Acknowledgements
This project started as my doctoral dissertation “The Representation of Private Costume in Egyptian Art from the 25th to the 30th Dynasty” that was defended with honors in June 2015 at the Institute of Archaeology of the University of Warsaw and was awarded the prize of the Prime Minister of Poland for one of the best dissertations of 2015. Turning the dissertation into a book has been enormous undertaking, and I am deeply grateful to my publisher Brill, its Chief Editor, Katelyn Chin, Johannes Rustenburg and his typesetting team, and to Peter der Manuelian, the Editor of the series Harvard Egyptological Studies, who have made this a reality. Publishing a book with such a large number of illustrations has required extra time and effort, and I am very grateful that they have understood how essential this visual information is and that they accepted the challenge of producing such a complicated publication. I thank them for their incredible patience during the final stages of this book’s preparation. The book benefited also by the important remarks of two anonymous reviewers whom I would like warmly thank.
Many years have passed from the time I started work on this subject. It was a time when not many scholars were interested in the Late Period material, and the scholarly landscape was very different. Essential resources that we now take from granted, such as the online Karnak Cachette Database and extensive on-line museum databases did not yet exist, and even digital photography was not so far advanced and universally used. From the time I started this project until today, so much has changed, and it is easy to wish that all those resources had been accessible when I started my project. But that is reality. During the intervening years, my research interests expanded through my ongoing research on the iconography shown in the Osirian and God’s Wives chapels at Karnak and Medinet Habu—new data that has enriched the current manuscript. And whenever I was conducting research in museum collections or in the field, the subject matter of this project was constantly in my mind, motivating me to gather additional information that I did not have for my dissertation.
The completion of such a complicated project is dependent upon so many people and institutions who were overly kind and generous and helped in all possible ways. Many scholars have assisted me, by answering my many questions, commenting on the text, frequently sharing the results of their unpublished work, and providing photos. I thank them for their invaluable help during the years of preparing my thesis, as well during recent years when I worked on the current version of this book. The many people and institutions to whom I owe thanks for the first stage of this project are acknowledged in that earlier work, and I thank them again here for making the collection and analysis of the initial data possible. However, I must again mention a few individuals who were so essential to that stage of the project. My greatest debt and gratitude are to Ewa Laskowska-Kusztal, Professor at the Institute of Mediterranean and Oriental Cultures, the Polish Academy of Sciences (IMOC PAS), the best possible advisor one could wish to have, whose guidance, support, and profound Egyptological knowledge guided me through each step of my research. I thank her for scholarly and emotional support, as well for her incredible patience. I also would like to thank my two mentors, the late Jadwiga Lipińska, Professor at the Warsaw University, who first suggested that I should tackle the subject of the present book, as well as to Janet H. Johnson, Morton D. Hull Distinguished Service Professor of Egyptology at the Oriental Institute, University of Chicago, who supported me during the years of writing my thesis and for years afterwards. The dissertation also benefited from the remarks of the three reviewers of my thesis, Janet H. Johnson (University of Chicago), Karol Myśliwiec (IMOC PAS), and Andrzej Niwiński (IA, UW).
The initial and crucial stage for gathering and analyzing the data for the present manuscript was made in Egypt in fall 2010 into spring 2011 when I was able to conduct my own documentation project that aimed to analyze private portrayals in Late Period tombs in the Asasif (TT 27, 33, 34, 36, 37, 196, 279, 312, 404 and 414), in the tombs in Giza and Saqqara, in the tomb of Petosiris in Tuna el-Gebel, and on various Late Period monuments in the Egyptian Museum in Cairo. I am beholden to the Egyptian Supreme Council of Antiquities and the then Secretary General Zahi Hawass, all the members of Permanent Committee, and the then Director of Foreign Missions, Mohamed Ismail, for granting the permission to pursue this work. My special thanks are to Zahi Hawass for his kind support of the project and his never-ending help to overcome any obstacles.
I am deeply indebted to the then directors of the archeological expeditions in whose concessions the Asasif tombs were located and who kindly agreed to my independent study there, some during their absence: Alessandro Rocatti and Federico Contardi (TT 27), Claude Traunecker and Isabelle Régen (TT 33), the late Farouk Gomaa (TT 34), Francesco Tiradritti (TT 37 and TT 404), Elena Pischikova (TT 312), and Julia Budka (TT 414). I also thank those who helped during my actual research in the tombs and also afterwards, by answering my questions and sending needed material. My warm thanks go also to Louise Gestermann, the new director of the TT 34 Montuemhat project, who extended Farouk Gomaa’s original permission to include material from the tomb into this book, and who kindly supported the project in its final stage. I would also like to acknowledge my very helpful inspector Mohamed Azab, and the SCA officials in Luxor, Mansour Boraik, the then Director of all Luxor Monuments, and Ibrahim Soliman, the then Director of Karnak, for their enormous support and enthusiasm for this project.
