Who gives a fukk what some crakkker thinks, you ain't learned shyt yet?
you clearly donas you are using their classifications
How King Tut exhibitions became a multimillion-dollar industry :
- Thread starter BlackDiBiase
- Start date
you clearly donas you are using their classifications
The "classifications" of "Black" Africans as caucasians is a problem with caucasians stemming from racism. Hamitic theory is just bullshyt they created to separate Egypt from "other" Africans.
There's still black egyptians to this day there.
My point is dont apply modern social constructions to a time period it doesnt apply to.
hamitic and semetic are both european classifications applied to Caucasian people though. My point is people are trying to find logic in illogical social constructs
Forgive me if I'm wrong, but are you basically suggesting that we don't call the Ancient Egyptians black because of social constructs? Does that bother you for some reason? Sorry but I'm unclear what you're trying to imply.
@Jesus is my protector knows far more about this topic than I do and would better explain it.
get these nets
Veteran
good thread
rest of the article, about the financial exploitation of these artifacts by outsiders is here
Auction anxieties
In June, Egypt attempted to stop Christie's from selling a quartzite sculpture with King Tut's features. The country alleged that the antiquity had been looted from the Temple of Karnak in Luxor around 1970 -- the year UNESCO instituted a treaty aimed at establishing measures for preventing cultural thefts and provisions for restitution.
The auction house disagreed, claiming it had established appropriate provenance and that the statue was in the private collection of Prinz Wilhelm von Thurn und Taxis by the 1960s. Christie's went ahead with the July auction and sold the disputed object for nearly $6 million. Days later, Egypt said it would sue Christie's. The brouhaha typifies the disagreements that still pervade the market for Egyptian antiquities. (Christie's declined to comment for this article.)
An Egyptian brown sculpture of Tutankhamen sold for nearly $6 million at Christie's auction house. Credit: Christies
Attorney Leila Amineddoleh, who's working with the Greek government on similar repatriation issues, called the "alleged provenance" of the sculpture "inaccurate or highly questionable." "It is not acceptable," she said, "for art market participants to turn a blind eye towards problematic provenance or ignore red flags." Amineddoleh also noted an increase in looted Egyptian antiquities since political uprisings began in the country in 2011. She added that "plunder is often a crime of opportunity."
Egyptian archeologists uncover ancient 'industrial area' filled with royal artifacts
Egypt, in fact, had measures in place as early as 1835, when it banned other countries from removing objects from its borders without approval. In 1983, the country instituted its most stringent cultural heritage rule to date: Law No. 117, which entirely abolished antiquities exports. Up until that point, countries excavating legally in Egypt could keep half of what they dug up -- with one big exception: Cairo would keep all the contents of any unplundered royal tomb, which meant that the entirety of King Tut's burial chamber stayed in the country. Yet German Egyptologists have alleged that Carter stole objects from the tomb, which are now scattered around the world.
There's a notable preference, in the world of King Tut-related antiques, for likenesses of the pharaoh himself. In 2010, Sotheby's sold a Tut-era limestone ushabti for $290,500, leaps and bounds ahead of its high estimate of $60,000. Back in 2004, the auction house sold an Egyptian bust that may have been Tutankhamun or his successor, Horemheb. Despite the uncertainty over the subject's identity, the sculpture sold for $220,800, well above its high estimate of $150,000.
Show me the money
The first major touring exhibition of artifacts from King Tut's tomb was a product of financial necessity. In 1961, archaeological sites in Egypt were in danger of flooding and the country needed funds to protect them. Over the next five years, more than 30 objects from Tut's tomb toured 18 cities across the United States and Canada. A slightly enlarged show opened in Japan in 1965. Through 1981, Tut artifacts were nearly always on the road, touring from Moscow to London, from Paris to Berlin.
After the glut of shows, the artifacts returned to the Egyptian Museum in Cairo, their permanent home. In 2004, "Tutankhamun. The Golden Beyond" opened in Basel, Switzerland, and then Bonn, Germany, with around 50 objects from Tut's tomb and additional artifacts from the Valley of the Kings, offering a new generation the opportunity to get to know the boy pharaoh.
King Tut's coffin to be restored for the first time since it was discovered
Subsequently rebranded as "Tutankhamun and the Golden Age of Pharaohs," the show ultimately toured 17 cities, drawing around 10 million visitors. A smattering of exhibitions have toured ever since, including the show opening soon in London, without losing steam.
In 2020, King Tut's treasures will find a new resting place in Giza's forthcoming Grand Egyptian Museum -- the largest museum dedicated to a single civilization. Architect Patricio Pouchulu has designed a structure that resembles a glass eye emerging from the desert, looking out over the pyramids.
