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Archaeologists uncover 3,200-year-old tomb of chief beer-maker in Egypt | Ancient Origins

Archaeologists uncover 3,200-year-old tomb of chief beer-maker in Egypt | Ancient Origins

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5 JANUARY, 2014 - 04:20 APRILHOLLOWAY

Archaeologists uncover 3,200-year-old tomb of chief beer-maker in Egypt

A Japanese archaeological team from Waseda University have discovered the tomb of goddess Mut’s head of beer production in the Egypt’s famed temple city of Luxor.  The tomb, which is around 3,200-years-old, is extremely well-preserved and contains spectacular paintings depicting scenes involving the tomb’s owner with his family members in front of different ancient Egyptian deities.

The burial chamber belongs to Khonso-Im-Heb, who was the head of beer production for goddess Mut and the head of the galleries during the Ramesside era.   The goddess Mut was an ancient Egyptian mother goddess who was considered a primal deity, associated with the waters from which everything was born through parthenogenesis. She also was depicted as a woman with the crowns of Egypt upon her head. The rulers of Egypt each supported her worship in their own way to emphasize their own authority and right to rule through an association with Mut.

The tomb is T-shaped with two halls and a burial chamber.  It is also connected to an unfinished tomb of an as-yet unidentified person called Houn. According to Egypt’s antiquities minister, Mohamed Ibrahim, it is "one of the most important discoveries made in the city of Luxor... at the Thebes necropolis."   

The tomb has on its walls and ceilings landscapes and diverse sculptures that "revealed many details of daily life during the ancient Egyptian times" including family relationships and religious rituals.  The ceiling is decorated with geometrical paintings in vivid colours, while a ‘solar boat’ is depicted at its core. One piece of artwork shows Khonso Em Heb making offerings to the gods along with his wife and daughter. 

Another scene depicts the “Open Mouth” ritual, an ancient Egyptian ceremony described in funerary texts.  The ceremony involved the symbolic animation of a statue or mummy by magically opening its mouth so that it could breathe and speak. The ancient Egyptians believed that in order for a person's soul to survive in the afterlife it would need to have food and water. The opening of the mouth ritual was thus performed so that the person who died could eat and drink again in the afterlife.

By April Holloway

- See more at: http://www.ancient-origins.net/news-history-archaeology/archaeologists-uncover-3200-year-old-tomb-chief-beer-maker-egypt-001198#.UsjdrCMb_PM.facebook

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The Spiders of ‘The Hobbit

The Spiders of ‘The Hobbit - The Desolation of Smaug’ - NYTimes.com

Along Came a Computer-Generated ...

The Spiders of ‘The Hobbit: The Desolation of Smaug’

Clip: 'The Desolation of Smaug': A spider attack scene from the second installment in Peter Jackson's "Hobbit" trilogy.

By MEKADO MURPHY

Published: December 18, 2013

Enlarge This ImageThe latest installment in “The Hobbit” trilogy is likely to make arachnophobes squirm. That’s the hope of the director Peter Jackson, whose own fear of spiders helped infuse some important scenes in“The Desolation of Smaug” with creepy, crawly discomfort.

Warner Bros. Pictures

The armature of a spider from the film with a covered version below it.

Enlarge This Image

Warner Bros. Pictures

A visual effects translucency test for one of the spider's legs.

The spiders lurking in the forest of Mirkwood are among the perils Bilbo Baggins and his traveling companions encounter on their journey to reclaim the dwarf kingdom of Erebor. Unlike some of the more fantastical creatures in the series, the spiders look and feel more familiar, albeit supersize. They were the visual-effects children of Weta Digital, led by Joe Letteri. He and his team tried to make the spiders immediately recognizable as such, but enhanced to amplify their menace.

The biggest change was to their faces: These spiders have jaws and fangs. “We wanted you to get the feeling that they’re biting you with teeth, that they would swallow you whole if they could,” Mr. Letteri said, speaking by phone from Los Angeles. “But the bodies and heads were based on realistic designs.”

The design evolved from several sources, including a reference photo Mr. Jackson found of a particularly creepy spider. Those designs were fine-tuned in the textures department, which defined color patterns for the creatures and added details, including wrinkles. That department’s supervisor, Gino Acevedo, worked alongside the creatures department to add distinct details, like legs that were translucent.

“We wanted what we called a ‘beer bottle effect,’ ” Mr. Acevedo said, speaking by phone from Weta Digital’s base in New Zealand. “If you look at a beer bottle, it has that amber look and color to it, especially when you hold it up to the light. When the legs were backlit, you saw an internal structure inside with veins.”

The research also included discussions with a spider expert, Phil Sirvid from Te Papa, the Museum of New Zealand. “We took a bit of a field trip, met Phil and looked at his creepy collection of wild-looking spiders,” Mr. Acevedo said. “He gave us amazing reference images taken through an electron microscope of spider parts, things that you never knew spiders had.” For instance, they were surprised to learn that spiders have pores, which were incorporated into the design.

Mr. Jackson wanted the spiders to look ancient, as if they’d been trudging around in the forest for many years, so Weta aged them with flaky skin, calluses and more.

“We wanted it to look like when you get a sunburn and the skin peels away and underneath is a new skin,” Mr. Acevedo explained. The spiders were also given boils to make them look diseased, and soiled with dirt and mud. “Some of this stuff is so subtle that you don’t pick it up,” he added. “But if you didn’t have it there, the creature would look too clean, or as we call it, ‘CG perfect.’  ”

A version of this article appears in print on December 22, 2013, on page AR9 of the New York edition with the headline: Along Came a Computer-Generated ... .

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