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This article aims to show how the fishing and fowling scene, which is frequent in Old Kingdom private tombs, is used in the tomb of Ibi as a way to display a specific social and ideological message. Indeed, this illustration presents an unusual emphasis on family members. A discussion on parietal conventions and a direct comparison with the fishing and fowling scene in Mereruka’s tomb, inscribed in a different cultural landscape, highlights the capacity of the changing details of the scene to work as a means of expression. Between Memphite tradition and provincial adaptations, the composition and the visual aspects given to the painting of Ibi are a strategy to express specific values and to point out the local identity of the owner.
Rocznik
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Strony
128-141
Opis fizyczny
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autor
- Université de Genève, Unité d’Égyptologie et Copte , Aurelie.Quirion@unige.ch
Bibliografia
Typ dokumentu
Bibliografia
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Identyfikator YADDA
bwmeta1.element.desklight-eecffded-6f8d-437b-ab4d-9bfa62afae29