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American Film Institute | External links | External links
American Film Institute on Internet Archive
AFI Los Angeles Film Festival – history and information (archived July 17, 2009)
Category:Arts organizations based in Los Angeles
Category:Cinema of Southern California
Category:Culture of Hollywood, Los Angeles
Category:Los Feliz, Los Angeles
Category:Organizations based in Los Angeles
Category:1967 establishments in California
Category:Educational organizations established in 1967
Category:FIAF-affiliated institutions
Category:Arts organizations established in 1967 |
American Film Institute | Table of Content | short description, Leadership, History, List of programs in brief, AFI Conservatory, Notable alumni, AFI Film Festivals, American Film Institute Festival, Red Carpet Premieres, AFI Docs, AFI programs, AFI Catalog of Feature Films, AFI Life Achievement Award, AFI Awards, AFI Maya Deren Award, AFI 100 Years... series, AFI Silver Theatre and Cultural Center, The AFI Directing Workshop for Women, AFI Directors Series, See also, References, External links |
Akira Kurosawa | Short description | was a Japanese filmmaker who directed 30 feature films in a career spanning six decades. He is widely regarded as one of the greatest and most influential filmmakers in the history of cinema. Kurosawa displayed a bold, dynamic style strongly influenced by Western cinema yet distinct from it. He was involved with all aspects of film production.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (1943). After the war, the critically acclaimed Drunken Angel (1948), in which Kurosawa cast the then little-known actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another fifteen films.
Rashomon (1950), which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, including (1952), Seven Samurai (1954), Throne of Blood (1957), The Hidden Fortress (1958), Yojimbo (1961), High and Low (1963) and Red Beard (1965). After the 1960s he became much less prolific; even so, his later work – including two of his final films, Kagemusha (1980) and Ran (1985) – continued to receive great acclaim.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media. Kurosawa told the critic Donald Richie: "I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can't people be happier together?" |
Akira Kurosawa | Biography | Biography |
Akira Kurosawa | Childhood to war years (1910–1945) | Childhood to war years (1910–1945) |
Akira Kurosawa | Childhood and youth (1910–1935) | Childhood and youth (1910–1935)
Kurosawa was born on March 23, 1910, in Ōimachi in the Ōmori district of Tokyo. His father Isamu (1864–1948), a member of a samurai family from Akita Prefecture, worked as the director of the Army's Physical Education Institute's lower secondary school, while his mother Shima (1870–1952) came from a merchant's family living in Osaka. Akira was the eighth and youngest child of the moderately wealthy family, with two of his siblings already grown up at the time of his birth and one deceased, leaving Kurosawa to grow up with three sisters and a brother.
In addition to promoting physical exercise, Isamu Kurosawa was open to Western traditions and considered theatre and motion pictures to have educational merit. He encouraged his children to watch films; young Akira viewed his first movies at the age of six. An important formative influence was his elementary school teacher Mr. Tachikawa, whose progressive educational practices ignited in his young pupil first a love of drawing and then an interest in education in general. During this time, Akira also studied calligraphy and Kendo swordsmanship.
Another major childhood influence was Heigo Kurosawa (1906–1933), Akira's older brother by four years. In the aftermath of the Great Kantō earthquake and the subsequent Kantō Massacre of 1923, Heigo took the thirteen-year-old Akira to view the devastation. When Akira wanted to look away from the corpses of humans and animals scattered everywhere, Heigo forbade him to do so, encouraging Akira instead to face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's later artistic career, as the director was seldom hesitant to confront unpleasant truths in his work.
Heigo was academically gifted, but soon after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family, preferring to concentrate on his interest in foreign literature. In the late 1920s, Heigo became a benshi (silent film narrator) for Tokyo theaters showing foreign films and quickly made a name for himself. Akira, who at this point planned to become a painter, moved in with him, and the two brothers became inseparable. With Heigo's guidance, Akira devoured not only films but also theater and circus performances, while exhibiting his paintings and working for the left-wing Proletarian Artists' League. However, he was never able to make a living with his art, and, as he began to perceive most of the proletarian movement as "putting unfulfilled political ideals directly onto the canvas", he lost his enthusiasm for painting.
With the increasing production of talking pictures in the early 1930s, film narrators like Heigo began to lose work, and Akira moved back in with his parents. In July 1933, Heigo died by suicide. Kurosawa has commented on the lasting sense of loss he felt at his brother's death and the chapter of Something Like an Autobiography that describes it—written nearly half a century after the event—is titled, "A Story I Don't Want to Tell". Only four months later, Kurosawa's eldest brother also died, leaving Akira, at age 23, the only one of the Kurosawa brothers still living, together with his three surviving sisters. |
Akira Kurosawa | Director in training (1935–1941) | Director in training (1935–1941)
In 1935, the new film studio Photo Chemical Laboratories, known as P.C.L. (which later became the major studio Toho), advertised for assistant directors. Although he had demonstrated no previous interest in film as a profession, Kurosawa submitted the required essay, which asked applicants to discuss the fundamental deficiencies of Japanese films and find ways to overcome them. His half-mocking view was that if the deficiencies were fundamental, there was no way to correct them. Kurosawa's essay earned him a call to take the follow-up exams, and director Kajirō Yamamoto, who was among the examiners, took a liking to Kurosawa and insisted that the studio hire him. The 25-year-old Kurosawa joined P.C.L. in February 1936.
During his five years as an assistant director, Kurosawa worked under numerous directors, but by far the most important figure in his development was Yamamoto. Of his 24 films as A.D., he worked on 17 under Yamamoto, many of them comedies featuring the popular actor Ken'ichi Enomoto, known as "Enoken". Yamamoto nurtured Kurosawa's talent, promoting him directly from third assistant director to chief assistant director after a year. Kurosawa's responsibilities increased, and he worked at tasks ranging from stage construction and film development to location scouting, script polishing, rehearsals, lighting, dubbing, editing, and second-unit directing. In the last of Kurosawa's films as an assistant director for Yamamoto, Horse (1941), Kurosawa took over most of the production, as his mentor was occupied with the shooting of another film.
Yamamoto advised Kurosawa that a good director needed to master screenwriting. Kurosawa soon realized that the potential earnings from his scripts were much higher than what he was paid as an assistant director. He later wrote or co-wrote all his films and frequently penned screenplays for other directors such as Satsuo Yamamoto's film, A Triumph of Wings (Tsubasa no gaika, 1942). This outside scriptwriting would serve Kurosawa as a lucrative sideline lasting well into the 1960s, long after he became famous. |
Akira Kurosawa | Wartime films and marriage (1942–1945) | Wartime films and marriage (1942–1945)
In the two years following the release of Horse in 1941, Kurosawa searched for a story he could use to launch his directing career. Towards the end of 1942, about a year after the Japanese attack on Pearl Harbor, novelist Tsuneo Tomita published his Musashi Miyamoto-inspired judo novel, Sanshiro Sugata, the advertisements for which intrigued Kurosawa. He bought the book on its publication day, devoured it in one sitting, and immediately asked Toho to secure the film rights. Kurosawa's initial instinct proved correct as, within a few days, three other major Japanese studios also offered to buy the rights. Toho prevailed, and Kurosawa began pre-production on his debut work as director.
Shooting of Sanshiro Sugata began on location in Yokohama in December 1942. Production proceeded smoothly, but getting the completed film past the censors was an entirely different matter. The censorship office considered the work to be objectionably "British-American" by the standards of wartime Japan, and it was only through the intervention of director Yasujirō Ozu, who championed the film, that Sanshiro Sugata was finally accepted for release on March 25, 1943. (Kurosawa had just turned 33.) The movie became both a critical and commercial success. Nevertheless, the censorship office would later decide to cut out some 18 minutes of footage, much of which is now considered lost.
He next turned to the subject of wartime female factory workers in The Most Beautiful, a propaganda film which he shot in a semi-documentary style in early 1944. To elicit realistic performances from his actresses, the director had them live in a real factory during the shoot, eat the factory food and call each other by their character names. He would use similar methods with his performers throughout his career.
thumb|right|Filming of The Men Who Tread on the Tiger's Tail, 1945
During production, the actress playing the leader of the factory workers, Yōko Yaguchi, was chosen by her colleagues to present their demands to the director. She and Kurosawa were constantly at odds, and it was through these arguments that the two paradoxically became close. They married on May 21, 1945, with Yaguchi two months pregnant (she never resumed her acting career), and the couple would remain together until her death in 1985. They had two children, both surviving Kurosawa : a son, Hisao, born December 20, 1945, who served as producer on some of his father's last projects, and Kazuko, a daughter, born April 29, 1954, who became a costume designer.
Shortly before his marriage, Kurosawa was pressured by the studio against his will to direct a sequel to his debut film. The often blatantly propagandistic Sanshiro Sugata Part II, which premiered in May 1945, is generally considered one of his weakest pictures.
