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((short description|Legendary image of Egypt in the Western world))
((More citations needed|date=June 2007))
[[File:Sir Lawrence Alma-Tadema - The finding of Moses.jpg|thumb|[[The Finding of Moses (Alma-Tadema painting)|Lawrence Alma-Tadema, ''The Finding of Moses'']], 1904]]
[[image:Mosaïque nilotique, Praeneste, Italie.jpg|thumb|300px|[[Nile mosaic of Palestrina|The Nile Mosaic of Palestrina.]]]]

[[Ancient Egypt|Egypt]] has had a legendary image in the [[Western world]] through the [[Greek mythology|Greek]] and [[Hebrew Bible|Hebrew]] traditions. Egypt was already ancient to outsiders, and the idea of Egypt has continued to be at least as influential in the [[history of ideas]] as the actual historical Egypt itself.<ref>Janetta Rebold Benton and"Ancient Egypt in the European imagination" p. 54ff. Robert DiYanni, ''Arts and Culture: an introduction to the humanities'', 1999: "Ancient Egypt in the European imagination", pp 54ff.</ref> All Egyptian culture was transmitted to Roman and post-Roman European culture through the lens of [[Hellenistic]] conceptions of it, until the [[Decipherment of ancient Egyptian scripts|decipherment]] of [[Egyptian hieroglyphics]] by [[Jean-François Champollion]] in the 1820s rendered Egyptian texts legible, finally enabling an understanding of Egypt as the Egyptians themselves understood it.

After [[late antiquity]], the [[Old Testament]] image of Egypt as the land of enslavement for the [[Hebrews]] predominated, and "[[Pharaoh]]" became a synonym for despotism and oppression in the 19th century. However, [[Age of Enlightenment|Enlightenment]] thinking and [[colonialism|colonialist]] explorations in the late 18th century renewed interest in ancient Egypt as both a model for, and an exotic alternative to, [[Western culture]], particularly as a Romantic source for [[Classical architecture|classicizing architecture]].

==Antiquity==
===Classical texts===
[[Herodotus]], in his ''[[The Histories of Herodotus|Histories]]'', Book II, gives a detailed if selectively coloured and imaginative description of ancient Egypt. He praises peasants' preservation of history through oral tradition, and Egyptians' piety. He lists the many animals to which Egypt is home, including the mythical [[Phoenix (mythology)|phoenix]] and [[Feathered Serpent|winged serpent]], and gives inaccurate descriptions of the [[hippopotamus]] and [[Cerastes cerastes|horned viper]]. Herodotus was quite critical about the stories he heard from the priests (II,123), but [[Diodorus Siculus]], who visited Hellenistic Egypt in the 1st century BCE, gave credit to what he was told by priests: that many famous Greek philosophers had studied in Egypt. Both Plutarch and [[Diogenes Laërtius]] (3rd century) mention that [[Thales]] studied in Egypt, while nothing is really known about Thales from his own time. [[Iamblichus of Chalcis]] in the 3rd century CE reports that Pythagoras studied in Egypt for 22 years.

From the classical texts that thus evolved, a mythical Egypt emerges as the mother-country of Religion, Wisdom, Philosophy, and Science.

Among the Romans, an Egypt that had been drawn into the Roman economic and political sphere was still a source of wonders: ''[[List of Latin phrases (E)#ex Africa semper aliquid novi|Ex Africa semper aliquid novi]]'';<ref>An overview is M. J. Versluys, ''Aegyptiaca Romana: nilotic scenes and the Roman views of Egypt'', 2002.</ref> the exotic fauna of the [[Nile]] is embodied in the famous [[Nile mosaic of Palestrina|"Nilotic" mosaic from Praeneste]], and Romanized iconographies were developed for the "Alexandrian Triad", [[Isis]], who developed a widespread Roman following, [[Harpocrates]], "god of silence", and the Ptolemaic [[syncretism]] of [[Serapis]].<ref>Isis:
Laurent Bricault, M. J. Versluys, P. G. P. Meyboom, eds. ''Nile into Tiber: Egypt in the Roman world: proceedings of the IIIrd International Conference of Isis Studies'' (Leiden), May 11–14, 2005; Harpocrates: [http://www.religionswissenschaft.unizh.ch/idd/prepublications/e_idd_harpocrates.pdf Iconography of Harpocrates (PDF-article)] ((webarchive |url=https://web.archive.org/web/20080407082954/http://www.religionswissenschaft.unizh.ch/idd/prepublications/e_idd_harpocrates.pdf |date=April 7, 2008 )); Serapis: Anne Roullet, ''The Egyptian and Egyptianizing monuments of imperial Rome'', 1972.</ref>

