Tenth International Congress of Egyptologists Abstracts of Papers

XICE – Abstract of Papers
A dance scene in the Tomb of Ptahhotep (LD Erganz, 43) at Saqqara appears to be the
only Old Kingdom depiction of a dance, identified by Junker, which resembles the
determinative (A90) for words such as wnwn and nwn in some Old Kingdom texts.
The heads of the dancers in this dance are thrown forward with the hair loose. The
arms are held low in front of the body and the wrists are held one over the other,
which appears to indicate a rhythmic beating. The same determinative, sometimes
without the loose hair, is used for the word sps [be tousled]. The dance persists into
later periods, when it appears in funerary scenes as a mourning dance performed by
women with dishevelled hair flung forwards over their heads. In the Old Kingdom the
dance appears in the same context as that of the mww.In Pyramid Text 1005 the term
nwn describes a dance executed by the souls of Buto in approaching the king: nwn.sn
n.k m sm3w.sn [They perform nwn for you with their hair]. A sentence, almost
identical to the one in Pyramid Text 1005, occurs in Pyramid Text 1974, but with the
term (wn)wn instead of nwn.
The men who perform (w)nwn in the Ptahhotep scene stand at the same place as
the mww in the Old Kingdom examples of mww dance (that is, near the pr-nw
buildings and palm trees indicating Buto) and since it appears to be a mourning dance
performed by the souls of Buto for the deceased king, the (w)nwn movement appears
to be an alternative form of mww dance in the Old Kingdom.The relationship between
the (w)nwn dancers and the mww can be illustrated by a number of factors the two
have in common. Firstly, both groups perform a dance in funerary scenes, and at the
same point in the proceedings as the cortege enters the necropolis. Secondly, both
groups appear to have the same function of greeting the deceased. In Pyramid Text
1005, the (w)nwn movement is performed on approaching the dead king and the mww
are shown to greet the cortege at the threshold of the necropolis. Thirdly, both groups
appear to represent the dead souls of Buto, since it is they who are described
performing (w)nwn in Pyramid Text 1005, and the mww in the three Old Kingdom
depictions are associated with the dead kings of Buto through their juxtaposition with
the contextual iconography of the palm tree and pr-nw frieze representing Buto,
which has been shown to represent the cemetery of the dead kings of Buto Finally,
there is another association between the mww and the (w)nwn dancers. The eastern
horizon, the part of the sky to which the mww were to have ferried the deceased
across the “field of rushes”, is called wnwnyt.
Raumgestaltung und Kultpraxis in den Heiligtümern gräco-ägyptischer Götter
des antiken Mittelmeerraumes am Beispiel ausgewählter Kultanlagen
Kathrin Kleibl
Die Ausbreitung der spätägyptischen und gräco-ägyptischen Religion in den
Mittelmeerraum ist seit den 60er Jahren des 19. Jhs. ein weit reichend diskutierter
Aspekt der Geschichts-, Religions- und Kulturwissenschaften. Die außerhalb
Ägyptens verehrten Gottheiten waren vornehmlich Isis, Sarapis, Harpokrates, Anubis
und Osiris. Untersucht wurden von Seiten der Altertumswissenschaften die sich auf
den Kult beziehenden antiken Schriftquellen, die ikonografischen Zeugnisse und -
getrennt für sich genommen - die archäologisch nachweisbaren Heiligtumsanlagen.
Aufgrund dieser in der Forschung bestehenden Lücke wurde eine
funktionsanalytische und vergleichende Untersuchung der Architektur der
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