@Warpdrive, "Ancient Egypt"
「古代エジプト」 「古代エジプト」という言葉は、過去に対する漠然とした概念を包含しており、しばしばイスラム以前のエジプトと青銅器時代のエジプトが混同されがちです。しかし、これでもエジプト文明が実際にどれほど古いものであるかを十分に捉え切れていません。よく引き合いに出される例として、クレオパトラ7世の生きた時代は、最初のピラミッドが建設された時期よりも、iPhoneが発売された時期に近いという指摘があります。 これを別の角度から捉えると、新王国時代(紀元前1570年頃~紀元前1069年頃)の頃には、彼らから見て、その先人たちの多くはすでに「古代」の人々となっていたということになる。結局のところ、「古代エジプト」とは、太古の昔からナイル川沿いに暮らしてきた人々、紀元前5500年頃に現れた最初の文化(カルン文化など)から、古時代(アーカイック期)の紀元前3150年頃の第一王朝の成立に至るまでの時代を指すことができる。 新王国時代で最も偉大なファラオとしばしば見なされるラムセス2世(紀元前1279年 – 紀元前1213年)の治世中、ファラオの四男でありプタハ神の司祭であったカエムウェセットは、遺物を発掘し、先王たちの記念碑を修復した。際立っていたのは、この再発見と修復を体系化しようとした彼の試みであり、カエムウェセットは「世界初のエジプト学者」という称号を得た。この関心は、彼がメンフィスやサッカラに滞在していた際に、すでに朽ちかけていた古王国時代のピラミッドを目にしたことがきっかけとなって高まった。彼の修復活動には、ウナス王のピラミッド、ニュセルレ・イニの太陽神殿、カワブ王子(クフ王の息子)の像に加え、古代のパピルス文書や石板の碑文の修復も含まれていた。 カエムウェセットの正確な動機については、今も議論が分かれています。有力な説によると、彼は熱心な古物研究家であり、自身の巨大な建築プロジェクトのために既存の遺跡から石材を採掘するラムセス2世の習慣に対抗して行動したと考えられています。カエムウェセットによる体系化は、過去を確実に保存するためのものだったでしょう。さらに、それはラムセス2世を古い王朝の栄光と結びつける、優れた宣伝効果も果たしました。 こうした功績により、カエムウェセットは後の文献において「古代の賢者」として崇敬された。ヘレニズム時代(紀元前323年~紀元前30年)においても、古代ギリシャ人は彼を「セトネ」または「セトナ」の名で記憶し続け、民間の伝承ではしばしば彼に魔法の力を帰していた。 "Ancient Egypt" as a term encompasses a vague idea of the past, often conflating pre-Islamic Egypt with Bronze Age Egypt. However, even this fails to capture how old Egyptian civilization truly is. A common example is stating that Cleopatra VII lived closer to the release of the iPhone than to the construction of the first pyramids. Another way to put this into perspective is that by the time of the New Kingdom era (~1570 BC – 1069 BC), many of their predecessors were already ancient from their viewpoint. "Ancient Egypt," after all can refer to peoples living along the Nile since time immemorial, the first cultures emerging around 5500 BC (like the Qarunian culture) to the establishment of the First Dynasty around 3150 BC during the Archaic Period. During the reign of Ramesses II (1279 BC – 1213 BC), often considered the greatest Pharaoh of the New Kingdom; a priest of Ptah named Khaemweset who was Pharaoh's fourth son, excavated artifacts and restored the monuments of his predecessors. What stood out was his attempt to systematize this rediscovery and restoration, earning Khaemweset the title of the world's "first Egyptologist." This interest was spurred during his time in Memphis and Saqqara, where he observed the already decaying pyramids of the Old Kingdom. His restoration efforts included the Pyramid of Unas, the Sun Temple of Nyuserre Ini, and a statue of Prince Kawab (son of Pharaoh Khufu), alongside the restoration of ancient papyrus scriptures and tablet inscriptions. Khaemweset's exact motives remain disputed. A prominent theory suggests he was a passionate antiquarian acting in response to Ramesses II's habit of quarrying existing ruins for his own massive building projects; Khaemweset's systematization likely ensured the past was preserved. Additionally, it served as excellent propaganda, linking Ramesses II to the glory of older dynasties. For these actions, Khaemweset was revered as an "ancient wise man" in later literature. Even during the Hellenistic period (323 BC – 30 BC), the Ancient Greeks kept his memory alive under the name "Setne" or "Setna," frequently attributing magical powers to him in popular folklore. https://www.worldhistory.org/Khaemweset/ https://dn790009.ca.archive.org/0/items/MiriamLichtheimAncientEgyptianLiteratureVolIII/Miriam%20Lichtheim%20Ancient%20Egyptian%20Literature%20Vol%20III.pdf
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英雄の世界旅行・エジプト オルヘル
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Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver.
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The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks.
Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail.
A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration.
The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static.
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