Kurosawa decided to write the script for a film that would be both censor-friendly and less expensive to produce. The Men Who Tread on the Tiger's Tail, based on the Kabuki play Kanjinchō and starring the comedian Enoken, with whom Kurosawa had often worked during his assistant director days, was completed in September 1945. By this time, Japan had surrendered and the occupation of Japan had begun. The new American censors interpreted the values allegedly promoted in the picture as overly "feudal" and banned the work. It was not released until 1952, the year another Kurosawa film, , was also released. Ironically, while in production, the film had already been savaged by Japanese wartime censors as too Western and "democratic" (they particularly disliked the comic porter played by Enoken), so the movie most probably would not have seen the light of day even if the war had continued beyond its completion. |
Akira Kurosawa | Early postwar years to ''Red Beard'' (1946–1965) | Early postwar years to Red Beard (1946–1965) |
Akira Kurosawa | First postwar works (1946–1950) | First postwar works (1946–1950)
After the war, Kurosawa, influenced by the democratic ideals of the Occupation, sought to make films that would establish a new respect towards the individual and the self. The first such film, No Regrets for Our Youth (1946), inspired by both the 1933 Takigawa incident and the Hotsumi Ozaki wartime spy case, criticized Japan's prewar regime for its political oppression. Atypically for the director, the heroic central character is a woman, Yukie (Setsuko Hara), who, born into upper-middle-class privilege, comes to question her values in a time of political crisis. The original script had to be extensively rewritten and, because of its controversial theme and gender of its protagonist, the completed work divided critics. Nevertheless, it managed to win the approval of audiences, who turned variations on the film's title into a postwar catchphrase.; ; ;
His next film, One Wonderful Sunday, premiered in July 1947 to mixed reviews. It is a relatively uncomplicated and sentimental love story dealing with an impoverished postwar couple trying to enjoy, within the devastation of postwar Tokyo, their one weekly day off. The movie bears the influence of Frank Capra, D. W. Griffith and F. W. Murnau, each of whom was among Kurosawa's favorite directors.; Another film released in 1947 with Kurosawa's involvement was the action-adventure thriller, Snow Trail, directed by Senkichi Taniguchi from Kurosawa's screenplay. It marked the debut of the intense young actor Toshiro Mifune. It was Kurosawa who, with his mentor Yamamoto, had intervened to persuade Toho to sign Mifune, during an audition in which the young man greatly impressed Kurosawa, but managed to alienate most of the other judges.
thumb|left|upright|Takashi Shimura played a dedicated doctor helping an ailing gangster in Drunken Angel. Shimura performed in over 20 of Kurosawa's films.|alt=Publicity still of Shimura cleanly shaven and wearing glasses.
Drunken Angel is often considered the director's first major work. Although the script, like all of Kurosawa's occupation-era works, had to go through rewrites due to American censorship, Kurosawa felt that this was the first film in which he was able to express himself freely. A gritty story of a doctor who tries to save a gangster (yakuza) with tuberculosis, it was also the first time that Kurosawa directed Mifune, who went on to play major roles in all but one of the director's next 16 films (the exception being ). While Mifune was not cast as the protagonist in Drunken Angel, his explosive performance as the gangster so dominates the drama that he shifted the focus from the title character, the alcoholic doctor played by Takashi Shimura, who had already appeared in several Kurosawa movies. However, Kurosawa did not want to smother the young actor's immense vitality, and Mifune's rebellious character electrified audiences in much the way that Marlon Brando's defiant stance would startle American film audiences a few years later. The film premiered in Tokyo in April 1948 to rave reviews and was chosen by the prestigious Kinema Junpo critics poll as the best film of its year, the first of three Kurosawa movies to be so honored.
After the completion of Drunken Angel, Toho became embroiled in a months-long labor strike, in which the Toho union occupied the grounds of the studio. When Toho management ceased paying workers' salaries, Kurosawa formed a touring acting troupe to raise funds, directing Anton Chekhov's The Proposal, and an adaptation of Drunken Angel starring Mifune and Shimura. Disillusioned by the division and violence between employees at Toho, the underhanded tactics of Toho leadership, and the breaking of the occupation by police and military standoff, Kurosawa left Toho, later recalling "I had come to understand that the studio I had thought was my home actually belonged to strangers".
Kurosawa, with producer Sōjirō Motoki and fellow directors and friends Kajiro Yamamoto, Mikio Naruse and Senkichi Taniguchi, formed a new independent production unit called Film Art Association (Eiga Geijutsu Kyōkai). For this organization's debut work, and first film for Daiei studios, Kurosawa turned to a contemporary play by Kazuo Kikuta and, together with Taniguchi, adapted it for the screen. The Quiet Duel starred Toshiro Mifune as an idealistic young doctor struggling with syphilis, a deliberate attempt by Kurosawa to break the actor away from being typecast as gangsters. Released in March 1949, it was a box office success, but is generally considered one of the director's lesser achievements.
thumb|upright=0.8|Toshiro Mifune, a frequent lead in Kurosawa's films, in 1954
His second film of 1949, also produced by Film Art Association and released by Shintoho, was Stray Dog. It is a detective movie (perhaps the first important Japanese film in that genre) that explores the mood of Japan during its painful postwar recovery through the story of a young detective, played by Mifune, and his fixation on the recovery of his handgun, which was stolen by a penniless war veteran who proceeds to use it to rob and murder. Adapted from an unpublished novel by Kurosawa in the style of a favorite writer of his, Georges Simenon, it was the director's first collaboration with screenwriter Ryuzo Kikushima, who would later help to script eight other Kurosawa films. A famous, virtually wordless sequence, lasting over eight minutes, shows the detective, disguised as an impoverished veteran, wandering the streets in search of the gun thief; it employed actual documentary footage of war-ravaged Tokyo neighborhoods shot by Kurosawa's friend, Ishirō Honda, the future director of Godzilla. The film is considered a precursor to the contemporary police procedural and buddy cop film genres.
Scandal, released by Shochiku in April 1950, was inspired by the director's personal experiences with (and anger towards) Japanese yellow journalism. The work is an ambitious mixture of courtroom drama and social problem film about free speech and personal responsibility, but even Kurosawa regarded the finished product as dramatically unfocused and unsatisfactory, and almost all critics agree.;
; ; However, it would be Kurosawa's second film of 1950 that would ultimately win him (and Japanese cinema) a whole new international audience. |
Akira Kurosawa | International recognition (1950–1958) | International recognition (1950–1958)
After finishing Scandal, Kurosawa was approached by Daiei studios to make another film for them. Kurosawa picked a script by an aspiring young screenwriter, Shinobu Hashimoto, who would eventually work on nine of his films. Their first joint effort was based on Ryūnosuke Akutagawa's experimental short story "In a Grove", which recounts the murder of a samurai and the rape of his wife from various different and conflicting points of view. Kurosawa saw potential in the script and, with Hashimoto's help, polished and expanded it and then pitched it to Daiei, who were happy to accept the project due to its low budget.
The shooting of Rashomon began on July 7, 1950, and, after extensive location work in the primeval forest of Nara, wrapped on August 17. Just one week was spent in hurried post-production, hampered by a studio fire, and the finished film premiered at Tokyo's Imperial Theatre on August 25, expanding nationwide the following day. The movie was met by lukewarm reviews, with many critics puzzled by its unique theme and treatment, but it was nevertheless a moderate financial success for Daiei.
thumb|upright|Fyodor Dostoevsky wrote The Idiot, which Kurosawa adapted into a Japanese film of the same name in 1951. Perov's portrait from the 1800s
Kurosawa's next film, for Shochiku, was The Idiot, an adaptation of the novel by the director's favorite writer, Fyodor Dostoevsky. The story is relocated from Russia to Hokkaido, but otherwise adheres closely to the original, a fact seen by many critics as detrimental to the work. A studio-mandated edit shortened it from Kurosawa's original cut of 265 minutes to just 166 minutes, making the resulting narrative exceedingly difficult to follow. The severely edited film version is widely considered to be one of the director's least successful works and the original full-length version no longer exists. Contemporary reviews of the much shortened edited version were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, Setsuko Hara.
Meanwhile, unbeknownst to Kurosawa, Rashomon had been entered in the Venice Film Festival, due to the efforts of Giuliana Stramigioli, a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951, Rashomon was awarded the festival's highest prize, the Golden Lion, shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition.
After Daiei briefly exhibited a subtitled print of the film in Los Angeles, RKO purchased distribution rights to Rashomon in the United States. The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, Wife! Be Like a Rose!, in 1937: a critical and box-office flop. However, Rashomons commercial run, greatly helped by strong reviews from critics and even the columnist Ed Sullivan, earned $35,000 in its first three weeks at a single New York theatre, an almost unheard-of sum at the time.
