See detailDe l’intérêt de Lambert Lombard pour les aegyptiaca
Laboury, Dimitri

in Allart, Dominique; Bert, Mathilde; Gilles, Isabelle (Eds.) Liège au XVIe siècle. Art et culture autour de L.Lombard (in press)

Envisagée sous l’angle de l’égyptologie, et, plus précisément, sous celui de ce qu’il est aujourd’hui convenu d’appeler l’Ägyptenrezeption, l’œuvre attribuée à Lambert Lombard étonne tant elle apparaît véritablement constellée de références à l’Égypte antique, ou plus exactement à l’image que l’on se faisait au XVIe siècle de la civilisation des lointains pharaons. Dans l’état actuel de notre connaissance, cette présence de « la matière égyptienne » (suivant l’expression de l’égyptologue français Serge Sauneron) dans les productions de l’artiste liégeois semble pouvoir se décliner sous quatre formes, qui nous renseignent, à divers titres, sur la représentation que Lambert Lombard pouvait avoir de l’Égypte antique et, surtout, sur la perspective dans laquelle il a développé ces références et cet intérêt manifeste pour la culture pharaonique.

See detailTradition and Creativity. Toward a Study of Intericonicity in Ancient Egyptian Art
Laboury, Dimitri

in Gillen, Todd (Ed.) (Re)productive Traditions in Ancient Egypt (in press)

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in such a context. This surprising phenomenon has clearly deep roots in the history of the western vision of Ancient Egyptian Art (and civilization). Nonetheless, the investigation of some (actually quite rare) cases of true copies in Ancient Egyptian Art reveals that creativity operated within a process of reinterpretation of previous works and their tradition, a process that can be best described and analyzed, it seems, with the help of the conceptual frame of intericonicity (or interpictoriality). The paper also aims to defend the use of this notional tool in the analysis of Ancient Egyptian Art by attempting to define how creativity was conceived in Ancient Egyptian textual claims for innovation and originality

See detailThe Oxford Handbook of Egyptian Epigraphy and Palaeography
Laboury, Dimitri; Davies, Vanessa

Book published by Oxford University Press (in press)

The Oxford Handbook will be accessible to students and scholars interested in ancient Egypt, ancient history, archaeology, art history, and reception studies. The purposes of the volume are (1) to discuss current theories with regard to the cultural setting and the material realities in which Egyptian carved and painted texts were produced, (2) to familiarize the reader with post-pharaonic receptions, records, and interpretations of Egyptian texts, (3) to outline traditional and emerging techniques and challenges in the recording and interpreting of ancient texts in the modern era, and (4) to review methodologies and challenges in the study of the palaeographies of various ancient Egyptian scripts. Because of the unique relationship between word and image in Egyptian hieroglyphic and hieratic texts, the volume will also address figural representation as well as narrative inscriptions.

See detailRéflexions sur la datation du cycle des « Femmes vertueuses ». De l’utilisation des sources antiques par les peintres antiquisants des Temps Modernes
Laboury, Dimitri; Huby, Caroline

in Allart, Dominique; Bert, Mathilde; Gilles, Isabelle (Eds.) Liège au XVIe siècle. Art et culture autour de L.Lombard (in press)

See detailIn search of the painters of the Theban necropolis in the 18th dynasty. Prolegomena to an analysis of painterly practices in the tomb of Amenemope (TT29)
Laboury, Dimitri; Tavier, Hugues

in Angenot, Valérie; Tiradritti, Francesco (Eds.) Artists and Painting in Ancient Egypt (in press)

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See detail3D investigation into the bust of Akhenaten in the Louvre Museum
Laboury, Dimitri; Mulliez, Maud

Conference (2017, April 22)

Purchased in 1905 by G. Bénédite from the Antiquity market, the unprovenanced limestone bust of Akhenaten now kept in the Louvre Museum (under the inventory number E 11076) is world-famous but, in the end, rather poorly studied. In the context of an international research project entitled RetroColor 3D (funded by the Région Nouvelle Aquitaine, France, and the University of Bordeaux Montaigne, at Archeovision - UMS 3657 of the CNRS), this exceptional piece of sculpture was investigated anew with the help of 3D reconstruction as a methodological tool. Reporting on this transdisciplinary analysis, the paper will explain how this led to a better understanding of the bust’s original function in the creation of royal portraiture during the so-called Amarna period.

