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See detail„Die vorausleuchtende Idee“. Zu Künstlermarkierungen im Grab des Sennefer (TT 96A)
Pieke, Gabriele; Laboury, Dimitri ULiege

in Forthcoming volume dedicated to a distinguished German colleague (in press)

As part of the research project “Painters and Painting in the Theban Necropolis during the 18th dynasty” (Research Incentive Grant of the F.R.S.-FNRS at the University of Liège) and in the context of the ... [more ▼]

As part of the research project “Painters and Painting in the Theban Necropolis during the 18th dynasty” (Research Incentive Grant of the F.R.S.-FNRS at the University of Liège) and in the context of the Belgian Archaeological Mission in the Theban Necropolis, a joint project of the Universities of Brussels and Liège, was a thorough study of painterly practices in the funerary complex of the Mayor of Thebes under the reign of Amenhotep II, Sennefer (TT 96), owner of the famous so-called “vineyard tomb”, undertaken. This led to the discovery of two cursive hieroglyph-like artist’s marks, obviously encoding the themes to be depicted on the walls. In both cases, these pictograms are associated with short vertical brush strokes, which in combination with the given semantic information indicated a first conceptual division of the murals. The nature, reading and function of those unique marks are discussed in the perspective of their user(s), i.e. the painter(s), and in terms of composition and iconographic latitude. [less ▲]

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See detailOn the alleged involvement of Deir el-Medina crew in the making of elite tombs in the Theban Necropolis during the 18th dynasty. A reassessment
Laboury, Dimitri ULiege

in Bryan, Betsy M.; Dorman, Peter F. (Eds.) The Theban Workshop: Tomb Decoration (in press)

It has often been assumed that the artists and artisans responsible for the making of elite tombs in the Theban Necropolis during the New Kingdom were to be equated with the Deir el-Medina crew or, as ... [more ▼]

It has often been assumed that the artists and artisans responsible for the making of elite tombs in the Theban Necropolis during the New Kingdom were to be equated with the Deir el-Medina crew or, as John Romer aimed to demonstrate in an article published in 1994 (in Essays in Egyptology in honor of Hans Goedike), were part of the same administration and under the same authority. The paper will propose a reassessment of the evidence used to support such a hypothesis and, taking into account the achievements of the members of Deir el-Medina community of the 18th dynasty when they worked for themselves, it will suggest another model to answer the question raised by J. Romer: “Who made the private tombs of Thebes?” [less ▲]

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See detailThe Oxford Handbook of Egyptian Epigraphy and Palaeography
Laboury, Dimitri ULiege; Davies, Vanessa

Book published by Oxford University Press (2020)

The Oxford Handbook will be accessible to students and scholars interested in ancient Egypt, ancient history, archaeology, art history, and reception studies. The purposes of the volume are (1) to discuss ... [more ▼]

The Oxford Handbook will be accessible to students and scholars interested in ancient Egypt, ancient history, archaeology, art history, and reception studies. The purposes of the volume are (1) to discuss current theories with regard to the cultural setting and the material realities in which Egyptian carved and painted texts were produced, (2) to familiarize the reader with post-pharaonic receptions, records, and interpretations of Egyptian texts, (3) to outline traditional and emerging techniques and challenges in the recording and interpreting of ancient texts in the modern era, and (4) to review methodologies and challenges in the study of the palaeographies of various ancient Egyptian scripts. Because of the unique relationship between word and image in Egyptian hieroglyphic and hieratic texts, the volume will also address figural representation as well as narrative inscriptions. [less ▲]

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See detailDesigners and Makers of Ancient Egyptian Monumental Epigraphy
Laboury, Dimitri ULiege

in Davies, Vanessa; Laboury, Dimitri (Eds.) Oxford Handbook of Egyptian Epigraphy and Palaeography (2020)

Egyptian epigraphy and palaeography may significantly contribute to the study of the artists and craftsmen responsible for the creation of ancient Egyptian monumental decoration and, in return, this ... [more ▼]

Egyptian epigraphy and palaeography may significantly contribute to the study of the artists and craftsmen responsible for the creation of ancient Egyptian monumental decoration and, in return, this double discipline can also greatly benefit from a better knowledge of those crucial actors in the production of its own object of research. A consideration of all marks of a work’s history (from its genesis to its decline) allows one to detect—and document—the material traces of the making of the monument, and hence of its maker(s). This chapter discusses those issues, as well as the societal identity of the actors of artistic and epigraphic production in ancient Egypt; the great diversity of their skills, education, and literacy; the social and geographical mobility among their ranks; their varying work conditions, involving issues such as ergonomics and work organization; and evidence of their adaptation of parts of their work, such as standard formulae and work procedure. [less ▲]

