2024
Article dans une revue
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- ref_biblio
- Irene Rossi, Chiara Salvador. An observatory of epigraphic resources on the web: the Open Digital Epigraphy Hub. Archeologia e Calcolatori, 2024, 35 (2), pp.503-523. ⟨10.19282/ac.35.2.2024.51⟩. ⟨hal-04903317⟩
- resume
- The Open Digital Epigraphy Hub (EpiHub) is an open access digital platform developed to streamline accessibility and organization of resources in digital epigraphy. Created within the Humanities and Cultural Heritage Italian Open Science Cloud (H2IOSC), EpiHub addresses the fragmented landscape of digital epigraphic resources, which span disciplines like linguistics, philology, and archaeology. Offering a comprehensive catalogue of national and international resources – such as datasets, digital tools, geographical and chronological gazetteers, dictionaries, and text-processing software – EpiHub structures these assets through descriptive metadata to facilitate discoverability and usability for researchers and practitioners across diverse cultural and temporal scopes. The platform’s flexible back-end architecture supports efficient data management and real-time updates to enhance front-end accessibility, organizing resources by thematic collections and allowing advanced searches based on specific epigraphic needs, such as language, geographic region, or historical period. Emphasizing FAIR principles, EpiHub standardizes metadata and controlled vocabularies to foster broader interoperability and data reuse across research projects. Integrated with related H2IOSC resources, including H-SeTIS and DHeLO, EpiHub aims to become a central resource, continuously enriched to support collaboration and innovation within the digital epigraphy community.
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2023
Article dans une revue
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- Chiara Salvador. Three Enigmatic Scenes of Merneptah in the Court of the Seventh Pylon at Karnak. The Journal of Egyptian Archaeology, 2023, 109 (1-2), pp.5-20. ⟨10.1177/03075133231164658⟩. ⟨hal-04880397⟩
- resume
- Three scenes on the east wall of the court of the seventh pylon at Karnak are discussed in this paper. The larger scene at the top of the wall depicts a royal figure between the paws of a ram-headed sphinx with hacked cartouches. I propose that the royal figure represents Merneptah and that it might have been carved when he was still a crown prince, although this remains a hypothesis due to the absence of a princely title. Below, two previously unpublished small scenes represent Merneptah as king offering to Hathor and Shepsi respectively, the latter depiction a rarity at Karnak. This ensemble might have functioned as a votive locus where people would address prayers, as suggested by graffiti and grooves left nearby, as well as the presence of an object between the lower scenes, possibly to be identified with a sun disc (Cairo JE 38679) that was discovered in the area, which presumably crowned a ram protome.
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Chapitre d'ouvrage
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- Chiara Salvador. Graffiti at the south-east door of the court of the tenth pylon at Karnak: Staff only beyond this point?. Graffiti and Rock Inscriptions from Ancient Egypt: A Companion to Secondary Epigraphy, Institut français d'archéologie orientale, pp.355-376, 2023, 978-2-7247-0850-9. ⟨hal-04880456⟩
- resume
- Textual and figurative graffiti were added, concealed, and destroyed for centuries at the Amun temple at Karnak, in the never-ending transformation of the site. One of the largest remaining concentrations of graffiti is on the south-east exterior area of the court of the tenth pylon, which is one of the closest areas to the temple exterior. This paper aims to show how archaeological investigations combined with architectural and epigraphic analyses can help to shed light on who, when, and why these graffiti were left at such location, thus contributing to repopulate the religious landscape of the Karnak complex.
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Ouvrages
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- Kahled Hassan, Chloé Ragazzoli, Chiara Salvador, Nicq Thomas. Graffiti & Rock Inscriptions from Ancient Egypt. Institut français d'archéologie orientale (IFAO). 440 p., 2023, Bibliothèque d'Étude (BiEtud) 182. ⟨hal-04405500⟩
- resume
- Graffiti, dipinti, inscriptions rupestres et autres ajouts sur les murs et les parois rocheuses font partie intégrante du paysage et des pratiques d'écriture de l'Égypte ancienne. Ce livre se concentre sur les marges des corpus épigraphiques traditionnels et vise en effet à fournir une vue d'ensemble des graffiti en Égypte ancienne, allant de l'art rupestre prédynastique dans le désert Oriental aux inscriptions hiératiques dans les tombes de Moyenne Égypte, en passant par les signatures démotiques du temple de Karnak. Plusieurs spécialistes présentent des données primaires provenant de trois environnements différents – les déserts, les tombes et les temples – suivant des lignes d'enquête communes, qui visent à aller au-delà du seul contenu textuel ou iconographique et à examiner de plus près le fonctionnement des graffiti.L'ouvrage examine ainsi l'interaction entre les inscriptions et les images secondaires, l'espace dans lequel elles étaient intégrées et les publics auxquels elles étaient destinées. Malgré la diversité inhérente aux corpus présentés, des voies communes et des fils de discussion partagés émergent une fois que ces inscriptions sont considérées comme des objets matériels et des pratiques socioculturelles.
