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BLKVLD Publishers was founded in 2015. We are specialized in the fields of cultural heritage, archaeology, etnographics, nature and art. However, we are open to all sorts of topics and feel free to publish what is important, beautiful or simply irresistable. In this catalogue you wil find our English books of 2016 and 2017. We hope these books will give you as much pleasure as they do us. Each book and manuscript has been selected with great care, our art director and photographers have done an amazing job and the books have been created into stunning designs. We are confident they will live up to your expectations. All orders can be made through our website. Please feel free to contact us for further details or information about the authors, books to come and other activities concerning publishing. www.blikvelduitgevers.nl Lonneke Beukenholdt Publisher lonnekebeukenholdt@blikveld.nl All descriptions in the catalogue are correct at the time of going to press. Prices, which apply in Europe only, are net provisional and subject to alteration without notice.
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English
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Ababda hairstyling
A A woman woman of of the the Ababda Ababda people, people, wearing wearing the the distinct distinct body body wrap wrap or or veil veil and and some some jewelry jewelry items. items. She She isis wearing wearing her her hair hair in in small small braids, braids, joined joined on on the the front front of of the the head head by by aa bone bone ring ring
Two Two Ababda Ababda men men and and aa woman woman in in front front of of the the traditional traditional mat mat houses houses of of these these nomads nomads
In the Egyptian Eastern Desert, south of the towns of Quseir and Marsa Alam, on the coast of the Red Sea, live the Ababda nomads. There is much to say about their cultural traditions, crafts and customs. Elsewhere in this book their jewelry, kohl pots and body veils are described. In this chapter however, I would like to draw attention to a very different form of wearable heritage crafts than what I have discussed so far: hairstyling. In this chapter, I will describe some aspects of the way in which men, women and children of the Ababda cut and have worn their hair in the past, as well as in the present.
An An Ababda Ababda woman woman preparing preparing coffee. coffee. She She isis wearing wearing aa shoga shoga or or body body veil veil and and some some metal, metal, glass glass and and plastic plastic bracelets bracelets
Wearable Wearable Heritage Heritage
Crafts Crafts
Kohl Kohl containers containers from from Nubia Nubia are are usually usually made made of of leather leather and and decorated decorated with with glass glass beads. beads. The The containers containers are are often often made made of of aa small small glass glass bottle, bottle, with with aa much much larger larger pillow pillow sculpted sculpted around around it. it. The The pillows pillows used used the the Nile Nile Valley Valley often often have have three three towers, towers, although although most most of of the the time time only only one one of of them them isis used used for for storage storage
Surely Surely the the way way in in which which the the role role of of the the early early palettes palettes changed changed from from mere mere utensils utensils to to carriers carriers of of social social significance significance shows shows us us the the prominent prominent role role these these objects objects played played in in daily daily life. life. When When one one looks looks at at the the art art of of these these ancient ancient people, people, itit is is almost almost always always possible possible to to see see aa cosmetic cosmetic line line drawn drawn around around the the eyes. eyes. Originally, Originally, eye eye paint paint with with an an elongated elongated line line at at the the corner corner of of the the eye eye was was depicted depicted exclusively exclusively on on the the pharaoh pharaoh or or gods, gods, however however this this changed changed early early on. on. Fashion Fashion in in some some periods periods prescribed prescribed elongated elongated lines lines on on the the inner inner or or outer outer corners corners of of the the eye, eye, almost almost meeting meeting the the line line of of the the eyebrow eyebrow at at the the temple. temple. Eye Eye paint paint or or kohl kohl was was used used by by all all social social classes classes and and by by both both men men and and women. women. ItIt was was not not only only used used for for beautification, beautification, itit was was worn worn for for medicinal medicinal purposes purposes as as well. well. ItIt helped helped prevent prevent eye eye ailments ailments that that were were spread spread by by small small flies. flies. Eye Eye paint paint protected protected the the eyes eyes against against the the elements, elements, particularly particularly the the intense intense heat heat and and light light of of the the sun. sun. The The makeup makeup itself itself was was connected connected closely closely with with Hathor, Hathor, the the goddess goddess of of beauty beauty and and love, love, whose whose epithets epithets included included “Lady “Lady of of the the Eye Eye Paint”. Paint”. She She is is also also associated associated with with the the eye eye of of the the sun sun god. god. In In this this manner manner the the substance substance had had divine divine associations associations in in the the ancient ancient society. society. Even Even now, now, the the importance importance of of kohl kohl in in the the eastern eastern culture culture is is prominent prominent and and protection protection is is still still an an important important reason reason for for using using eye eye paint. paint. In In Islam Islam kohl kohl is is sometimes sometimes associated associated with with the the Kaaba, Kaaba, the the holy holy stone stone of of Mecca. Mecca. In In parts parts of of North North Africa Africa kohl kohl is is applied applied to to the the eye eye and and eyebrows eyebrows of of infants infants soon soon after after birth, birth, thus thus adorning adorning the the infant infant with with aa personal personal amulet amulet to to ward ward off off the the Evil Evil Eye. Eye.
