An Egyptologist of the opera. Auguste Mariette and “Aida”

Aida, often referred to as an “Egyptian opera,” became a classic almost immediately after its premiere in 1871. Initially, it was intended to grace the celebrations marking the opening of the Suez Canal, but ultimately this plan did not come to fruition – more than two years passed between the inauguration of the Canal and the first performance of Aida. Set in ancient Egypt, it continues to attract thousands of viewers, fascinated by the tragic story of the main character and the stunning music by Giuseppe Verdi. Few people know that the “archaeological” character of this opera was the work of a man whose name is now known to every enthusiast of ancient Egypt – the French Egyptologist Auguste Mariette (1821–1881).

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Herding, winemaking, banquets… The daily use of ceramic vessels in ancient Egypt

It is often difficult for us to imagine what everyday life was like in ancient times. We fantasize about the past, romanticize its image, and create visions of mystical, incomprehensible rituals. We also often see it through the prism of wars and elite culture. Meanwhile, our ancestors most likely had similar needs and functioned in a similar way to us. A good example of this similarity in experience is the use of ceramic vessels. Just as we cook in pots (admittedly metal ones today) and drink from cups, the ancient Egyptians used specific vessels for specific purposes.

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Fish in Egypt – a staple food or forbidden fruit?

One of the most famous quotes about Ancient Egypt comes from Herodotus. He states that Egypt is “a gift of the Nile.” He explains the reasons for this statement, among which he mentions easy access to fish. It seems, therefore, that fish should have been an important part of the ancient Egyptians’ diet. However, this contradicts references by other ancient authors who mention the existence of a taboo on eating fish in Egypt. So did the Egyptians eat fish?

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Daily Life Written in Clay – Egyptian Ceramic from Tell el-Retaba

Ceramic vessels, though often perceived merely as broken shards, constitute an invaluable source of knowledge about ancient Egypt. At archaeological sites such as Tell el-Retaba in the eastern Nile Delta, they are the most numerous category of finds. Each excavation season yields thousands, sometimes even millions, of pottery fragments. They may appear as a chaotic mass, but to a ceramologist—a specialist in the study of ceramics—every fragment is a testament to daily life, production technology, and trade networks from thousands of years ago.

Analysis of ceramics allows researchers not only to establish the chronology of archaeological layers, but also to determine the functions of the buildings in which the vessels were found. From storage rooms and workshops to dining areas. Differences in shapes, clay types, manufacturing techniques, and surface finishes also reveal much about the social status of the vessel users and far-reaching trade connections, both within Egypt and beyond its borders.

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Cleopatra VII – The Queen of Strategy: The Political Game for the Crown of Egypt

In the history of Ancient Egypt, Cleopatra VII Philopator holds a special place. Not only as the last ruler of the Hellenistic Ptolemaic dynasty, but also as a vital political actor who, in the turbulent final years of Egypt’s independence, skillfully leveraged her assets in the struggle for power against the most powerful empire of the time: Rome.

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Are These Really Horses? Questioning the Identification of Horses in Third-Millennium BCE Iconography in Mesopotamia

The domestication of the horse had a significant impact on ancient human societies. Previous contributions published by Archeowieści have explored various aspects of these animals and their role in cultural development. The present article, based on a recent study by Zainab A. Albshir (University of Warsaw), examines the identification of equids in the iconography of ancient Mesopotamia, with particular attention to the challenges of distinguishing horses from other equid species.

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Beetle for adorment. A unique find from the cremation cemetery in Domasław.

Jewelry made from both organic and inorganic materials is one of the earliest and most popular material evidence of human activity and cultural development discovered at archaeological sites around the world. When we hear the word jewelry, we think of items made from precious metals, gemstones, or shells. But it turns out that past humans made decorations using a surprisingly wide range of materials. During research on burials from the extensive Lusatian culture necropolis in Domasław in Lower Silesia, Polish scientists found evidence of the deliberate deposition of chitinous beetle shells strung on a blade of grass in a grave. This unique discovery sheds new light on the culture of the communities inhabiting Lower Silesia in the early Iron Age.

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Grave Mistakes: Art, Exploitation, and the Legacy of Mummy Brown

“A London colourman informs me that one Egyptian mummy furnishes sufficient material to satisfy the demands of his customers for seven years. It is perhaps scarcely necessary to add that some samples of the pigment sold as ‘mummy’ are spurious,” writes Arthur Herbert Church in “The Chemistry of Paints and Painting”, published in 1890. The quote references the artist’s pigment made quite literally from the pulverized remains of Egyptian mummies, commonly known as Mummy Brown or “Egyptian Brown”. The practice of producing the mummy-based pigment dates back as early as the late 16th century. Though adored by many artists, the grisly origins of pigment raise the question of what artists are willing to use in the name of beauty.

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Prehistoric Amber Ornaments from the Żuławy Wiślane, Northern Poland: A Raw Material Perspective

Because of its beauty and unique properties, amber has fascinated people for thousands of years. With the holiday season now officially underway and many of us likely to spend at least a moment on the marine coast, today’s article focuses on the role amber played among communities living in the particular area of northern Poland during the Late Neolithic period. We will explore how its selection – based on colour, transparency, and structure – reflected the aesthetic and technological preferences of prehistoric craftspeople and users. These observations will then be compared with contemporary Polish trends in jewellery, aiming to highlight some subtle analogies between the past and the present. Join us on this fascinating journey through time, aesthetics, and technique, which proves that the choice of amber was never accidental. The inspiration for this article comes from recent research on some of the products from an amber workshop that existed around 4,500 years ago in the Żuławy Wiślane region, published by researchers from the Faculty of Archaeology at the University of Warsaw and the Museum of Earth in Warsaw Polish Academy of Sciences, in the journal Praehistorische Zeitschrift.

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Unpublished documents from Pathyris – the demotic Gebelein temple archive

The Ptolemaic Pathyris Project, funded by the National Science Centre (Polonez Bis 2 program, grant no. 2022/45/P/HS3/01807) and hosted by the Institute of Mediterranean and Oriental Cultures of the Polish Academy of Sciences, aims to reconstruct the urban layout and domestic architecture of Pathyris, a town located approximately 30 km southwest of Luxor in the Gebelein micro-region, using archival, papyrological, and geospatial data.

The site has yielded a vast collection of Greek and Demotic (an ancient Egyptian script used between the 7th century BCE and the 5th century CE) papyri, ostraca, and wooden tablets. To date, around 1,300 documents have been published, and many of the family archives have been extensively studied, providing a unique glimpse into various socio-economic aspects of Ptolemaic society

The lecture by Professor Quack, originally scheduled for February 18, 2025, has been postponed to April 2, 2025, at 1:00 PM.
Place: Maria Skłodowska-Curie Hall (1st floor), Staszic Palace, Nowy Świat 72, 00-330, and online.[Wykł

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