![]() Padiamun and his brother Nehemsumontu (whose coffins are in Boulogne-sur-Mer and Grenoble) and their father were chiefs of the navigation of the great river barque of Amun in Thebes, and his mother was descended from a scribe of the estate of a Divine Adoratress of Amun (also attested on a stela in New York). The early 25th Dynasty coffin of Padiamun (Liverpool 53.72) was acquired in Egypt by James Burton. International conference organised by the Collection of Egyptian Antiquities (Budapest). In addition to published objects and archaeological sites, the aim was also to integrate into the discussion unpublished materials kept in museum collections, archival records relating to earlier excavations, as well as recent archaeological discoveries. The aim of the conference was to present and discuss recent research and current themes on (human and animal) burial and mortuary practices in Late Period and Graeco-Roman Egypt – an issue that has become a major focus of interest over the past two decades. This paper, taking into account geographical and chronological factors, intends to present a brief analysis of these changes, focusing on the morphological, structural, and typological aspects involved in this evolution. ![]() During this time frame, Ptah-Sokar-Osiris figures are subject to changes in typology, style and religious significance. The custom of placing Ptah-Sokar-Osiris figures inside the tombs reaches a climax during the Late and Ptolemaic periods during which they were often mass-produced, falling eventually into disuse with the approaching of the Roman era. Such artefacts, usually placed next to the coffin and inscribed with specific invocations, were considered an element of deep connection with the deceased, granting his resurrection and life everlasting beyond death. Wooden funerary figures representing the deceased with the features of the triune god Ptah-Sokar-Osiris became a distinctive element in the funerary furniture of elite burials dating from the Third Intermediate Period onwards. He will also discuss various problems related with their provenance and previous dating. In this paper author will present the proposal for the classification (typology) of shabtis according to: form, decorations, headdress, implements, text and position of text, and material from which they were crafted (stone, pottery, glass, faience, wood etc.). ![]() Such shabtis deserve to be re-interpreted as one of the main sources for the diffusion of the Ancient Egyptian cult deities. In many cases they were classified as “fakes” which are, in my opinion, definitely not. Until now such shabtis have not been classified or systematically studied. They were traded as cult symbols they were manufactured in Egypt but probably in various workshops in main cultic centres of the Roman provinces. Shabtis were discovered in various Greek settlements and later in various provinces of the Roman Empire. By the time of the Ptolemaic Dynasty their main role almost disappeared and since then they became one of the main cultic symbols of the Isaic cults (Isis, Osiris, Serapis, Harpocrates, Anubis, Bes etc.). Schneider (1977)) but chronologically usually only until the end of the Late period (30th Dynasty). These changes were classified in various typologies during 20th century (L. They changed their shapes, forms, texts and position of the agricultural implements a lot throughout history. Shabtis usually dates from the First Intermediate period until the end of the Hellenistic period. ![]()
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