References of "Laboury, Dimitri"
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See detailHow and why did Hatshepsut invent the image of her royal power?
Laboury, Dimitri ULg

in Galan, José Manuel; Bryan, Betsy M.; Dorman, Peter F. (Eds.) Creativity and Innovation in the Reign of Hatshepsut (2014)

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See detailDe l'individualité de l'artiste dans l'art égyptien
Laboury, Dimitri ULg

in Andreu, Guillemette (Ed.) L'art du contour. Le dessin dans l'Égypte ancienne (2013)

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See detailL'artiste égyptien, ce grand méconnu de l'Égyptologie
Laboury, Dimitri ULg

in Andreu, Guillemette (Ed.) L'art du contour. Le dessin dans l'Égypte ancienne (2013)

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See detailCitations et usages de l'art du Moyen Empire à l'époque thoutmoside
Laboury, Dimitri ULg

in Bickel, Susanne (Ed.) Vergangenheit und Zukunft. Studien zum historischen Bewusstsein in der Thutmosidenzeit (2013)

The article aims at characterizing forms and functions of the uses of Middle Kingdom art in royal and court productions during the Thutmosid Period. In order to assess this artistic phenomenon as a ... [more ▼]

The article aims at characterizing forms and functions of the uses of Middle Kingdom art in royal and court productions during the Thutmosid Period. In order to assess this artistic phenomenon as a conscious revival and not just a survival of the Past and of the tradition, the analysis starts with a brief examination of the disruption that was felt and expressed during the Second Intermediate Period. It then goes on investigating the evolution of the references to Middle Kingdom art from the dawn of the 18th Dynasty to the time of Hatshepsut and Thutmosis III, when some sorts of artistic quotations replaced a global renaissance of Middle Kingdom forms of expression. A special attention is paid to the relationship between creativity and archaism under the reign of Hatshepsut, and leads to conclude the article with some theoretical deductions on the study of Ancient Egyptian archaism and a tentative definition of how innovation was conceptualized in Ancient Egyptian culture. [less ▲]

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See detailIn de entourage van de Farao. Kunst en archeologie in de Thebaanse necropool
Bavay, Laurent; Laboury, Dimitri ULg

in Ceci n’est pas une pyramide… Un siècle de recherche archéologique belge en Égypte (2012)

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a ... [more ▼]

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a long-term, interdisciplinary study of a large area in the southern part of the Sheikh Abd el-Qurna hill, densely occupied during the mid-18th dynasty. Initially focusing on two monuments dating to the reign of Amenhotep II, the tombs of the Prince of the City Sennefer (TT 96) and the vizier Amenemope (TT 29), the project led to the discovery, in 2009, of a « lost tomb » belonging to the deputy of the director of the treasury Amenhotep (TT C3). Beside the reconstruction of the history of these monuments from their construction to the present day, notably revealing an important occupation by Coptic hermits during the 8th cent. AD, the archaeological study also considers their place in the topographical, religious and social landscape of the necropolis. The study of the painted decoration of the chapels is likewise considered in the wider context of Theban painting practices and workshops, leading to the development of an original methodology termed « on site art history ». Among these activities, the conservation of the wall paintings remains a priority of the mission and the team of international specialists conducted extensive research to address the problems caused by their challenging state of preservation. The project is supported by the Belgian Fund for Scientific Research (F.R.S.-FNRS) and the Ministry of Scientific Research of the Fédération Wallonie-Bruxelles. Since 2010, it is conducted as a joint mission of the Université libre de Bruxelles and the Université de Liège. [less ▲]

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See detailTracking Ancient Egyptian Artists, a Problem of Methodology. The Case of the Painters of Private Tombs in the Theban Necropolis during the Eighteenth Dynasty
Laboury, Dimitri ULg

in Kothay, Katalin Anna (Ed.) Art and Society. Ancient and Modern Contexts of Egyptian Art. Proceedings of the International Conference held at the Museum of Fine Arts, Budapest, 13-15 May 2010 (2012)

The figure of the Ancient Egyptian artist has often been considered particularly evanescent and almost imperceptible – if not non-existent for some scholars. Dealing with the case of the painters ... [more ▼]

