egyptian palace

next time anyone says something like “omg, i can’t stand all u ppl complaining about political correctness, this movie DOESN’T have to be accurate, it’s ARTISTIC EXPRESSION” (coughExoduscough) when you complain about whitewashing or racial stereotyping or lack of diversity in a movie

show them prince of egypt

prince of egypt is a fucking glorious example of how DOING YOUR RESEARCH and being ACCURATE in reflecting diversity elevates the quality of the movie. It ADDS to the artistry. Your movie is BETTER and more interesting for it. So even if you wanna be all pragmatic, well, I’m telling you when you do your research and make an effort to portray diverse cultures without stereotyping them, your entire movie IS BETTER for it, even from the purely “entertainment” or “aesthetic” perspective. 

sorry like i’m rewatching it and I noticed all the little details- like the way Tzipporah is made to be darker skinned to reflect how Moses’ wife is said to be an Ethiopian woman, the way the banquet scene in the Egyptian royal palace, if you looked in the background, you could see the people there weren’t all Egyptians but also people from other neighbouring African kingdoms (from the different clothing there was)- the Hebrews themselves all looked different- amongst them there was a variety of skin tones. Perfect because the whole thing is that they aren’t just an “ethnicity” - they’re supposed to be connected by the fact that they believe in the same Abrahamic religion. And those two Egyptian guards who ran off with the Hebrews- interesting- I wonder if they were Hebrews who passed for Egyptian when they were born because their parents feared for their lives?

I loved the portrayal of the Egyptians too overall- you know although they didn’t wear a lot of clothing (due to the climate etc), it didn’t devolve into these caricatures- they were portrayed in a way that showed that theirs was indeed a very advanced and sophisticated civilisation. I liked it because so often we think “civilisation” looks just one way- and it was a great way to show how advanced civilisations come in many shapes and forms. (fyi: the near nakedness of the Mesoamericans like the Aztecs and Africans was often considered to be a sign of a less “civilised” or “evolved” people by European explorers during the era of imperialism). 

Basically this movie gave me a shitton of details to appreciate and think about and that’s what great movies do. 

Set in Stars: Prince Ahkmenrah x Reader

@lady-of-newt​ said: Could you please write an Ahkmenrah imagine where the reader is actually a constellation and thinks she doesn’t have a chance with him? And I’m going to let you expand on the idea because I’m extremely tired and cant think right now. THank you

No bb, thank you. I had my good friend @exhausted-with-the-world​ read the rough drafts of it and both she and I almost cried. Hope you like it! 

Keep reading

Architecture (Part 1): Ancient Egyptian Mastabas

Menes was the first pharaoh of Egypt, uniting Upper & Lower Egypt into a single kingdom.  This was the beginning of the Old Kingdom era (3200-2680 BC, and of the 1st Dynasty.  Egyptian architecture began to flourish during this time.

The Egyptians believed that life on earth was temporary, but the spiritual life was eternal.  Therefore, the religious monuments needed to last.  While Ancient Egyptian palaces and houses have collapsed over the centuries, the religious buildings have endured for longer.  The tomb was the gateway to the afterlife, and the temple housed the gods.

The mastaba was the tomb.  It is Arabic for “stone bench”. They were designed with the same plan as an Egyptian house.

It was a regulated mound with several small rooms, built over a broad pit (so it was underground and above ground).  This gave space for the dead person and their provisions for the afterlife.  The central room had the sarcophagus, and the surrounding rooms contained funerary offerings.

The walls sloped inwards.  Wooden/mud-brick pillars were first built, then covered in rubble, and finally walled in mud-brick.

4th Dynasty mastaba.

Entrance to the Mastaba of Ti (5th Dynasty).

4th & 5th Dynasty mastabas.

Mud-brick was the usual material for domestic buildings in Egypt.  It was made from a mixture of mud and straw.  It was excellent for building in the arid climate, and the Mesopotamians had used it for their ziggurats.

The royal mastaba often had a mud-brick façade around it, with alternating projections & recessions.  This probably copied the timber panelling of the early palaces.  The façade was often painted in bright colours, and traces of this survive.