The documentation project in Egypt would not be possible without the support of the Polish Centre of Mediterranean Archaeology, University of Warsaw (PCMA UW), under the auspices of which the work was conducted. I am very grateful to the institution for granting me a six-month fellowship to initiate the project, and additional fellowships in the next years allowing me to join the Polish-Egyptian Archaeological and Conservation Mission of the Temple of Hatshepsut at Deir el-Bahari (PCMA, UW). During these times I was again able to access some of the Asasif tombs. None of my work in Egypt would have been possible without the support of the then Director of PCMA Cairo branch, Zbigniew Szafrański, and his staff: Katarzyna Bartoś, Robert Ryndziewicz, Szymon Zdziebłowski, and Katarzyna Cieślak. During this time, I worked on excavated Late Period textiles from Deir el-Bahari as well as on representations of royal attire in the Hatshepsut temple, both of which richly enhanced my knowledge of how Egyptian garments were made and represented. Some of those textiles are included in this book, and for this I thank the current director of the mission, Patryk Chudzik. The same institution did not abandon me when I needed administrative assistance in Egypt during the preparation of the current book, and for this continuing support I would like to warmly thank Artur Obłuski, Director of PCMA, Anna Wodzińska, Director of PCMA Cairo branch, and her assistant Grzegorz Hebda.
A comparative study of portrayals from mortuary and temple contexts was possible thanks to my participation in the French Mission “Osirian Sanctuaries at Karnak” (IFAO, CFEETK, EPHE, PSL Research University, INRAP, Orient and Méditerranée and AOROC) co-directed by Laurent Coulon (IFAO/EPHE) and Cyril Giorgi (INARP). I am very grateful for their friendship and never-ending support of my research. I owe very special thanks to Laurent Coulon for sharing his profound knowledge, for generously providing photos from the Karnak Cachette database, for entrusting me with a study of the iconography of the Osiris chapels in Karnak, and finally for partnering with me on a grant for international cooperation granted by the National Science Center of Poland (2016/22/M/HS3/00354). I also would like to thank all my colleagues from the Mission for their friendship, support, and for sharing their reflections and ideas, especially to Frédéric Payraudeau, Florence Gombert-Meurice, and Anna Guillou who additionally also made some drawings for the current book.
The work in Karnak would not be possible without the support of Christophe Thiers, the then Director of the Centre Franco-Égyptien d’Étude des Temples de Karnak (CFEETK) and his colleagues who warmly welcomed me in the Center and Karnak temple complex. They were the ideal colleagues and also the most gracious hosts during my NEH-ARCE fellowship in 2016–2017, most of which I spent working in Karnak and Medinet Habu. Special thanks also go to my inspector Mohamed Hatem Abd el Naby whose assistance and competence contributed so much to the success of my research in Karnak.
My special gratitude is to W. Raymond Johnson, then the Field Director of the Epigraphic Survey of the Oriental Institute of the University of Chicago, as well as to J. Brett McClain, Senior Epigrapher and Assistant Director of the Epigraphic Survey of the Oriental Institute, who always welcomed me in Medinet Habu and at Chicago House in Luxor, and who kindly allowed me to study the chapels of the God’s Wives at Medinet Habu during my NEH-ARCE Fellowship in 2016–2017. This work greatly benefited the present manuscript, and I thank them for welcoming me as a permanent member of the team. I would like to warmly thank all my colleagues from the Epigraphic Survey for generously sharing their experience and knowledge. My special thanks go to Christina “Tina” Di Cerbo who, from the moment we met, was extremely supportive of each step of my academic journey. I benefited equally from her Egyptological knowledge, her moral support and friendship. She was the one who actively encouraged me to publish this book despite so many obstacles.
