Christian Knoblauch
-Co Director Uronarti Regional Archaeological Project ( with Laurel Bestock, Brown University)
-Assistant Director, University of Michigan Abydos Middle Cemetery Project,
-Post-Doc, FWF "Project Beyond Politics". Material Culture in Second Intermediate Period Egypt and Nubia, OREA, Austrian Academy of Sciences , http://www.orea.oeaw.ac.at/beyond-politics.html
-Brown University Abydos North Cemetery Project, Ceramicist
-German Archaeological Institute Abydos Project, Ceramicist
-Assistant Director, University of Michigan Abydos Middle Cemetery Project,
-Post-Doc, FWF "Project Beyond Politics". Material Culture in Second Intermediate Period Egypt and Nubia, OREA, Austrian Academy of Sciences , http://www.orea.oeaw.ac.at/beyond-politics.html
-Brown University Abydos North Cemetery Project, Ceramicist
-German Archaeological Institute Abydos Project, Ceramicist
less
InterestsView All (46)
Uploads
Edited Books by Christian Knoblauch
A History of Egyptology at Monash University, Melbourne (C. Hope);
1) Trade and Power: The Role of Naqada as a Trading Centre in Predynastic Egypt (J. Cox);
2) Antecedents to the Ptolemaic Mammisis (V. Crown);
3) Ptolemaic ‘Black Ware’ from Mut el-Kharab (J. Gill);
4) The Decorative Program of the Amarna Rock Tombs: Unique Scenes of the Egyptian Military and Police (E. Healey);
5) The Use of Myth in the Pyramid Texts (J. Hellum);
6) The Application of Cladistics to Early Dynastic Egyptian Ceramics: Applying a New Method (A. Hood & J. Valentine);
7) Searching for an Oasis Identity: Dakhleh Oasis in the Third Intermediate Period (C. Hubschmann);
8) Ambiguous Images: The Problems and Possibilities of Analysing Rock-art Images in the Egyptian Western Desert (D. James);
9) The Ruler of Kush (Kerma) at Buhen during the Second Intermediate Period: A Reinterpretation of Buhen Stela 691 and Related Objects (C. Knoblauch);
10) On Interpreting the Meaning of Amulets and Other Objects using the Frog Motif as an Example (J. Kremler);
11) Administrative Control of Egypt’s Western Oases during the New Kingdom: A Tale of Two Cities (R. Long);
12) It Really is Aha: Re-examining an Early Dynastic Ink Inscription from Tarkhan (L. Mawdsley);
13) Invisible History: The First Intermediate Period in United Kingdom (UK) Museum Exhibitions (M. Pitkin);
14) The Inscriptions of Hatshepsut at the Temple of Semnah: An Art-historical and Epigraphic Re-appraisal (A. Shackell-Smith);
15) Characterisation and Legitimisation in the Doomed Prince (D. Stewart);
16) The Typology of 26th Dynasty Funerary Figurines (S. Volk).
Nubia by Christian Knoblauch
As unique settlements created ex-nihilo on culturally foreign territory, the Egyptian Middle Kingdom Second Cataract fortresses might appear to have little to contribute towards the discussion of these issues, but they – in contrast to Egypt– provide excellent evidence regarding the organisation of pottery production and unequivocal data pertaining to the development of local styles. My paper, therefore, will examine to what extent new investigations of the processes of colonisation in Nubia might contribute towards modelling the processes of homogenisation (and heterogenisation) of material culture in the Egyptian Nile Valley. It draws on data collected by the Beyond Politics Team at the Institute for Oriental and European Archaeology (OREA, Austrian Academy of Sciences) and the Uronarti Regional Archaeological Project.
FWF START Project Y754-G19: “Beyond Politics - Material Culture in Second Intermediate Period Egypt and Nubia”, OREA, Austrian Academy of Sciences, PI: Bettina Bader
Knoblauch, C. (2011). Not all that Glitters: A Case Study of Regional Aspects of Egyptian Middle Kingdom Pottery Production in Lower Nubia and the Second Cataract. Cahiers de la céramique égyptienne, 9, 167–184.