This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. By the end of 1952 Rashomon was released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi (The Life of Oharu, Ugetsu, Sansho the Bailiff) and, somewhat later, Yasujirō Ozu (Tokyo Story, An Autumn Afternoon)—artists highly respected in Japan but, before this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike.
His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, . Based on Leo Tolstoy's The Death of Ivan Ilyich, the movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death. For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write twelve Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht, to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the filmmakers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. opened in October 1952 to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success. It remains the most acclaimed of all the artist's films set in the modern era.
In December 1952, Kurosawa took his screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, Seven Samurai. The ensemble work was Kurosawa's first proper samurai film, the genre for which he would become most famous. The simple story, about a poor farming village in Sengoku period Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast (largely consisting of veterans of previous Kurosawa productions) and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time.
Three months were spent in pre-production and a month in rehearsals. Shooting took up 148 days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems. The film finally opened in April 1954, half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made. (However, by Hollywood standards, it was a quite modestly budgeted production, even for that time.) The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could (and did) market internationally—though with extensive edits. Over time—and with the theatrical and home video releases of the uncut version—its reputation has steadily grown. It is now regarded by some commentators as the greatest Japanese film ever made, and in 1999 a poll of Japanese film critics also voted it the best Japanese film ever made. In the most recent (2022) version of the widely respected British Film Institute (BFI) Sight & Sound "Greatest Films of All Time" poll, Seven Samurai placed 20th among all films from all countries in the critics' and tied at 14th in the directors' polls, receiving a place in the Top Ten lists of 48 critics and 22 directors.
In 1954, nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular incident in March had exposed a Japanese fishing boat to nuclear fallout, with disastrous results. It is in this anxious atmosphere that Kurosawa's next film, I Live in Fear, was conceived. The story concerned an elderly factory owner (Toshiro Mifune) so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator, and close friend Fumio Hayasaka died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, Masaru Sato, who would go on to score all of Kurosawa's next eight films. I Live in Fear opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate.
Kurosawa's next project, Throne of Blood, an adaptation of William Shakespeare's Macbeth—set, like Seven Samurai, in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, Isuzu Yamada, to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, Throne of Blood, regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations.
Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths, based on a play by Maxim Gorky, taking place in May and June 1957. In contrast to the Shakespearean sweep of Throne of Blood, The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late Edo period—unlike his earlier The Idiot, was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works.
Kurosawa's three next movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had. The mood of the director's work had been growing increasingly pessimistic and dark even as Japan entered a boom period of high-speed growth and rising standards of living. Out of step with the prevailing mood of the era, Kurosawa's films questioned the possibility of redemption through personal responsibility, particularly in Throne of Blood and The Lower Depths. He recognized this and deliberately aimed for a more light-hearted and entertaining film for his next production while switching to the new widescreen format that had been gaining popularity in Japan. The resulting film, The Hidden Fortress, is an action-adventure comedy-drama about a medieval princess, her loyal general, and two peasants who all need to travel through enemy lines in order to reach their home region. Released in December 1958, The Hidden Fortress became an enormous box-office success in Japan and was warmly received by critics both in Japan and abroad. Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on George Lucas's 1977 space opera, Star Wars. |
Akira Kurosawa | Birth of a company and ''Red Beard'' (1959–1965) | Birth of a company and Red Beard (1959–1965)
Starting with Rashomon, Kurosawa's productions had become increasingly large in scope and so had the director's budgets. Toho, concerned about this development, suggested that he might help finance his own works, therefore making the studio's potential losses smaller, while in turn allowing himself more artistic freedom as co-producer. Kurosawa agreed, and the Kurosawa Production Company was established in April 1959, with Toho as the majority shareholder.
Despite risking his own money, Kurosawa chose a story that was more directly critical of the Japanese business and political elites than any previous work. The Bad Sleep Well, based on a script by Kurosawa's nephew Mike Inoue, is a revenge drama about a young man who is able to infiltrate the hierarchy of a corrupt Japanese company with the intention of exposing the men responsible for his father's death. Its theme proved topical: while the film was in production, the massive Anpo protests were held against the new U.S.–Japan Security treaty, which was seen by many Japanese, particularly the young, as threatening the country's democracy by giving too much power to corporations and politicians. The film opened in September 1960 to positive critical reaction and modest box office success. The 25-minute opening sequence depicting a corporate wedding reception is widely regarded as one of Kurosawa's most skillfully executed set pieces, but the remainder of the film is often perceived as disappointing by comparison. The movie has also been criticized for employing the conventional Kurosawan hero to combat a social evil that cannot be resolved through the actions of individuals, however courageous or cunning.
Yojimbo (The Bodyguard), Kurosawa Production's second film, centers on a masterless samurai, Sanjuro, who strolls into a 19th-century town ruled by two opposing violent factions and provokes them into destroying each other. The director used this work to play with many genre conventions, particularly the Western, while at the same time offering an unprecedentedly (for the Japanese screen) graphic portrayal of violence. Some commentators have seen the Sanjuro character in this film as a fantasy figure who magically reverses the historical triumph of the corrupt merchant class over the samurai class. Featuring Tatsuya Nakadai in his first major role in a Kurosawa movie, and with innovative photography by Kazuo Miyagawa (who shot Rashomon) and Takao Saito, the film premiered in April 1961 and was a critically and commercially successful venture, earning more than any previous Kurosawa film. The movie and its blackly comic tone were also widely imitated abroad. Sergio Leone's A Fistful of Dollars was a virtual (unauthorized) scene-by-scene remake with Toho filing a lawsuit on Kurosawa's behalf and prevailing.
thumb|upright|left|Kurosawa based his 1963 crime film High and Low on Ed McBain's novel King's Ransom. Image of McBain c. 1953
Following the success of Yojimbo, Kurosawa found himself under pressure from Toho to create a sequel. Kurosawa turned to a script he had written before Yojimbo, reworking it to include the hero of his previous film. Sanjuro was the first of three Kurosawa films to be adapted from the work of the writer Shūgorō Yamamoto (the others would be Red Beard and Dodeskaden). It is lighter in tone and closer to a conventional period film than Yojimbo, though its story of a power struggle within a samurai clan is portrayed with strongly comic undertones. The film opened on January 1, 1962, quickly surpassing Yojimbos box office success and garnering positive reviews.
Kurosawa had meanwhile instructed Toho to purchase the film rights to King's Ransom, a novel about a kidnapping written by American author and screenwriter Evan Hunter, under his pseudonym of Ed McBain, as one of his 87th Precinct series of crime books. The director intended to create a work condemning kidnapping, which he considered one of the very worst crimes. The suspense film, titled High and Low, was shot during the latter half of 1962 and released in March 1963. It broke Kurosawa's box office record (the third film in a row to do so), became the highest grossing Japanese film of the year and won glowing reviews. However, his triumph was somewhat tarnished when, ironically, the film was blamed for a wave of kidnappings which occurred in Japan about this time (he himself received kidnapping threats directed at his young daughter, Kazuko). High and Low is considered by many commentators to be among the director's strongest works.
Kurosawa quickly moved on to his next project, Red Beard. Based on a short story collection by Shūgorō Yamamoto and incorporating elements from Dostoevsky's novel The Insulted and Injured, it is a period film, set in a mid-nineteenth century clinic for the poor, in which Kurosawa's humanist themes receive perhaps their fullest statement. A conceited and materialistic, foreign-trained young doctor, Yasumoto, is forced to become an intern at the clinic under the stern tutelage of Doctor Niide, known as "Akahige" ("Red Beard"), played by Mifune. Although he resists Red Beard initially, Yasumoto comes to admire his wisdom and courage and to perceive the patients at the clinic, whom he at first despised, as worthy of compassion and dignity.
Yūzō Kayama, who plays Yasumoto, was an extremely popular film and music star at the time, particularly for his "Young Guy" (Wakadaishō) series of musical comedies, so signing him to appear in the film virtually guaranteed Kurosawa strong box-office. The shoot, the filmmaker's longest ever, lasted well over a year (after five months of pre-production) and wrapped in spring 1965, leaving the director, his crew and his actors exhausted. Red Beard premiered in April 1965, becoming the year's highest-grossing Japanese production and the third (and last) Kurosawa film to top the prestigious Kinema Jumpo yearly critics poll. It remains one of Kurosawa's best-known and most-loved works in his native country. Outside Japan, critics have been much more divided. Most commentators concede its technical merits and some praise it as among Kurosawa's best, while others insist that it lacks complexity and genuine narrative power, with still others claiming that it represents a retreat from the artist's previous commitment to social and political change.
The film marked something of an end of an era for its creator. The director himself recognized this at the time of its release, telling critic Donald Richie that a cycle of some kind had just come to an end and that his future films and production methods would be different. His prediction proved quite accurate. Beginning in the late 1950s, television began increasingly to dominate the leisure time of the formerly large and loyal Japanese cinema audience. And as film company revenues dropped, so did their appetite for risk—particularly the risk represented by Kurosawa's costly production methods.