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See detailA Royal Head
Laboury, Dimitri; Connor, Simon

in Ben-Tor, Amnon; Zuckerman, Sharon; Bechar, Shlomit; Sandhaus, Débora (Eds.) Hazor VII. The 1990-2012 excavations. The Bronze Age (2017)

Publication / entry in an archaeological report of a greywacke royal head excavated in Tell Hazor, in stratum XIII, in the debris of the final destruction of the site (mid-thirteenth century BCE)

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See detailLe scribe et le peintre. À propos d'un scribe qui ne voulait pas être pris pour un peintre
Laboury, Dimitri

in Collombert, Philippe; Lefèvre, Dominique; Polis, Stéphane; Winand, Jean (Eds.) Aere perennius. Mélanges égyptologiques en l'honneur de Pascal Vernus (2016)

Using the famous signature of the scribe Merira in the tomb of the High priest of Nekhbet Setau at Elkab (T. Elkab 4) as a starting point, the article aims at reassessing the status of artists, and more specifically of painters, in Ancient Egyptian social representation as well as in the discourse of pharaonic scribes

See detailOne hand – many faces. Painterly practices in the Theban Tomb of vizier Amenemope (TT 29)
Laboury, Dimitri; Pieke, Gabriele

Conference (2015, August 28)

Since 1999, the Belgian Archaeological Expedition in the Theban (Mission archéologique dans la Nécropole thébaine - MANT) is executing fieldwork in several tombs located in the southern part of Sheikh Abdel Gurna. As part of this fieldwork, the project “Painters and painting in the Theban Necropolis under the 18th Dynasty“ (FNRS – Univeristy of Liège) aims at studying painterly practices and working procedures of artists and workshops in charge of the decoration of elite tombs in this cemetery. The paper will present the results of recent work carried out in this context in the tomb of Amenemope (TT 29), vizier under Amenhotep II. Unlike in many other Theban tombs of the 18th dynasty where different painters are attested, evidence points to a single hand, responsible for the execution of the entire wall paintings preserved in this funerary chapel. Nevertheless the style of human figures or hieroglyphs is not completely consistent but to the contrary shows certain variability in the layout and execution of motifs, that the paper will address as an issue.

See detailTradition and Creativity. Toward a Study of Intericonicity in Ancient Egyptian Art
Laboury, Dimitri

Conference (2015, August 27)

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in such a context. This surprising phenomenon has clearly deep roots in the history of the western vision of Ancient Egyptian Art (and civilization). Nonetheless, the investigation of some (actually quite rare) cases of true copies in Ancient Egyptian Art reveals that creativity operated within a process of reinterpretation of previous works and their tradition, a process that can be best analyzed, it seems, with the help of the conceptual frame of intericonicity (or interpictoriality). The paper will also aim to defend the use of this notional tool in the analysis of Ancient Egyptian Art by attempting to define how creativity was conceptualized in Ancient Egyptian textual claims for innovation and originality.

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See detailOn the master painter of the tomb of Amenhotep Sise, second High Priest of Amun under the reign of Thutmose IV (TT 75)
Laboury, Dimitri

in Jasnow, Richard; Cooney, Kathlyn M. (Eds.) Joyful in Thebes. Egyptological Studies in Honor of Betsy M. Bryan (2015)

The tomb of the second High Priest of Amun under the reign of Thutmose IV, Amenhotep Sise (TT 75), is one of the few Theban tombs that can be nominally ascribed to its artistic author, the "painter of Amun Userhat", who signed his work through a double self-portrait in assistenza. The study of the painted decoration of the tomb leads to the conclusion that this painter was deeply involved in the royal projects of his time in Karnak and even might have been one of the designers of the decorative programme of the Festival Courtyard of Thutmose IV, and, as such, was hired by his chief in the administration of the estate of Amun in Thebes, the Second High Priest of Amun, Amenhotep Sise, to work in his own private funerary monument.

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

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

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

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 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.

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

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

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

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 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.

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

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 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.

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

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 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.