A work such as this requires access to enormous numbers of objects and photographs, and this would not be possible without the cohort of generous and kind people in museums. I would like to warmly thank the curators and archive and photography specialists listed below who provided photos and information about objects, and for their warm hospitality when I was able to visit their collections. As I prepared the illustrative material for this final publication, I often encountered new museum staff who were as accommodating as their predecessors, and who kindly sent publication-quality photographs, and generously granted permission to publish them or to use my old photographs, and many times, they arranged for new photos. Let me acknowledge all of you below in the list arranged alphabetically by city:
Musée Granet, Aix-en-Provence: Mélanie Bernuz, Paméla Grimaud
Allard Pierson Museum. The Collections of the University of Amsterdam, Amsterdam: Ben van den Bercken
National Archaeological Museum, Athens: Argyro Grigoraki, Kostas Paschalidis
The Walters Art Museum, Baltimore: Lisa Anderson-Zhu, Laura Seitter, Regine Schulz
Antikenmuseum Basel und Sammlung Ludwig, Basel: André Wiese
The Phoebe A. Hearst Museum of Anthropology, University of California, Berkeley: Joan Knudsen
Ägyptisches Museum und Papyrussammlung, Berlin: Jana Helmbold-Doyé, Verena Lepper
Museo Civico Archeologico (Istituzione Bologna Musei), Bologna: Laura Minarini, Daniela Picchi
The Museum of Fine Arts, Boston: Denise Doxey, Rita Freed, Jennifer C. Riley
Egyptian Museum, Cairo: Sabah Abdel-Razek, Marwa Abdel Razek, Mohamed Ali, Ahmed Amin, Sameh Hanane Gaber, Abdel Mohsen, Waffa el-Sadik, Yasmin El Shazy
The Fitzwilliam Museum, Cambridge: Sally-Ann Ashton, Emma Darbyshire, Helen Strudwick
The Oriental Institute Museum at the University of Chicago, Chicago: Susan Allison, Helen MacDonald, Emily Teeter, Alison Whyte
The Field Museum of Natural History, Chicago: Jamie Kelly, James Philips, Emma Turner-Trujillo
The Cleveland Museum of Art, Cleveland: James Kohler, Seth Pevnick
National Museum of Denmark, Copenhagen: Anne Haslun Hansen
Ny Carlsberg Glyptotek, Copenhagen: Cecilie Brøns, Frederik Engel Møller
Thorvaldsen Museum, Copenhagen: Margrethe Floryan, Kristina Lindholdt
The Oriental Museum, Durham University Museums, Durham: Rachel Barclay
Museo Archeologico Nazionale di Firenze (Direzione regionale Musei della Toscana): Anna Consonni
The Hunterian, University of Glasgow, Glasgow: Andrew Mills, Malcolm Chapman, Graham Nisbet
Museum August Kestner, Hannover: Christian Loeben
Roemer-und Pelizaeus-Museum, Hildesheim: Christian Bayer, Regine Schulz
The Israel Museum, Jerusalem: Yael Barschak, Shirly Ben-Dor Evian
The Nelson-Atkins Museum of Art, Kansas City: Zak Meek, Michele Boeckholt
Rijksmuseum van Oudheden, Leiden: Maarten J. Raven, David Soliman
The British Museum, London: Neal Spencer, John Taylor
The Petrie Museum, UCL, London: Anna Garnet, Stephen Quirke, Catriona Wilson
Los Angeles County Museum of Art, Los Angeles: Amber Wells
Staatliches Museum Ägyptischer Kunst, München: Jan Dahms
Museo Archeologico Nazionale di Napoli: Floriana Miele
The Brooklyn Museum, New York: Yekaterina Barbash, Kathy Zurek-Doule, Edna “Ann” Russmann
The Metropolitan Museum of Art, New York: Dorothea Arnold, Patch Diana, Marsha Hill, Janice Kamrin
The Ashmolean Museum of Art and Archaeology, Oxford: Erica Martin, Liam McNamara, Helen Whitehouse
The Griffith Institute, University of Oxford: Elizabeth Fleming
Musée du Louvre, Paris: Isabelle Artaud, Bénédicte Garnier, Florence Gombert-Meurice, Vincent Rondot, Audrey Viger
Musée Rodin, Paris: Pauline Hisbacq
The Penn Museum, Philadelphia: Alessandro Pezzati, Jennifer Wegner
Saint Louis Art Museum: Jason Gray
The North Carolina Museum of Art, Raleigh: Sean Livingstone, Caroline Rocheleau
The Rosicrucian Egyptian Museum, San Jose, CA: Lorraine Katich
Seattle Art Museum, Seattle: Pam McClusky, Ashley Mead
Medelhavsmuseet, Egyptiska Avdelningen Egyptian, Stockholm: Avigail Rotbain (National Museums of World Culture, Göteborg)
Gustavianum, Uppsala University Museum: Sofia Häggman, Geoffrey Metz
Museo Egizio, Turin: Nicola Dell’Aquila, Federica Facchetti, Christian Greco
Ägyptischen Sammlung, Museum der Universität Tübingen: Susanne Beck
Muzeum Narodowe w Warszawie: Aleksandra Sulikowska
Kunsthistorisches Museum Wien: Regina Hölzl, Florian Kugler
Ure Museum of Greek Archaeology, University of Reading, Whiteknights UK: Amy C. Smith
As I spent a significant amount of time in The Brooklyn Museum and The Egyptian Museum in Cairo, I would like to specially acknowledge those institutions. At the Brooklyn Museum, Edna “Ann” Russmann who hosted me few times in the museum, generously allowed me to study the collection and the files of the Corpus of Late Egyptian Sculpture (CLES), and she actively encouraged me to pursue my studies on Late Period costume. She mentored me at the beginning of my work on Late Period art and she always generously shared her profound knowledge and resources with me. As a reflection of her own academic modesty, she declined to share her dissertation with me, claiming it is outdated. My deepest gratitude goes also to Kathy Zurek-Doule who generously assisted with scanning material from the Corpus when I visited the museum, and also as I prepared the final version of this book. The same warm thanks go to the current curator, Yekaterina Barbash.