Red Beard also marked the midway point, chronologically, in the artist's career. During his previous twenty-nine years in the film industry (which includes his five years as assistant director), he had directed twenty-three films, while during the remaining twenty-eight years, for many complex reasons, he would complete only seven more. Also, for reasons never adequately explained, Red Beard would be his final film starring Toshiro Mifune. Yū Fujiki, an actor who worked on The Lower Depths, observed, regarding the closeness of the two men on the set, "Mr. Kurosawa's heart was in Mr. Mifune's body." Donald Richie has described the rapport between them as a unique "symbiosis". |
Akira Kurosawa | Hollywood ambitions to last films (1966–1998) | Hollywood ambitions to last films (1966–1998) |
Akira Kurosawa | Hollywood detour (1966–1968) | Hollywood detour (1966–1968)
When Kurosawa's exclusive contract with Toho came to an end in 1966, the 56-year-old director was seriously contemplating change. Observing the troubled state of the domestic film industry and having already received dozens of offers from abroad, the idea of working outside Japan appealed to him as never before.
For his first foreign project, Kurosawa chose a story based on a Life magazine article. The Embassy Pictures action thriller, to be filmed in English and called simply Runaway Train, would have been his first in color. But the language barrier proved a major problem, and the English version of the screenplay was not even finished by the time filming was to begin in autumn 1966. The shoot, which required snow, was moved to autumn 1967, then canceled in 1968. Almost two decades later, another foreign director working in Hollywood, Andrei Konchalovsky, finally made Runaway Train (1985), though from a new script loosely based on Kurosawa's.
The director meanwhile had become involved in a much more ambitious Hollywood project. Tora! Tora! Tora!, produced by 20th Century Fox and Kurosawa Production, would be a portrayal of the Japanese attack on Pearl Harbor from both the American and the Japanese points of view, with Kurosawa helming the Japanese half and an Anglophonic film-maker directing the American half. He spent several months working on the script with Ryuzo Kikushima and Hideo Oguni, but very soon the project began to unravel. The director of the American sequences turned out not to be David Lean, as originally planned, but American Richard Fleischer. The budget was also cut, and the screen time allocated for the Japanese segment would now be no longer than 90 minutes—a major problem, considering that Kurosawa's script ran over four hours. After numerous revisions with the direct involvement of Darryl Zanuck, a more or less finalized cut screenplay was agreed upon in May 1968.
Shooting began in early December, but Kurosawa would last only a little over three weeks as director. He struggled to work with an unfamiliar crew and the requirements of a Hollywood production, while his working methods puzzled his American producers, who ultimately concluded that the director must be mentally ill. Kurosawa was examined at Kyoto University Hospital by a neuropsychologist, Dr. Murakami, whose diagnosis was forwarded to Darryl Zanuck and Richard Zanuck at Fox studios indicating a diagnosis of neurasthenia stating that, "He is suffering from disturbance of sleep, agitated with feelings of anxiety and in manic excitement caused by the above mentioned illness. It is necessary for him to have rest and medical treatment for more than two months."Hiroshi Tasogawa. All the Emperor's Men, Hardcover: 337 pp Publisher: Applause; 1 edition (2012). . p. 255. On Christmas Eve 1968, the Americans announced that Kurosawa had left the production due to "fatigue", effectively firing him. He was ultimately replaced, for the film's Japanese sequences, with two directors, Kinji Fukasaku and Toshio Masuda.
Tora! Tora! Tora!, finally released to unenthusiastic reviews in September 1970, was, as Donald Richie put it, an "almost unmitigated tragedy" in Kurosawa's career. He had spent years of his life on a logistically nightmarish project to which he ultimately did not contribute a foot of film shot by himself. (He had his name removed from the credits, though the script used for the Japanese half was still his and his co-writers'.) He became estranged from his longtime collaborator, writer Ryuzo Kikushima, and never worked with him again. The project had inadvertently exposed corruption in his own production company (a situation reminiscent of his own movie, The Bad Sleep Well). His very sanity had been called into question. Worst of all, the Japanese film industry—and perhaps Kurosawa himself—began to suspect that he would never make another film. |
Akira Kurosawa | A difficult decade (1969–1977) | A difficult decade (1969–1977)
Knowing that his reputation was at stake following the much publicised Tora! Tora! Tora! debacle, Kurosawa moved quickly to a new project to prove he was still viable. To his aid came friends and famed directors Keisuke Kinoshita, Masaki Kobayashi and Kon Ichikawa, who together with Kurosawa established in July 1969 a production company called the Club of the Four Knights (Yonki no kai). Although the plan was for the four directors to create a film each, it has been suggested that the real motivation for the other three directors was to make it easier for Kurosawa to successfully complete a film and therefore find his way back into the business.
The first project proposed and worked on was a period film to be called Dora-heita, but when this was deemed too expensive, attention shifted to Dodesukaden, an adaptation of yet another Shūgorō Yamamoto work, again about the poor and destitute. The film was shot quickly (by Kurosawa's standards) in about nine weeks, with Kurosawa determined to show he was still capable of working quickly and efficiently within a limited budget. For his first work in color, the dynamic editing and complex compositions of his earlier pictures were set aside, with the artist focusing on the creation of a bold, almost surreal palette of primary colors, in order to reveal the toxic environment in which the characters live. It was released in Japan in October 1970, but though a minor critical success, it was greeted with audience indifference. The picture lost money and caused the Club of the Four Knights to dissolve. Initial reception abroad was somewhat more favorable, but Dodesukaden has since been typically considered an interesting experiment not comparable to the director's best work.
After struggling through the production of Dodesukaden, Kurosawa turned to television work the following year for the only time in his career with Song of the Horse, a documentary about thoroughbred race horses. It featured a voice-over narrated by a fictional man and a child (voiced by the same actors as the beggar and his son in Dodesukaden). It is the only documentary in Kurosawa's filmography; the small crew included his frequent collaborator Masaru Sato, who composed the music. Song of the Horse is also unique in Kurosawa's oeuvre in that it includes an editor's credit, suggesting that it is the only Kurosawa film that he did not cut himself.
Unable to secure funding for further work and allegedly having health problems, Kurosawa apparently reached the breaking point: on December 22, 1971, he slit his wrists and throat multiple times. The suicide attempt proved unsuccessful and the director's health recovered fairly quickly, with Kurosawa now taking refuge in domestic life, uncertain if he would ever direct another film.
In early 1973, the Soviet studio Mosfilm approached the film-maker to ask if he would be interested in working with them. Kurosawa proposed an adaptation of Russian explorer Vladimir Arsenyev's autobiographical work Dersu Uzala. The book, about a Goldi hunter who lives in harmony with nature until destroyed by encroaching civilization, was one that he had wanted to make since the 1930s. In December 1973, the 63-year-old Kurosawa set off for the Soviet Union with four of his closest aides, beginning a year-and-a-half stay in the country. Shooting began in May 1974 in Siberia, with filming in exceedingly harsh natural conditions proving very difficult and demanding. The picture wrapped in April 1975, with a thoroughly exhausted and homesick Kurosawa returning to Japan and his family in June. Dersu Uzala had its world premiere in Japan on August 2, 1975, and did well at the box office. While critical reception in Japan was muted, the film was better reviewed abroad, winning the Golden Prize at the 9th Moscow International Film Festival, as well as an Academy Award for Best Foreign Language Film. Today, critics remain divided over the film: some see it as an example of Kurosawa's alleged artistic decline, while others count it among his finest works.
Although proposals for television projects were submitted to him, he had no interest in working outside the film world. Nevertheless, the hard-drinking director did agree to appear in a series of television ads for Suntory whiskey, which aired in 1976. While fearing that he might never be able to make another film, the director nevertheless continued working on various projects, writing scripts and creating detailed illustrations, intending to leave behind a visual record of his plans in case he would never be able to film his stories. |
Akira Kurosawa | Two epics (1978–1986) | Two epics (1978–1986)
In 1977, George Lucas released Star Wars, a wildly successful science fiction film influenced by Kurosawa's The Hidden Fortress. Lucas, like many other New Hollywood directors, revered Kurosawa and considered him a role model and was shocked to discover that the Japanese film-maker was unable to secure financing for any new work. The two met in San Francisco in July 1978 to discuss the project Kurosawa considered most financially viable: , the epic story of a thief hired as the double of a medieval Japanese lord of a great clan. Lucas, enthralled by the screenplay and Kurosawa's illustrations, leveraged his influence over 20th Century Fox to coerce the studio that had fired Kurosawa just ten years earlier to produce , then recruited fellow fan Francis Ford Coppola as co-producer.
