postcard (Paper) Creation date: 1900-1950 Description: Colour postcard of 2 egyptian figures. The caption reads 'King Ramesses II smiting a Lygian enemy'. Production place: Al Qahirah – Cairo
Lygia (Greek: Λυγιά) is a village and a community in the municipal unit of Vartholomio, Elis, Greece. Its population in 2011 was 286 for the village and 787 for the community,
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yes, Punos Rey is probably right the museum actually got it wrong, if not wrong as a typo in the OP
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He must've been a specific pain in the ass seeing how they rendered him with more individualism lol.
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Tukuler
multidisciplinary Black Scholar
Member # 19944
posted
quote:Originally posted by the lioness,:
postcard (Paper) Creation date: 1900-1950 Description: Colour postcard of 2 egyptian figures. The caption reads 'King Ramesses II smiting a Lygian enemy'. Production place: Al Qahirah – Cairo
Lygia (Greek: Λυγιά) is a village and a community in the municipal unit of Vartholomio, Elis, Greece. Its population in 2011 was 286 for the village and 787 for the community,
Wow! Interesting post card. The poses are stock in trade but this captive is unique in his coif, beard, colllar, and penistache combo.
Can't see any telltale 'Libyan' sidelock. Could be the Lower Egypt Red Crowned Ramses has them in grip?
Here's another photo of what inspired the postcard. With luck I'll find it in the Denkmäler and tryout the glyphs.
the opening post was the same, smaller from Durham University's small collection I couldn't post the link because it is one of those URL glitch about parenthesis
In this image I think I see "B" not "G" however that would spell They spell it Lybian not the current Libyan spelling but both spellings have been used in books But it seems Durham University had made an error saying it was Lygian
^ I assume if the original ever had color no modern person has seen it, this is a wall I think exposed to the elements
Therefore all the color in the illustration is speculation by a modern illustrator and I'm not convinced there was definitely a collar there looking similar to the Egyptian type on the kneeling figure
The wall relief is worn. I think the original may have shown the Libyan wearing a full gown type garment but you can't tell because of the wear. This postcard might not be as accurate in detail speculation comparatively to Rosellini's illustrations
The pointy beard seems tell tale for Libyan
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@ the Lioness, No, the original has no color, it's just stone. It's right at the doorway. But in that same building you will find murals with colors. Usually colors are very well preserved. They may have some damage, but you still will be able to make distinctions.
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Hittites / Drawing by Ippolito RosseliniHittites. From the Tomb of Seti I (or Sethos I; 19th Dynasty; 1304 – 1290 BC) in the Valley of the Kings, Western Thebes, Upper Egypt. Drawing by Ippolito Rosselini (1800-1843), c. 1820.REFERENCEAKG602421SOURCE RALPH RAINER STEFFENS BILDARCHIV STEFFENS[/IMG]
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Captives Temple of Ibsamboul (Abu Simbel), Rameses II "Monuments de l’Égypte et de la Nubie" de Jean-François Champollion, volume I
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Tukuler
multidisciplinary Black Scholar
Member # 19944
posted
quote:Originally posted by the lioness,:
tomb of Merenptah I, facsimile illustration
Originally posted 2007 to prove Yurco and Hornung were lying on Ampim that Lepsius' Denkmalër did in fact have condensations of Book of Gates scene 30.
In the same thread somebody who still can't read hieroglyphics, yet adamantly says there's no such glyphs as "black.people", wanted to argue who's the Egyptian.
Tell me again Lioness what are these glyphs from my Yurco and Hornung vs Ampim and Lepsius thread?
quote: -------------------- Let's all be Colleagues not antagonists, OK?
^ so you put this at the end of your posts to pretend that is not exactly what you are doing?
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Tukuler
multidisciplinary Black Scholar
Member # 19944
posted
Shut up.
The mere fact I live and breathe antagonizes you. Good it should. Darkness and lies should feel antagonized by the light of truth.
I will continue exposing you as you continue deleting my integral posts on the forum you control.
Here in this in this thread I gave context to images I whupped your ass on long ago cause you phony, wanna call that trolling.
All you can do is shout mad dog and maybe go try remove my Ampim thread to cover your tracks.
You shout mad dog because you can't deny the fact you can't read Mdw Ntjr but asininely not only argue against your better and refuse to learn from him.
There are dozens posts you showing ignorance of the language and its letters all the while refusing to be taught but pontificating anyway.
posted
--Flame War(4) Posts Removed; Lioness Please Present A Rebuttal Or A New Discussion Piece If You Want To Call Out Tukuler In This Thread. Name Calling with No Additional Substance Will Only Take You So Far.-//MOD Posts: 1781 | From: New York | Registered: Jul 2016
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Originally posted 2007 to prove Yurco and Hornung were lying on Ampim that Lepsius' Denkmalër did in fact have condensations of Book of Gates scene 30.
In the same thread somebody who still can't read hieroglyphics, yet adamantly says there's no such glyphs as "black.people", wanted to argue who's the Egyptian.
[b]Tell me again Lioness what are these glyphs from my Yurco and Hornung vs Ampim and Lepsius thread?
Ah yes, we had big fun, eh? 💋
-- It's been brought to my attention that this post is problematic in that it doesn't necessarily contribute insight pertaining to the OP, yet is argumentative and condescending. May I request we check our personal qualms at the door from this point forward in this thread.
The thread is about Ramesses II smiting a Libyan enemy and other facsimile Egyptian illustrations Can we please keep our posts addressing, discussing or referring to the above/OP^. --//MODPosts: 1781 | From: New York | Registered: Jul 2016
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An African dancer. Thebes, tomb of Horemhab, No.78 Period of Tuthmosis IV (1420-1411 BCE) Ancient Egyptian Paintings selected,copied & described by Nina M.Davies; plate XL Lessing, Erich, photographer (born 1923)
Note: some these illustrations done by modern artists like this one are made so that they copy the art literally in the sense that if the painting had paint damage and the tomb wall was scuffed up they copy it like that, they copy the damaged parts . So sometimes when you see one of these Nina Davies copies on the internet that were made in modern times on paper they can look similar to who it looked in aged condition on the actual temple wall
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