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2022
Chapitre d'ouvrage
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- Chiara Salvador. 'Socializing' the sacred space. Perspectives on lived religion II: The making of a cultural geography, Sidestone Press, pp.29-38, 2022, Papers on Archaeology of the Leiden Museum of Antiquities 27, 978-94-6426-119-6. ⟨hal-04878079⟩
- resume
- This study explores the social interactions within the sacred space of the Amun temple at Karnak during the New Kingdom (ca. 1539–1077 BCE). It investigates two underexplored sources of evidence: graffiti and appeals to the living. These forms of material culture reveal traces of individuals, including lower-ranking priests, scribes, and other temple personnel, whose presence and actions are rarely represented in official temple texts and decorations. By analyzing these inscriptions, the paper demonstrates how such ephemeral traces facilitated both horizontal and vertical social connections within the temple. Graffiti, often clustered and interactive, suggest dynamic dialogues among temple occupants, while appeals, primarily found on statues and stelae, reflect elite attempts to engage with temple staff and the broader sacred landscape. Together, these findings highlight the Amun temple as a microcosm of social relationships, underscoring the active human agency that shaped the temple as a lived space. This approach provides new insights into the broader cultural and religious practices in ancient Egypt, emphasizing the interplay between sacred spaces and everyday human interactions.
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- Chiara Salvador. Accessibility of the Amun temple complex at Karnak in the New Kingdom: A reassessment. Of Gods and Men: Research on the Egyptian Temple from the New Kingdom to the Graeco-Roman Period, Editorial Universidad de Alcalá, pp.81-103, 2022, Monografías de Oriente Antiguo 2, 978-84-18979-18-7. ⟨hal-04878087⟩
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2020
Article dans une revue
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- Chiara Salvador, Elizabeth Frood, Ellen Jones. Chasing Shadows: Graffiti in the Eighth Pylon at Karnak. Egyptian Archaeology, 2020, 57, pp.2-7. ⟨hal-04878099⟩
- resume
- This article explores black and yellow hieratic dipinti within the stairwell of the Eighth Pylon at Karnak, offering new insights into the use of this space as a cultic and scribal environment. It also addresses the technical challenges involved in documenting these graffiti, utilizing photogrammetry and digital enhancement techniques to analyze inscriptions that reveal the roles and identities of temple staff.
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Chapitre d'ouvrage
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- Chiara Salvador. Graffiti. The Oxford handbook of Egyptian epigraphy and palaeography, New York, Oxford University Press, pp.434-447, 2020, 978-0-19-060465-3. ⟨hal-04878041⟩
- resume
- This contribution provides an overview of graffiti in ancient Egypt from an epigraphic perspective, emphasizing both the points of convergence and divergence between graffiti and other epigraphic categories. The introduction defines graffiti as a distinct yet ambiguous category, encompassing both texts and drawings. Their diverse quality, formality, visibility, and contextual settings highlight the challenges of developing terminology that adequately captures the full spectrum of graffiti. Following a brief history of graffiti recording, the chapter examines key technical aspects of their documentation. This process is outlined in four stages: survey, recording, collation, and post-recording. The article’s subsections explore the challenges of identifying, documenting, and publishing graffiti, with references to traditional methods and the integration of new technologies.
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2018
Ouvrages
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- Chloé Ragazzoli, Chiara Salvador, Elizabeth Frood. Scribbling through history. Graffiti, places and people from Ancient Egypt to Modern Turkey.. Bloomsbury Academic, 2018. ⟨hal-03938094⟩
- resume
- For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture, and graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.
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2016
Chapitre d'ouvrage
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- ref_biblio
- Chiara Salvador. Graffiti and sacred space: New Kingdom expressions of individuality in the court of the seventh pylon at Karnak. Martina Ullmann. 10. Ägyptologische Tempeltagung: Ägyptische Tempel zwischen Normierung und Individualität, Harrassowitz Verlag, pp.111-128, 2016, Königtum, Staat und Gesellschaft früher Hochkulturen, 978-3-447-10572-9. ⟨hal-04880303⟩
- resume
- In the New Kingdom, graffiti served as a means of self-expression within temples. While it is commonly assumed that graffiti only appeared in sacred spaces after they were partially or entirely desacralized, this was not always the case. A notable example is the temple of Amun at Karnak—a major state temple during the 18th Dynasty and an important religious center in later periods. This study uses the temple of Amun as a case study to challenge the notion of rigid, immutable rules governing sacred spaces. Specifically, it analyzes graffiti found in an area along the north-south processional way (the court north of the seventh pylon) during a period when this part of the temple was both active and undergoing significant expansion. The discussion explores issues of authorship, the purposes of the graffiti, and their implications for understanding the dynamics of sacred spaces.
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2014
Chapitre d'ouvrage
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- Chiara Salvador. From the Realm of the Dead to the House of the God: The New Kingdom Appeals to the Living in Context at Thebes. Kelly Accetta; Renate Fellinger; Pedro Lourenço Gonçalves; Sarah Musselwhite; W. Paul van Pelt. Current Research in Egyptology 2013: Proceedings of the Fourteenth Annual Symposium, Oxbow books, pp.153-167, 2014, 978-1-78297-686-8. ⟨hal-04880350⟩
- resume
- This paper examines New Kingdom appeal texts, a subset of ancient Egyptian inscriptions that sought to preserve the deceased’s memory by engaging the living in rituals and recitations. While these texts have been extensively studied for their linguistic features, their spatial and contextual aspects remain underexplored. By analyzing a corpus of 112 texts from Thebes, this study highlights the evolving visibility and accessibility of these inscriptions in both funerary and temple contexts. The findings reveal significant shifts in their placement over time, influenced by changing theological conceptions and social dynamics. In the Eighteenth Dynasty, appeal texts were predominantly located in tombs, particularly in the transverse halls, aligning with funerary beliefs about cult, memory, and passage. By the Ramesside Period, a notable transition occurred as these texts increasingly appeared in temple settings, often on intermediary statues, reflecting broader trends in personal piety and the integration of private and communal worship practices. This research underscores the dynamic interplay between text, space, and religious expression in ancient Egypt.
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