The substantial number of objects analyzed in this book, some of them unpublished, are stored in the Egyptian Museum in Cairo. Thus, it is no surprise that I spent a significant amount of time there. My research in this all-important collection would not have been possible without the generosity of the former Museum Director Waffa el-Sadik and the current Director the Museum Director Sabah Abdel-Razek. I would like to warmly thank the entire staff of the museum who kindly assisted me and warmly greeted me while I was pursuing research there. I am especially grateful to Marwa Abdel Razek, the Head of Documentation, and curators Mohamed Ali, Ibrahim Abdel Gwad, photographers Ahmed Amin and Sameh Abdel Mohsen, as well as Yasmin el Shazly, then the Head of Documentation, and Hanane Gaber, then the Head Registrar.
My thanks for supporting book with illustration material also go to the Centre Franco-Égyptien d’Étude des Temples de Karnak (CFEETK), The Griffith Institute at the University of Oxford, Institut français d’archéologie orientale in Cairo, the Institute of Mediterranean and Oriental Cultures at the Polish Academy of Sciences (Warsaw), and the Polish Centre of Mediterranean Archaeology at the University of Warsaw.
Any research and publication project survives by successful funding, and I was fortunate to obtain financial support from many sources whom I would like to acknowledge. First, the American-Polish Research Fellowship Program at the Department of History, University of Notre Dame (IN), which allowed me to spend two years at the University, and to make visits to many American museums and collections. The Polish Centre of Mediterranean Archaeology of the University of Warsaw awarded me several fellowships in Egypt. The final year of my dissertation writing was generously supported by the National Science Centre, Poland, that granted me the doctoral scholarship Etiuda 1 (2013/08/T/HS3/00116) with the six-month research stay at the Oriental Institute of the University of Chicago. And I would like to thank Gil Stein, then the Director of OI, and Janet Johnson, my mentor, for their hospitality.
I own a large debt of gratitude to the Institute of Mediterranean and Oriental Cultures, The Polish Academy of Sciences (Warsaw), that hired me as an Assistant Professor after defending my thesis and has supported my research ever after. I owe a lot to my colleagues from the Institute, among whom I would like to especially acknowledge the Directors Teodozja Rzeuska and Jadwiga Iwaszczuk, as well as Ewa Laskowska-Kusztal, Karol Myśliwiec, Filip Taterka, Katarzyna Kapiec and Wojciech Ejsmond. During this time, I received funding from the following institutions to whom I would like to warmly thank.
First, I would like to thank the National Endowment for the Humanities and the American Research Center in Egypt who generously granted me a 10-month fellowship in 2016–2017 for the project: “Iconography of God’s Wives: The Association between Image and Idea.” During that time, I was able to visits many sites and spend a substantial amount of time in the Egyptian Museum in Cairo, significantly expanding my corpus. For help during my stay in Egypt, I would like to warmly thank Gerry Scott, then the Director of ARCE, as well as Djodi Deutsch, Mary Sadek, and John Shearman.