===The Bible===
Egypt is mentioned 611 times in the [[Bible]], between ((bibleverse||Genesis|12:10|KJV)) and ((bibleverse||Revelation|11:8|KJV)).<ref>((cite book | last =Strong | first =James | title =Strong's Expanded Exhaustive Concordance of the Bible | publisher =Thomas Nelson Publishers | year =2001 | location =Nashville | pages =221–222 | isbn =0-7852-4540-5))</ref> The [[Septuagint]], through which most Christians knew the Hebrew Bible, was commissioned in [[Alexandria]], it was remembered, with the embellishment that though the seventy scholars set to work upon the texts independently, miraculously each arrived at the same translation.
[[File:Joseph working 02.gif|thumb|[[Joseph (Hebrew Bible)|Joseph]] in Egypt: costume and setting translate the story to contemporary late-15th-century [[Ghent]]]]

==Middle Ages and Renaissance==
Following the 7th-century [[Muslim conquest of Egypt]], the West lost direct contact with Egypt and its culture. In [[Middle Ages|Medieval]] Europe, Egypt was depicted primarily in the illustration and interpretation of the biblical accounts. These illustrations were often quite fanciful, as the iconography and style of ancient [[Egyptian art]], [[Ancient Egyptian architecture|architecture]] and [[costume]] were largely unknown in the West (''illustration, right''). Dramatic settings of the [[Finding of Moses]], the [[Plagues of Egypt]], the [[Parting of the Red Sea]] and the story of [[Joseph (Hebrew Bible)|Joseph]] in Egypt, and from the New Testament the [[Flight into Egypt]] often figured in medieval [[illuminated manuscripts]]. Biblical [[hermeneutics]] were primarily theological in nature, and had little to do with historical investigations. Throughout the Middle Ages "[[Mummia]]", made, if it were genuine, by pounding mummified bodies, was a standard product of [[apothecary]] shops.<ref>((cite encyclopedia|title=Mummy |encyclopedia=Encyclopædia Britannica Concise |url=http://concise.britannica.com/ebc/article-9054257/mummies |access-date=2007-06-30 ))((dead link|date=July 2017 |bot=InternetArchiveBot |fix-attempted=yes ))</ref>

During the [[Renaissance]] the German [[Jesuit]] scholar [[Athanasius Kircher]] gave an allegorical "decipherment" of hieroglyphs through which Egypt was thought of as a source of ancient [[mysticism|mystic]] or [[occult]] wisdom. In alchemist circles, the prestige of "Egyptians" rose. A few scholars, however, remained skeptic:<ref>[[Johann Kestler]] enumerated the contemporary critics of Kircher: "Some critics, Kestler wrote with amazement, believed that Kircher's explanation of the hieroglyphs was simply 'a figment of his own mind'" (Paula Findlen, ''Athanasius Kircher: the last man who knew everything'', 2004:38)</ref> in the 16th century, [[Isaac Casaubon]] determined that the ''[[Corpus Hermeticum]]'' of the great [[Hermes Trismegistus]] was actually a Greek work of about the 4th century CE (even though Casaubon's work was also criticized by Ralph Cudworth).

