This superb dagger is a crossroad of civilizations. Found in Egyptian tomb's coffin of Princess Ita, daughter of Amenemhat II 1914-1879 BC
Bronze blade form is Phoenician & the lapis lazuli/green feldspar patterns on gold hilt are Minoan. Crescent-shaped pommel is lapis lazuli.
The Dagger's Gold Hilt: The inlaid diagonal crosses of thin gold between disks are curvilinear squares inlaid with light brown carnelian.
From 12th Dynasty, reign of Pharaoh Amenemhat II, c. 1914-1879 BC-at Egyptian Museum, Cairo [1]
It has been suggested that this dagger was imported from Byblos in Phoenicia or from Crete, or was manufactured in Egypt by a foreign craftsman at the royal court. [2]
The next posts are pieces related to the [above dagger's manufacture & origin ] 12th Dynasty reign of Pharaoh Amenemhat II 1914-1879 BC and his possible contacts with Middle East & Aegean civilizations as possible maritime commerce or tribute/taxes exerted by the Pharaoh [3]
These are part of Tod Treasure where Pharaoh Amenemhat II name was inscribed: silver cups w/ spiral decorations c. 1956-1786 BC. Perhaps of Minoan origin or Minoan art imitation from Syria. Perhaps evidence of maritime exchanges or tributes exerted from Middle East & Aegean.
Tod Treasure of Pharaoh Amenemhat II whose name is inscribed on copper chests,treasure was a gift to the god Monthu, "sacrificed" forever, intended to remain buried. Falcon-god of war Monthu, lord of foreign lands, who received tributes/taxes or commercial & diplomatic exchanges
Tod Treasure of Pharaoh Amenemhat II c. 1914-1879 BC was found in the foundations of the Temple at Tod (in Upper Egypt) containing lapis lazuli & 153 (mostly silver) vessels. Treasure's above photos are at the Louvre, however the other part of the treasure is in Cairo [1]
P.S. The magnificent dagger at the beginning of this thread was found in the tomb's coffin of Princess Ita, which was next to the now collapsed black pyramid [sand & limestone] of his father Pharaoh Amenemhat II at the royal necropolis of Dahshur, south of Cairo.
Minoan gold cup [1850-1550 BC] decorated on the interior in relief with four stamped running spirals & a central rosette, here you can see the similarities with the Tod Treasure of Pharaoh Amenemhat II silver vessels Minoan spirals decorations [1956-1786 BC].
This Minoan gold cup is at the British Museum [1]
To finish the crossroad of civilizations point, we can't forget that the coveted lapis lazuli stone in Egyptian Art came from the mines of Badakhshan in Afghanistan.
Gold Bracelet of Ramesses II [reign. c.1279-1213 BC] decorated with a double-headed duck in lapis lazuli body.
The Minoans like the Egyptians also coveted the lapis lazuli stone, imported from the mines of Badakhshan in Afghanistan. This precious stone is the ultimate crossroad of civilizations.
Minoan gold ring shaped as a reef- knot inlaid with lapis lazuli ca. 1850-1550 BC.
The gold Bracelet of Ramesses II is at the Egyptian Museum, Cairo.
The Minoan gold ring is part of the Aegina treasure-at the British Museum, London [1]
Fascinating scene as evidence of contact b/t Egyptian & Minoan civilizations, depicted in the Tomb of Rekhmire, Thebes ca. 1479-1425 BC.
Cretans/Minoans called Kefti
[Keftiu/Crete] by the Egyptians bring gifts [ingots of metal/metal vessels] to Rekhmire, Governor of Thebes.
The above facsimile painting copies a detail from a scene depicting Cretans bringing gifts in the tomb of Rekhmire at Thebes, painted at Qurna by Nina de Garis Davies for the Graphic Section of the Museum's Egyptian Expedition, 1923-1924. [1]
Rekhmire, ancient Egyptian noble & official of the 18th dynasty who served as "Governor of the Town" (Thebes) & Vizier during the reigns of Thutmosis III and Amenhotep II. The vizier's main functions were in the fields of the judiciary, treasury, war etc.. [2]
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In this fragment by German mystic Meister Eckhart (1260-c. 1328) he seeks to explain why "the divine One is a negation of negations", that is God is the fullness of being thus by defining what God is we limit what is unlimited.
The Christian mystic's vision of God can't be translated into human language. One of the ways to describe this boundless vision is by way of negation or via negativa (apophatic way) where anything we say of God must negate every attribute due to unknowability= "divine darkness"
Apophatic is the Latinized form of Greek apophatikos from apophasis "denial, negation," from apophanai "to speak off," from apo "off, away from" (see apo-) + phanai "to speak," related to pheme "voice"
**Jusepe de Ribera- Saint Francis of Paola (detail) ca. 1640 [1]
His life is not poor
He has riches beyond measure
Pointing to the moon
Gazing at the moon
This old guest follows the way
Hotei, 10th c. wandering Chinese monk venerated as “god of good fortune” with his treasure bag,he points to the moon, expressing the pure joy of nonattachment
Fugai Ekun (1568–1654) Hotei Pointing to the Moon, hanging scroll, ink on paper.
P.S The Hotei figure is executed in grey, wet strokes, with only spare use of black, which characterizes the Zen figural style known as “ghost” or “apparition” painting [1]
The above accompanying poem is the English translation of what's inscribed on the hanging scroll. [2]
Did you know Julius Caesar famous phrase before crossing the Rubicon “let the die be cast! (anerrhíphthō kúbos) was declaimed in Greek as it was written by the Greek comic playwright Menander?
In 49 BC (perhaps) on January 10,
Caesar leads his legion across the Rubicon.
Did Caesar really utter this phrase? Yes according to Suetonius, who recorded as alea iacta est ('the die is cast') & Plutarch in Greek
Caesar knew his Greek, also had a great sense for the dramatic, it was a momentous occasion & he wanted these words to pass unto history books.
Caesar might have also found inspiration in the words of Roman playwright Terence:
The Art of Judgment derives from discerning truth beyond appearances and emotions so the fool judges out of ignorance, the proud out of scorn and the wise out of character.
Daniele da Volterra-Head of a Bearded Old Man-drawing ca. 1550s [1]
In his 'Tusculanae Disputationes' (3.56), Cicero tells us to seek truth in a man's character even those living in poverty by quoting Statius Caecilius maxim:
saepe est etiam sub palliolo sordido sapientia
"There's often wisdom even underneath a tattered little cloak"