‘...The book is truely a well written and immersive experience.’ > Sarah Corbet
Although Although the the materials materials used used to to create create the the eye eye makeup makeup varied varied through through time, time, in in general, general, there there were were two two key key components. components. The The first first one, one, from from which which the the material material acquired acquired its its association association with with the the goddess goddess Hathor, Hathor, is is green green malachite, malachite, or or dark dark copper copper oxide. oxide. This This material material was was called called wedjat wedjat and and was was mined mined in in the the Sinai, Sinai, the the place place where where Hathor Hathor ruled ruled as as goddess. goddess. The The other other material material most most often often documented documented by by archaeologists archaeologists is is aa lead lead ore, ore, galena galena (lead (lead sulphur), sulphur), or or cerussite cerussite (white (white carbonate carbonate of of lead), lead), called called mesdemet mesdemet by by the the ancient ancient Egyptians. Egyptians. This This material material was was mined mined along along the the Red Red Sea Sea coast, coast, in in the the south south of of Egypt. Egypt. In In other other cases, cases, dark dark ochre, ochre, stibnite stibnite (antimony (antimony sulphide), sulphide), or or even even powdered powdered lapis lapis lazuli lazuli have have been been found found as as components components in in makeup. makeup. Even Even in in our our time, time, galena galena is is
Rashaidah Rashaidah Veils Veils
AAface faceveil veilmade madeofofwhite whitetextile, textile,decorated decoratedwith with silverwork, silverwork,medallions, medallions,small smallamulets amuletsand andaa Maria MariaTheresa TheresaThaler Thaleron onthe therim rimofofthe thenose nose
AAhistorical historicalphotograph photographofofaa Rashaidah Rashaidahgirl girlwearing wearingaatraditional traditional veil veilcovering coveringonly onlyher hernose noseand and mouth, mouth,and anddecorated decoratedwith withcoins coinsand and embroidery, embroidery,and andsilver silverbeads beadson onthe the bottom bottom The Thecenter centerofofaaRashaidah Rashaidahface faceveil; veil; the theamulets amuletsand andthe themedallions medallionsare are clearly clearlyvisible visible AAyoung younggirl girlwearing wearingaaveil veilinin traditional traditionalcolors, colors,decorated decoratedwith with beads beadsand andwith withthe theopen opennose noserim rim
The The Rashaidah Rashaidah Bedouin Bedouin live live in in the the east east of of Africa Africa on on the the borders borders of of Egypt, Egypt, Sudan Sudan and and Eritrea. Eritrea.They Theyare arenot notindigenous indigenousto toAfrica, Africa,but butmigrated migratedthere thereover overthe thepast past200 200years years from fromthe theArabian ArabianPeninsula. Peninsula.They Theyare areaavery veryproud proudpeople; people;proud proudof oftheir theirArab Araborigin origin and andculture. culture.They Theyare aretent tentBedouin, Bedouin,as asopposed opposedto totheir theirnomadic nomadicBeja Bejaneighbors, neighbors,who who roam roam the the same same area area but but live live in in mat mat houses. houses. The The Rashaida Rashaida culture, culture, and and therefore therefore also also their theircostume, costume,still stillshows showsstrong strongArab Arabinfluences. influences.Women Womenof ofthe theRashaida Rashaidacover covertheir their faces faceswith withveils veilsfor forinstance, instance,which whichthe theBeja, Beja,who whoare areindigenous indigenousto toAfrica, Africa,do donot. not.This This chapter chapterisisthe theoutcome outcomeof ofaastudy studyof ofthe theface faceveils veilsof ofthe theRashaidah Rashaidahwomen womenwho wholive livein in the thefar farSoutheast Southeastarea areaof ofEgypt, Egypt,around aroundthe thetown townof ofShelatin Shelatinon onthe theRed RedSea Seacoast. coast.
Wearable WearableHeritage Heritage Objects Objects
ethnographic | culture | art | jewellery | history | crafts
EGYPT’S WEARABLE HERITAGE
A FEW TOPICS Basket weaving Beading belly dance costumes Nagada weaving Tulle bi telly production Ababda hairstyling Arousa el burqa Amulets and talismans The kaffiyah Tassels Kohl containers Rashaidah veils Silver jewelry The Sinai face veil The qabqab Ababda swords and daggars Socio-cultural aspects and senses Aluminium The Aswan souq The last years of the silver trade
ABOUT THE BOOK Egypt’s Wearable Heritage is a richly illustrated book on crafts, objects and other reflections of culture from Egypt and the West Asian and North African region. In this book Jolanda Bos has combined her personal interest and love for these peoples and cultures with her professional knowledge gained as an archaeologist. As a result, the book contains stories about costumes, beliefs, economies, other socio-cultural phenomena and, of course, the people who live in these regions. It shows her absolute love for Egypt and the richness of Egypt’s contemporary culture. ABOUT THE AUTHOR Jolanda Bos (1973) has been travelling to Egypt for over 25 years as an archaeologist. From the 1990’s onwards she has worked at different excavations in the Egyptian deserts. Her (archaeological) specialties include beadwork, human hairstyles, contemporary costume and the social meaning of dress. For years now, the author has been keeping a Wearable Heritage platform website (www.wearableheritage. com), a facebookpage and an Instagram account with that name. Worldwide people are following her posts and research on a regular basis.