((Expand section|date=June 2008))

== 18th century ==
[[File:Place du Caire.jpg|thumb|''Foire du Caire'', Paris (1798), with [[Hathor]] heads and Egyptianizing frieze]]
Early in the 18th century, [[Jean Terrasson]] had written ''[[Life of Sethos]]'', a work of fiction, which launched the notion of Egyptian mysteries. In an atmosphere of antiquarian interest, a sense arose that ancient knowledge was somehow embodied in Egyptian monuments and lore. Egyptian imagery pervaded the European [[Freemasonry]] of the time and its imagery, such as the eye on the [[Egyptian pyramids|pyramid]]. Contemporaneously, the [[Great Seal of the United States]] (1782), which appears on the [[United States one-dollar bill]] also features this imagery. There are Egyptian references in [[Mozart]]'s Masonic-themed((citation needed|date=July 2022)) ''[[Die Zauberflöte]]'' (The Magic Flute, 1791), and his earlier unfinished "Thamos".((Citation needed|date=December 2010))

The revival of curiosity about the Antique world, seen through written documents, spurred the publication of a collection of Greek texts that had been assembled in Late Antiquity, which were published as the corpus of works of [[Hermes Trismegistus]]. But the broken ruins that sometimes appeared in paintings of the episode of the [[Rest on the Flight into Egypt]] were always of Roman character.

With historicism came the first fictions set in the Egypt of the imagination. [[William Shakespeare|Shakespeare]]'s ''[[Antony and Cleopatra]]'' had been set partly in Alexandria, but its protagonists were noble and universal, and Shakespeare had not been concerned to evoke local color.

== 19th century ==
[[Image:Rowlandson-modern-antiques-Egyptomania-1806.jpg|thumb|[[Thomas Rowlandson|Rowlandson]]'s 1806 satire on craze for [[ancient Egypt]] after [[Napoleon]]'s invasion]]
The rationale for "[[Egyptomania]]" rests on a similar concept: Westerners looked to ancient Egyptian motifs because ancient Egypt itself was intrinsically so alluring. The Egyptians used to consider their religion and their government somewhat eternal; they were supported in this thought by the enduring aspect of great public monuments which lasted forever and which appeared to resist the effects of time. Their legislators had judged that this moral impression would contribute to the stability of their empire.<ref>Reprinted in Jacques-Joseph Champollion-Figeac, Fourier et Napoleon: l'Egypte et les cent jours: memoires et documents inedits, Paris, Firmin Didot Freres, 1844, p. 170.
</ref>
The culture of [[Romanticism]] embraced every exotic locale, and its rise in the popular imagination coincided with [[Napoleon Bonaparte|Napoleon]]'s failed Egyptian campaign and the start of modern [[Egyptology]], beginning very much as a competitive enterprise between Britain and France. A modern "[[Battle of the Nile]]" could hardly fail to stir renewed curiosity about Egypt beyond the figure of [[Cleopatra VII|Cleopatra]]. At about the same moment, the [[tarot]] was brought to Europe's attention by the Frenchman [[Antoine Court de Gebelin]] as a purported key to the [[occult]] knowledge of Egypt. All this gave rise to "Egyptomania" and [[occult tarot]].

This legendary Egypt has been difficult, but not impossible to concile with the 1824 [[decryption]] of hieroglyphs by [[Jean-François Champollion]]. Inscriptions that a century earlier had been thought to hold occult wisdom, proved to be nothing more than royal names and titles, funerary formulae, boastful accounts of military campaigns, even though there remains an obscure part that might agree with the mystic vision. The explosion of new knowledge about actual Egyptian religion, wisdom and philosophy has been widely interpreted as exposing the mythical image of Egypt as an illusion that had been created by the Greek and Western imaginations.

[[File:Funeral of a Mummy on the Nile - Frederick Arthur Bridgman.jpg|thumb|[[Frederick Arthur Bridgman|Bridgman]]'s 1887 painting ''[[Funeral of a Mummy on the Nile]]'', an example of [[orientalism]] in art]]
In art, the development of [[Orientalism]] and the increased possibility of travel produced a large number of depictions, of varying degrees of accuracy. By the late 19th-century, exotic and carefully studied or researched decor was often dominant in depictions of both landscape and human figures, whether ancient or modern.<ref>Thompson, Jason, ''Wonderful Things: A History of Egyptology 1: From Antiquity to 1881'', 255, 2015, The American University in Cairo Press, ((ISBN|9774165993)), 9789774165993, [https://books.google.com/books?id=rd-yCAAAQBAJ&pg=PA255 google books]; Tromans, Nicholas, and others, ''The Lure of the East, British Orientalist Painting'', 2008, [[Tate Gallery|Tate Publishing]], ((ISBN|9781854377333))</ref> 
 
