The scene very clearly conveys a sense of loss and distress which would have been evidence without reading any of the texts inscribed in the tomb itself.

They are clearly in mourning for the deceased vizier as indicated by their distressed expressions, tears, and upraised arms and it is likely that they would have been wailing loudly.

As we can see here, it is not necessary to be able use writing to communicate meaning. This painting by Nina de Garis Davies of the Tomb of Ramose (TT 55), who was vizier under Amenhotep III and Akhenaten, shows a group of mourning women, all in white with their hair loose.

The ancient Egyptians found the concept of writing important enough that they believed it was invented by the god Thoth, often seen with ibis head as here. In this Dynasty18 Temple at the site of Amada in Nubia we see Thoth appropriately placed directly underneath an inscription.

memorialization, but it was no longer to commemorate Panamuwa II himself, but someone else. C5676, plaster and paint, early 20th century (copy of Iron Age II original, 730 BCE).

and had new meaning. The statue was re-used as a gravestone in an Islamic cemetery near the the the site of Zinrcirli (ancient Sam'al), clearly having a new role over two thousand years after it was produced. In both cases it was used in a mortuary context and as a.

through time the original reason that the statue was erected and its position in front of the tomb of Pamawua (as the inscription suggests) changed. The top of the statue vanished (the drawing is a suggestion of how it might have appeared) and it moved from its original position.

offerings for his soul and set up a temporary memorial for him while the Assyrian army was still on campaign. And because of his father's loyalty to the Assyrians and Barrākib's own loyalty to the Assyrians, Tiglath Pileser III had Barrākib rule after his father's death. But.

The statue is inscribed with a 23-line inscription in Sam’alian (which is related to Aramaic) by King Panamuwa's son Barrākib. It makes it clear that Panamuwa II died in battle at Damascus while fighting with the Assyrians and the Assyrian king Tiglath Pileser III made funerary.

Some monuments continued to communicate with people even centuries after they were produced but they were understood in new and different ways. This is a plaster cast of the lower half of an 8th century CE colossal statue of king Panamuwa II of Sam'al.

Plans for the 4th of July? The ISAC is open this holiday weekend, including on Friday, when we're open until 4pm!

what the text appears to say rather than what is actually says. As we see, significant information is missing. A2513, baked clay, Iraq, Jemdat Nasr Period (ca. 3100 BCE).

column on the right which has two names: EN.PAP.X and SUKKAL.GIR3gunû. The position of the words on the tablet allows us to reconstruct it as follows: Two enslaved women in the possession of 'the one in charge of women': their names are EN.PAP.X and SUKKAL.GIR3gunû. But this is.

which would help us better understand precisely who is doing what. The column on the left has the sign "GEME2" with the the number two, being "two enslaved women." Below them is another word below: (Gal.Sal): "the one in charge of women." There isa. line divided this from the.

It's #TabletTuesday! When trying to communicate in writing, the intention of the writer is not always as clear as one might like. Early cuneiform texts such as this Jemdet Nasr period tablet, can often be ambiguous. The text has no prepositions or verbs

here: Please note this prorgram is in person only and will not be recorded.

examine colonial-era images of Cambodia. Their lectures will be followed by a panel discussion moderated by Alex Jen, Art Institute Assistant Curator in Prints & Drawings and Arts of Asia. After the program, guests will have the chance to speak with the panelists. Register.

will speak about his work in Egypt and Sudan and present the Museum’s current exhibition, Staging the East: Orientalist Photography in Chicago Collections. Guests will also hear from Nicolas Revire, Daniel F. and Ada L. Rice Research Fellow at the Art Institute, who will.

Join us Tuesday July 8 at 6:30 pm for a joint ISAC, @artic, and Alliance Française program, "Staging the Orient: Photography & the Western Imagination: A Discussion of Orientalist Visual Culture." ISAC Museum Director and Chief Curator Marc Maillot

communication, not just in Mesopotamia but also Egypt, China, the Americas, the South Pacific, and elsewhere? Register for the ISAC class: A27906, green calcite, Iraq, Late Uruk period (3350-3100 BCE).