title Egypt’s Wearable Heritage author Jolanda Bos size 240 x 240 mm pages 192 pp. + 4 cover print full colour cover paperback isbn 9789080774445 language English shop price e 29,95 (Netherlands) discount 32% (- e 9,60) purchase e 20,35 available now
‘...She touches on creative processes, the materials used, the manner of wearing and the traditions and beliefs bound within these customs.’ > ethnicjewelsmagazine.com
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132
The The evil evil eye eye and and other other problems problems
Desert Silver by sigrid van roode
133
from fromhead headtototoe toe
Desert Silver by sigrid van roode
21
Stylized jackal’s paws in Berber fibulas
20
protection. Headpieces that frame the face, headbands that cover the forehead and large necklaces all feature regularly in traditional jewellery, and many objects often regarded as earrings are actually ‘temple pendants’; they are worn on leather, woollen or silver strips across the head and hang down next to the face. Actual earrings are usually smaller than temple pendants so that they can be worn through the earlobe. A combination of headdress and necklace, usually called a chin-ornament, is seen in, for example, Palestine and Oman, where pendants are directly attached to a piece of delicate chainwork that hangs from the headdress. Another type of headdress is found on the Arab peninsula that can best be described as a leather wig; made from goat leather, plaited in an intricate design and decorated with silver beads, it covers the entire head.
Earrings from Kabylia, Algeria
Silver qarmal with amber beads on both ends of the tube, Jordan
Head and neck
The hair itself can also be decorated. In Oman, girls still wear a silver clip at the tail of their long plaited hair. In the various regions of Morocco, many different hairstyles exist, in each of which the hair is decorated with hair ornaments of various materials.5 In Palestine, the plaits of a woman’s hair used to
A Libyan temple ornament
In many cultures, the head is seen as the most important part of the human body, often regarded as a person’s very essence, the seat of life, wisdom and power; in many languages, the word for ‘head’ also means ‘leader’ or ‘most important part’.2 The head is also the most visible part of an individual and as such forms a natural pedestal for displaying jewellery. The headdress is of particular significance when it comes to the symbolic language of jewellery as discussed in this book,
As women in Muslim countries generally wear a head veil, they often wear their jewellery over the veil or the veil itself is decorated. Face veils in Egypt, Ethiopia and Palestine are decorated abundantly3; in the Maghreb silver jewellery is specially designed to attach to head veils. The Bakthiari tribe in Iran decorate the head veil with a beautiful ornament, made of silver and sometimes beads, hanging down the back of the
reflecting social status, economic value, origin, and magical
head.4
be decorated with a piece of silver jewellery called a qarmal: a small tube ending in a silver ball to which small chains with dangles and coins were attached.6 Her hair was also the carrier for unlikely household items like keys, which were both decorative and functional, as noted by a visitor in 1901: ‘I shall never forget the amusement with which I once watched a newly wedded woman from Nazareth hitching up her keys from the ends of her very long hair-plaits…’7
46
echoes echoesof ofantquity antquity
3 2
6
1 5
A man’s ornament: a gilt turban ornament from Uzbekistan
Desert Silver by sigrid van roode
[1] 4th century disc fibula of the Huns. The kidney-shaped decoration is also visible in later European jewellery. Photograph: Walters Art Museum [2] 5th century fibula, found in Hungary Photograph: Walters Art Museum [3] 6th century fibula, found in Germany Photograph: Walters Art Museum [4] 6th century belt buckle, found in Spain Photograph: Walters Art Museum [5] 5th century belt buckle, found in Hungary Photograph: Walters Art Museum [6] 7th century belt buckle, found in Great Britain Photograph: Michel Wal [Photographs not to scale]
4
This map shows the movement of peoples through Europe during the early Middle Ages. Jewellery styles traveled along, jewellery items were exchanged as gifts and developed over time.
Migration Period
47
ethnographic | culture | art | jewelry | history
DESERT SILVER
CONTENT From head to toe Types of jewellery Echoes of antiquity Jewellery and the past Bracelets are for the difficult times Jewellery and economy ‘Oh women, bedeck yourselves in silver…’ Jewellery and religion ‘As a bride adorns herself with her jewels’ The Evil Eye and other problems Jewellery as protection So what does it all mean…? Understanding jewellery Literature
ABOUT THE BOOK This book is all about jewellery from the Middle East and North Africa. These objects of adornment are not just beautiful, but often carry a hidden meaning. Jewellery plays a subtle role in everyday society as communicator, messenger, protector and bank account: understanding jewellery reveals these messages. Desert Silver introduces the historical, social, economic and religious background of this traditional jewellery, embarking on a colourful journey from the steppes of Central Asia to the seaside trade ports of the Maghreb. This richly illustrated book is filled with information, maps, anecdotes, explanations and many previously unpublished jewellery items from private collections. ABOUT THE AUTHOR Sigrid van Roode (1973) has been studying traditional jewellery for over two decades. She has curated exhibitions, published articles and books and provided expert advice to museums and private collectors.
title Desert Silver author Sigrid van Roode size 270 x 240 mm pages 192 pp. + 4 cover print full colour cover paperback isbn 9789080774445 language English shop price e 29,95 (Netherlands) discount 32% (- e 9,60) purchase e 20,35 available now
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The trembling chevron Many silver amulets are surrounded by a border of fine zigzagging lines, known as ‘trembling chevron’. This element is also found on magic papyri, where they surround or contain certain spells and figures. We also find this pattern as border on early Islamic tombstones. Sometimes, the inscription on an amulet itself is engraved in zigzagging lines instead of smooth straight lines. The origin and meaning of this symbol is unclear, but may have a connection with the representation of water to keep evil spirits away.