The figure of the Ancient Egyptian artist has often been considered particularly evanescent and almost imperceptible – if not non-existent for some scholars. Dealing with the case of the painters responsible for the decoration of private tomb chapels in the Theban Necropolis during the 18th dynasty, this article aims at demonstrating that with a proper and adapted interdisciplinary methodology, gathering all kinds of documents relating to the subject, it is indeed possible to address the issue of the societal identity of those painters as well as that of their work organisation and work modalities, and even their own individualities. In this context, the article concludes with a reassessment of the criteria used to define an artist. [less ▲]

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See detailDans l’entourage de Pharaon. Art et archéologie dans la nécropole thébaine
Bavay, Laurent; Laboury, Dimitri ULg

in Ceci n’est pas une pyramide… Un siècle de recherche archéologique belge en Égypte (2012)

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a ... [more ▼]

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a long-term, interdisciplinary study of a large area in the southern part of the Sheikh Abd el-Qurna hill, densely occupied during the mid-18th dynasty. Initially focusing on two monuments dating to the reign of Amenhotep II, the tombs of the Prince of the City Sennefer (TT 96) and the vizier Amenemope (TT 29), the project led to the discovery, in 2009, of a « lost tomb » belonging to the deputy of the director of the treasury Amenhotep (TT C3). Beside the reconstruction of the history of these monuments from their construction to the present day, notably revealing an important occupation by Coptic hermits during the 8th cent. AD, the archaeological study also considers their place in the topographical, religious and social landscape of the necropolis. The study of the painted decoration of the chapels is likewise considered in the wider context of Theban painting practices and workshops, leading to the development of an original methodology termed « on site art history ». Among these activities, the conservation of the wall paintings remains a priority of the mission and the team of international specialists conducted extensive research to address the problems caused by their challenging state of preservation. The project is supported by the Belgian Fund for Scientific Research (F.R.S.-FNRS) and the Ministry of Scientific Research of the Fédération Wallonie-Bruxelles. Since 2010, it is conducted as a joint mission of the Université libre de Bruxelles and the Université de Liège. [less ▲]

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See detailAkhenaton. El primer faraón monoteísta de la historia
Laboury, Dimitri ULg

Book published by La Esfera de los Libros (2012)

Amenhotep IV, ninth Pharaoh of the 18th Dynasty (ca 1352 - 1335 B.C.), who changed his name into Akhenaten, is probably the most debated figure of Ancient Egyptian History. Known as the first founder of a ... [more ▼]

Amenhotep IV, ninth Pharaoh of the 18th Dynasty (ca 1352 - 1335 B.C.), who changed his name into Akhenaten, is probably the most debated figure of Ancient Egyptian History. Known as the first founder of a monotheistic religion in the history of mankind, he holds an exceptional position in modern collective memories about Ancient Egypt, despite the fact that he was rejected into oblivion by his direct successors. His modern fame is fundamentally due to the reappropriation of his character by various and incredibly numerous occidental or contemporary ideologies. In this context of highly culturo-centric reinterpretation, it is often very difficult, for the layman or the laywoman as well as for the scholar, to comprehend the king who actually ruled Egypt in the middle of the 14th century B.C. The book attempts to address this issue by proposing an archaeological biography of Akhenaton, i.e. a description of the historical facts of his reign that are physically - or archaeologically - attested, with the constant aim of distinguishing these facts from their interpretations. Such an approach allows the reader to understand how egyptological knowledge is constructed. The book is structured according to the different phases of the actual life of Akhenaten: after a necessary appraisal of his modern rediscovery and reinterpretations, a chapter is respectively devoted to his childhood and the Egyptian Empire in which he grew up, to the first years of his reign, to the invention of real Atenism, in year 4, to the king’s project when he moved his capital to Akhet-Aten - Amarna, in Middle Egypt, and, at last, to his post-mortem survival, in the reactions of his successors and followers. The book ends with some conclusions about the epistemological capabilities of archaeological biography and about the particularity of Akhenaten and his Atenist ideology. [less ▲]

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See detailAmarna Art
Laboury, Dimitri ULg

in Cooney, Kara; Wendrich, Willeke (Eds.) UCLA Encyclopedia of Egyptology (2011)

The art that developed in the reign of Amenhotep IV/Akhenaten, known as “Amarna art,” has largely been considered revolutionary in the history of ancient Egyptian art. As such, it has been the subject of ... [more ▼]

