The early history of the study of Parthian art may be profitably divided into three overlapping phases. The first phase, ‘Ordering’, begins with Johann Joachim Winckelmann’s dismissive assessment of Parthian art, at this point known mainly from coins, as derivative and barbaric. The second phase, ‘Exploration’, begins in the mid-ninet…[Read more]

Tags made of mudstone are predominantly found in ancient Egyptian Predynastic cemetery contexts. This study examines the symbolism and significance of mudstone tags that are crescent-shaped and/or feature the recurved horns of hartebeests. The use of syncretic imagery on these tags provides evidence for the fluidity of artistic perceptions in…[Read more]

Tags made of mudstone are predominantly found in ancient Egyptian Predynastic cemetery contexts. This study examines the symbolism and significance of mudstone tags that are crescent-shaped and/or feature the recurved horns of hartebeests. The use of syncretic imagery on these tags provides evidence for the fluidity of artistic perceptions in…[Read more]

Tags made of mudstone are predominantly found in ancient Egyptian Predynastic cemetery contexts. This study examines the symbolism and significance of mudstone tags that are crescent-shaped and/or feature the recurved horns of hartebeests. The use of syncretic imagery on these tags provides evidence for the fluidity of artistic perceptions in…[Read more]

Tags made of mudstone are predominantly found in ancient Egyptian Predynastic cemetery contexts. This study examines the symbolism and significance of mudstone tags that are crescent-shaped and/or feature the recurved horns of hartebeests. The use of syncretic imagery on these tags provides evidence for the fluidity of artistic perceptions in…[Read more]

Angels, as mythical beings, appear and disappear suddenly throughout Biblical Texts, without any clear explanation of their origins or metaphysical ranks. Whether they are considered circumstantial theophanies or entities with granted self-existence and specific divine functions; such metaphysical entities have a vital presence in the religious…[Read more]

The Late Bronze Age was a period of heightened international diplomacy throughout the eastern Mediterranean littoral and the Near East. A direct result of this supra-regional interconnectivity is argued to have been the formation of an independent hybrid visual style, the ‘International Style’, an iconographic idiom which occurs sparingly on art…[Read more]

The Late Bronze Age was a period of heightened international diplomacy throughout the eastern Mediterranean littoral and the Near East. A direct result of this supra-regional interconnectivity is argued to have been the formation of an independent hybrid visual style, the ‘International Style’, an iconographic idiom which occurs sparingly on art…[Read more]

The Late Bronze Age was a period of heightened international diplomacy throughout the eastern Mediterranean littoral and the Near East. A direct result of this supra-regional interconnectivity is argued to have been the formation of an independent hybrid visual style, the ‘International Style’, an iconographic idiom which occurs sparingly on art…[Read more]

The Late Bronze Age was a period of heightened international diplomacy throughout the eastern Mediterranean littoral and the Near East. A direct result of this supra-regional interconnectivity is argued to have been the formation of an independent hybrid visual style, the ‘International Style’, an iconographic idiom which occurs sparingly on art…[Read more]

Assyrian imperialism is closely associated with the practice of mass deportation. This practice has been explained by recourse to many different motivations. But can we hope to pinpoint the logic informing deportation rather than merely identifying its advantages? This paper surveys the evidence of deportation in the Levant in the period 745–620 B…[Read more]

Announcement for the opening of the exhibition “Eden and Everything After” at the University of Stavanger Archaelogical Museum and publication of attendant catalogue.

This is the first translation of the two graffiti texts found at the exit of Wadi el-Ḥôl (“Wadi of Terror”) in the Qena bend area of Egypt. Their signs represent a transitional stage between Minoan Phaistos Disk and Linear A. These texts were found by John and Deborah Darnell during their 1993-94 excavation season (Darnell, and all 2005). Th…[Read more]

This is the first translation of the two graffiti texts found at the exit of Wadi el-Ḥôl (“Wadi of Terror”) in the Qena bend area of Egypt. Their signs represent a transitional stage between Minoan Phaistos Disk and Linear A. These texts were found by John and Deborah Darnell during their 1993-94 excavation season (Darnell, and all 2005). Th…[Read more]

The text signs on this comb are Minoan Linear A and not the Proto-Canaanite of Serabit el-Khadim as claimed in its 2022 archaeology report. Like most pre-classical linear texts found by archaeology, the language of this text is Akkadian which was the language of the Neolithic farming culture which spread into Europe from the Near-East starting…[Read more]

The text signs on this comb are Minoan Linear A and not the Proto-Canaanite of Serabit el-Khadim as claimed in its 2022 archaeology report. Like most pre-classical linear texts found by archaeology, the language of this text is Akkadian which was the language of the Neolithic farming culture which spread into Europe from the Near-East starting…[Read more]

Egyptologists have long struggled to translate D.t nHH, with expressions ranging from ‘linear and circular eternity’ to ‘everlasting completedness and ongoingness’. Similarly, ethnologists have found it impossible to translate the pan-Australian Aboriginal concept of tjukurrpa, resorting to neologisms such as ‘the Dreamtime’ or ‘the Dreaming’.…[Read more]

This article analyzes the nexus between collective violence, temple violation, and military glory in 1 and 2 Maccabees by comparing two festivals established in the context of revolt and guerilla warfare; namely, Hanukkah and Nicanor’s Day. It argues that the accounts of the origins of these two festivals in 1 and 2 Maccabees reinforce the close c…[Read more]

Britain’s second-longest early medieval monument – Wat’s Dyke – was a component of an early medieval hydraulic frontier zone rather than primarily serving as a symbol of power, a fixed territorial border or a military stop-line. Wat’s Dyke was not only created to monitor and control mobility over land, but specifically did so through its careful a…[Read more]

Often neglected and misunderstood, there are considerable challenges to digital and real-world public engagement with Britain’s third-longest linear monument, Wat’s Dyke (Williams 2020a). To foster public education and understanding regarding of Wat’s Dyke’s relationship to the broader story of Anglo-Welsh borderlands, but also to encoura…[Read more]