A series of magical square amulets. To the left the traditional buduh-square can be seen. The amulet in the shape of a lock strengthens the power of the square
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archaeology | art | architecture | history
‘A PENCIL WILL DO, THANK YOU’
CONTENT preface reconstructions and map data description of work brick / materials list data list by reconstruction
ABOUT THE BOOK Archaeologist Martin Hense (1966) has been travelling to and from North Africa and West Asia to excavate and draw at archaeological excavations, for more than 25 years. At home, in his studio in Rotterdam, he works and reworks these sketches into reconstructions, mostly for archaeological publications. Almost all of his drawings are architectural features of buildings and houses long deserted and decayed. Reconstructing these ruins, with detailed knowledge of ancient architecture and building technology, has become his specialty over the years. His work can be found in museum presentations, and in publications of the archaeological sites where he worked. Over the years, he has also been working on reconstructions from (lost) buildings in Rotterdam. Some of these have also been included in this oeuvre summary. ABOUT THE AUTHOR Martin Hense (1965) is the excavation director of the Berenike temple project (Egypt). He was trained as an archaeologist and has been making architectural reconstructions drawings for 25 years on excavations in the Middle East as well as in the Netherlands. Blikveld Publishers contracted him in 2015 to publish an oeuvre summary, a modest selection of his work. The book will reflect his travels and work at archaeological excavations.
title ‘A pencil will do, thank you’ author Martin Hense size 170 x 200 mm pages 64 pp. + 4 cover print full colour cover paperback isbn 9789080774407 language English shop price e 13,95 (Netherlands) discount 32% (- e 4,46) purchase e 9,49 available now
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Stepping through Time: Footwear in Ancient Egypt Archaeology, or the study of the ancient remains of human activity, seems an adventurous, exciting and sometimes dangerous job, if we look at the famous Indiana Jones movies. Although in reality archaeology is no longer as adventurous, except when it comes to chasing bad guys who want to steal nice objects (plundering and looting is still one of the major threats of our cultural heritage), it is no less exciting. The work of an archaeologist is very diverse. It entails working in the field: digging and uncovering cultural heritage, such as objects and traces left by ancient people, as well as entire tombs and even complete cities from the sand. In Egypt it also includes epigraphic work – the tracing and study of texts and scenes on walls. The finds of excavations must be studied on the spot, as it is forbidden to transport them, let alone to bring them outside of the country FIG 1
2
1 Many archaeologists specialise, and focus their
seum collections to study the material culture
work on the study of a specific group of finds,
of the ancient Egyptians. FIG 2 This is not as
such as mummies, pottery or textiles, or con-
boring as one would think. Not only is it ex-
centrate more on a material, such as plant or
citing to study and handle ancient objects, in
animal remains, leather or wood. Besides work-
museums one can sometimes rediscover spec-
ing in the field, these scientists work on mu-
tacular objects that has long been “forgotten”
6
since they entered the museum. One such an
less important is to make this research avail-
example is the so-called Tano chariot: the only
able to the public at large. One can do this by
leather casing of a chariot that is preserved
writing nicely illustrated books, but also by or-
from ancient Egypt, including related objects
ganising exhibitions. Unfortunately, most mu-
such as a bow case and parts of the horse’s har-
seums with an Egyptological collection mainly
ness. There are many museums in the world
organise exhibitions about topics that are re-
with important collections, which were usually
lated to religion and death and the way the
obtained a long time ago (since 1979 the export
ancient Egyptian dealt with this (very popular
of ancient Egyptian artefacts has been forbid-
are mummy exhibitions), whereas topics that
den). These collections are not only important
address daily life is far less common. This is
for what they contain, but also help to educate
unfortunate, since although much is known
people in the country that they are in, as well
about ancient Egypt, especially with regards
as visitors to it, about the history of Egypt and
to royalty, religion and death, details of the
mankind. Ultimately, these museums serve as
daily life of the Egyptians is less well known
advertisements for Egypt, making people want
to the general public. What was a day in the
to visit Egypt for themselves and see the other
life of an ancient Egyptian like? What did they
treasures in that country.
eat? Where did they sleep? What did they wear?
One of the main tasks of an archaeologist is to
The study of footwear focuses on only a small
publish their work in scientific writing, but no
but significant aspect of daily life: footwear.