See detailL'Égypte pharaonique est la plus ancienne des civilisations
Laboury, Dimitri

in Larmoyer, Sophie (Ed.) Le Tour du Monde en 100 idées reçues (2012)

See detailL'expédition de Bonaparte est à l'origine de la redécouverte de l'Égypte antique
Laboury, Dimitri

in Vermeren, Pierre (Ed.) Idées Reçues sur le Monde arabe (2012)

See detailLes momies ont des pouvoirs surnaturels
Laboury, Dimitri

in Larmoyer, Sophie (Ed.) Le Tour du Monde en 100 idées reçues (2012)

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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

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 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.

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See detailAmarna Art
Laboury, Dimitri

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 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.

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See detailPortrait versus Ideal Image
Laboury, Dimitri

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 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.

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

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 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.

Full Text
See detailAkhénaton
Laboury, Dimitri

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 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.

See detailLes artistes égyptiens ignoraient la perspective
Laboury, Dimitri

in Le Grand Livre des idées reçues. Insolite et grandes énigmes (2010)

See detailLes artistes égyptiens ignoraient la perspective
Laboury, Dimitri

in Stop aux idées reçues. 50 idées reçues pour démêler le vrai du faux (2010)

See detailLa construction des pyramides reste une énigme
Laboury, Dimitri

in Le Grand Livre des idées reçues. Insolite et grandes énigmes (2010)

See detailL'écriture hiéroglyphique est un mystère
Laboury, Dimitri

in Le Grand Livre des idées reçues. Insolite et grandes énigmes (2010)

See detailL'Égypte pharaonique est la plus ancienne des civilisations
Laboury, Dimitri

in Le Grand Livre des idées reçues. Pour démêler le vrai du faux. Édition 2011 (2010)

See detailL'Égypte pharaonique est la plus ancienne des civilisations
Laboury, Dimitri

in Stop aux idées reçues. 50 idées reçues pour démêler le vrai du faux (2010)

See detailLes momies ont des pouvoirs surnaturels
Laboury, Dimitri

in Le Grand Livre des idées reçues. Insolite et grandes énigmes (2010)

See detailNéfertiti est la plus belle des reines égyptiennes
Laboury, Dimitri

in Le Grand Livre des idées reçues. Pour démêler le vrai du faux. Édition 2011 (2010)

See detailToutankhamon est le pharaon de la malédiction
Laboury, Dimitri

in Le Grand Livre des idées reçues. Insolite et grandes énigmes (2010)

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; Tavier, Hugues

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

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

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

See detailLes artistes égyptiens ignoraient la perspective
Laboury, Dimitri

in Le Grand Livre des idées reçues. Pour démêler le vrai du faux. Édition 2010 (2009)

See detailLes pharaons étaient adorés comme des dieux
Laboury, Dimitri

in Le Grand Livre des idées reçues. Pour démêler le vrai du faux. Édition 2010 (2009)

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

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 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

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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

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

See detailToutankhamon est le pharaon de la malédiction
Laboury, Dimitri

in Le Grand Livre des idées reçues. Pour démêler le vrai du faux. Édition 2010 (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; Leterme, Kerstin; Van Elslande, Elsa; Hocquet, François-Philippe; Rakkaa, Saïd; Laboury, Dimitri; Moens, Luc; Strivay, David; Hartwig, Melinda

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. 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.

See detailArchaeometry At The Tomb Of Menna, Theban Necropolis, Egypt: A Multi-Method Analytical Approach
Garcia Moreno, Renata; Mathis, François; Van Elslande, Elsa; Vandenabeele, Peter; Leterme, Kerstin; Hocquet, François-Philippe; Rakkaa, Saïd; Laboury, Dimitri; Moens, Luc; Strivay, David; Hartwig, Melinda

Conference (2008)

See detailPortable EDXRF/UV-vis spectrometer, two complementary techniques on a mobile system used for Archaeometry research on the Noble tomb of Menna TT-69, Gourna, Egypt
Hocquet, François-Philippe; Mathis, François; Garcia-Moreno, Renata; Rakkaa, Saïd; Hartwig, Melinda; Laboury, Dimitri; Leterme, Kerstin; Vandenabeele, Peter; Van Elslande, Elsa; Garnir, Henri-Pierre; Marchal, André; Clar, Mathieu; Strivay, David

Conference (2008)

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See detailL’art selon Akhénaton, une révolution dans la tradition et l’histoire de l’art pharaonique
Laboury, Dimitri

in Chappaz, Jean-Luc; Vandenbeusch, Marie (Eds.) Akhénaton et Néfertiti. Soleil et ombres des pharaons (2008)

See detailCléopâtre fut une ambitieuse et maléfique séductrice
Laboury, Dimitri

in Le Grand Livre des idées reçues (2008)

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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

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 perspective. This question and its methodological and theoretical implications are investigated, with a special focus on the colossi of Amenhotep IV from Karnak.