The touring exhibitions have been such a hit that a market has even developed for shows of replicas. In 2014, the German company Premier Exhibitions, in conjunction with Semmel Concerts Gmbh, toured copies of over 1,000 objects found in Tut's tomb.
Lowe, from Factum Arte, expressed support for only those exhibitions directly benefiting the Egyptian Ministry of Antiquities. "If you're in a position where the local community can gain financial advantage from preserving cultural heritage, it will make a significant difference," he said. Lowe's own work has generated further fascination for the pharaoh. Using Lowe's scans, Egyptologist Nicholas Reeves has argued that Tut's tomb may hold a secret, as-yet-uncovered chamber in which Queen Nefertiti could be buried (a theory since dismissed by Egyptian authorities).
Outside the tomb
King Tut-related antiquities can be divided into two categories: those found inside or outside the tomb. The latter group includes the sculpture sold at Christie's, as well as a number of objects in public and private collections worldwide. The Museum of Fine Arts, Boston, for example, owns a sandstone head of Tutankhamun, made between 1336 and 1327 B.C.E. The museum purchased the sculpture in 1911, before Carter discovered King Tut's tomb.
Egypt's treasures to receive a new $1 billion home
Rita Freed, chair of the MFA Boston's Art of Ancient Egypt, Nubia and the Near East Department, noted that the museum determined its object to be a sculpture of King Tut on the basis of style. "When art historians look at the three-dimensional eyes; the very sensuous mouth; the fact that he has pierced ears; the round, almost child-like face, there are not a lot of kings that could represent other than Tutankhamun," she said.
Freed noted that objects from King Tut's time are also appealing on purely aesthetic terms. The pharaoh ruled Egypt during a period of great wealth and superb craftsmanship. Gold, glass and semi-precious stones were prevalent materials. The most enduring image of King Tut may be his fabulous gold funerary mask, embellished with quartz, carnelian, turquoise and lapis lazuli.
For Freed, the reasons for persistent King Tut craze are obvious. "The stuff is drop-dead gorgeous," she said. "There's romance, intrigue, mysterious deaths, scandalous rumors. It's everything you'd want in a good novel." High-stakes sales, persistent concerns over looting, record-breaking exhibition attendance, and evermore sophisticated research keep the legend of King Tut alive.
rest of the article, about the financial exploitation of these artifacts by outsiders is here
Auction anxieties
In June, Egypt attempted to stop Christie's from selling a quartzite sculpture with King Tut's features. The country alleged that the antiquity had been looted from the Temple of Karnak in Luxor around 1970 -- the year UNESCO instituted a treaty aimed at establishing measures for preventing cultural thefts and provisions for restitution.
The auction house disagreed, claiming it had established appropriate provenance and that the statue was in the private collection of Prinz Wilhelm von Thurn und Taxis by the 1960s. Christie's went ahead with the July auction and sold the disputed object for nearly $6 million. Days later, Egypt said it would sue Christie's. The brouhaha typifies the disagreements that still pervade the market for Egyptian antiquities. (Christie's declined to comment for this article.)
An Egyptian brown sculpture of Tutankhamen sold for nearly $6 million at Christie's auction house. Credit: Christies
Attorney Leila Amineddoleh, who's working with the Greek government on similar repatriation issues, called the "alleged provenance" of the sculpture "inaccurate or highly questionable." "It is not acceptable," she said, "for art market participants to turn a blind eye towards problematic provenance or ignore red flags." Amineddoleh also noted an increase in looted Egyptian antiquities since political uprisings began in the country in 2011. She added that "plunder is often a crime of opportunity."
Egyptian archeologists uncover ancient 'industrial area' filled with royal artifacts
Egypt, in fact, had measures in place as early as 1835, when it banned other countries from removing objects from its borders without approval. In 1983, the country instituted its most stringent cultural heritage rule to date: Law No. 117, which entirely abolished antiquities exports. Up until that point, countries excavating legally in Egypt could keep half of what they dug up -- with one big exception: Cairo would keep all the contents of any unplundered royal tomb, which meant that the entirety of King Tut's burial chamber stayed in the country. Yet German Egyptologists have alleged that Carter stole objects from the tomb, which are now scattered around the world.
There's a notable preference, in the world of King Tut-related antiques, for likenesses of the pharaoh himself. In 2010, Sotheby's sold a Tut-era limestone ushabti for $290,500, leaps and bounds ahead of its high estimate of $60,000. Back in 2004, the auction house sold an Egyptian bust that may have been Tutankhamun or his successor, Horemheb. Despite the uncertainty over the subject's identity, the sculpture sold for $220,800, well above its high estimate of $150,000.