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See detailIntroduction
Davies, Vanessa; Laboury, Dimitri ULiege

in Davies, Vanessa; Laboury, Dimitri (Eds.) Oxford Handbook of Egyptian Epigraphy and Palaeography (2020)

Introduction of the Oxford Handbook of Ancient Egyptian epigraphy and Palaeography

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See detailLost in translation? On "aegyptiaca" in the Middle Ages
Laboury, Dimitri ULiege; Lekane, Marie ULiege

in Versluys, Miguel John (Ed.) Beyond Egyptomania: objects, style and agency (2020)

As Charles Burnett put it in the incipit of a seminal article on the “Images of Ancient Egypt in the Latin Middle Ages” (2003), “It is commonly thought that the Latin Middle Ages was a barren period for ... [more ▼]

As Charles Burnett put it in the incipit of a seminal article on the “Images of Ancient Egypt in the Latin Middle Ages” (2003), “It is commonly thought that the Latin Middle Ages was a barren period for knowledge of and interest in Egypt – between the enthusiasms of the late hellenistic Neoplatonists and the rediscovery of Horapollo and the Corpus Hermeticum in the 15th century.” In this sense, and from the vantage point of this conference aiming at “A Cultural Biography of Ancient Egypt” (outside Egypt), the medieval era can be considered as a middle age or period, between classical Antiquity and the Renaissance. The paper will attempt to characterise what really changed in this perspective with the end of Antiquity and the collapse of the Roman Empire in the western figurative uses of and references to Ancient Egypt, addressing the multiplication and diversification of discourses about this bygone civilization, as well as the issue of the loss of the Egyptian style. It will then focus on the exceptional case of some Egyptian-looking sphinxes and lions produced in Rome in the 13th century AD, in order to try clarifying their meaning and agency [less ▲]

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See detailToutankhamon, à la recherche du pharaon oublié
Connor, Simon ULiege; Laboury, Dimitri ULiege

Book published by Presses Universitaires de Liège (2019)

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See detailÉtude du buste d'Akhénaton du musée du Louvre par restitution 3D polychrome
Laboury, Dimitri ULiege; Mulliez, Maud; Daniel, François

in Mulliez, Maud (Ed.) Restituer les couleurs. Le rôle de la restitution dans les recherches sur la polychromie en sculpture, architectyre et peinture murale - Reconstruction of Polychromy. Research on Pollychromy in Ancient Sculpture, Architecture and Wall-painting: the Role of Reconstructions (2019)

Purchased in 1905 by G. Bénédite from the Antiquity market in Egypt, the unprovenanced limestone bust of Akhenaten now kept in the Louvre Museum (under the inventory number E 11076) is a world-famous ... [more ▼]

Purchased in 1905 by G. Bénédite from the Antiquity market in Egypt, the unprovenanced limestone bust of Akhenaten now kept in the Louvre Museum (under the inventory number E 11076) is a world-famous masterpiece of ancient Egyptian art, though its particular shape and function still remained problematic. This exceptional piece of sculpture was investigated anew in the context of an international research project entitled RetroColor 3D, funded by the Région Nouvelle Aquitaine at Archeovision – UMS 3657 SHS-3D of the CNRS (at the University of Bordeaux Montaigne), with the aim of establishing a methodology for accurate and faithful rendering of the polychromy of deteriorated objects in 3D models. Reporting on this transdisciplinary analysis, based on a continuous dialogue between 3D expertise and art history of the relevant cultural context, the article explains how this led to a better understanding of the bust’s original function in the creation of royal portraiture during the (so-called) Amarna period [less ▲]

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See detailLa tombe de Sennéfer (TT 96A), gouverneur de la ville de Thèbes à la fin du XVe s. av. notre ère
Hallot, Pierre ULiege; Laboury, Dimitri ULiege

Conference (2018, March 08)

En sciences historiques et patrimoniales, et notamment en Égyptologie, l’étude et la publication des monuments décorés passe nécessairement par un relevé épigraphique, qui transpose en deux dimensions et ... [more ▼]