Production began the following April, with Kurosawa in high spirits. Shooting lasted from June 1979 through March 1980 and was plagued with problems, not the least of which was the firing of the original lead actor, Shintaro Katsu—known for portraying the popular character Zatoichi—due to an incident in which the actor insisted, against the director's wishes, on videotaping his own performance. (He was replaced by Tatsuya Nakadai, in his first of two consecutive leading roles in a Kurosawa movie.) The film was completed only a few weeks behind schedule and opened in Tokyo in April 1980. It quickly became a massive hit in Japan. The film was also a critical and box office success abroad, winning the coveted at the 1980 Cannes Film Festival in May, though some critics, then and now, have faulted the film for its alleged coldness. Kurosawa spent much of the rest of the year in Europe and America promoting , collecting awards and accolades and exhibiting as art the drawings he had made to serve as storyboards for the film.
thumb|Sidney Lumet (pictured) successfully requested that Kurosawa be nominated as Best Director for his film at the 58th Academy Awards; the award was won by Sydney Pollack.
The international success of allowed Kurosawa to proceed with his next project, , another epic in a similar vein. The script, partly based on Shakespeare's King Lear, depicted a ruthless, bloodthirsty daimyō (warlord), played by Tatsuya Nakadai, who, after foolishly banishing his one loyal son, surrenders his kingdom to his other two sons, who then betray him, thus plunging the entire kingdom into war. As Japanese studios still felt wary about producing another film that would rank among the most expensive ever made in the country, international help was again needed. This time it came from French producer Serge Silberman, who had produced Luis Buñuel's final movies. Filming did not begin until December 1983 and lasted more than a year.
In January 1985, production of was halted as Kurosawa's 64-year-old wife Yōko fell ill. She died on February 1. Kurosawa returned to finish his film and premiered at the Tokyo Film Festival on May 31, with a wide release the next day. The film was a moderate financial success in Japan, but a larger one abroad and, as he had done with , Kurosawa embarked on a trip to Europe and America, where he attended the film's premieres in September and October.
won several awards in Japan, but was not quite as honored there as many of the director's best films of the 1950s and 1960s had been. The film world was surprised, however, when Japan passed over the selection of in favor of another film as its official entry to compete for an Oscar nomination in the Best Foreign Film category, which was ultimately rejected for competition at the 58th Academy Awards. Both the producer and Kurosawa himself attributed the failure to even submit for competition to a misunderstanding: because of the academy's arcane rules, no one was sure whether qualified as a Japanese film, a French film (due to its financing), or both, so it was not submitted at all. In response to what at least appeared to be a blatant snub by his own countrymen, the director Sidney Lumet led a successful campaign to have Kurosawa receive an Oscar nomination for Best Director that year (Sydney Pollack ultimately won the award for directing Out of Africa). s costume designer, Emi Wada, won the movie's only Oscar.
and , particularly the latter, are often considered to be among Kurosawa's finest works. After s release, Kurosawa would point to it as his best film, a major change of attitude for the director who, when asked which of his works was his best, had always previously answered "my next one". |
Akira Kurosawa | Final works and last years (1987–1998) | Final works and last years (1987–1998)
For his next movie, Kurosawa chose a subject very different from any that he had ever filmed before. While some of his previous pictures (for example, Drunken Angel and ) had included brief dream sequences, Dreams was to be entirely based upon the director's own dreams. Significantly, for the first time in over forty years, Kurosawa, for this deeply personal project, wrote the screenplay alone. Although its estimated budget was lower than the films immediately preceding it, Japanese studios were still unwilling to back one of his productions, so Kurosawa turned to another famous American fan, Steven Spielberg, who convinced Warner Bros. to buy the international rights to the completed film. This made it easier for Kurosawa's son, Hisao, as co-producer and soon-to-be head of Kurosawa Production, to negotiate a loan in Japan that would cover the film's production costs. Shooting took more than eight months to complete, and Dreams premiered at Cannes in May 1990 to a polite but muted reception, similar to the reaction the picture would generate elsewhere in the world. In 1990, he accepted the Academy Award for Lifetime Achievement. In his acceptance speech, he famously said "I'm a little worried because I don't feel that I understand cinema yet." At the time, Bob Thomas of The Daily Spectrum noted that Kurosawa was "considered by many critics as the greatest living filmmaker."
thumb|upright|Steven Spielberg helped finance the production of several of Kurosawa's final films. Spielberg at his masterclass at the Cinémathèque Française in 2012
Kurosawa now turned to a more conventional story with Rhapsody in August—the director's first film fully produced in Japan since Dodeskaden over twenty years before—which explored the scars of the nuclear bombing which destroyed Nagasaki at the very end of World War II. It was adapted from a Kiyoko Murata novel, but the film's references to the Nagasaki bombing came from the director rather than from the book. This was his only movie to include a role for an American movie star: Richard Gere, who plays a small role as the nephew of the elderly heroine. Shooting took place in early 1991, with the film opening on May 25 that year to a largely negative critical reaction, especially in the United States, where the director was accused of promulgating naïvely anti-American sentiments, though Kurosawa rejected these accusations.
Kurosawa wasted no time moving onto his next project: Madadayo, or Not Yet. Based on autobiographical essays by Hyakken Uchida, the film follows the life of a Japanese professor of German through the Second World War and beyond. The narrative centers on yearly birthday celebrations with his former students, during which the protagonist declares his unwillingness to die just yet—a theme that was becoming increasingly relevant for the film's 81-year-old creator. Filming began in February 1992 and wrapped by the end of September. Its release on April 17, 1993, was greeted by an even more disappointed reaction than had been the case with his two preceding works.
Kurosawa nevertheless continued to work. He wrote the original screenplays The Sea Is Watching in 1993 and After the Rain in 1995. While putting finishing touches on the latter work in 1995, Kurosawa slipped and broke the base of his spine. Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film. His longtime wish—to die on the set while shooting a movie—was never to be fulfilled.
After his accident, Kurosawa's health began to deteriorate. While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life the director was largely confined to bed, listening to music and watching television at home. On September 6, 1998, Kurosawa died of a stroke in Setagaya, Tokyo, at the age of 88. At the time of his death, Kurosawa had two children, his son Hisao Kurosawa (who married Hiroko Hayashi) and his daughter Kazuko Kurosawa (who married Harayuki Kato), along with several grandchildren. One of Kazuko Kurosawa's children, Takayuki Kato, became a supporting actor in two films posthumously developed from screenplays written by Kurosawa, Takashi Koizumi's After the Rain (1999) and Kei Kumai's The Sea Is Watching (2002). |
Akira Kurosawa | Filmography | Filmography
Although Kurosawa is primarily known as a filmmaker, he also worked in theater and television and wrote books. A detailed list, including his complete filmography, can be found in the list of works by Akira Kurosawa. |
Akira Kurosawa | Style, themes and techniques | Style, themes and techniques
thumb|left|upright|Throne of Blood cast and crew photo taken in 1956, showing (from left to right) Shinjin Akiike, Fumio Yanoguchi, Kuichiro Kishida, Samaji Nonagase, Takao Saito, Toshiro Mifune (in the jeep), Minoru Chiaki, Takashi Shimura, Teruyo Nogami, Yoshirō Muraki, Akira Kurosawa, Hiroshi Nezu, Asakazu Nakai, and Sōjirō Motoki|alt=cast and crew of Throne of Blood
Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production. He was a gifted screenwriter and worked closely with his co-writers from the film's development onward to ensure a high-quality script, which he considered the firm foundation of a good film. He frequently served as editor of his own films. His team, known as the , which included the cinematographer Asakazu Nakai, the production assistant Teruyo Nogami and the actor Takashi Shimura, was notable for its loyalty and dependability.
Kurosawa's style is marked by a number of devices and techniques. In his films of the 1940s and 1950s, he frequently employs the "axial cut", in which the camera moves toward or away from the subject through a series of matched jump cuts rather than tracking shots or dissolves. Another stylistic trait is "cut on motion", which displays the motion on the screen in two or more shots instead of one uninterrupted one. A form of cinematic punctuation strongly identified with Kurosawa is the wipe, an effect created through an optical printer: a line or bar appears to move across the screen, wiping away the end of a scene and revealing the first image of the next. As a transitional device, it is used as a substitute for the straight cut or the dissolve; in his mature work, the wipe became Kurosawa's signature.