See detailLa construction des pyramides reste une énigme
Laboury, Dimitri

in Le Grand Livre des idées reçues (2008)

See detailLes momies ont des pouvoirs surnaturels
Laboury, Dimitri

in Le Grand Livre des idées reçues (2008)

See detailLe Nil est le berceau de la civilisation égyptienne
Laboury, Dimitri

in Le Grand Livre des idées reçues (2008)

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See detailSennéfer et Amenemopé, une affaire de famille
Laboury, Dimitri

in Egypte Afrique & Orient (2007), 45

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See detailArchaeological and Textual Evidence for the Function of the 'Botanical Garden' of Karnak in the Initiation Ritual
Laboury, Dimitri

in Dorman, Peter F.; Bryan, Betsy M. (Eds.) Sacred Spaces and Sacred Function in Ancient Thebes. Occasional Proceedings of the Theban Workshop (2007)

See detail이집트 파라오
Laboury, Dimitri

Book published by WoongjinThink Big Co. Ltd - Traduction en coréen de "L'Égypte pharaonique" (Paris, 2001) (2007)

Étant donné la place exceptionnelle dont elle jouit dans l'imaginaire collectif occidental depuis près de 4.000 ans, l'Égypte pharaonique est de nos jours l'objet de nombreuses idées reçues, qui, pour la plupart, remontent à l'Antiquité. L'examen que l'ouvrage propose des principales idées reçues générées par notre société à propos de l'Égypte antique vise à constituer un éveil autant à l'Égyptologie, à l'étude de ce que fut réellement la civilisation pharaonique, qu'à la manière dont celle-ci fut récupérée, exploitée et parfois déformée par notre système culturel, à ce que l'on appelle en Histoire la réception culturelle de l'Égypte.

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See detailA New Tool for 3D Archaeological and Epigraphic Recording
Laboury, Dimitri; Moreau, Vincent

in Vergnieux, Robert (Ed.) Virtual Retrospect 2005. Actes du colloque international du CNRS organisé à Biarritz, du 8 au 19 novembre 2005 (2007)

Regarding the technological and epistemological problems raised by the necessity for Archaeology to record the precise shape of the objects of its study, the OSIRIS (Optical Systems for Interferometric Relief Investigation and Scanning) project aimed to develop a device that allows by optoelectronic processes an accurate, quick and easy to use recording, dedicated to the specific and very demanding needs of archaeological research. The article explains how this new innovative device takes advantage of monochromatic light projection, polarization states splitting technique and interferometry principles to reach that goal. Some examples of its application to archaeological recording problems are also given.

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See detailDes momies à l’hôpital
Laboury, Dimitri

in Warmenbol, Eugène (Ed.) La Caravane du Caire. L’Égypte sur d’autres rives (2006)

Résultats de l'analyse par rayons-X et CT-scan des momies égyptiennes (humaines et animale) conservées dans les collections des Musées de la Ville de Liège

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See detailRenaissance de l’Égypte aux Temps Modernes. De l’intérêt pour la civilisation pharaonique et ses hiéroglyphes à Liège au XVIe siècle
Laboury, Dimitri

in Warmenbol, Eugène (Ed.) La Caravane du Caire. L’Égypte sur d’autres rives (2006)

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See detailRoyal Portrait and Ideology. Evolution and Signification of the Statuary of Thutmose III
Laboury, Dimitri

in Cline, Eric H.; O'Connor, David (Eds.) Thutmose III. A New Biography (2006)

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See detailDans l'atelier du sculpteur Thoutmose
Laboury, Dimitri

in Cannuyer, Christian (Ed.) La langue dans tous ses états. Michel Malaise in honorem (2005)

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See detailInterferometric fringes projection system for 3D profilometry and relief investigation
Moreau, Vincent; Laboury, Dimitri; Tilkens, Bernard; Renotte, Yvon

in Optical Methods for Arts and Archaeology, Proceedings of SPIE, Vol. 5857 (2005)

We present a new 3D full-frame profilometer based on structured laser light projection method. This device takes advantage of the polarization states splitting technique for producing and shifting multiple sinusoidal Young’s interference patterns that are projected on the inspected surface. The principle of the technique is presented and we discuss the advantages of monochromatic light projection method as a mean to overcome ambient lighting for in-situ measurement. Some results that we obtained on objects from the Egyptian Department of the British Museum are presented to demonstrate that 3D laser profilometry is a worthwhile technique for epigraphic investigations where naked-eye inspections fail.

