History is like Gods Playing the Hesse's Glass Bead consciousness Game with Pythagoras
Mathematics is described as the science of pattern and music as the art of pattern, both using meditation within the process of contemplation developing own language of symbols.
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Learning from Egyptian stelae from Malta Jeremy Young, Marcel Marée, Caroline Cartwright and Andrew Middleton
In 1829, four Egyptian stelae dated 1,800 BC were found on Malta
During the excavations for the foundations of the hospital in 1829, four Egyptian stelae came to light. They were excavated by Mr J.B. Collings, who sent them to the British Museum in 1836, where they have registration numbers EA 218, EA 233, EA 287 and EA 299.
"Based on their far-flung findspot, some have suggested that the stelae were locally made by Egyptian colonists who had settled on the island during the second millennium bc. This contribution argues that the stelae offer no basis for such historical reconstructions. Style, content and petrology demonstrate that all four stelae were made in Egypt and that they originally stood in the necropolis of Abydos in Upper Egypt. Microfossils show that these stelae are made of Egyptian limestones, which are of a different geological age to limestones available on Malta" Egyptian stelae from Malta.
The British Museum stelae suggest that each was destined to be set up in Abydos, the cult centre of the god Osiris. The stela EA 233, the British archaeologists tell us, principal inscription addresses ‘those living on earth, every wab priest, every lector priest, every scribe and every ka servant who may pass by this eternal stela’. Those reading tell all that they should recite an offering prayer for the benefit of all those commemorated on the monument. The version of the prayer inscribed on EA 233 invokes the king and ‘Osiris, lord of Abydos’
On EA 233, between the two deities, the living king is also represented – through a cartouche. This contains the thronename of Amenemhat III, who is said to be ‘beloved’ of both gods; his mention dates the stela to c.1855–1808 bc
Upper part of stela EA 233 from the Twelfth Dynasty, from the reign of Amenemhat III (1855–1808 BC) in British Museum
It has been suggested that the stelae came to Malta in Roman times or at some other point...
Theatre is one of the oldest way of expression. It was at first a religious expression, meant to communicate with the Gods. A Scottish friend of mine Nicholas Jackman acted Macbeth, in the Shakespeare’s performance, at the Valletta’s Manuel Theatre this weekend. To be true to the play, at the time of our ancestors, the actors did believe in the witches they portrayed. To the audience, witches were a fact of life, real force manifestation, as real as the Hamlet’s ghost of his late father. That is why it is the most difficult to act a mad man.
In traditional societies the first shamans were our first actors. They improvised, channelling subconscious states. What psychologist Jung found in alchemy (transforming metal into gold) is a precursor guide to the psychology of humanity.
Carnival in the Middle Ages took not just a few days, but the period between Christmas and Lent. In those two months, of winter, when the most of the population rested from their usual hard agricultural work, populations celebrated.
The Roman Saturnalia, was a festival organised at the same time, with lots of food and drink, dress-up and parades. The social order was reversed and rules of behaviour were suspended, also a temporary King was crowned and everyone had to abide by his orders. Even today, participants elect a King Carnival.
Historically in Malta, this festival can be traced to the 1400s where we find the Universita’ issuing directives about the price of meat during carnival.
With the arrival of the Grand Masters of the Order of St. John of Jerusalem (1530-1798), Carnival was recorded in 1535. At that time the festival was all about knights entering various tournaments.
Ancient Ritual King Carnival
The two festivals share features of masks, role reversals, temporary social equality, and permitted rule breaking.
Yesterday I visited Mdina Cathedral, to listen to a talk of Prof Adrian Mario Gellel from the Faculty of Education from University of Malta about a symbols Literacy project his Department is conducting with year one pupils of Primary Schools in Malta.
The five year old explored the themes provided by the 16th Century painting of Mattio Preti in Mdina Cathedral.
The idea behind the project is to allow the painting to come to life through symbols.
Public Lecture 1493 Mdina Siege the 16th Century painting of Mattio Preti in Mdina Cathedral
Malta Micro and Macro Historical Dynamics
Standing mid-way between the western and eastern halves of the Mediterranean world with Sicily and Tunis 100 miles away, the place has a favourable position for multicultural interaction. A part of the Eastern Roman Empire or the Byzantines (sixth to ninth century, by 600 AC the island had a bishop subject to Syracuse), Musilim emirate (ninth to eleventh), Latin Christian Kingdom (11th to 13th cemtury) and Catalan-Aragonese affiliate (13th to 16th century). Malta boast a variaty of cultural experiences across two major divides: Muslim-Christian and Latin-Greek. Both Salini Bay cemeterial complex and St Paul’s Catacombs are Byzantine oratories. The basilica construction with a Christian baptistery, discovered at Tas-Silg was built on the site of an ancient Greek religious complex.