In the film's soundtrack, Kurosawa favored the sound-image counterpoint, in which the music or sound effects appeared to comment ironically on the image rather than emphasizing it. Teruyo Nogami's memoir gives several such examples from Drunken Angel and Stray Dog. Kurosawa was also involved with several of Japan's outstanding contemporary composers, including Fumio Hayasaka and Tōru Takemitsu.
thumb|upright=0.8|alt=Kurosawa kamon|Kurosawa's kamon, used by several of his characters as their mon-tsuki
Kurosawa employed a number of recurring themes in his films: the master-disciple relationship between a usually older mentor and one or more novices, which often involves spiritual as well as technical mastery and self-mastery; the heroic champion, the exceptional individual who emerges from the mass of people to produce something or right some wrong; the depiction of extremes of weather as both dramatic devices and symbols of human passion; and the recurrence of cycles of savage violence within history. According to Stephen Prince, the last theme, which he calls, "the countertradition to the committed, heroic mode of Kurosawa's cinema," began with Throne of Blood (1957) and recurred in the films of the 1980s. |
Akira Kurosawa | Legacy and cultural impact | Legacy and cultural impact
Kurosawa is often cited as one of the greatest filmmakers of all time. In 1999, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited as "one of the [five] people who contributed most to the betterment of Asia in the past 100 years". Kurosawa was ranked third in the directors' poll and fifth in the critics' poll in Sight & Sound'''s 2002 list of the greatest directors of all time. In commemoration of the 100th anniversary of Kurosawa's birth in 2010, a project called AK100 was launched in 2008. The AK100 Project aims to "expose young people who are the representatives of the next generation, and all people everywhere, to the light and spirit of Akira Kurosawa and the wonderful world he created".
Reputation among filmmakers
thumb|right|upright=0.8|Ingmar Bergman, shown here in a bust located in Kielce, Poland, was an admirer of Kurosawa's work.
Many filmmakers have been influenced by Kurosawa's work. Ingmar Bergman called his own film The Virgin Spring a "touristic... lousy imitation of Kurosawa" and added, "At that time my admiration for the Japanese cinema was at its height. I was almost a samurai myself!" Federico Fellini considered Kurosawa to be "the greatest living example of all that an author of the cinema should be". Steven Spielberg cited Kurosawa's cinematic vision as shaping his own. Satyajit Ray, who was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival in 1992, had said earlier of Rashomon: Ray described him as "one of the giants of cinema."
Roman Polanski considered Kurosawa to be among the three film-makers he favored most, along with Fellini and Orson Welles, and picked Seven Samurai, Throne of Blood and The Hidden Fortress for praise. Bernardo Bertolucci considered Kurosawa's influence to be seminal: "Kurosawa's movies and La Dolce Vita of Fellini are the things that pushed me, sucked me into being a film director." Andrei Tarkovsky cited Kurosawa as one of his favorites and named Seven Samurai as one of his ten favorite films. Sidney Lumet called Kurosawa the "Beethoven of movie directors". Werner Herzog reflected on film-makers with whom he feels kinship and the movies that he admires:
According to an assistant, Stanley Kubrick considered Kurosawa to be "one of the great film directors" and spoke of him "consistently and admiringly", to the point that a letter from him "meant more than any Oscar" and caused him to agonize for months over drafting a reply. Robert Altman claimed that, upon first seeing Rashomon, he was so impressed by the sequence of frames of the sun that he began to shoot the same sequences in his work the very next day. George Lucas cited The Hidden Fortress as the main inspiration for Star Wars. He also cited other films of Kurosawa as his favorites including Seven Samurai, Yojimbo, and . He also said, "I had never seen anything that powerful or cinematographic. The emotions were so strong that it didn't matter that I did not understand the culture or the traditions. From that moment on, Kurosawa's films have served as one of my strongest sources of creative inspiration." Wes Anderson's animated film Isle of Dogs is partially inspired by Kurosawa's filming techniques. At the 64th Sydney Film Festival, there was a retrospective of Akira Kurosawa where films of his were screened to remember the great legacy he has created from his work. Zack Snyder cited him as one of his influences for his Netflix film Rebel Moon.
Criticism
thumb|left|Jacques Rivette, a prominent critic of the French New Wave who assessed Mizoguchi's work to be more wholly Japanese in comparison to Kurosawa's
Kenji Mizoguchi, the acclaimed director of Ugetsu (1953) and Sansho the Bailiff (1954), was eleven years Kurosawa's senior. After the mid-1950s, some critics of the French New Wave began to favor Mizoguchi over Kurosawa. New Wave critic and film-maker Jacques Rivette, in particular, thought Mizoguchi to be the only Japanese director whose work was at once entirely Japanese and truly universal; Kurosawa, by contrast, was thought to be more influenced by Western cinema and culture, a view that has been disputed.
In Japan, some critics and filmmakers considered Kurosawa to be elitist. They viewed him to center his effort and attention on exceptional or heroic characters. In her DVD commentary on Seven Samurai, Joan Mellen argued that certain shots of the samurai characters Kambei and Kyuzo, which show Kurosawa to have accorded higher status or validity to them, constitutes evidence for this point of view. These Japanese critics argued that Kurosawa was not sufficiently progressive because the peasants were unable to find leaders from within their ranks. In an interview with Mellen, Kurosawa defended himself, saying,
From the early 1950s, Kurosawa was also charged with catering to Western tastes due to his popularity in Europe and America. In the 1970s, the politically engaged, left-wing director Nagisa Ōshima, who was noted for his critical reaction to Kurosawa's work, accused Kurosawa of pandering to Western beliefs and ideologies. Author Audie Bock, however, assessed Kurosawa to have never played up to a non-Japanese viewing public and to have denounced those directors who did.
Posthumous screenplays
Following Kurosawa's death, several posthumous works based on his unfilmed screenplays have been produced. After the Rain, directed by Takashi Koizumi, was released in 1999, and The Sea Is Watching, directed by Kei Kumai, premiered in 2002. A script created by the Yonki no Kai ("Club of the Four Knights") (Kurosawa, Keisuke Kinoshita, Masaki Kobayashi, and Kon Ichikawa), around the time that Dodeskaden was made, finally was filmed and released (in 2000) as Dora-heita, by the only surviving founding member of the club, Kon Ichikawa. Huayi Brothers Media and CKF Pictures in China announced in 2017 plans to produce a film of Kurosawa's posthumous screenplay of The Masque of the Red Death by Edgar Allan Poe for 2020, to be entitled The Mask of the Black Death. Patrick Frater writing for Variety magazine in May 2017 stated that another two unfinished films by Kurosawa were planned, with Silvering Spear to start filming in 2018.
Kurosawa Production Company
In September 2011, it was reported that remake rights to most of Kurosawa's movies and unproduced screenplays were assigned by the Akira Kurosawa 100 Project to the L.A.-based company Splendent. Splendent's chief Sakiko Yamada, stated that he aimed to "help contemporary film-makers introduce a new generation of moviegoers to these unforgettable stories".
Kurosawa Production Co., established in 1959, continues to oversee many of the aspects of Kurosawa's legacy. The director's son, Hisao Kurosawa, is the current head of the company. Its American subsidiary, Kurosawa Enterprises, is located in Los Angeles. Rights to Kurosawa's works were then held by Kurosawa Production and the film studios under which he worked, most notably Toho. These rights were then assigned to the Akira Kurosawa 100 Project before being reassigned in 2011 to the L.A. based company Splendent. Kurosawa Production works closely with the Akira Kurosawa Foundation, established in December 2003 and also run by Hisao Kurosawa. The foundation organizes an annual short film competition and spearheads Kurosawa-related projects, including a recently shelved one to build a memorial museum for the director.
Film studios
In 1981, the Kurosawa Film Studio was opened in Yokohama; two additional locations have since been launched in Japan. A large collection of archive material, including scanned screenplays, photos and news articles, has been made available through the Akira Kurosawa Digital Archive, a Japanese proprietary website maintained by Ryukoku University Digital Archives Research Center in collaboration with Kurosawa Production.
Anaheim University Akira Kurosawa School of Film
Anaheim University in collaboration with Kurosawa Production and the Kurosawa family established the Anaheim University Akira Kurosawa School of Film in spring 2009. The Anaheim University Akira Kurosawa School of Film offers an Online Master of Fine Arts (MFA) in Digital Filmmaking supported by many of the world's greatest filmmakers.
Kurosawa Restaurant Group
thumb|Teppanyaki Kurosawa restaurant is tucked away down a small side street in Tsukiji, Tokyo.
Kurosawa was known to be a connoisseur of Japanese cuisine and as such, the Kurosawa family foundation established the Kurosawa Restaurant Group after his passing in 1999, opening four restaurants in the Tokyo area bearing the family name. Nagatacho Kurosawa specializing in Shabu-shabu, Teppanyaki Kurosawa in Tsukiji specializing in Teppanyaki, Keyaki Kurosawa in Nishi-Azabu specializing in soba, and Udon Kurosawa specializing in udon in Roppongi. All four locations were designed to evoke the Meiji era machiya of Kurosawa's youth and feature memorabilia of Kurosawa's career. As of 2023, only the Tsukiji location is currently still operating. A number of entrepreneurs around the world have also opened restaurants and businesses in honor of Kurosawa without any connection to Akira or the estate.
Awards and honours
Two film awards have also been named in Kurosawa's honour. The Akira Kurosawa Award for Lifetime Achievement in Film Directing is awarded during the San Francisco International Film Festival, while the Akira Kurosawa Award is given during the Tokyo International Film Festival.
