Nicola Harrington
The University of Sydney, Archaeology, Department Member
- Egyptology, Anthropology, Funerary Archaeology, Ancient Religion, Archaeology of Childhood, New Kingdom (Egyptology), and 27 moreFunerary Belief (Egyptology), Predynastic (Egyptology), Domestic Religion, Ancestor Worship, Archaeology, Death and Burial (Archaeology), Ritual, Anthropology of Children and Childhood, Burial Customs, Amarna Studies, Ancient Egyptian Religion, Egyptian Archaeology, Predynastic and Early Dynastic Egypt, Egyptian Art and Archaeology, Archaeology of Religion, Bioarchaeology, Mortuary archaeology, Ancient Egyptian Art and Archaeology, Deir el-Medina, Juvenile and Infant Osteology, Ancient Egyptian Magical Texts, Cosmetics and Perfumes in Antiquity, Burial Practices (Archaeology), Archaeology of death and burial, Gender Archaeology, Archaeology of Ritual, and Archaeology of Ritual and Magicedit
Living with the Dead presents a detailed analysis of ancestor worship in Egypt, using a diverse range of material, both archaeological and anthropological, to examine the relationship between the living and the dead. Iconography and... more
Living with the Dead presents a detailed analysis of ancestor worship in Egypt, using a diverse range of material, both archaeological and anthropological, to examine the relationship between the living and the dead. Iconography and terminology associated with the deceased reveal indistinct differences between the blessedness and malevolence and that the potent spirit of the dead required constant propitiation in the form of worship and offerings. A range of evidence is presented for mortuary cults that were in operation throughout Egyptian history and for the various places, such as the house, shrines, chapels and tomb doorways, where the living could interact with the dead. The private statue cult, where images of individuals were venerated as intermediaries between people and the Gods is also discussed. Collective gatherings and ritual feasting accompanied the burial rites with separate, mortuary banquets serving to maintain ongoing ritual practices focusing on the deceased. Something of a contradiction in attitudes is expressed in the evidence for tomb robbery, the reuse of tombs and funerary equipment and the ways in which communities dealt with the death and burial of children and others on the fringe of society.
Vocabulary for the Study of Religion (Volume 1). R.A. Segal & K. von Stuckrad (eds). Brill, Leiden. 73-76.
Research Interests:
Short entries: Anhur; baboon, sacred; ba-house; ferryman of the dead; Hymn of Rising; jackal, sacred; Khertnetjer; Mut; ram; Sages of Mehetweret; sphinx; Tale of Two Brothers
In L. Beaumont, M. Dillon and N. Harrington (eds), The Routledge Handbook of Childhood in Antiquity. Routledge, London and New York (in preparation; under contract; 2018).
The Oxford Handbook of the Archaeology of Childhood. (2018). Ed. S. Crawford, D. Hadley, G. Shepherd.
Violaine Chauvet has identified the doorways of Old Kingdom (2575–2134 BC) private tombs as liminal places. The porticoes of these monuments may be seen as an intermediary point between the outside world and the sacred, ritually pure tomb... more
Violaine Chauvet has identified the doorways of Old Kingdom (2575–2134 BC) private tombs as liminal places. The porticoes of these monuments may be seen as an intermediary point between the outside world and the sacred, ritually pure tomb environment: a boundary or transitional location between the realm of the living and that of the dead.
In this paper, I apply the same principles to New Kingdom (1550–1070 BC) tombs, both carved and painted, which may provide an indication of the areas of the tomb accessible following the owner’s burial. It seems that sunk relief was used as a means of symbolically bringing part of the outside world into that of the dead (or projecting aspects of the world of the dead into that of the living).
In this paper, I apply the same principles to New Kingdom (1550–1070 BC) tombs, both carved and painted, which may provide an indication of the areas of the tomb accessible following the owner’s burial. It seems that sunk relief was used as a means of symbolically bringing part of the outside world into that of the dead (or projecting aspects of the world of the dead into that of the living).
Research Interests:
In this paper I analyse the iconography of banquet scenes in Egyptian tombs of the Eighteenth Dynasty (1550–1295 BC), present a brief overview of evidence for feasting in the tomb chapel and courtyard, and discuss the content and meaning... more
In this paper I analyse the iconography of banquet scenes in Egyptian tombs of the Eighteenth Dynasty (1550–1295 BC), present a brief overview of evidence for feasting in the tomb chapel and courtyard, and discuss the content and meaning of the songs of harpers and other musicians that often accompany the scenes. I also consider the use of alcohol and narcotics in accessing gods and the dead, and examine some of the social aspects of feasting, such as community identity, gender issues, and the use of banquets as a forum for elite display.
