4734 records — Page 360 of 470
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Creators:
Elisofon, Eliot
Dates:
1965
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his elde...

[ ]
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[ ]
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Creators:
Elisofon, Eliot
Dates:
1965
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his elde...

[ ]
Collapse
[ ]
Expand
Creators:
Elisofon, Eliot
Dates:
1965
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his elde...

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[ ]
Expand
Creators:
Elisofon, Eliot
Dates:
1947
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"In the northern part of the second court the hall is renowned for the reliefs on its back wall, which represent the imaginery scenes by which Hatshepsut tried to establish her descent from Amun (Amon) and thus her divine right to rule. The hall was extended later in Hatshepsut's reign by adding a small sanctuary for Anubis." [Haeny G., 1997: New K...

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Creators:
Elisofon, Eliot
Dates:
1951
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"Historically the Wagenia of Kisangani represent an amalgamation of three kin groups, the Bina Nsoko, the Bina Nkulu and, the Bina Lombe. The Wagenia have been characterized by a segmented structure from the beginning. they lack a central authority. Tshesé is mostly used to refer to the entire tribe, while Tshebanda refer to kin group comprising on...

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Creators:
Ottenberg, Simon
Dates:
1951-1953
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.2000-007
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

This photograph was taken by Dr. Simon Ottenberg while conducting field research at Afikpo village-group, southeastern Nigeria, from December 1951 to March 1953.

Original title reads, "Reconstructing the patrilineal ancestral rest house (obu), Ezi Akputa compound, Mgbom Village. Logs from the old obu house, with dry mud blocks from old obu which will be employed elsewhere, in the background." [Ottenberg field research notes, O Series,December 1951-March 1953].

"A short distance inside the compound entrance is the ancestral shrine of the lineage founder, Mma obu (ancestor-rest house), which also serves as a rest house and meeting place for the lineage elders, and near which is a small cleared area used for meetings and feasts. The founder's house is believed to have been located where the shrine stands an...

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Creators:
Ottenberg, Simon
Dates:
1959-1960
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.2000-007
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

This photograph was taken by Dr. Simon Ottenberg while conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.

Original caption reads, "Njenje masked parade at Ukpa Village. Middle to rear of the parade, players get younger, go to a variety of dress and masks at the end of the line, some as females, some as males. All are male initiates. End of line. The red masks are in Ibibio style, although often made at Afikpo. This is modern paint and the mask face is ...

"The most elaborate masquerade, njenji, presented as part of the four-day Dry Season Festival, Iko Okoci, is a parade of the young adult members through many of the communities of afikpo. The masked paraders walk in a line, arranged in an order of descending age. Many players are dressed in costumes that make them appear as females. Some walk side ...

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Creators:
Elisofon, Eliot
Dates:
1965
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"In the northern part of the second court the hall is renowned for the reliefs on its back wall, which represent the imaginery scenes by which Hatshepsut tried to establish her descent from Amun (Amon) and thus her divine right to rule. The hall was extended later in Hatshepsut's reign by adding a small sanctuary for Anubis." [Haeny G., 1997: New K...

[ ]
Collapse
[ ]
Expand
Creators:
Elisofon, Eliot
Dates:
1965
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"The temple complex -for it originally consisted of two temples and a palace as well as many administrative buildings- was first called 'The Ramesseum' by Champollion. It was constructed for Ramesses (Ramses) by two architect-foremen, Penre of Coptos and Amenemone of Abydos, and built with a number of original features. Unfortunately, like so many ...

[ ]
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[ ]
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Creators:
Elisofon, Eliot
Dates:
1965
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.1973-001
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

"The dominant appearance of the Step Pyramid inside the complex of Djoser is designed to denote the divine position of the dead king. The different structures inside represent a selection of units that were essential for the existence of the king in the afterlife: the south tomb and its mortuary chapel, the Hed-Sed chapels and temple 'T', the mortu...

4734 records — Page 360 of 470