7
S t e p p i n g t h r o u g h T i m e : F o o t w e a r i n A n c i e n t E g y p t | A n d r é J Ve l d m e i j e r
9 ﻭوﺗﻔﺎﻧﻲ ﺍاﻟﺰﻣﻼء ﻓﻲ،٬ ﻭوﺍاﻟﻌﻤﻞ ﺍاﻟﺠﺎﺩد،٬ﻭوﺑﺴﺒﺐ ﺍاﻟﺤﻤﺎﺱس ﺍاﻟﺬﻱي ﻻ ﻳﯾُﺼﺪﻕق ﻣﻦ ﺍاﻷﻣﻨﺎء ﺍاﻟﻤﺴﺆﻭوﻟﻴﯿﻦ ﺇإﻟﻰ ﺍاﻷﺷﺨﺎﺹص ﻣﻦ،٬FIG 10 ﺍاﻟﻤﺘﺤﻒ ﺍاﻟﻤﺼﺮﻱي ﺗﻢ ﺍاﻻﻧﺘﻬﮭﺎء ﻣﻦ ﺇإﻋﺪﺍاﺩد ﺍاﻟﻤﻌﺮﺽض ﻓﻲ ﺧﻼﻝل ﺃأﺳﺒﻮﻉع،٬ﻗﺴﻢ ﺍاﻟﺘﺮﻣﻴﯿﻢ ﻭوﺍاﻟﻌﻤﺎﻝل ﻭوﻓﻲ ﺭرﺣﻠﺔ ﺍاﻟﺒﺤﺚ ﻋﻦ ﺍاﺳﻢ ﻣﻨﺎﺳﺐ ﻟﻠﻤﻌﺮﺽض ﻗﺮﺭرﻧﺎ ﺃأﻥن ﻧﺴﻤﻴﯿﻪﮫ.ﻭوﺍاﺣﺪ ﻭوﻫﮬﮪھﻮ،٬ ﺗﺨﻠﻴﯿﺪﺍا ﻟﺬﻛﺮﻯى ﺍاﻟﻤﺮﺣﻮﻡم ﺃأﻭوﻻﻑف ﺟﻮﺑﻴﯿﺘﺰ،٬""ﺧﻄﻮﺍاﺕت ﻋﺒﺮ ﺍاﻟﺰﻣﻦ ﻋﺎﻟﻢ ﺁآﺛﺎﺭر ﻫﮬﮪھﻮﻟﻨﺪﻱي ﻛﺮﺱس ﺣﻴﯿﺎﺗﻪﮫ ﻟﺪﺭرﺍاﺳﺔ ﺍاﻷﻋﻤﺎﻝل ﺍاﻟﺠﻠﺪﻳﯾﺔ ﺍاﻟﺘﻲ ﻭوﺟﺪﺕت ﻓﻲ ﺍاﻟﺬﻱي ﻛﺘﺒﻪﮫ،٬(2001) " ﺇإﻥن ﻋﻤﻠﻪﮫ ﺍاﻟﺨﺎﻟﺪ "ﺧﻄﻮﺍاﺕت ﻋﺒﺮ ﺍاﻟﺰﻣﻦ.ﻫﮬﮪھﻮﻟﻨﺪﺍا ،٬ﺑﻤﺴﺎﻫﮬﮪھﻤﺔ ﻣﻦ ﻛﺎﺭرﻭوﻝل ﻓﺎﻥن ﺩدﺭرﻳﯾﻞ ﻣﻮﺭرﺍاﻱي ﻭوﻭوﻳﯾﻠﻲ ﺧﺮﻭوﻧﻤﺎﻥن ﻓﺎﻥن ﻭوﺍاﺗﺮﻳﯾﻨﺠﻦ ﻗﺪ ﺷﻜﻞ ﺍاﻷﺳﺎﺱس ﺍاﻟﺬﻱي ﺑﻨﻰ ﻋﻠﻴﯿﻪﮫ ﻣﺸﺮﻭوﻉع ﺍاﻷﺣﺬﻳﯾﺔ ﻓﻲ ﻣﺼﺮ ﺍاﻟﻘﺪﻳﯾﻤﺔ ﻫﮬﮪھﺬﺍا ﻭوﻗﺪ.ﻣﺼﻄﻠﺤﺎﺗﻪﮫ ﻭوﻣﻨﻬﮭﺠﻴﯿﺘﻪﮫ ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ ﺍاﻷﺣﺬﻳﯾﺔ ﻓﻲ ﻣﺼﺮ ﺍاﻟﻘﺪﻳﯾﻤﺔ ﻭوﺣﻀﺮﻩه،٬2015 ﺃأﻛﺘﻮﺑﺮ11 ﺍاﻓﺘﺘﺢ ﻣﻌﺎﻟﻲ ﻭوﺯزﻳﯾﺮ ﺍاﻵﺛﺎﺭر ﺍاﻟﻤﻌﺮﺽض ﻓﻲ ﻭوﻗﺪ ﺍاﺳﺘﻤﺮ ﺍاﻟﻤﻌﺮﺽض ﺣﺘﻰ ﻧﻬﮭﺎﻳﯾﺔ.ﻋﺪﺩد ﻛﺒﻴﯿﺮ ﻣﻦ ﺍاﻟﺼﺤﻔﻴﯿﻴﯿﻦ ﻭوﺍاﻟﻤﺮﺍاﺳﻠﻴﯿﻦ FIG 11 .2015 ﻧﺸﺮ ﻛﺘﺎﺏب ﻟﻴﯿﺼﺎﺣﺐ ﺍاﻟﻤﻌﺮﺽض،٬ ﻓﻲ ﻫﮬﮪھﺬﺍا ﺍاﻟﻮﻗﺖ،٬ ﻟﻢ ﻳﯾﻜﻦ ﻣﻤﻜﻨﺎ،٬ﻭوﻟﻸﺳﻒ ﻭوﺍاﻟﻌﻤﻞ.ﻭوﻟﺬﻟﻚ ﻧﺸﺄﺕت ﻓﻜﺮﺓة ﻧﺸﺮ ﻟﻮﺣﺎﺕت ﺍاﻟﻤﻌﻠﻮﻣﺎﺕت ﺑﺸﻜﻞ ﻣﻨﻔﺼﻞ ﺃأﻭوﺩد ﺃأﻥن ﺍاﻏﺘﻨﻢ ﺍاﻟﻔﺮﺻﺔ ﻫﮬﮪھﻨﺎ ﻷﺷﻜﺮ ﻭوﺯزﺍاﺭرﺓة.ﺍاﻟﺤﺎﻟﻲ ﻫﮬﮪھﻮ ﻧﺘﻴﯿﺠﺔ ﻟﻬﮭﺬﻩه ﺍاﻟﻔﻜﺮﺓة
9
،٬ ﻭوﺍاﻟﺠﺎﻣﻌﺔ ﺍاﻷﻣﺮﻳﯾﻜﻴﯿﺔ ﺑﺎﻟﻘﺎﻫﮬﮪھﺮﺓة،٬ ﻭوﺳﻠﻄﺎﺕت ﺍاﻟﻤﺘﺤﻒ ﺍاﻟﻤﺼﺮﻱي،٬ﺍاﻵﺛﺎﺭر ﻣﺮﻛﺰ:MEHEN ﻭوﺍاﻟﻤﻌﻬﮭﺪ ﺍاﻷﻟﻤﺎﻧﻲ ﻟﻶﺛﺎﺭر ﻓﻲ ﺍاﻟﻘﺎﻫﮬﮪھﺮﺓة ﻓﻀﻼ ﻋﻦ ﺃأﺭرﻳﯾﺪ ﺃأﻥن ﺃأﺷﻜﺮ ﺍاﻷﺷﺨﺎﺹص،٬ ﻭوﻓﻮﻕق ﻛﻞ ﻫﮬﮪھﺬﺍا،٬ﺩدﺭرﺍاﺳﺎﺕت ﻣﺼﺮ ﺍاﻟﻘﺪﻳﯾﻤﺔ ﻭوﺍاﻟﺬﻳﯾﻦ ﺳﺎﻋﺪﻭوﺍا ﻋﻠﻰ،٬(ﺍاﻟﺮﺍاﺋﻌﻴﯿﻦ ﻓﻲ ﺍاﻟﻤﺘﺤﻒ )ﻻ ﺃأﺳﺘﻄﻴﯿﻊ ﺗﺬﻛﺮﻫﮬﮪھﻢ ﺟﻤﻴﯿﻌﺎ ﺇإﻧﻨﻲ ﺃأﺗﻄﻠﻊ ﺇإﻟﻰ ﺳﻨﻮﺍاﺕت ﻋﺪﻳﯾﺪﺓة ﺃأﺧﺮﻯى.ﺟﻌﻞ ﺍاﻟﻤﻌﺮﺽض ﻣﻤﻜﻨﺎ ﻓﻲ ﺍاﻟﻤﺘﺤﻒ .ﻣﻦ ﺍاﻟﺘﻌﺎﻭوﻥن ﺍاﻟﻤﺜﻤﺮ ﺣﻘﻮﻕق ﺍاﻷﺷﻜﺎﻝل