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See detailAt the crossing of physics and Aercheology : the OSIRIS project
Renotte, Yvon; Laboury, Dimitri; Tilkens, Bernard; Moreau, Vincent; Morant, Michel

in Europhysics News (2004), 35/6

How physics can help aercheology, including a path to the parket

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See detailLes activités archéologiques du Service d'Égyptologie et d'Archéologie égyptienne de l'ULg et la problématique des relevés en archéologie de terrain
Laboury, Dimitri

in Art&Fact (2004), 23

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See detailLe portrait royal sous Sésostris III et Amenemhat III
Laboury, Dimitri

in Egypte Afrique & Orient (2003), 30

See detailIdéias feitas : O Egipto Faraónico
Laboury, Dimitri

Book published by Editorial Inquérito Lda - Traduction en portugais de "L'Égypte pharaonique" (Paris, 2001) (2003)

Étant donné la place exceptionnelle dont elle jouit dans l'imaginaire collectif occidental depuis près de 4.000 ans, l'Égypte pharaonique est de nos jours l'objet de nombreuses idées reçues, qui, pour la plupart, remontent à l'Antiquité. L'examen que l'ouvrage propose des principales idées reçues générées par notre société à propos de l'Égypte antique vise à constituer un éveil autant à l'Égyptologie, à l'étude de ce que fut réellement la civilisation pharaonique, qu'à la manière dont celle-ci fut récupérée, exploitée et parfois déformée par notre système culturel, à ce que l'on appelle en Histoire la réception culturelle de l'Égypte.

See detailLe Projet OSIRIS (Optical Systems for Interferometric Relief Investigation and Scanning). Projet de développement d'un système de relevé numérique des documents archéologiques en trois dimensions par des procédés optoélectroniques
Laboury, Dimitri; Renotte, Yvon; Tilkens, Bernard; Dominique, Marie; Cornélis, Bernard; Da Col, Anne; Billen, Roland

in L'archéométrie au service des monuments et des livres d'art (2003)

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See detailThe OSIRIS Project (Optical Systems for Interferometric-Photogrammetric Relief Investigation and Scanning). Development of a device for 3D numerical recording of archaeological and epigraphic documents by optoelectronic processes
Laboury, Dimitri; Renotte, Yvon; Tilkens, Bernard; Dominique, Marie; Da Col, Anne; Schumacker, Benoît; Billen, Roland; Cornet, Yves; Cornélis, Bernard

in Boehler, Wolfgang (Ed.) PROCEEDINGS OF THE CIPA WG 6 INTERNATIONAL WORKSHOP ON SCANNING FOR CULTURAL HERITAGE RECORDING (2002, September)

See detailLa beauté dans l'art du règne d'Amenhotep IV - Akhénaton
Laboury, Dimitri

in Warmenbol, Eugène (Ed.) Beautés d'Égypte. "Celles que les ans ne peuvent moisonner". Catalogue de l'exposition créée au Musée du Malgré-Tout à Treignes (Belgique) du 2 juin au 15 décembre 2002 (2002)

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See detailMise au point sur l'iconographie de Néfernéférouaton, le prédécesseur de Toutankhamon
Laboury, Dimitri

in Eldamaty, Mahmud; Trad, May (Eds.) Egyptian Museum Collections around the World. Studies for the Centennial of the Egyptian Museum, Cairo (2002)

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See detailThe OSIRIS Project (Optical Systems for Interferometric-Photogrammetric Relief Investigation and scanning), Development of a device for 3D numerical recording of archaeological and epigraphic documents by optoelectronic processes
Laboury, Dimitri; Renotte, Yvon; Tilkens, Bernard; Dominique, Marie; Billen, Roland; Cornet, Yves

in Proceedings of the CIPA WG6 international workshop on Scanning for Cultural Heritage Recording (2002)

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See detailL'Égypte pharaonique
Laboury, Dimitri