The art that developed in the reign of Amenhotep IV/Akhenaten, known as “Amarna art,” has largely been considered revolutionary in the history of ancient Egyptian art. As such, it has been the subject of much debate and has generated numerous theories, often contradictory or controversial, and, in fact, deeply influenced by the history of its modern reception. Nevertheless, the remaining evidence still permits us to investigate Amenhotep IV/Akhenaten’s conception of images and art, as well as the artistic evolution under his reign. From a hermeneutic point of view, Amarna art can be interpreted as a multi-causal phenomenon, involving an internal evolution of 18th Dynasty society and art, pharaoh-centrism, and purely aesthetic factors. [less ▲]

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See detailPortrait versus Ideal Image
Laboury, Dimitri ULg

in Wendrich, Willeke (Ed.) UCLA Encyclopedia of Egyptology (2010)

Ancient Egyptian art’s concern with individualized human representation has generated much debate among Egyptologists about the very existence of portraiture in Pharaonic society. The issue has often—if ... [more ▼]

Ancient Egyptian art’s concern with individualized human representation has generated much debate among Egyptologists about the very existence of portraiture in Pharaonic society. The issue has often—if not always—been thought of in terms of opposition between portrait and ideal image, being a major topic in the broader question of realism and formal relation to reality in ancient Egyptian art. After a brief analysis of the problem from a theoretical point of view, the article deals with the Egyptological reception of the subject and considers the concepts involved in the notion of portrait within the context of ancient Egyptian thought. A few significant cases selected from the corpus of royal statuary are then investigated in order to elucidate the motives and modalities of the interaction between portrait and ideal image in ancient Egyptian individualized representations. [less ▲]

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See detailLes artistes des tombes privées de la nécropole thébaine sous la 18e dynastie: bilan et perspectives
Laboury, Dimitri ULg

in Egypte Afrique & Orient (2010), 59

The figure of the Ancient Egyptian artist has often been considered particularly evanescent and almost imperceptible – if not non-existent for some scholars. Dealing with the case of the painters ... [more ▼]

The figure of the Ancient Egyptian artist has often been considered particularly evanescent and almost imperceptible – if not non-existent for some scholars. Dealing with the case of the painters responsible for the decoration of private tomb chapels in the Theban Necropolis during the 18th dynasty, this article aims at demonstrating that with a proper and adapted interdisciplinary methodology, gathering all kinds of documents relating to the subject, it is indeed possible to address the issue of the societal identity of those painters as well as that of their work organisation and work modalities, and even their own individualities. In this context, the article concludes with a reassessment of the criteria used to define an artist. [less ▲]

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See detailAkhénaton
Laboury, Dimitri ULg

Book published by Pygmalion - Flammarion (2010)

Amenhotep IV, ninth Pharaoh of the 18th Dynasty (ca 1352 - 1335 B.C.), who changed his name into Akhenaten, is probably the most debated figure of Ancient Egyptian History. Known as the first founder of a ... [more ▼]

Amenhotep IV, ninth Pharaoh of the 18th Dynasty (ca 1352 - 1335 B.C.), who changed his name into Akhenaten, is probably the most debated figure of Ancient Egyptian History. Known as the first founder of a monotheistic religion in the history of mankind, he holds an exceptional position in modern collective memories about Ancient Egypt, despite the fact that he was rejected into oblivion by his direct successors. His modern fame is fundamentally due to the reappropriation of his character by various and incredibly numerous occidental or contemporary ideologies. In this context of highly culturo-centric reinterpretation, it is often very difficult, for the layman or the laywoman as well as for the scholar, to comprehend the king who actually ruled Egypt in the middle of the 14th century B.C. The book attempts to address this issue by proposing an archaeological biography of Akhenaton, i.e. a description of the historical facts of his reign that are physically - or archaeologically - attested, with the constant aim of distinguishing these facts from their interpretations. Such an approach allows the reader to understand how egyptological knowledge is constructed. The book is structured according to the different phases of the actual life of Akhenaten: after a necessary appraisal of his modern rediscovery and reinterpretations, a chapter is respectively devoted to his childhood and the Egyptian Empire in which he grew up, to the first years of his reign, to the invention of real Atenism, in year 4, to the king’s project when he moved his capital to Akhet-Aten - Amarna, in Middle Egypt, and, at last, to his post-mortem survival, in the reactions of his successors and followers. The book ends with some conclusions about the epistemological capabilities of archaeological biography and about the particularity of Akhenaten and his Atenist ideology. [less ▲]

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See detailA la recherche des peintres de la nécropole thébaine. Prolégomènes à une analyse des pratiques picturales dans la tombe d'Amenemopé (TT 29).
Laboury, Dimitri ULg; Tavier, Hugues ULg

in Warmenbol, Eugène; Angenot, Valérie (Eds.) Thèbes aux 101 portes. Mélanges à la mémoire de Roland Tefnin. (2010)