)ﺍاﻷﻗﺼﺮ( ﻣﻨﻄﻘﺔ ﻋﻤﻞ ﺧﺎﺭرﺝج ﻣﺪﺧﻞ ﺍاﻟﻤﻘﺒﺮﺓة ﻭوﻣﻨﻄﻘﺔ ﻋﻤﻞ ﻓﻲTT65 ( ﺍاﻟﻤﻌﺮﺽض ﻓﻲ ﻣﺪﺧﻞ ﻣﻜﺘﺐ3 ،٬( ﺍاﻟﻌﻤﻞ ﻓﻲ ﺍاﻟﻤﺘﺤﻒ2 ﺍاﻟﻔﺴﻄﺎﻁط )ﺍاﻟﻘﺎﻫﮬﮪھﺮﺓة(؛ ( ﺍاﺛﻨﺎﻥن ﻣﻦ ﺇإﻋﺎﺩدﺓة ﺍاﻟﺼﻨﻊ ﻣﻦ ﻗﺒﻞ ﻣﺎﺭرﺗﻦ ﻣﻮﺳﺮ ﻓﻲ ﻣﻌﺮﺽض4 ﺟﺎﻣﻌﺔ ﻻﻳﯾﺪﻥن؛ ( ﻣﻨﻈﺮ ﻟﻮﺍاﺟﻬﮭﺔ ﻋﺮﺽض ﻣﻊ ﺟﺰء ﺻﻐﻴﯿﺮ ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﺍاﻷﺣﺬﻳﯾﺔ5 ﻻﻳﯾﺪﻥن؛ ( ﺗﻤﺜﺎﻝل ﺻﻐﻴﯿﺮ6 ﺍاﻟﻤﻮﺟﻮﺩدﺓة ﻓﻲ ﺍاﻟﻤﺘﺤﻒ ﺍاﻟﻤﺼﺮﻱي ﺑﺎﻟﻘﺎﻫﮬﮪھﺮﺓة ﺗﻢ ﺗﻠﻤﻴﯿﻌﻬﮭﺎ ﻭوﺗﻨﻈﻴﯿﻔﻬﮭﺎ؛
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( ﺇإﻋﺎﺩدﺓة ﺻﻨﻊ ﺣﺬﺍاء ﻣﻦ ﻣﻘﺒﺮﺓة ﺗﻮﺕت ﻋﻨﺦ ﺁآﻣﻮﻥن ﻭوﺣﺬﺍاء7 ﻟﺼﺒﻲ ﻳﯾﺮﺗﺪﻱي ﺻﻨﺪﻻ؛
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S t e p p i n g t h r o u g h T i m e : F o o t w e a r i n A n c i e n t E g y p t | A n d r é J Ve l d m e i j e r
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archaeology | exhibition
STEPPING THROUGH TIME
ABOUT THE BOOK In Stepping Through Time, Footwear in Ancient Egypt all panels have been published of the sucessful exhibition ‘Stepping Through Time’, which has been on display in - among others - the Egyptian museum in Cairo. Apart from all exhibition panels, the publication also shows unique images of ancient Egyptian sandals and shoes with intricate decoration patterns and designs. It will give the reader more insight into archaeological research done on ancient footwear and, more specific, the research conducted by Dr. André J. Veldmeijer for his international Ancient Egyptian Footwear Project. The book shows the ancient shoes in their full glory, directly after excavation, but also after they have been conserved and reconstructed. It will also give the reader a more general impression on how these shoes were once worn. ABOUT THE AUTHOR Dr. André J. Veldmeijer (1969) Visiting Research Scholar of the American University in Cairo, has worked as an archaeologist in Egypt since 1995. He specialized in, among other things, leatherwork and ancient footwear. He has been working on ancient footwear for several years and is considered a world leading expert.