Book published by Le Cavalier Bleu éditions (2001)

Étant donné la place exceptionnelle dont elle jouit dans l'imaginaire collectif occidental depuis près de 4.000 ans, l'Égypte pharaonique est de nos jours l'objet de nombreuses idées reçues, qui, pour la plupart, remontent à l'Antiquité. L'examen que l'ouvrage propose des principales idées reçues générées par notre société à propos de l'Égypte antique vise à constituer un éveil autant à l'Égyptologie, à l'étude de ce que fut réellement la civilisation pharaonique, qu'à la manière dont celle-ci fut récupérée, exploitée et parfois déformée par notre système culturel, à ce que l'on appelle en Histoire la réception culturelle de l'Égypte.

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See detailDe la relation spatiale entre les personnages des groupes statuaires royaux en Égypte pharaonique
Laboury, Dimitri

in Revue d'Egyptologie (2000), 51

Given the unity of representational system of Ancient Egypt, the author proposes to investigate the possibility of application of the principle of the "rabattement" or folding back in a three-dimensional art such as statuary, considering the case of the royal statue groups

See detailLa tête de statuette MRAH E 8019
Laboury, Dimitri

in Karlshausen, Christina; De Putter, Thierry (Eds.) Pierres égyptiennes … Chefs d'œuvres pour l'Éternité (2000)

See detailL'Égyptien et la Mort. Rites et croyances funéraires dans l'Égypte pharaonique
Laboury, Dimitri

in Warmenbol, Eugène (Ed.) Ombres d'Égypte. Le peuple de Pharaon. Catalogue de l'exposition créée au Musée du Malgré-Tout à Treignes (Belgique) du 20 juin au 12 décembre 1999 (1999)

See detailLa problématique de la ville et de l'urbanisme dans l'Égypte pharaonique et le cas de la cité d'Akhet-Aton, sur le site d'Amarna
Laboury, Dimitri

in Art&Fact (1999), 19

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See detailFonction et signification de l'image égyptienne
Laboury, Dimitri

in Bulletin de la Classe des Beaux-Arts de l'Académie Royale de Belgique, 6e série (1998), IX

See detailLa statuaire de Thoutmosis III. Essai d'interprétation d'un portrait royal dans son contexte historique
Laboury, Dimitri

Book published by ULg - CIPL (1998)

Publication of a doctoral thesis that aimed at defining the significance of the statuary of Thutmosis / Thutmose III, 5th pharaoh of the Ancient Egyptian 18th Dynasty (ca 1478-1425 BC). Given the importance of the corpus (162 items) and the different aspects of the meaning and function of royal statues in Ancient Egypt, which are not only religious monuments destined for a temple or a tomb, but also political portraits, the analysis is divided in four parts, of uneven length. In the introduction, the author draws attention on the fame of Thutmose III as a monarch and on the richness and quality of his statuary. In Part 1, prolegomena, the author introduces the framework for this investigation, i.e. the chronology of the reign and the methods to be applied in this study of the evolution of the statuary of an Ancient Egyptian Pharaoh. In Part 2, the documentation is presented in a descriptive catalogue which is divided into statues datable by their inscriptions or their archaeological context (C1-125), statues attributed to Thutmose III on the basis of their style or archaeological context (A1-22) and, further, statues of problematic attribution (P1-7), with a final section on fragments of bases or dorsal pillars that have no iconographic significance (Fr1-8). The following typological analysis of all clothing attributes worn by the king and of the eleven statue postures and types make it possible to define, to classify and to interpet the variability of these iconographic elements, not only with the purpose to describe as exactly as possible the repertoire used in this firs well-documented ensemble of royal sculptures since the Middle Kingdom but also to establish the meaning of each statue type as integral part of a religious monument. An appendix on the application of polychromy on the statues concludes this part. In the diachronically oriented Part 3 the crucial problem of the evolution of the statuary of the king is investigated. The documentation is, however, composed in such a way that the several iconographic phases cannot be presented in the order of the reign. Methodologically, the author is compelled to start with the analysis of statues that are datable with absolute certainty, thereby obtaining criteria to be applied to more problematically datable pieces. The author begins with the statues from the Djeser-akhet temple at Deir el-Bahari, which are contemporaneous with the start of the damnation memoriae of queen Hatshepsut in the regnal years 42-3. Next, he studies the statues from the Akhmenu at Karnak, which date from the beginning of the sole reign after year 20, and he considers the king's political attitude to Hatshepsut at the time. After the analysis of the statues of the fourth decade of the reign in the light of the king's politics and of the statues from the coregency period in the light of Hatshepsut's attitude towards the young Thutmose III, the author finally considers the dating problem of three statues, two of which belong to category C and one to category A. The somewhat random order in the discussion of the statuary phases is redressed in the chronologically ordered synthesis of the evolution of the statuary ot Thutmose III at the end of Part 3. In Part 4, the physiognomical evidence of the mummy is confronted with the way the king is portayed in different sculptural interpretations in the various phases of his reign, which approach is in fact a case study of the problem of the portrait and realism in Ancient Egyptian art. Bibliography and indexes of the statues arranged by their place of preservation or discovery, by their original provenance, and by their material, as well as an index of Urkuden IV references and a general index, added. (slightly modified version of the summary of the book on the On-line Egyptological Bibliography; review by J. Lipinska in Chronique d'Égypte LXXVI, n° 151-2 (2001), p. 135-7).