On the most popular 19th-century level, all of ancient Egypt was reduced in the European imagination to the [[Nile]], the [[Egyptian pyramids|Pyramids]] and [[Sphinx|the Great Sphinx]] in a setting of sand, characterized on a more literary level in the English poet [[Percy Bysshe Shelley|Shelley]]'s "[[Ozymandias]]" (1818):

((blockquote|<poem>I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed:
And on the pedestal these words appear:
'My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!'
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.</poem>))
[[Image:JMartin7thPlague1828.jpg|thumb|280px|[[John Martin (painter)|John Martin]]'s ''[[Plagues of Egypt|Seventh Plague of Egypt]]'' (1828) set the Biblical plague in [[Hellenistic]] [[Alexandria]].]]
[[Image:Egyptian Avenue Highgate Cemetery.jpg|thumb|left|150px|Entrance to Egyptian Avenue, [[Highgate Cemetery]]]]
[[Egyptian Revival architecture]] extended the repertory of classical design explored by the [[Neoclassicism|Neoclassical movement]] and widened the decorative vocabulary that could be drawn upon.

The well-known Egyptian cult of the dead inspired the Egyptian Revival themes first employed in [[Highgate Cemetery]], near London, which was opened in 1839 by a company founded by the designer-entrepreneur Stephen Geary (1797–1854); its architectural features, which included a 'Gothic Catacomb' as well as an 'Egyptian Avenue', were brought to public attention once more by [[James Stevens Curl]].<ref>James Stevens Curl, ''The Victorian Celebration of Death'', 1972, pp. 86-102.</ref>

Ancient Egypt provided the setting for the Italian composer [[Giuseppe Verdi|Verdi]]'s stately 1871 [[opera]] ''[[Aida]]'', commissioned by the Europeanized [[Khedive]] for premiere in [[Cairo]].

In 1895, the [[Poland|Polish]] writer [[Bolesław Prus]] completed his only [[historical novel]], ''[[Pharaoh (Prus novel)|Pharaoh]]'', a study of mechanisms of [[political power]], described against the backdrop of the fall of the [[Twentieth Dynasty]] and the [[New Kingdom of Egypt|New Kingdom]]. It is, at the same time, one of the most compelling literary reconstructions of life at every level of ancient Egyptian society. In 1966, the novel was adapted as a Polish [[Pharaoh (film)|feature film]].<ref>[[Christopher Kasparek]], "Prus' ''[[Pharaoh (Prus novel)|Pharaoh]]'': the Creation of a Historical Novel", ''[[The Polish Review]]'', 1994, no. 1, pp. 45-50.</ref>

== 20th century ==
[[File:Nofretete Neues Museum.jpg|thumb|upright|''[[Nefertiti]]''. [[Nefertiti bust|Bust]] in [[Egyptian Museum of Berlin|Egyptian Museum, Berlin]].]]
In 1912, the discovery of a well-preserved painted limestone [[Nefertiti bust|bust of Nefertiti]], unearthed from its sculptor's workshop near the royal city of [[Amarna]], raised interest in ancient Egypt. The bust, now in [[Egyptian Museum of Berlin|Berlin's Egyptian Museum]], became well known through the medium of photography and is one of the most copied works of ancient Egyptian sculpture, with Nefertiti's strong-featured profile a notable influence on new ideals of feminine beauty in the 20th century.<ref>((Cite news|url=http://world.time.com/2012/12/06/the-bust-of-nefertiti-remembering-ancient-egypts-famous-queen/|title=The Bust of Nefertiti: Remembering Ancient Egypt's Famous Queen|last=Tharoor|first=Ishaan|newspaper=Time|issn=0040-781X|access-date=8 June 2021))</ref>
[[Image:Tutmask.jpg|thumb|upright|left|[[Tutankhamun]]'s mask. [[Egyptian Museum]], [[Cairo]]]]

