IFAO

This paper reconsiders the delicate problem of Djoser and Imhotep, two well known figures during the Ptolemaic period in the region of the first cataract. Why is Imhotep, a popular Memphite personnage since the Old Kingdom, worshipped in the Elephantine area, far from his original cult centre? Is it possible to improve our knowledge of the process by which the Egyptians instituted a cult of Imhotep there? Is this cult based on local historical events which would have made the introduction of this Memphite demigod into the Elephantine pantheon easier?

This article describes the mining expeditions led to South-Sinai during the New Kingdom. Using the epigraphic material, it shall point out to the various sites that were selected and describe the expeditionary forces: their number, organisation, their leaders and the roads they followed.

The use of fabric sjȝ.t within the framework of the Ritual of the Embalming largely exceeds its material function. It forms part of a vast network of bonds – that this article tries to restore – referring to other elements of creation: Ġax, rising, sun, moon, etc.

In spite of important damages on the south wall of the inner Hypostyle or room of appearence in Dendara, it was possible to determine that the four pictures, on the left side of the door form a coherent set. Through the power of the primeval god and god of creation Ptah-Tatenen, the universe of Tentyra gradually gets organised. The second and third pictures are in bad condition but we can guess that Montu is present and Thot, the god of learning, preserves the cosmic order he established. The top of the wall depicts the rising of the sun. The sungod Re-Horakhty appears and bestows integral kingship on Hathor. In her turn, the celestial goddess guarantees the investiture of the king who is charged with maintaining the cosmic order by specific rites.

The word ḥpt is most often translated by "oar" although the numerous entries in the Egyptian dictionaries show the embarrassment of the Egyptologists concerning its exact meaning. In the Old Kingdom ḥpt was only written with the phonogram , ḥp. It never referred to the part of a boat (oar, rudder...) nor to another object, and the nature of the object depicted by this sign still remains undetermined. Ḥpt is a verbal noun made from the verb root ḥp(ỉ), "to run, travel", and exclusively describes a travel, either fast or not, either by land or not. Consequently, depending on the context, ḥpt may be translated by "course, travel, journey". The related verbal expressions ỉṯỉ ḥpt and, later and more rarely, ỉrỉ and ỉnỉ ḥpt are to be understood in the same way: "to make a travel, to travel". However, in the later part of his reign, King Mentuhotep II of the Eleventh Dynasty introduced the oar-sign in place of the usual sign in the spelling of his throne name Nb-ḥpt-R.ʿ. Such a new spelling, based on ideological grounds, was certainly intended to emphasize the association of the king with the god Re aboard the solar bark in its daily course, in connexion with the ritual navigation for the god Amun-Re created in Thebes at that time. This writing of ḥpt with the oar-sign only became widespread from the Eighteenth Dynasty onwards. The oar-sign was then used either as determinative or as phonogram ḥp. This graphical change did not lead to semantic changes but aroused some ambiguity in the use of the word by the Egyptian themselves and in its understanding by modern scholars. Actually, the few examples in which ḥpt seems to mean "oar" (i.e. something like "the fast one") are rare and scattered through the Middle and New Kingdoms. Some of them, dating back to the Late New Kingdom, are of obscure meaning and their interpretation is still uncertain.

During the Ifao excavations on the site of Douch between 1976 and 1981, three glass fragments bearing a very original painted decoration were discovered. They are surely related to another fragment which was found by the naturalist Cailliaud in 1818 on the same site. If we put all together, they will offer us the possibility to reconstruct and identify the representation of the thirty six decans, in a ring of twelve panels of three alternating colours (dark blue, red and gold) with three decans by panels. The analysis of the different groups of Roman painted glass which are issued from Egyptian workshops leads to date this piece to the IIIrd – IVth century AD. Its best parallels are the tabula Bianchini kept in the Louvre Museum and the ivory tablets from Grand. They help us to identify the different decans and to assign them to their zodiacal signs. This curious object, cut in a cast colourless annular base plate, was probably kept in a wooden box which hid the traces of reuse and was employed to cast horoscopes.

The present late demotic document P. Vindob. D 6454, now in the Erzherzog Rainer Collection in Vienna and which was found at Soknopaiu Nesos (= Dime) or nearby goes back probably to the very early Roman period. The papyrus in discussion, hitherto published only in a few pieces under the late demotic documents, deals with a listed account for a temple or a state adminstration being concerned with financial dealings.

The present paper is devoted to the study of two late demotic papyrus documents from the Erzherzog Rainer Collection in Vienna. The documents belong to the same kind of texts of receipt of payment. The first papyrus (P. Vindob. D 6823) from regnal year 33 of Caesar Augustus (4 AD) and the other one (P. Windob. D 6824) from regnal year 19 of Caesar Tiberius (32 AD) are receipts for taxes, whose exact character are still rather unclear.

Setting up of the state’s structures was done, in Egypt of 4th millennium, at the end of a political centralization process which we try to render: confederation, than federation directed by only chief (dynasty 0), and finally absolute and sacred monarchy established by Narmer-Meny, last king of the dynasty 0 and first one of the Ist dynasty, the "Founder", epithet shared with his successor, Aha. From iconological analysis, this paper includes the description of three successive phases of the power’s centralization, followed by political history of the dynasty 0 and the demonstration according to which the important Narmer’s documents, especially his famous palette in Cairo Museum, register the encoding of the new institutional data as fundamental principles of the pharaonic’s ideology.