Khufu at Giza, Egypt. In 2011, the cover stones of the second boat pit were lifted up by the Japanese-Egyptian joint mission. The graffiti in red, yellow and black inks were recognized on some of the cover stones. It is well known that the graffiti written on building stones provide information about transportation procedures and workmen involved in the work. This paper aims to examine the graffiti on the cover stones in order to understand transportation process and workmen responsible for these works. The graffiti on the cover stones can be chronologically divided into at least two stages by observing the surface treatment of each cover stones. The stone surfaces which show the older stage were roughly shaped. On the other hand, the surfaces at new stage were carefully smoothed. According to observation, it was presumed that the old stage corresponds to the phase from quarry to workshop and the new stage coincides with the phase after shaping stones at workshop. The old stage graffiti include the simple signs such as "ankh," "hetep," "nefer" which seem to represent the team of workmen in charge of transporting stones. The destination marks in old stage such as "pyramid," "temple" instruct transportation from quarry to pyramid area. The graffiti in new stage include inscriptions with the name of Khufu or Dedefra which represent the workmen in charge of drugging stones in the pyramid area. The destination marks include "boat" or "boat-pit" which seems to indicate the instructions of delivery to the second boat pit. The study of graffiti on the cover stones from second boat pit suggest that two distinctive organizations were involved in the transportation of stones from quarry to the building site at Giza.

著者

高橋 寿光

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.60, no.2, pp.184-195, 2018-03-31 (Released:2021-04-01)

参考文献数

27

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This paper aims to examine the pottery dating to the reign of Amenhotep III in a layer of limestone chips which had accumulated above the tomb of Userhat, Overseer of King’s Private Apartment under Amenhotep III, at al-Khokha area in the Theban necropolis, Egypt, in order to understand how the pottery was used at the tomb. The chisel marks on the limestone suggest that the layer of limestone chips above the tomb of Userhat had been deposited as debris from the tomb construction. Furthermore, the location and direction of the layers show that the limestone chips originated from surrounding tombs constructions, the most probably from the tomb of Userhat. Therefore, the pottery from this layer is assumed to be related to the tomb construction activities. The pottery vessels from the limestone chips layer are classified into two groups: the vessels associated with the actual construction of the tomb, such as plaster containers and lamps, and the vessels related to the tomb construction rituals, such as red slipped lids and dishes, white washed bowls with burned traces and a blue painted pottery jar. It has been generally recognized that the ritual pottery vessels from tombs were used in funerary rituals or in cults carried out subsequently at the tomb. However, the pottery above the tomb of Userhat is related to the tomb construction activities, hence, it seems that those pottery vessels were used in the tomb construction rituals. Little is known about tomb construction rituals at private tombs so far, and the study of pottery above the tomb of Userhat has revealed new possibilities of tomb construction rituals.

著者

高橋 寿光

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.62, no.2, pp.122-142, 2020-03-30 (Released:2023-04-01)

参考文献数

73

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This paper aims to examine the blue-painted pottery from all sites across Egypt and Egyptianized cities outside the Nile valley, and to discuss how its production centers were developed in the New Kingdom. The examination shows that, from the reign of Amenhotep II in mid-Eighteenth Dynasty through the Amarna Period in the late Eighteenth Dynasty, the find-spots of blue-painted pottery were essentially restricted to royal residential centers, such as Memphis, Amarna and Thebes. These provenances suggest that they were manufactured particularly in a few royal workshops. While, in subsequent periods, the fi nd-spots became widespread across Egypt, and spread out to neighboring regions. From the Post-Amarna Period at the end of Eighteenth Dynasty to Nineteenth Dynasty, the blue-painted pottery was still found from the main administrative centers or royal residential cities, such as Qantir, Memphis and Thebes, but they also became known from local administrative centers, including Groub, Asyut, Abydos and Elephantine. Furthermore, the locally made blue-painted pottery appeared from the Syro-Palestinian region and the area on Egypt’s Libyan border. If we compare fabrics, forms and designs of blue-painted pottery from these sites, some marked diff erences can be recognized, and they indicate that the blue-painted pottery was manufactured in workshops at each site. Hitherto, little is known about the development of blue-painted pottery manufacturing centers during New Kingdom, since the previous studies had been conducted by using fi nds from diff erent sites and periods separately. The present study, dealing with materials from the entire country and its outer regions, reveals that the blue-painted pottery production centers came to increase just after the Amarna Period which is well known as a signifi cant epoch of history, society, religion and art in New Kingdom Egypt.

