IFAO

L’ouvrage présente l’édition commentée de quatre testaments écrits sur papyrus, datés du viie siècle apr. J.-C., et émanant des supérieurs d’un monastère de Haute Égypte, le monastère de Saint-Phoibammôn, situé sur la rive gauche de Thèbes. Utilisant la forme du testament de droit privé, les supérieurs lèguent à leur successeur la direction spirituelle du monastère en même temps que la propriété de ses biens et son administration. Les implications de ce dossier sont à la fois juridiques – dans quelle mesure ces documents sont-ils conformes au modèle offert par le droit byzantin ? –, historiques – les testaments apportent des éclairages nouveaux sur l’histoire du monastère de Saint-Phoibammôn, qui fut un important centre de vie ascétique au viie siècle et la résidence de l’évêque Abraham d’Hermonthis, son fondateur –, et linguistiques – il s’agit d’un dossier bilingue, le premier testament étant en grec et les trois suivants en copte, ce qui permet d’étudier les processus de traduction d’une langue à l’autre, et de s’interroger sur le statut du copte comme langue juridique. Cet ensemble est unique car il offre la possibilité d’étudier le même type de documents, provenant du même endroit, rédigés dans deux langues différentes, et condensés sur une période chronologique relativement courte (moins d’un siècle).

The present book contains the edition and commentary of four wills written on papyrus which date back to the 7th century CE, drawn up by the superiors of the monastery of Saint Phoibammon in Upper Egypt, located on the left bank in Thebes. By way of a private will, the superiors bequeath to their successor the spiritual leadership of the monastery as well as the property of its goods and its management. This dossier has implications of various sorts: legal – to what extent are these documents in accordance with the model of Byzantine law? –, historical – the wills bring new elements on the history of the Saint Phoibammon monastery which was an important centre of ascetic life in the 7th century and where its founder, the bishop Abraham of Hermonthis, lived –, linguistic – it is a bilingual dossier, as the first will is written in Greek and the following three in Coptic, thus allowing to study the translation process and to ponder on the legal status of the Coptic language. This is a unique collection of documents because it enables the study of the same kind of document, coming from the same place, written in two different languages, and dating from a relatively short period of time (less than a century).The present book contains the edition and commentary of four wills written on papyrus which date back to the 7th century CE, drawn up by the superiors of the monastery of Saint Phoibammon in Upper Egypt, located on the left bank in Thebes. By way of a private will, the superiors bequeath to their successor the spiritual leadership of the monastery as well as the property of its goods and its management. This dossier has implications of various sorts: legal – to what extent are these documents in accordance with the model of Byzantine law? –, historical – the wills bring new elements on the history of the Saint Phoibammon monastery which was an important centre of ascetic life in the 7th century and where its founder, the bishop Abraham of Hermonthis, lived –, linguistic – it is a bilingual dossier, as the first will is written in Greek and the following three in Coptic, thus allowing to study the translation process and to ponder on the legal status of the Coptic language. This is a unique collection of documents because it enables the study of the same kind of document, coming from the same place, written in two different languages, and dating from a relatively short period of time (less than a century).

L’article examine le rôle du voyage en Occident sur l’évolution artistique de Muḥammad Nāǧī (1888‑1956), pionnier de la peinture moderne égyptienne, à travers les quatre périodes temporelles qui ont marqué sa réflexion plastique : l’Antiquité gréco‑romaine, l’Égypte ancienne, l’Europe moderne, et enfin, l’Égypte moderne. L’Alexandrin, francophone, est témoin du processus d’indépendance de son pays. Son exemple nous livre un aperçu des problématiques auxquelles ont été confrontés les artistes au temps de la nahḍa. Il puise, dans le dialogue constant qu’il établit entre l’Égypte et l’Europe, entre le présent et le passé, les racines d’un langage pictural nouveau. Ses déplacements lui permettent de réaliser dans son pays un projet de renaissance artistique de grande envergure. Le voyage en Occident devient paradoxalement dans ce cas l’atelier d’un nationalisme.

The article explores the role of the journey to the West in the artistic evolution of Muḥammad Nāǧī (1888-1956), a pioneer of modern Egyptian painting, through the four time periods that influenced his creative process: Greco‑Roman Antiquity, Ancient Egypt, Modern Europe, and finally, Modern Egypt. The French-speaking Alexandrian witnesses his country’s process of independence. Nāǧī’s example gives us an insight on the issues facing the artists during the nahḍa. He draws, from the constant dialogue he establishes between Egypt and Europe, between the present and the past, the roots of a new pictorial language. His travels allow him to realize in his country the project of a large-scale artistic rebirth that was so dear to him. The journey to the West becomes paradoxically, in the case of the well‑read ­cosmopolitan that is Muḥammad Nāǧī, the workshop of a certain type of nationalism.

يتناول هذا المقال بالدراسة دور الرحلة إلى الغرب في التطور الفني لمحمد ناجي (1888-1956)، رائد فن الرسم المصري الحديث، من خلال المراحل الزمنية الأربع التي أثرت على فكره التشكيلي: آثار العصر اليوناني الروماني، مصر القديمة، أوروبا الحديثة وأخيرًا مصر الحديثة. كان الفنان السكندري فرنسي الثقافة، شاهدًا على مسيرة استقلال بلاده. ويعطينا مثاله لمحة عن القضايا التي واجهها الفنانون في مرحلة النهضة المصرية. وهو ينهل من الحوار المستمر الذي أقامه بين مصر وأوروبا، بين الحاضر والماضي، ليستمد منه جذور لغة تصويرية جديدة. وتتيح له أسفاره أن يحقق في بلده مشروع نهضة فنية واسعة النطاق. والرحلة إلى الغرب تصبح، بشكل متناقض في هذه الحالة، ورشة لنوع معين من القومية.