En sciences historiques et patrimoniales, et notamment en Égyptologie, l’étude et la publication des monuments décorés passe nécessairement par un relevé épigraphique, qui transpose en deux dimensions et en noir et blanc la tridimensionnalité et la polychromie de l’objet et de son décor. Dans le cadre de la mission archéologique belge dans la Nécropole Thébaine (Haute Égypte), un projet conjoint de l’ULB et de l’ULiège, l’égyptologue Dimitri Laboury et le géomaticien Pierre Hallot ont décidé de collaborer afin de remplacer dans cette perspective l’usage d’un calque apposé sur la paroi (et désormais interdit) par l’utilisation de photographies redressées, permettant une modélisation 3D basée sur une reconstruction photogrammétrique de grande précision. Le recours à un modèle 3D pour réaliser un relevé épigraphique n’est pas une opération triviale. En effet, plusieurs questions se posent lors de l’utilisation de cette source d’information plus riche que ne l’est une transposition sur calque. La reproduction fidèle de l’édifice étudié conduit à des questions de projection, d’ajustements colorimétriques, de structuration de données… Au cours de cette recherche, nous avons eu l’occasion de mettre au point une méthodologie qui reproduit le plus fidèlement possible la technique de relevé traditionnelle. En plus du modèle 3D issu de la modélisation photogrammétrique, la recherche aboutit à des ortho-photographies de grande précision tant géométrique que colorimétrique des parois étudiées. [less ▲]

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See detailGli uomini (e le donne) del re
Laboury, Dimitri ULiege; Gathy, Maruschka ULiege

in Piacentini, Patrizia; Orsenigo, Christian (Eds.) Egitto. La straordinaria scoperta del faraone Amenofi II (2017)

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See detail3D investigation into the bust of Akhenaten in the Louvre Museum
Laboury, Dimitri ULiege; Mulliez, Maud

Conference (2017, April 22)

Purchased in 1905 by G. Bénédite from the Antiquity market, the unprovenanced limestone bust of Akhenaten now kept in the Louvre Museum (under the inventory number E 11076) is world-famous but, in the end ... [more ▼]

Purchased in 1905 by G. Bénédite from the Antiquity market, the unprovenanced limestone bust of Akhenaten now kept in the Louvre Museum (under the inventory number E 11076) is world-famous but, in the end, rather poorly studied. In the context of an international research project entitled RetroColor 3D (funded by the Région Nouvelle Aquitaine, France, and the University of Bordeaux Montaigne, at Archeovision - UMS 3657 of the CNRS), this exceptional piece of sculpture was investigated anew with the help of 3D reconstruction as a methodological tool. Reporting on this transdisciplinary analysis, the paper will explain how this led to a better understanding of the bust’s original function in the creation of royal portraiture during the so-called Amarna period. [less ▲]

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See detailA Royal Head
Laboury, Dimitri ULiege; Connor, Simon

in Ben-Tor, Amnon; Zuckerman, Sharon; Bechar, Shlomit (Eds.) et al Hazor VII. The 1990-2012 excavations. The Bronze Age (2017)

Publication / entry in an archaeological report of a greywacke royal head excavated in Tell Hazor, in stratum XIII, in the debris of the final destruction of the site (mid-thirteenth century BCE)

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See detailPainter Palette with Pigments
Laboury, Dimitri ULiege; Tavier, Hugues ULiege

in Scalf, Foy (Ed.) Book of the Dead. Becoming God in Ancient Egypt (2017)

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See detailSenwosret III and the Issue of Portraiture in Ancient Egyptian Art
Laboury, Dimitri ULiege

in Cahier de Recherches de L'Institut de Papyrologie et d'Égyptologie de Lille (2017)

Since their Egyptological discovery, at the end of the 19th century, the statue portraits of Senwosret III deeply impressed their commentators and induced the pervasive idea that they represent the most ... [more ▼]

Since their Egyptological discovery, at the end of the 19th century, the statue portraits of Senwosret III deeply impressed their commentators and induced the pervasive idea that they represent the most lifelike or the epitome of realism in the history of Ancient Egyptian art. The present article aims to challenge this widespread assumption by analyzing terminological and conceptual confusion underlying this interpretation and recontextualizing this statuary production in an art historical perspective, taking notably into account material and artistic aspects of the issue. [less ▲]

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See detailTradition and Creativity. Toward a Study of Intericonicity in Ancient Egyptian Art
Laboury, Dimitri ULiege

in Gillen, Todd (Ed.) (Re)productive Traditions in Ancient Egypt (2017)

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in ... [more ▼]

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in such a context. This surprising phenomenon has clearly deep roots in the history of the western vision of Ancient Egyptian Art (and civilization). Nonetheless, the investigation of some (actually quite rare) cases of true copies in Ancient Egyptian Art reveals that creativity operated within a process of reinterpretation of previous works and their tradition, a process that can be best described and analyzed, it seems, with the help of the conceptual frame of intericonicity (or interpictoriality). The paper also aims to defend the use of this notional tool in the analysis of Ancient Egyptian Art by attempting to define how creativity was conceived in Ancient Egyptian textual claims for innovation and originality [less ▲]