Kurosawa has also been given a number of state honours, including being named as an officer of the French Légion d'honneur in 1984 and a Knight Grand Cross of the Order of Merit of the Italian Republic in 1986, and he was the first filmmaker to receive the Order of Culture from his native Japan in 1985. Posthumously, he was recognized with the Junior Third Court Rank, which would be the modern equivalent of a noble title under the Kazoku aristocracy.
Documentaries
A significant number of short and full-length documentaries concerning the life and work of Kurosawa were made both during his artistic heyday and after his death. AK, by French video essay director Chris Marker, was filmed while Kurosawa was working on ; however, the documentary is more concerned about Kurosawa's distant yet polite personality than on the making of the film. Other documentaries concerning Kurosawa's life and works produced posthumously include:
Kurosawa: The Last Emperor (Alex Cox, 1999)
A Message from Akira Kurosawa: For Beautiful Movies (Hisao Kurosawa, 2000)
Kurosawa (Adam Low, 2001)
Akira Kurosawa: It Is Wonderful to Create (Toho Masterworks, 2002)
Akira Kurosawa: The Epic and the Intimate (2010)
Kurosawa's Way (Catherine Cadou, 2011)
Notes
References
Sources
Further reading
Buchanan, Judith (2005). Shakespeare on Film. Pearson Longman. .
Burch, Nöel (1979). To the Distant Observer: Form and Meaning in the Japanese Cinema. University of California Press. .
Cowie, Peter (2010). Akira Kurosawa: Master of Cinema. Rizzoli Publications. .
Davies, Anthony (1990). Filming Shakespeare's Plays: The Adaptions of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge University Press. .
Desser, David (1983). The Samurai Films of Akira Kurosawa (Studies in Cinema No. 23). UMI Research Press. .
Leonard, Kendra Preston (2009). Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations. Plymouth: The Scarecrow Press. .
Sorensen, Lars-Martin (2009). Censorship of Japanese Films During the U.S. Occupation of Japan: The Cases of Yasujiro Ozu and Akira Kurosawa. Edwin Mellen Press. .
Wild, Peter. (2014) Akira Kurosawa'' Reaktion Books |
Akira Kurosawa | External links | External links
Akira Kurosawa at The Criterion Collection
Akira Kurosawa: News, Information and Discussion
Senses of Cinema: Great Directors Critical Database
Akira Kurosawa at Japanese celebrity's grave guide
Several trailers
Anaheim University Akira Kurosawa School of Film
Category:1910 births
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Category:20th-century Japanese writers
Category:20th-century Japanese male writers
Category:Academy Honorary Award recipients
Category:Akira Kurosawa Award winners
Category:Best Director BAFTA Award winners
Category:César Award winners
Category:David di Donatello winners
Category:Directors Guild of America Award winners
Category:Directors of Best Foreign Language Film Academy Award winners
Category:Directors of Palme d'Or winners
Category:Directors of Golden Lion winners
Category:Filmmakers who won the Best Foreign Language Film BAFTA Award
Category:Fellows of the American Academy of Arts and Sciences
Category:Recipients of the Fukuoka Prize
Category:Japanese film directors
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Category:Japanese male writers
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Category:People from Shinagawa
Category:People from the Empire of Japan
Category:People's Honour Award winners
Category:Persons of Cultural Merit
Category:Japanese propagandists
Category:Japanese propaganda film directors
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Category:Recipients of the Order of Friendship of Peoples
Category:Recipients of the Praemium Imperiale
Category:Samurai film directors
Category:Silver Bear for Best Director recipients
Category:Writers from Tokyo
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Category:Golden Lion for Lifetime Achievement recipients
Category:Shakespearean directors |
Akira Kurosawa | Table of Content | Short description, Biography, Childhood to war years (1910–1945), Childhood and youth (1910–1935), Director in training (1935–1941), Wartime films and marriage (1942–1945), Early postwar years to ''Red Beard'' (1946–1965), First postwar works (1946–1950), International recognition (1950–1958), Birth of a company and ''Red Beard'' (1959–1965), Hollywood ambitions to last films (1966–1998), Hollywood detour (1966–1968), A difficult decade (1969–1977), Two epics (1978–1986), Final works and last years (1987–1998), Filmography, Style, themes and techniques, Legacy and cultural impact, External links |
Ancient Egypt | Short description | Ancient Egypt () was a cradle of civilization concentrated along the lower reaches of the Nile River in Northeast Africa. It emerged from prehistoric Egypt around 3150BC (according to conventional Egyptian chronology), when Upper and Lower Egypt were amalgamated by Menes, who is believed by the majority of Egyptologists to have been the same person as Narmer. The history of ancient Egypt unfolded as a series of stable kingdoms interspersed by the "Intermediate Periods" of relative instability. These stable kingdoms existed in one of three periods: the Old Kingdom of the Early Bronze Age; the Middle Kingdom of the Middle Bronze Age; or the New Kingdom of the Late Bronze Age.
The pinnacle of ancient Egyptian power was achieved during the New Kingdom, which extended its rule to much of Nubia and a considerable portion of the Levant. After this period, Egypt entered an era of slow decline. Over the course of its history, it was invaded or conquered by a number of foreign civilizations, including the Hyksos, the Kushites, the Assyrians, the Persians, and, most notably, the Greeks and then the Romans. The end of ancient Egypt is variously defined as occurring with the end of the Late Period during the Wars of Alexander the Great in 332 BC or with the end of the Greek-ruled Ptolemaic Kingdom during the Roman conquest of Egypt in 30 BC. In AD 642, the Arab conquest of Egypt brought an end to the region's millennium-long Greco-Roman period.
The success of ancient Egyptian civilization came partly from its ability to adapt to the Nile's conditions for agriculture. The predictable flooding of the Nile and controlled irrigation of its fertile valley produced surplus crops, which supported a more dense population, and thereby substantial social and cultural development. With resources to spare, the administration sponsored the mineral exploitation of the valley and its surrounding desert regions, the early development of an independent writing system, the organization of collective construction and agricultural projects, trade with other civilizations, and a military to assert Egyptian dominance throughout the Near East. Motivating and organizing these activities was a bureaucracy of elite scribes, religious leaders, and administrators under the control of the reigning pharaoh, who ensured the cooperation and unity of the Egyptian people in the context of an elaborate system of religious beliefs.
Among the many achievements of ancient Egypt are: the quarrying, surveying, and construction techniques that supported the building of monumental pyramids, temples, and obelisks; a system of mathematics; a practical and effective system of medicine; irrigation systems and agricultural production techniques; the first known planked boats; Egyptian faience and glass technology; new forms of literature; and the earliest known peace treaty, which was ratified with the Anatolia-based Hittite Empire. Its art and architecture were widely copied and its antiquities were carried off to be studied, admired, or coveted in the far corners of the world. Likewise, its monumental ruins inspired the imaginations of travelers and writers for millennia. A newfound European and Egyptian respect for antiquities and excavations that began in earnest in the early modern period has led to much scientific investigation of ancient Egypt and its society, as well as a greater appreciation of its cultural legacy. |
Ancient Egypt | History | History
The Nile has been the lifeline of its region for much of human history. The fertile floodplain of the Nile gave humans the opportunity to develop a settled agricultural economy and a more sophisticated, centralized society that became a cornerstone in the history of human civilization. |
Ancient Egypt | Predynastic period | Predynastic period
thumb|A typical Naqada II jar decorated with gazelles (Predynastic Period)
In Predynastic and Early Dynastic times, the Egyptian climate was much less arid than it is today. Large regions of Egypt were savanna and traversed by herds of grazing ungulates. Foliage and fauna were far more prolific in all environs, and the Nile region supported large populations of waterfowl. Hunting would have been common for Egyptians, and this is also the period when many animals were first domesticated.
By about 5500 BC, small tribes living in the Nile valley had developed into a series of cultures demonstrating firm control of agriculture and animal husbandry, and identifiable by their pottery and personal items, such as combs, bracelets, and beads. The largest of these early cultures in upper (Southern) Egypt was the Badarian culture, which probably originated in the Western Desert; it was known for its high-quality ceramics, stone tools, and its use of copper.
The Badari was followed by the Naqada culture: the Naqada I (Amratian), the Naqada II (Gerzeh), and Naqada III (Semainean). These brought a number of technological improvements. As early as the Naqada I Period, predynastic Egyptians imported obsidian from Ethiopia, used to shape blades and other objects from flakes. Mutual trade with the Levant was established during Naqada II (); this period was also the beginning of trade with Mesopotamia, which continued into the early dynastic period and beyond. Over a period of about 1,000 years, the Naqada culture developed from a few small farming communities into a powerful civilization whose leaders were in complete control of the people and resources of the Nile valley. Establishing a power center at Nekhen, and later at Abydos, Naqada III leaders expanded their control of Egypt northwards along the Nile. They also traded with Nubia to the south, the oases of the western desert to the west, and the cultures of the eastern Mediterranean and Near East to the east.