Show me the money
The first major touring exhibition of artifacts from King Tut's tomb was a product of financial necessity. In 1961, archaeological sites in Egypt were in danger of flooding and the country needed funds to protect them. Over the next five years, more than 30 objects from Tut's tomb toured 18 cities across the United States and Canada. A slightly enlarged show opened in Japan in 1965. Through 1981, Tut artifacts were nearly always on the road, touring from Moscow to London, from Paris to Berlin.
After the glut of shows, the artifacts returned to the Egyptian Museum in Cairo, their permanent home. In 2004, "Tutankhamun. The Golden Beyond" opened in Basel, Switzerland, and then Bonn, Germany, with around 50 objects from Tut's tomb and additional artifacts from the Valley of the Kings, offering a new generation the opportunity to get to know the boy pharaoh.
King Tut's coffin to be restored for the first time since it was discovered
Subsequently rebranded as "Tutankhamun and the Golden Age of Pharaohs," the show ultimately toured 17 cities, drawing around 10 million visitors. A smattering of exhibitions have toured ever since, including the show opening soon in London, without losing steam.
In 2020, King Tut's treasures will find a new resting place in Giza's forthcoming Grand Egyptian Museum -- the largest museum dedicated to a single civilization. Architect Patricio Pouchulu has designed a structure that resembles a glass eye emerging from the desert, looking out over the pyramids.
The touring exhibitions have been such a hit that a market has even developed for shows of replicas. In 2014, the German company Premier Exhibitions, in conjunction with Semmel Concerts Gmbh, toured copies of over 1,000 objects found in Tut's tomb.
Lowe, from Factum Arte, expressed support for only those exhibitions directly benefiting the Egyptian Ministry of Antiquities. "If you're in a position where the local community can gain financial advantage from preserving cultural heritage, it will make a significant difference," he said. Lowe's own work has generated further fascination for the pharaoh. Using Lowe's scans, Egyptologist Nicholas Reeves has argued that Tut's tomb may hold a secret, as-yet-uncovered chamber in which Queen Nefertiti could be buried (a theory since dismissed by Egyptian authorities).
Outside the tomb
King Tut-related antiquities can be divided into two categories: those found inside or outside the tomb. The latter group includes the sculpture sold at Christie's, as well as a number of objects in public and private collections worldwide. The Museum of Fine Arts, Boston, for example, owns a sandstone head of Tutankhamun, made between 1336 and 1327 B.C.E. The museum purchased the sculpture in 1911, before Carter discovered King Tut's tomb.
Egypt's treasures to receive a new $1 billion home
Rita Freed, chair of the MFA Boston's Art of Ancient Egypt, Nubia and the Near East Department, noted that the museum determined its object to be a sculpture of King Tut on the basis of style. "When art historians look at the three-dimensional eyes; the very sensuous mouth; the fact that he has pierced ears; the round, almost child-like face, there are not a lot of kings that could represent other than Tutankhamun," she said.
Freed noted that objects from King Tut's time are also appealing on purely aesthetic terms. The pharaoh ruled Egypt during a period of great wealth and superb craftsmanship. Gold, glass and semi-precious stones were prevalent materials. The most enduring image of King Tut may be his fabulous gold funerary mask, embellished with quartz, carnelian, turquoise and lapis lazuli.
For Freed, the reasons for persistent King Tut craze are obvious. "The stuff is drop-dead gorgeous," she said. "There's romance, intrigue, mysterious deaths, scandalous rumors. It's everything you'd want in a good novel." High-stakes sales, persistent concerns over looting, record-breaking exhibition attendance, and evermore sophisticated research keep the legend of King Tut alive.
My initial post is saying
1.What exactly is your definition of “Black”.
2.The people of Upper Egypt (Nubians) are who we in modern times would define as “Sub Saharan” or “Black Africans”, and the people of Lower Egypt made it clear they were different from these people as they made sure to include their distinct physical features in Hieroglyphs (I also specific they made clear distinction between them and Western Asians/Arabs) too.
3.Ultimately Majority of the stuff that “matters” when it comes to Egypt are found in Upper Egypt, thus if we use the modern definition of “Black” them it is fair to say the Egyptians who mattered were “Black Africans”, but during that time race didnt exist so we shouldnt be applying modern terms. The safest statement is to simply say The people who made Egypt what it is today are Africans, and the people you see now in Egypt (as in the modern country called Egypt) are the mixed race offsprings of the indigenous people and invaders.
Do you have a link to these people of lower egypt depicting themselves different than the upper egyptians and also what time period was these people living in? I'm curious...
I got pics from my trip to egypt. They depicted their rivals (people from the south) in this manner, and often had them being depicted bowing down, or being beheaded.
BlackJesus
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You are a clear example of an obtuse c00n/agent.
They also depicted themselves as black Africans, agent