In September of 1429, the population of the island was 10,000 to 12,000 with 4,000 able to fight with just two main fortifications: Fort St Angelo and the Mdina bastions.
It is recorded that the soldiers were called “Guardia”, who used to guard the shores, and the “Dejma”, who used to guard the villages.
The Egyptian chronicler wrote that the Lord of Tunis sent a fleet with 200 horses and 15,000 fighters to Sicily where they took the town of Mazara and they moved on to Mdina (Malta) which they kept besieging. After they took 3000 people into slavery the siege was lifted.
The archaeologists identiied amazing 120 Starčevo settlements in the region around the rivers Sava, Danube, and Drava.
"Late Neolithic Culture Vinča sites" is the term now used to identify the archaeological complex of people, and cultural heritage that belonged to ancient civilization settlements in Serbia, western Bulgaria and southwestern Romania.
Early Neolithic settlements in the northwestern Balkans were usually located in valleys of major rivers, on fertile land. Archaeological evidence indicates that, during the Early Neolithic, settlements were relatively small. They consisted of small rectangular houses made of wattle and daub.
In western Romania, more than 300 Early Neolithic sites have been identiied, in the region of Šumadija in Serbia, around a 200 Starčevo Culture sites have been noted, while in tHungary, there are 230 sites. The site size varies from 0.2 ha to as large as 12 ha.
So far, only a few Early Neolithic settlements have been excavated.
The excavated settlement in Serbia, called Biserna Obala-Nosa near Subotica is from the Starčevo-Körös Culture, with several houses and as many as forty storage pits. Pit walls were covered with clay. The Neolithic community using this settlement was sedentary, and the settlement was long-lived.
Their above ground houses were diferent from the traditional Neolithic architecture in southern parts of the Balkans. Within the Starčevo settlements the majority of ovens, fireplaces, were located in the open. Various zones for comunal or ritual purpose were identified. Distinct areas represent houses, spaces for production of pottery, or stone tools, food storage places had been also identiied.
The setting up of the Starčevo Culture settlements in Bosnia are linked to the exploitation of the salt mines.
At first, these were settlements which today look like hills of various sizes. In Sesklo in Thessaly (Greece) the excavation of the hill of Kastraki has revealed a tell type settlement from the Early and Middle Neolithic. In the history of archaeology, archaeologists of all nations had explored these artificial hills.
The prominent position of the hill and their history, including the social memory, have in Balkan's countries revealed the Neolithic communities and their ancient settlements.
The tells and flat settlements often had coexisted, surrounded with an established social and economic network, and bound by identity.
The collective identity of Neolithic groups is evidenced, bound by a trench, or a dry wall, in south-eastern Europe, during the Neolithic, fortiications were rare. Putting up fortiications as defence against wild beasts also has a symbolic role, separated nature from culture.
Archeologists and sociologists emphasize that the houses were set in a circle surrounding a public space or a large central dugout or fireplace.
Archaeological excavations in Slavonski Brod, measured areas of 6200 m², in Galovo over 2200 m², and Tržnica in Vinkovci, over 12000 m². In Galovo, radiometric measurements indicate that the construction of the Neolithic settlement was done in several phases, while in Tržnica in Vinkovci, the evidance suggest a single layer settlement In Vinkovci, another house from the Starčevo Culture has been excavated.
At the famous Neolithic site of Çatalhöyük in central Anatolia, we find a different story, dating from 7400 - 6 200 BC, houses were built like honeycomb – they shared walls. The way in was an opening in the roof, which was also the only source of light.
In contrast to the Near East and Anatolia, in Vinča, people favoured timber as the construction material. With mudcovered wickerwork, with a north-west to south-east orientation and dozens of metres between each house. The area surrounding the long houses was used for production of pottery, used as gardens, farm yards or places in which other daily activities were taken place. The area adjacent to the houses was sometimes used for burials, usually children.
On their Radmilovic estate at Vinča Serbia, the University of Belgrade's Faculty of Agriculture had built a replica of the prehistoric fishermen's village within Mali Dunav (Little Danube). The houses were reconstructed on the basis of archaeological and etno-archaeo data. The project was managed by an architect, a master builder in traditional materials, an archaeologist, & the curator of the Belgrade City Museum. For the reconstruction of houses a traditional mix of clay (30%), sand (40%), and chaff (30%) was used.