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See detailIn search of the painters of the Theban necropolis in the 18th dynasty. Prolegomena to an analysis of painterly practices in the tomb of Amenemope (TT29)
Laboury, Dimitri ULiege; Tavier, Hugues

in Angenot, Valérie; Tiradritti, Francesco (Eds.) Artists and Painting in Ancient Egypt (2016)

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See detailLe scribe et le peintre. À propos d'un scribe qui ne voulait pas être pris pour un peintre
Laboury, Dimitri ULiege

in Collombert, Philippe; Lefèvre, Dominique; Polis, Stéphane (Eds.) et al Aere perennius. Mélanges égyptologiques en l'honneur de Pascal Vernus (2016)

Using the famous signature of the scribe Merira in the tomb of the High priest of Nekhbet Setau at Elkab (T. Elkab 4) as a starting point, the article aims at reassessing the status of artists, and more ... [more ▼]

Using the famous signature of the scribe Merira in the tomb of the High priest of Nekhbet Setau at Elkab (T. Elkab 4) as a starting point, the article aims at reassessing the status of artists, and more specifically of painters, in Ancient Egyptian social representation as well as in the discourse of pharaonic scribes [less ▲]

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See detailOne hand – many faces. Painterly practices in the Theban Tomb of vizier Amenemope (TT 29)
Laboury, Dimitri ULiege; Pieke, Gabriele

Conference (2015, August 28)

Since 1999, the Belgian Archaeological Expedition in the Theban (Mission archéologique dans la Nécropole thébaine - MANT) is executing fieldwork in several tombs located in the southern part of Sheikh ... [more ▼]

Since 1999, the Belgian Archaeological Expedition in the Theban (Mission archéologique dans la Nécropole thébaine - MANT) is executing fieldwork in several tombs located in the southern part of Sheikh Abdel Gurna. As part of this fieldwork, the project “Painters and painting in the Theban Necropolis under the 18th Dynasty“ (FNRS – Univeristy of Liège) aims at studying painterly practices and working procedures of artists and workshops in charge of the decoration of elite tombs in this cemetery. The paper will present the results of recent work carried out in this context in the tomb of Amenemope (TT 29), vizier under Amenhotep II. Unlike in many other Theban tombs of the 18th dynasty where different painters are attested, evidence points to a single hand, responsible for the execution of the entire wall paintings preserved in this funerary chapel. Nevertheless the style of human figures or hieroglyphs is not completely consistent but to the contrary shows certain variability in the layout and execution of motifs, that the paper will address as an issue. [less ▲]

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See detailTradition and Creativity. Toward a Study of Intericonicity in Ancient Egyptian Art
Laboury, Dimitri ULiege

Conference (2015, August 27)

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in ... [more ▼]

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in such a context. This surprising phenomenon has clearly deep roots in the history of the western vision of Ancient Egyptian Art (and civilization). Nonetheless, the investigation of some (actually quite rare) cases of true copies in Ancient Egyptian Art reveals that creativity operated within a process of reinterpretation of previous works and their tradition, a process that can be best analyzed, it seems, with the help of the conceptual frame of intericonicity (or interpictoriality). The paper will also aim to defend the use of this notional tool in the analysis of Ancient Egyptian Art by attempting to define how creativity was conceptualized in Ancient Egyptian textual claims for innovation and originality. [less ▲]

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See detailOn the master painter of the tomb of Amenhotep Sise, second High Priest of Amun under the reign of Thutmose IV (TT 75)
Laboury, Dimitri ULiege

in Jasnow, Richard; Cooney, Kathlyn M. (Eds.) Joyful in Thebes. Egyptological Studies in Honor of Betsy M. Bryan (2015)

The tomb of the second High Priest of Amun under the reign of Thutmose IV, Amenhotep Sise (TT 75), is one of the few Theban tombs that can be nominally ascribed to its artistic author, the "painter of ... [more ▼]

The tomb of the second High Priest of Amun under the reign of Thutmose IV, Amenhotep Sise (TT 75), is one of the few Theban tombs that can be nominally ascribed to its artistic author, the "painter of Amun Userhat", who signed his work through a double self-portrait in assistenza. The study of the painted decoration of the tomb leads to the conclusion that this painter was deeply involved in the royal projects of his time in Karnak and even might have been one of the designers of the decorative programme of the Festival Courtyard of Thutmose IV, and, as such, was hired by his chief in the administration of the estate of Amun in Thebes, the Second High Priest of Amun, Amenhotep Sise, to work in his own private funerary monument. [less ▲]

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