BACE 18 (2007)

BACEの18号についても記しておきます。
８本の論文が掲載されています。

The Bulletin of the Australian Centre for Egyptology (BACE), Vol. 18 (2007)
159 p.

Contents:

Editorial Foreword
(pp. 5-6)

Magdy el Badry,
"Tombs of the Late Old Kingdom: West of the White Monastery (Sohag)"
(pp. 7-20)

Gillian E. Bowen, Wendy Dolling, Colin A. Hope, Paul Kucera,
"Brief Report on the 2007 Excavations at Ismant el-Kharab"
(pp. 21-52)

Jacobus van Dijk,
"A Late Middle Kingdom Parallel for the Incipit of Book of the Dead Chapter 22"
(pp. 53-58)

Linda Evans, "The Curious Case of the 'Mummified Pigeon'"
(pp. 59-64)

Beatrix Gessler-Loehr,
"Pre-Amarna Tomb Chapels in the Teti Cemetery North at Saqqara"
(Revised and updated version of "Grabkapellen der Vor-Amarnazeit im Bereich des Teti-Nordfriedhofs in Saqqara", presented in Cairo in 2000; Eighth International Congress of Egyptologies, Cairo, Abstracts of Papers, pp. 71-72)
(pp. 65-108)

Eve Guerry,
"Controlling Human Suffering: Terminology of Divine Mercy in Ancient Egypt and Ancient Israel"
(pp. 109-123)

Mahmoud El-Khadragy,
"Fishing, Fowling and Animal-handling in the Tomb of Djefaihapi I at Asyut"
(pp. 125-144)

Lesley J. Kinney,
"Dancing on a Time Line: Visually Communicating the Passage of Time in Ancient Egyptian Wall Art"
(pp. 145-159)

Beatrix Gessler-Loehrの論文は、新王国時代のトゥーム・チャペル（平地に立つ神殿型貴族墓）を調べる上で見ておくべきものかもしれません。

Lesley J. Kinneyの論文が個人的にはすごく面白いと思いました。
壁画において、動き、あるいは時間の経過を含めて説明する表現についての論文です。説話を壁画で長々と表現することは、東南アジアのボロブドゥールやアンコール・ワット、バイヨンなどのレリーフで典型的に知られていますけれども、時間と空間との錯綜から成り立っているこの複雑な内容を、２次元の世界である絵画によって、古代エジプトではどのように表現しているかを示しています。
以下、当該論文の冒頭と、最後の結論のみを書き記しておきます。

(Introduction) (p. 145)
"Communicating the passage of time and the sequence in which events unfold is an important consideration when representing complex visual narratives such as those attempted by ancient Egyptian artists. The emphasis in this paper is the investigation of notions of sequential time as represented in the wall art of the ancient Egyptians and the examination of the visual tools employed to create a sense of temporal sequence and consequentially a sense of the passage of time in the wall scenes."

Concluding Remarks (p. 156)
"The ability of Egyptian artists to convey the concept of time in the iconography, independently of text, enabled this abstract notion to be perceived even by illiterate audiences. Many of the conventions used to represent the passage of time, which are taken for granted by both artists and viewers today, were the invention and innovation of the ancient artists. Such was their sophistication and ingenuity, there does not appear to be one mechanism for the visual communication of the passage of time that was not already known to or invented by the ancient Egyptians."