title Stepping through time author André J. Veldmeijer size 210 x 297 mm pages 64 pp. + 4 cover print full colour cover paperback isbn 9789080774407 language English | Arabic shop price e 19,95 (Netherlands) discount 32% (- e 4,46) purchase e 9,49 available now
June 2017 | English BOOKS | www.blikvelduitgevers.nl 14
Världskulturmuseerna André J. Veldmeijer
Footwear in Ancient Egypt: the Medelhavsmuseet collection
Världskulturmuseerna André J. Veldmeijer
Footwear in Ancient Egypt: the Medelhavsmuseet collection
(figure 3)
FOOTWEAR IN ANCIENT EGYPT: SHORT SURVEY THROUGH TIME PRE-DYNASTIC AND ARCHAIC PERIOD (5500–2687 BC), OLD KINGDOM (2687–2191 BC) AND FIRST INTERMEDIATE PERIOD (2190–2061 BC)
Finds from the prehistoric period of Egypt, referred to by Egyptologists as the Predynastic Period, suggest that skin was the most important material for the production of footwear. Usually the sandals (shoes were not yet used in this period) consist of one sole layer that was held in place by leather straps that were integrally cut out from the same sheet of leather as the sole. This situation changed slightly during the Old Kingdom and First Intermediate Period, as the society as a whole focussed much more on vegetable fibres. This is also visible in the footwear: the contexts of several Composite Fibre Sandals (MM 19602, Cat. No. 13) are (tentatively) dated to the Old Kingdom. In general, however, the number of sandals that can be dated without any doubt to this period is very low and since representations of footwear in tombs are equally rare, it seems safe to say that only a few people possessed sandals. Wearing sandals seems to have been mainly restricted to the upper class, suggested by the wooden tomb sandals, currently housed in the Imhotep Museum in Saqqara, that are ascribed to royals. The fact that tomb sandals existed does, however, hint to the importance for those that wore them assuming that those having tomb sandals buried with them, possessed sandals in life too. Moreover, one of these sandals is decorated with the Nine Bows, representing the traditional enemies of Egypt and showing the early existence of symbolism of crush-ing the enemies under the feet (figure 2). In addition to this, imagery on for example the Narmer pallete, show ’sandal bearers’: men, standing behind the pharaoh, carrying his sandals.
MIDDLE KINGDOM AND SECOND INTERMEDIATE PERIOD (2061–1564 BC)
The archaeological record covering the Middle Kingdom and Second Intermediate Period is very scanty. This is especially unfortunate because an increase of foreign contacts, especially the Hyksos who concurred and ruled Egypt for a while, seems to be, at least partially, responsible for new types of footwear, which they brought with them together with the chariot and new types of weaponry. One of these might be open shoes, which possibly gave the Egyptians the idea of covering the sides of the foot by adding a strip along the edge of a sandal (MM 10127, Cat. No. 14). Foreign people are depicted in tombs of local rulers (so-called ‘nomarchs’), showing, admittedly difficult to identify, footwear that cannot be matched with examples from Egypt’s archaeological record. Still, at the beginning of the New Kingdom, a larger variety of footwear is seen than before.
NEW KINGDOM AND THIRD INTERMEDIATE PERIOD (1564–656 BC)
By far the largest part of the database of the Footwear Project consists of objects from the New Kingdom. This is partially due to the archaeological record itself as explained above: much more is preserved relative to other periods, the remnants of which have been removed or still buried under the New Kingdom remains and therefore inaccessible. Moreover, traditionally, Egyptologists focus more on researching this era than others. However, this increase is also due to the increased number of people wearing footwear. Possibly, people had even more than one pair: this certainly was the case for royals, judging the more than 80 shoes and sandals that were buried with king Tutankhamun. The variety of sandals increases and entirely closed shoes were seen for the first time in the later New Kingdom (figure 3). 11
Världskulturmuseerna André J. Veldmeijer
Footwear in Ancient Egypt: the Medelhavsmuseet collection
LATE PERIOD–ROMAN PERIOD (664 BC–AD 395)
The Late Period is represented by only very few examples. Especially leather Pharaonic footwear was highly colourful and were red, green or, more often, a combination of the two (MM 19600, Cat. No. 22; MM 30880, Cat. No. 23; MM 30882, Cat. No. 24). The find of seven shoes in a jar between walls of the temple of Amenhotep II (1424-1398 BC; figure 4) in Luxor is, despite the New Kingdom date of the temple, dated to the Ptolemaic era. The few examples we have, however, show a basis in footwear from the earlier periods. When the Romans conquered Egypt, they brought their own footwear with them, which, of course, does not mean that it entirely substituted the existing Egyptian footwear but Roman military footwear (figure 5), as so well known from various European sites, constitutes a big part of the archaeological record and is known from many sites in Egypt. However, much of the introduced technology was not adopted and after the Roman era, typical Roman footwear and technology disappeared altogether.