著者

高橋 寿光

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.61, no.2, pp.135-150, 2019-03-31 (Released:2022-04-01)

参考文献数

29

被引用文献数

1

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This paper aims to examine the blue painted pottery from Northwest Saqqara, and to discuss changes in production technology of blue painted pottery in New Kingdom Egypt. As a result of this examination, changes in technology of pottery production, especially to fabrics, motifs and decorative techniques, are recognized. This is found from the reign of Amenophis II, mid-Eighteenth Dynasty through to the Amarna Period, late Eighteenth Dynasty. It seems that such alterations indicate the simplification in production technology of blue painted pottery. Specifically, the following changes are observed; the fabrics used in blue painted pottery changes from Marl clay which was difficult to obtain and required higher firing temperature, to Nile silt which was easy to collect from Nile alluvium and fired at a lower temperature. The motif alters from elaborated patterns including graphical faunal and floral motifs and geometrical flower motifs, to simple patterns, such as liner and dot decorations. The decorative techniques change from complicated to simplified procedures. It seems that this simplification in production technology which has occurred during mid-late Eighteenth Dynasty leads to an increase in the quantities and places of manufacture of blue painted pottery in the Nineteenth Dynasty since its production became easier than before. The one of the largest deposits of blue painted pottery from Northwest Saqqara demonstrates chronological changes from the earliest to the latest production phases. The materials from Northwest Saqqara allow us to discuss diachronic variability in blue painted pottery manufacture which has been observed so far by finds from different sites and periods separately. The study of blue painted pottery from Northwest Saqqara reveals that the major changes of its production had occurred just after the Amarna Period which is well known as a significant epoch of history, society, religion and art in New Kingdom Egypt.

著者

高橋 寿光 西坂 朗子

出版者

日本オリエント学会

雑誌

オリエント = Bulletin of the Society for Near Eastern Studies in Japan (ISSN:00305219)

巻号頁・発行日

vol.59, no.1, pp.2-13, 2016

著者

高橋 寿光 西坂 朗子

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.59, no.1, pp.2-13, 2016

被引用文献数

1

---

<p>The second boat pit of Khufu is located on the south side of the pyramid of Khufu at Giza, Egypt. In 2011, the cover stones of the second boat pit were lifted up by the Japanese-Egyptian joint mission. The graffiti in red, yellow and black inks were recognized on some of the cover stones. It is well known that the graffiti written on building stones provide information about transportation procedures and workmen involved in the work. This paper aims to examine the graffiti on the cover stones in order to understand transportation process and workmen responsible for these works.</p><p> The graffiti on the cover stones can be chronologically divided into at least two stages by observing the surface treatment of each cover stones. The stone surfaces which show the older stage were roughly shaped. On the other hand, the surfaces at new stage were carefully smoothed. According to observation, it was presumed that the old stage corresponds to the phase from quarry to workshop and the new stage coincides with the phase after shaping stones at workshop.</p><p> The old stage graffiti include the simple signs such as "ankh," "hetep," "nefer" which seem to represent the team of workmen in charge of transporting stones. The destination marks in old stage such as "pyramid," "temple" instruct transportation from quarry to pyramid area. The graffiti in new stage include inscriptions with the name of Khufu or Dedefra which represent the workmen in charge of drugging stones in the pyramid area. The destination marks include "boat" or "boat-pit" which seems to indicate the instructions of delivery to the second boat pit.</p><p> The study of graffiti on the cover stones from second boat pit suggest that two distinctive organizations were involved in the transportation of stones from quarry to the building site at Giza.</p>