The 1922 discovery of the undamaged tomb of Pharaoh [[Tutankhamun]] revived public interest in ancient Egypt, the tomb's treasures influencing popular culture, including fashion and [[Art Deco|Art-Deco]] design.((sfn|Winstone|2006|p=2)) The discovery also led to the idea, promoted by the [[Tabloid journalism|popular press]], of a '[[Curse of the Pharaohs|curse]]' that allegedly led to the premature death of those who entered the tomb. These claims were dismissed by [[Howard Carter]] who called them 'foolish superstition' and [[Wiktionary:tommyrot|'tommy-rot']].((sfn|Winstone|2006|p=326)) A more recent study by [[James Randi]] showed that expedition members who entered the tomb died at an average age of 73, slightly above the life expectancy of their social class at that time.<ref>((cite web|last=Lynch |first=Patrick |url=https://historycollection.com/curse-pharaohs-exposed/|title=The Curse of the Pharaohs Exposed|website=Historycollection.com|date=24 January 2017|access-date=8 June 2021))</ref> The idea of a "mummy's curse" inspired films such as ''[[The Mummy (1932 film)|The Mummy]]'', starring [[Boris Karloff]], which popularized the idea of ancient Egyptian mummies reanimating as [[monster]]s. [[Agatha Christie]]'s 1924 short story ''[[Poirot Investigates#The Adventure of the Egyptian Tomb|The Adventure of the Egyptian Tomb]]'' also refers to mysterious deaths during an excavation.<ref>((cite book|last=Christie|first=Agatha|title=Poirot Investigates |year=1924|publisher=HarperCollins Publishers Limited |isbn=978-0008164836))</ref>

[[Cinema of the United States|Hollywood]]'s depiction of [[ancient Egypt]] is a major contributor to the fantasy Egypt of modern culture. The cinematic spectacle of Egypt climaxed in sequences of [[Cecil B. deMille]]'s ''[[The Ten Commandments (1956 film)|The Ten Commandments]]'' (1956) and in [[Jeanne Crain]]'s [[Nefertiti]] in the 1961 Italian [[Cinecittà]] production of ''Queen of the Nile'', and collapsed with the failure of [[Richard Burton]] and [[Elizabeth Taylor]] in ''[[Cleopatra (1963 film)|Cleopatra]]'' (1963).

In 1978, Tutankhamun was commemorated in the song, "[[King Tut (song)|King Tut]]", by American comedian [[Steve Martin]], and in 1986 the poses in some Egyptian mural art were evoked in the song "[[Walk Like an Egyptian]]" by [[The Bangles]].

The [[Metropolitan Museum of Art]] resurrected the [[Temple of Dendur]] within its own quarters in 1978. In 1989, [[Louvre|the Louvre]] raised its own glass pyramid, and in 1993 [[Las Vegas Valley|Las Vegas]]'s [[Luxor Las Vegas|Luxor Hotel]] opened with its replica tomb of Tutankhamun.

A best-selling series of novels by French author and Egyptologist [[Christian Jacq]] was inspired by the life of Pharaoh [[Ramses II]] ("the Great").

== 21st century ==
[[HBO]]'s miniseries ''[[Rome (TV series)|Rome]]'' features several episodes set in Greco-Roman Egypt. The faithful reconstructions of an ''ancient Egyptian'' court (as opposed to the historically correct ''Hellenistic'' culture) were built in Rome's [[Cinecittà]] studios. The series depicts dramatized accounts of the relations among [[Cleopatra]], [[Ptolemy XIII]], [[Julius Caesar]] and [[Mark Antony]]. Cleopatra is played by [[Lyndsey Marshal]], and much of the second season is dedicated to events building up to the famous suicides of Cleopatra and her lover Mark Antony in 30 BCE.

''[[La Reine Soleil]]'', a 2007 animated film by Philippe Leclerc, features Akhenaten, Tutankhaten (later Tutankhamun), Akhesa (Ankhesenepaten, later Ankhesenamun), Nefertiti, and Horemheb in a complex struggle pitting the priests of Amun against Akhenaten's intolerant monotheism.