I also thank the Oriental Institute of the University of Chicago for awarding me a two-year postdoctoral fellowship there (2017–2019), during which time I organized an international conference, “Outward Appearance vs. Inward Significance: Addressing Identities through Attire in the Ancient World.” The conference drew on the experience I gained writing my thesis and the residency allowed me time to turn my dissertation into a book. I would like to thank my colleagues at the Oriental Institute who supported me in various way, these include the then Director Chris Woods, Petra Goedegebuure, Janet Johnson, Nadine Moeller, Brian Muhs, Robert Ritner, Foy Scalf, Emily Teeter, and Tasha Vorderstrasse.
My research on Late Period material was also generously supported by the National Science Centre of Poland in the form of the grant Harmonia 8 (2016/22/M/HS3/00354) “Iconographic program of the chapels of Osiris in Karnak: Kushite chapel of Osiris Neb-ankh,” a project that also enhanced the content of the current book by the resulting study of sartorial habits from the temple context.
Many individuals were already acknowledged above where institutions and missions are listed, but I would like to very specially acknowledge few people who were absolutely vital in the book’s preparation. I am infinitely grateful to Tytus Mikołajczak for his never-ending help and kindness. His help was fundamental in constructing the project database, processing digital photography and a significant number of the digital drawings. The final version of the present manuscript was scrupulously edited by Emily Teeter who not only patiently read and re-read it, but also provided important Egyptological feedback on the content. The last edits of the book also benefited tremendously by the help of Margaret Schmidt who read the entire manuscript, and by the keen and sharp editorial eye of Bartłomiej Siek whom I also would like warmly thank for his enormous help with preparing the indexes.
The book would be less complete if not for the many colleagues who generously shared their thoughts and ideas during long conversations (in person or via e-mail), and who provided photos and drawings from their projects, some of which are included in this book. I acknowledge them in alphabetical order: David Aston, Julia Budka, Laurent Coulon, Federico Contardi, Alan Dodson, Jack Josephson, Hisham el-Leithy, Melinda Hartwig, Jérémy Hourdin, Lubica Hudáková, David Klotz, J. Brett McClain, Lorenda Sist, Cynthia May-Sheikholeslami, Olivier Perdu, Miguel Angel Molinero Polo, Elena Pischikova, Nigel Strudwick, and John Taylor. The book also benefited from the comments of Filip Taterka and Nicolas Souchon, who carefully read the entire manuscript.
This list must also mention Elizabeth Fleming who provided photos and also patiently checked information from the Archive of the Griffith Institute, as well Beata Kuźniar and Sabina Buczyńska from ZOO Gdańsk (Poland) for providing the photos of living animals. The book would be less complete without photos of kanga from Zanzibar provided by Torrence Royer. My gratitude goes also to the Emissive Company and Pierre Gable for providing the high-quality drawings of avatars prepared for the immersive expedition The Horizon of Khufu.
Last but not least, I would like to thank my family and friends for their understanding, support, and never ending belief in me. My special thanks are to Bartłomiej Siek for his long friendship and support during all of those years of writing my thesis, and the book, and whose profound linguistic and editorial knowledge was much appreciated. I would like to thank to my dear family members and friends who were emotionally and scholarly helpful during my research and writing and who are listed alphabetically: Susan Allison, Keli Alberts, Kathryn Bandy, Anna Guillou, Jadwiga Iwaszczuk, Katarzyna Kapiec, Jennifer Kimpton, Lilianna and Krzysztof Kuwal, Danuta and Janusz Lewandowscy, J. Brett McClain, Tytus Mikołajczak, Brian Muhs, Artur Obłuski and Joanna Then-Obłuska, Gina Salama, Beata and Rafał Pudyszak, Jacek Pokrzywnicki, Teodozja Rzeuska, Emily Teeter, and Tasha Vorderstrasse. I would like to acknowledge Jennifer Kimpton and J. Brett McClain who generously shared their private working space in their apartment, as well as the family of David and Peggy Bevington who allowed me to use their family house in Chicago during the covid-19 pandemic when all research facilities were closed. Their generous gesture provided me with a space to quietly work on the final version of this manuscript that would have been impossible to complete with my little bundle of love at home. I also owe much to my aunt, Joanna Grudzinska-Tuszyńska, who was always there for me whenever I needed her. She also generously supported the fees for photo publication rights in the last stage of this book’s preparation. My absolutely special thanks are to Johannes and Aleksander Weninger, for their incredible patience and unconditional love when I was preparing the final version of this manuscript. I owe everything to my incredible parents, Doris and Eugeniusz Hallmann, who always supported and unfailingly believed in me during the long journey of my studies. Without them nothing would be possible. It is to them I dedicate the present work.