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See detailÀ propos de l'authenticité de la momie attribuée à Thoutmosis III (CG 61068)
Laboury, Dimitri

in Göttinger Miszellen. Beiträge zur ägyptologischen Diskussion (1997), 156

L'article examine les différents arguments qui ont été avancés pour contester l'authenticité de la momie attribuée à Thoutmosis III (CG 61068). A l'issue de l'analyse, il apparaît qu'aucun ne résiste à la critique. En revanche, la découverte de cette momie dans un des cercueils originaux du roi, avec le linceul initial du souverain,- sans doute enroulé autour d'elle,- constitue un indice très sérieux en faveur de cette attribution.

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See detailUne relecture de la tombe de Nakht (Cheikh ‘Abd el-Gourna, TT 52)
Laboury, Dimitri

in Tefnin, Roland (Ed.) La peinture égyptienne ancienne. Un monde de signes à préserver. Actes du Colloque international de Bruxelles, avril 1994 (1997)

See detailLa statuaire de Thoutmosis III. Essai d'interprétation
Laboury, Dimitri

Doctoral thesis (1996)

See detailA propos d'une illustration d'Albrecht Dürer pour les Hieroglyphica de Horapollon
Laboury, Dimitri

in Art&Fact (1996), 15

See detailEssai de mise au point sur la persécution de Hatshepsout sous Thoutmosis III
Laboury, Dimitri

in Eyre, Christopher (Ed.) Seventh International Congress of Egyptologists. Cambridge, 3-9 September 1995. Abstracts of Papers (1995)

See detailL'évolution des relations politiques entre Thoutmosis III et Hatshepsout à travers l'analyse de leurs programmes architecturaux dans la région thébaine
Laboury, Dimitri

in Art&Fact (1995), 14

See detail"En deuxième lecture, comment effeuiller les sens (l'essence) des images ?"
Laboury, Dimitri; Tefnin, Roland

in Tefnin, Roland (Ed.) La Peinture Égyptienne Ancienne. Un monde de signes à préserver (catalogue de l'exposition, 27 avril - 07 mai 1994) (1994)

See detailEn première lecture, la tombe décrit la vie avec simplicité et pittoresque…"
Laboury, Dimitri; Wallaert, Hélène

in Tefnin, Roland (Ed.) La Peinture Égyptienne Ancienne. Un monde de signes à préserver (catalogue de l'exposition, 27 avril - 07 mai 1994) (1994)

See detailL'inscription « historique » d'Amenhotep II à Amada. Traduction, analyse et commentaires
Laboury, Dimitri

Master's dissertation (1992)

See detailLe temple d'Amada. Essai d'analyse d'un programme iconographique et théologique
Laboury, Dimitri

Master's dissertation (1991)

See detailA propos de l'exotisme égyptien dans la Rome antique
Laboury, Dimitri

in Art&Fact (1990), 9

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See detailRéflexions sur les vases métalliques des tributaires Keftiou
Laboury, Dimitri

in Aegeum - Annales d'Archéologie égéenne de l'Université de Liège (1990), 6

See detailQuelques éléments destinés à faciliter la lecture d'une œuvre d'art de l'Égypte pharaonique
Laboury, Dimitri

in Art&Fact (1989), 8