Reconstructions of 1st Dynasty mastabas.  Both are attributed to Queen Merneith.

But during the 3rd & 4th Dynasties (2780-2565), attention moved away from the mastaba’s exterior and towards its interior, for security reasons.  The exterior became simpler.  The burial chamber was sunk deep into the rock, and security measures such as stone portcullises were added.

A false door was usually on the tomb’s eastern side, facing the Nile. This allowed the deceased’s spirit, or ka, to enter & exit the tomb as it pleased, and travel upon the river.  It was made of mud-brick or stone, as an imitation of the façade’s wooden door.

False door (6th Dynasty).

During the 4th Dynasty (2680-2565), non-royal mastaba cemeteries were built near/around royal mastabas.  These non-royal tombs contained high officials, and the tombs were probably an honour bestowed on them by the pharaoh.  A small chapel was included – often a simple niche with an offering table for dedications to the deceased, on the outside of the mastaba.

The most sophisticated tombs had many chambers inside them, as a full-scale residence for the deceased, as well as a gateway to eternity.  The rooms were decorated with scenes of daily life, and natural motifs.  They depicted the afterlife as an “idealized parallel to Egypt”.  These rooms included storerooms, a chapel, resting places, and dining areas.

The following photos are all from the tomb of Merefnebef (6th Dynasty).

Fishing scene & marsh scene.

Jewellery workshop.

Merefnef sitting with one of his wives, watching harpists & dancers.

Merefnebef (II) and his wife Hemi, seated before offerings.

Hieroglyphic list of offerings.


Aida Characters

Here’s my rendering of what some characters from the Broadway version of Aida would look like. I like the music, but I think some of the costume design is a bit weak. I don’t know. These designs are a combination of art/history research and voice inspiration. In case you’re unfamiliar with the show:

Aida - A captured Nubian princess who has to work in the Egyptian palace as a slave

Radames - Captain of the Egyptian guard who is betrothed to Amneris but falls in love with Aida

Zoser - Radames’ father and the head minister - but secretly plotting to kill the king so Radames would inherit the throne

Amneris - The Egyptian princess, fashion forward and torn between her love for Radames and her friendship for Aida

Mereb - Radames’ first officer, and the first to recognize Aida for the princess she is

Egyptian Woman Dressed Like Man For More Than 40 Years To Provide For Family

For more than four decades, Egyptian mother Sisa Abu Daooh dressed as a man to provide for her family. Last week, she was awarded the “woman breadwinner” award by the authorities in her hometown of Luxor and was congratulated in person by the Egyptian president.

Abu Daooh, 65, was celebrated on Sunday in a ceremony at the Egyptian presidential palace, where she met President Abdel-Fattah El-Sissi and received a prize of about $6,500, Agence France Presse reports. Wearing a traditional male robe and turban while receiving the award, Abu Daooh was praised by the president as “an exemplary working woman.Read on here.


“A Novel” by Noel Fielding; from Scribblings of a Madcap Shambleton:

“  Kim dragged the huge Chinese shark up three flights of stairs into the Egyptian Palace. It was still breathing as he smashed its head in with a Chelsea Boot.
 “Typical of you.” Jason Barked. “Your voice is a racing car.”
“Yum yum times.” Kim mumbled laughing to himself and turning away.
“That’s a hammerhead shark.” Said Jason, hitting the hammerhead with a hammer. The bones inside the thick rubber skin started to break into small pieces until the shark became a long grey bag full of junk balls. Boney puzzle pieces sloshing around inside the blue sleeping bag with fins. The eyes were still working and shifted in their sockets from my face to Jason’s as if watching an exciting tennis match. The shark didn’t exist and neither did I nor Jason.  “

Elias Muhanna on translating “Frozen” into Modern Standard Arabic:

“The Arabic lyrics to ‘Let It Go’ are as forbidding as Elsa’s ice palace. The Egyptian singer Nesma Mahgoub, in the song’s chorus, sings, ‘Discharge thy secret! I shall not bear the torment!’ and ‘I dread not all that shall be said! Discharge the storm clouds! The snow instigateth not lugubriosity within me…’”