In this paper, I discuss Predynastic human representation, early statuary, and the early iconography of deities in relation to the basalt statue known as "MacGregor Man" (Ashmolean Museum 1922.70). In light of the statue discovered at... more
In this paper, I discuss Predynastic human representation, early statuary, and the early iconography of deities in relation to the basalt statue known as "MacGregor Man" (Ashmolean Museum 1922.70). In light of the statue discovered at Hierakonpolis (Tomb 23, HK 6), and the fact that all officially excavated human figurines of the 1st and 2nd Dynasties were found in tombs, there seems little reason to suggest that MacGregor Man derived from a temple rather than a funerary context, or that it should be separated from the ivories with which it was said to be found. The statue probably represents an Upper Egyptian leader of Dynasty 0, and there seems little reason to doubt its authenticity.
A discussion of the 20th Dynasty akh iqer (ancestor) stela of Thutmose in the Petrie Museum of Egyptian Archaeology, which bears an ink inscription on the reverse. The inscription, in cursive hieroglyphs, is a copy of the text on the... more
A discussion of the 20th Dynasty akh iqer (ancestor) stela of Thutmose in the Petrie Museum of Egyptian Archaeology, which bears an ink inscription on the reverse. The inscription, in cursive hieroglyphs, is a copy of the text on the front, suggesting that the object was partly executed when the commission was taken. A brief overview of trade and mass production is presented, along a discussion of with the stela's function.
In this paper, I consider the depiction and involvement of children in the mortuary sphere, and the burial of children in contrast to adults. My aim is to explore how far children were portrayed as being involved in the mortuary cults of... more
In this paper, I consider the depiction and involvement of children in the mortuary sphere, and the burial of children in contrast to adults. My aim is to explore how far children were portrayed as being involved in the mortuary cults of their parents and grandparents, and which iconographic contexts were considered inappropriate for the young. In summary, children are depicted in a largely passive role in New Kingdom elite funerary contexts, at least until they reach puberty and lose the visual indicators of youth (such as the sidelock). In general they were buried individually and provided with some basic grave goods but no lasting monuments.
This paper deals with the discovery in 2000 of the oldest statue so far known from Egypt, dating to Nagada II A-B (3600-3500 BC). It is associated with Tomb 23 at Hierakonpolis, and was found smashed and scattered across the burial site... more
This paper deals with the discovery in 2000 of the oldest statue so far known from Egypt, dating to Nagada II A-B (3600-3500 BC). It is associated with Tomb 23 at Hierakonpolis, and was found smashed and scattered across the burial site and its environs. An attempt at reconstructing the appearance of the statue is made, and the function of predynastic human figures is discussed.
The small golden shrine is a unique example of the amalgamation of banquet scene themes into a single object. The motifs on the shrine are entirely funerary, and the decorative panels may have been intended to supplement the limited wall... more
The small golden shrine is a unique example of the amalgamation of banquet scene themes into a single object. The motifs on the shrine are entirely funerary, and the decorative panels may have been intended to supplement the limited wall decoration of KV 62.
Anthropoid or "ancestor" busts can be divided into distinct categories according to size, appearance, and, to a lesser extent, find context. Limestone busts less than 30cm high form the bulk of the corpus and were probably manufactured... more
Anthropoid or "ancestor" busts can be divided into distinct categories according to size, appearance, and, to a lesser extent, find context. Limestone busts less than 30cm high form the bulk of the corpus and were probably manufactured for use in the home, whereas larger busts with striated wigs may have been part of funerary equipment, while small busts and amulets probably had apotropaic qualities. Anthropoid busts represented individual deceased family members in an idealised form, and most (based on details such as tripartite wigs and earrings) represent women, forming a counterpart to akh iqer stelae that predominantly depict men.
Catalogue entries: mirror handle (52), mirror handle (53), tusk cup (54), double kohl tube (56), kohl tube (57), blue water lily chalice (83), fish hook (91), wine jar (100), anthropoid bust (105), headrest (106), throwstick (117), menat... more
Catalogue entries: mirror handle (52), mirror handle (53), tusk cup (54), double kohl tube (56), kohl tube (57), blue water lily chalice (83), fish hook (91), wine jar (100), anthropoid bust (105), headrest (106), throwstick (117), menat (118), ring stand (119), vessel fragment (120), vessel fragments (121), bifrontal Hathor mask (123), miniature column (123), tile with sketch of a cat (145), fragment of tile with cartouche of Thutmose III (156),
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University of Sydney