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See detailRéflexions sur le portrait royal et son fonctionnement dans l'Égypte pharaonique
Laboury, Dimitri ULg

in Ktema : Civilisations de l'Orient, de la Grèce et de Rome Antiques (2009), 34

Ancient Egyptian art’s concern with individualized human representation has generated much debate among Egyptologists about the very existence of portraiture in pharaonic society. The issue has often – if ... [more ▼]

Ancient Egyptian art’s concern with individualized human representation has generated much debate among Egyptologists about the very existence of portraiture in pharaonic society. The issue has often – if not always – been thought in terms of opposition between portrait and ideal image, being a major topic in the broader question of realism and formal relation to reality in Ancient Egyptian art. After a brief analysis of the problem from a theoretical point of view, the article considers the concepts involved in the notion of portrait within the context of Ancient Egyptian thought. Then, a few significant cases selected in royal statuary are investigated in order to elucidate the motives and modalities of the interaction between portrait and ideal image in Ancient Egyptian individualized representations [less ▲]

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See detailLa tête MRAH E 2435, fragment d'une statue de Thoutmosis III prosterné en attitude d'offrande ou d'adoration
Laboury, Dimitri ULg

in Claes, Wouter; De Meulenaere, Herman; Hendrickx, Stan (Eds.) Elkab and beyond. Studies in honour of Luc Limme (2009)

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See detailL'arte secondo Akhenaton, una rivoluzione nella tradizione e nella storia dell'arte dei faraoni
Laboury, Dimitri ULg

in Chappaz, Jean-Luc; Vandenbeusch, Marie (Eds.) Akhenaton. Faraone del sole. Catalogo della mostra. Palazzo Bricherasio, Torino, 27 febbraio - 9 giugno 2009 (2009)

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See detailMulti-disciplinary investigation of the tomb of Menna (TT69), Theban Necropolis, Egypt
Vandenabeele, Peter; Garcia-Moreno, Renata; Mathis, François ULg et al

in Spectrochimica Acta Part A : Molecular and Biomolecular Spectroscopy (2009), 73(3), 546-552

The archaeometrical survey of the tomb of Menna (TT69), which took place in November-December 2007, is part of the extended research program that aims to study and preserve this tomb in all its aspects ... [more ▼]

The archaeometrical survey of the tomb of Menna (TT69), which took place in November-December 2007, is part of the extended research program that aims to study and preserve this tomb in all its aspects. Menna was a high official who served as an overseer of Cadastral surveys during the reigns of pharaohs Tuthmosis IV and Amenhotep Ill (ca. 1419-1370 BC). The research team aimed to gather information, in a totally non-destructive way, on the materials used and the painting techniques. The technical examinations included photography with normal and raking light. macrophotography, ultra-violet (UV) fluorescence photography, and microscopy. On selected points X-ray fluorescence (XRF) was combined with diffuse reflectance UV-spectrometry, near infrared (NIR) diffuse reflectance spectroscopy and Raman spectroscopy. The technical aspects as well as problems that are inherently associated with an interdisciplinary survey of this extent, are discussed. The project worked with a large team of people with different backgrounds and sensitive technical equipment. Working conditions were quite hostile, including elevated temperatures and dust hampering the examinations. (C) 2008 Elsevier B.V. All rights reserved. [less ▲]

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See detailColosses et perspective: de la prise en considération de la parallaxe dans la statuaire pharaonique de grandes dimensions au Nouvel Empire
Laboury, Dimitri ULg

in Revue d'Egyptologie (2008), 59

The deformation which affects the physiognomy of colossal sculptures of the New Kingdom suggests that Ancient Egyptian Art could have taken into account the parallax effects or distortions due to ... [more ▼]

The deformation which affects the physiognomy of colossal sculptures of the New Kingdom suggests that Ancient Egyptian Art could have taken into account the parallax effects or distortions due to perspective. This question and its methodological and theoretical implications are investigated, with a special focus on the colossi of Amenhotep IV from Karnak. [less ▲]

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See detailArchaeometry At The Tomb Of Menna, Theban Necropolis, Egypt: A Multi-Method Analytical Approach
Garcia Moreno, Renata; Mathis, François ULg; Van Elslande, Elsa et al

Conference (2008)

Detailed reference viewed: 26 (0 ULg)