The original article discussed the so-called micaceous-slipped pottery (or golden-ware) – a rare type of Egyptian pottery produced in the Middle Kingdom colonies of the Second Cataract in ancient Nubia. The characteristic feature of this ware is a dense, golden, glittering surface coating that shimmers in the sun.
The first page has photos of the vessels published as line drawings in the earlier article plus some additional images from the Sudan National Museum, Khartoum and Uronarti.
The second page gives some more examples from Uronarti. The aim of this page is to add some illustrative material that supports my contention that the micaceous surface coating is clearly separate from the clay body.
Please note that most of the images from the presentation have been omitted, so if you read this, please turn your imagination on!"
A History of Egyptology at Monash University, Melbourne (C. Hope);
1) Trade and Power: The Role of Naqada as a Trading Centre in Predynastic Egypt (J. Cox);
2) Antecedents to the Ptolemaic Mammisis (V. Crown);
3) Ptolemaic ‘Black Ware’ from Mut el-Kharab (J. Gill);
4) The Decorative Program of the Amarna Rock Tombs: Unique Scenes of the Egyptian Military and Police (E. Healey);
5) The Use of Myth in the Pyramid Texts (J. Hellum);
6) The Application of Cladistics to Early Dynastic Egyptian Ceramics: Applying a New Method (A. Hood & J. Valentine);
7) Searching for an Oasis Identity: Dakhleh Oasis in the Third Intermediate Period (C. Hubschmann);
8) Ambiguous Images: The Problems and Possibilities of Analysing Rock-art Images in the Egyptian Western Desert (D. James);
9) The Ruler of Kush (Kerma) at Buhen during the Second Intermediate Period: A Reinterpretation of Buhen Stela 691 and Related Objects (C. Knoblauch);
10) On Interpreting the Meaning of Amulets and Other Objects using the Frog Motif as an Example (J. Kremler);
11) Administrative Control of Egypt’s Western Oases during the New Kingdom: A Tale of Two Cities (R. Long);
12) It Really is Aha: Re-examining an Early Dynastic Ink Inscription from Tarkhan (L. Mawdsley);
13) Invisible History: The First Intermediate Period in United Kingdom (UK) Museum Exhibitions (M. Pitkin);
14) The Inscriptions of Hatshepsut at the Temple of Semnah: An Art-historical and Epigraphic Re-appraisal (A. Shackell-Smith);
15) Characterisation and Legitimisation in the Doomed Prince (D. Stewart);
16) The Typology of 26th Dynasty Funerary Figurines (S. Volk).
As unique settlements created ex-nihilo on culturally foreign territory, the Egyptian Middle Kingdom Second Cataract fortresses might appear to have little to contribute towards the discussion of these issues, but they – in contrast to Egypt– provide excellent evidence regarding the organisation of pottery production and unequivocal data pertaining to the development of local styles. My paper, therefore, will examine to what extent new investigations of the processes of colonisation in Nubia might contribute towards modelling the processes of homogenisation (and heterogenisation) of material culture in the Egyptian Nile Valley. It draws on data collected by the Beyond Politics Team at the Institute for Oriental and European Archaeology (OREA, Austrian Academy of Sciences) and the Uronarti Regional Archaeological Project.
FWF START Project Y754-G19: “Beyond Politics - Material Culture in Second Intermediate Period Egypt and Nubia”, OREA, Austrian Academy of Sciences, PI: Bettina Bader
Knoblauch, C. (2011). Not all that Glitters: A Case Study of Regional Aspects of Egyptian Middle Kingdom Pottery Production in Lower Nubia and the Second Cataract. Cahiers de la céramique égyptienne, 9, 167–184.
The original article discussed the so-called micaceous-slipped pottery (or golden-ware) – a rare type of Egyptian pottery produced in the Middle Kingdom colonies of the Second Cataract in ancient Nubia. The characteristic feature of this ware is a dense, golden, glittering surface coating that shimmers in the sun.
The first page has photos of the vessels published as line drawings in the earlier article plus some additional images from the Sudan National Museum, Khartoum and Uronarti.
The second page gives some more examples from Uronarti. The aim of this page is to add some illustrative material that supports my contention that the micaceous surface coating is clearly separate from the clay body.
Please note that most of the images from the presentation have been omitted, so if you read this, please turn your imagination on!"