FIGURE 4
Seven shoes, stored in a Ptolemaic jar in the temple of Amenhotep II in Luxor, five of which were tied together seen here. Photograph by F.M. Giani/CEFB. Reworked by André J. Veldmeijer/Erno Endenburg. Artist’s impression by Mikko H. Kriek.
FIGURE 5
An example of a Roman military shoe, excavated from Qasr Ibrim in south Egypt. Photograph by André J. Veldmeijer. Courtesy of the Egypt Exploration Society. Artist’s impression of a ’ European’ Roman soldier with comparable footwear by Mikko H. Kriek.
(figure 4)
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Världskulturmuseerna André J. Veldmeijer
Footwear in Ancient Egypt: the Medelhavsmuseet collection
(figure 6)
POST-ROMAN PERIOD (AD 395–PRESENT)
The footwear after the Roman Period (grouped under the rather ill-defined term ‘Christian’ or ‘Coptic’ period) again differs from the footwear seen previously. A focus on leather is clearly detectable although footwear made from fibre, such as open shoes from palm leaf, still did occur, and seems to be popular especially in the more remote areas such as the oases, and settlements as Qasr Ibrim (figure 6). These differ from the much earlier, Pharaonic shoes (MM 10127, Cat. No. 14) in shape, extension of the upper and other details. Shoes show a wide variety of types. Sandals, however, usually are of a more or less comparable construction but many differences in straps and, especially, decoration can be seen: sandals are always decorated with a plethora of techniques, among which are appliqué and open work and stamping/impression (MM 10137, Cat. No. 25; MM 15085, Cat. No. 28). Mules become very popular in this time, resulting in several different types (MM 18232, Cat. No. 26) and another type of footwear seen now as well are boots (figure 7). Especially popular is decorating shoes and mules with gold foil and embroidery (MM 30886, Cat. No. 27; figure 8). This contrasts to the Ottoman footwear from Qasr Ibrim (and some finds from other sites), which has no decoration, although some constructional elements might be made in a shape that pleases the eye, such as shaped extensions at the sides of the upper (figure 9).
(figure 5) 13
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FIGURE 6
Fibre, Open Shoes (thus covering only the side of the foot) with a flexible, full upper (going around the entire edge of the sole). The oldest examples date to the 3rd c. AD, but they remained in use for many centuries after, such as this example for a small child from Qasr Ibrim. Photograph by André J. Veldmeijer. Courtesy of the Egypt Exploration Society. Artist impression by Mikko H. Kriek.
FIGURE 7
Boots like these are popular in Christian times and are known from various sites. Remarkably, many of the boots are for children. Photograph by André J. Veldmeijer/Erno Endenburg. Courtesy of the Ashmolean Museum, Oxford.
FIGURE 8
Model of Coptic mules, made by Martin Moser, from Achmim Panopolis, probably 4th or 5th c. AD. Courtesy of Martin Moser.
FIGURE 9
An example of an Ottoman shoe from Qasr Ibrim. The footwear is usually undecorated, the only aesthetic effect that pleases the eye are shaped elements at the side and large flaps at the front and back. Photographs by André J. Veldmeijer. Courtesy of the Egypt Exploration Society. Artist’s impression by A.J. Veldmeijer/Erno Endenburg.
archaeology | catalogue | museum collection
FOOTWEAR IN ANCIENT EGYPT THE MEDELHAVSMUSEET COLLECTION
ABOUT THE BOOK Footwear in Ancient Egypt is a beautifully illustrated catalogue of a special collection of ancient Egyptian shoes and sandals. The Medelhavsmuseet houses this unique collection that has been made public for the first time through this publication. In order to show the reader the way these types of footwear were once used, several reconstruction drawings have been made especially for this purpose. All objects in the collection are beautifully photographed, showing the reader extraordinary details of these fragile ancient artefacts. Of course they have been printed full colour in this book. ABOUT THE AUTHOR Dr. AndrĂŠ J. Veldmeijer (1969) Visiting Research Scholar of the American University in Cairo, has worked as an archaeologist in Egypt since 1995. He specialized in, among other things, leatherwork and footwear. He has been working on ancient footwear for several years and is considered a world leading expert.
title Footwear in ancient Egypt author AndrĂŠ J. Veldmeijer size 210 x 297 mm pages 64 pp. + 4 cover print full colour cover paperback isbn 9789080774407 language English shop price e 19,95 (Netherlands) discount 32% (- e 4,46) purchase e 9,49 available May 20th 2017
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