American singer [[Katy Perry]] released in 2013 the song ''[[Dark Horse (Katy Perry song)|Dark Horse]]'' and the plot of the music video for the song was set it [[Memphis, Egypt|ancient Memphis]]. The video features numerous ancient Egyptian symbols and many of the things featured in it are historically accurate even though no [[Egyptology|egyptologists]] were consulted during its production. The [[turquoise]] makeup worn by Katy Perry in the video would have been used in Ancient Egypt, the dress she wore is similar in style to the Graeco-Roman clothes worn by nobles such as [[Cleopatra]], the video features the [[Eye of Horus]] a powerful symbol in Ancient Egypt and the paintings behind the throne that Katy Perry sits on appear to have been made based on real examples from Ancient Egyptian tombs.<ref>((cite magazine |last1=Rothan |first1=Lily |title=There's a Very Good Reason Why Katy Perry's "Dark Horse" Video Is Set in Ancient Egypt |url=http://time.com/9233/katy-perry-dark-horse-egypt/ |access-date=9 September 2018 |magazine=Time))</ref>

The 2017 album, ''20s A Difficult Age'' by recording artist Marcus Orelias one of the songs is titled "Aset" an original spelling of the name "Isis". The music video directed by director Luis Montoya featured a [[hieroglyph]] of [[Isis]] in its [[title card]].<ref>((Citation |title=Marcus Orelias - 20s a Difficult Age Album Reviews, Songs & More ((!)) AllMusic |url=https://www.allmusic.com/album/20s-a-difficult-age-mw0003285131 |access-date=2023-03-24 |language=en))</ref>

== Notes ==
<references/>

==Bibliography==
*Assmann, Jan, ''Moses the Egyptian: The Memory of Egypt in Western Monotheism'', Cambridge, Massachusetts, [[Harvard University Press]], 1997, ((ISBN|0-674-58738-3)).
*[[James Henry Breasted|Breasted, James Henry]], ''A History of Egypt from the Earliest Times to the Persian Conquest'', with Illustrations and Maps, New York, [[Bantam Books]], 1967.
*Curl, James Stevens, ''The Egyptian Revival'', revised and enlarged edition, New York, Routledge, 2005, ((ISBN|0-415-36119-2)) (paperback), ((ISBN|0-415-36118-4)) (hardback).
*[[Herodotus]], ''[[The Histories of Herodotus|The Histories]]'', Newly translated and with an Introduction by [[Aubrey de Sélincourt]], [[Harmondsworth]], [[Penguin Books]], 1965. ((ISBN|9780140449082))
*((cite book|last=Winstone|first=H.V.F.|author-link=H. V. F. Winstone|title=Howard Carter and the discovery of the tomb of Tutankhamun |url=https://www.worldcat.org/oclc/828501310|publisher=Barzan, Manchester. |year=2006|isbn=1-905521-04-9|oclc=828501310 ))

==External links==
* [https://journals.ub.uni-heidelberg.de/index.php/aegyp Aegyptiaca - Journal of the History of Reception of Ancient Egypt]

((Ancient Egypt))

((DEFAULTSORT:Ancient Egypt In The Western Imagination))
[[Category:Ancient Egypt in the Western imagination| ]]
[[Category:Culture of Europe]]

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Module:Namespace detect/config (view source) (protected)
Module:Namespace detect/data (view source) (protected)
Module:Navbar (view source) (protected)
Module:Navbar/configuration (view source) (protected)
Module:Navbar/styles.css (view source) (protected)
Module:Navbox (view source) (template editor protected)
Module:Navbox/configuration (view source) (template editor protected)
Module:Navbox/styles.css (view source) (template editor protected)
Module:Pagetype (view source) (protected)
Module:Pagetype/config (view source) (protected)
Module:Pagetype/disambiguation (view source) (protected)
Module:Pagetype/setindex (view source) (protected)
Module:Pagetype/softredirect (view source) (protected)
Module:Portal (view source) (template editor protected)
Module:Portal-inline (view source) (template editor protected)
Module:Portal/images/a (view source) (template editor protected)
Module:SDcat (view source) (protected)
Module:String (view source) (protected)
Module:Unsubst (view source) (protected)
Module:Webarchive (view source) (template editor protected)
Module:Webarchive/data (view source) (template editor protected)
Module:Wikitext Parsing (view source) (protected)
Module:Yesno (view source) (protected)

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