The Naqada culture manufactured a diverse selection of material goods, reflective of the increasing power and wealth of the elite, as well as societal personal-use items, which included combs, small statuary, painted pottery, high quality decorative stone vases, cosmetic palettes, and jewelry made of gold, lapis, and ivory. They also developed a ceramic glaze known as faience, which was used well into the Roman Period to decorate cups, amulets, and figurines. During the last predynastic phase, the Naqada culture began using written symbols that eventually were developed into a full system of hieroglyphs for writing the ancient Egyptian language.
thumb|center|upright=3|Early tomb painting from Nekhen, , Naqada, possibly Gerzeh culture |
Ancient Egypt | Early Dynastic Period ({{circa | Early Dynastic Period ( BC)
The Early Dynastic Period was approximately contemporary to the early Sumerian-Akkadian civilization of Mesopotamia and of ancient Elam. The third-centuryBC Egyptian priest Manetho grouped the long line of kings from Menes to his own time into 30 dynasties, a system still used today. He began his official history with the king named "Meni" (or Menes in Greek), who was believed to have united the two kingdoms of Upper and Lower Egypt.
thumb|The Narmer Palette depicts the unification of the Two Lands.
The transition to a unified state happened more gradually than ancient Egyptian writers represented, and there is no contemporary record of Menes. Some scholars now believe, however, that the mythical Menes may have been the king Narmer, who is depicted wearing royal regalia on the ceremonial Narmer Palette, in a symbolic act of unification. In the Early Dynastic Period, which began about 3000BC, the first of the Dynastic kings solidified control over Lower Egypt by establishing a capital at Memphis, from which he could control the labor force and agriculture of the fertile delta region, as well as the lucrative and critical trade routes to the Levant. The increasing power and wealth of the kings during the early dynastic period was reflected in their elaborate mastaba tombs and mortuary cult structures at Abydos, which were used to celebrate the deified king after his death. The strong institution of kingship developed by the kings served to legitimize state control over the land, labor, and resources that were essential to the survival and growth of ancient Egyptian civilization. |
Ancient Egypt | Old Kingdom (2686–2181 BC) | Old Kingdom (2686–2181 BC)
thumb|The pyramids of Giza are among the most recognizable symbols of ancient Egyptian civilization.
Major advances in architecture, art, and technology were made during the Old Kingdom, fueled by the increased agricultural productivity and resulting population growth, made possible by a well-developed central administration. Some of ancient Egypt's crowning achievements, the Giza pyramids and Great Sphinx, were constructed during the Old Kingdom. Under the direction of the vizier, state officials collected taxes, coordinated irrigation projects to improve crop yield, and drafted peasants to work on construction projects.
thumb|right|Khafre enthroned
With the rising importance of central administration in Egypt, a new class of educated scribes and officials arose who were granted estates by the king in payment for their services. Kings also made land grants to their mortuary cults and local temples, to ensure that these institutions had the resources to worship the king after his death. Scholars believe that five centuries of these practices slowly eroded the economic vitality of Egypt, and that the economy could no longer afford to support a large centralized administration. As the power of the kings diminished, regional governors called nomarchs began to challenge the supremacy of the office of king. This, coupled with severe droughts between 2200 and 2150BC, is believed to have caused the country to enter the 140-year period of famine and strife known as the First Intermediate Period. |
Ancient Egypt | First Intermediate Period (2181–2055 BC) | First Intermediate Period (2181–2055 BC)
After Egypt's central government collapsed at the end of the Old Kingdom, the administration could no longer support or stabilize the country's economy. The ensuing food shortages and political disputes escalated into famines and small-scale civil wars. Yet despite difficult problems, local leaders, owing no tribute to the king, used their new-found independence to establish a thriving culture in the provinces. Once in control of their own resources, the provinces became economically richer—which was demonstrated by larger and better burials among all social classes.
Free from their loyalties to the king, local rulers began competing with each other for territorial control and political power. By 2160BC, rulers in Herakleopolis controlled Lower Egypt in the north, while a rival clan based in Thebes, the Intef family, took control of Upper Egypt in the south. As the Intefs grew in power and expanded their control northward, a clash between the two rival dynasties became inevitable. Around 2055BC the northern Theban forces under Nebhepetre Mentuhotep II finally defeated the Herakleopolitan rulers, reuniting the Two Lands. They inaugurated a period of economic and cultural renaissance known as the Middle Kingdom. |
Ancient Egypt | Middle Kingdom (2134–1690 BC) | Middle Kingdom (2134–1690 BC)
thumb|A figure wearing the red crown of Lower Egypt, most probably Amenemhat II or Senwosret II. It functioned as a divine guardian for the imiut; the divine kilt suggests that the statuette was not merely a representation of the living ruler.
thumb|Pyramidion of Amenemhat III, capstone of the Black Pyramid
thumb|Coffin of Khnumnakht in 12th dynasty style, with palace facade, columns of inscriptions, and two Wedjat eyes
The kings of the Middle Kingdom restored the country's stability, which saw a resurgence of art and monumental building projects, and a new flourishing of literature. Mentuhotep II and his Eleventh Dynasty successors ruled from Thebes, but the vizier Amenemhat I, upon assuming the kingship at the beginning of the Twelfth Dynasty around 1985BC, shifted the kingdom's capital to the city of Itjtawy, located in Faiyum. From Itjtawy, the kings of the Twelfth Dynasty undertook a far-sighted land reclamation and irrigation scheme to increase agricultural output in the region. Moreover, the military reconquered territory in Nubia that was rich in quarries and gold mines, while laborers built a defensive structure in the Eastern Delta, called the "Walls of the Ruler", to defend against foreign attack.
With the kings having secured the country militarily and politically and with vast agricultural and mineral wealth at their disposal, the nation's population, arts, and religion flourished. The Middle Kingdom displayed an increase in expressions of personal piety toward the gods. Middle Kingdom literature featured sophisticated themes and characters written in a confident, eloquent style. The relief and portrait sculpture of the period captured subtle, individual details that reached new heights of technical sophistication. |
Ancient Egypt | Second Intermediate Period (1674–1549 BC) and the Hyksos | Second Intermediate Period (1674–1549 BC) and the Hyksos
Around 1785BC, as the power of the Middle Kingdom kings weakened, a Western Asian people called the Hyksos, who had already settled in the Delta, seized control of Egypt and established their capital at Avaris, forcing the former central government to retreat to Thebes. The king was treated as a vassal and expected to pay tribute. The Hyksos ('foreign rulers') retained Egyptian models of government and identified as kings, thereby integrating Egyptian elements into their culture.
After retreating south, the native Theban kings found themselves trapped between the Canaanite Hyksos ruling the north and the Hyksos' Nubian allies, the Kushites, to the south. After years of vassalage, Thebes gathered enough strength to challenge the Hyksos in a conflict that lasted more than 30 years, until 1555BC. Ahmose I waged a series of campaigns that permanently eradicated the Hyksos' presence in Egypt. He is considered the founder of the Eighteenth Dynasty, and the military became a central priority for his successors, who sought to expand Egypt's borders and attempted to gain mastery of the Near East. |
Ancient Egypt | New Kingdom (1549–1069 BC) | New Kingdom (1549–1069 BC)
thumb|Pharaohs' tombs were provided with vast quantities of wealth, such as the golden mask from the mummy of Tutankhamun.
The New Kingdom pharaohs established a period of unprecedented prosperity by securing their borders and strengthening diplomatic ties with their neighbours, including the Mitanni Empire, Assyria, and Canaan. Military campaigns waged under Tuthmosis I and his grandson Tuthmosis III extended the influence of the pharaohs to the largest empire Egypt had ever seen.
Between their reigns, Hatshepsut, a queen who established herself as pharaoh, launched many building projects, including the restoration of temples damaged by the Hyksos, and sent trading expeditions to Punt and the Sinai. When Tuthmosis III died in 1425BC, Egypt had an empire extending from Niya in north west Syria to the Fourth Cataract of the Nile in Nubia, cementing loyalties and opening access to critical imports such as bronze and wood.
The New Kingdom pharaohs began a large-scale building campaign to promote the god Amun, whose growing cult was based in Karnak. They also constructed monuments to glorify their own achievements, both real and imagined. The Karnak temple is the largest Egyptian temple ever built.
Around 1350BC, the stability of the New Kingdom was threatened when Amenhotep IV ascended the throne and instituted a series of radical and chaotic reforms. Changing his name to Akhenaten, he touted the previously obscure sun deity Aten as the supreme deity, suppressed the worship of most other deities, and moved the capital to the new city of Akhetaten (modern-day Amarna). He was devoted to his new religion and artistic style. After his death, the cult of the Aten was quickly abandoned and the traditional religious order restored. The subsequent pharaohs, Tutankhamun, Ay, and Horemheb, worked to erase all mention of Akhenaten's heresy, now known as the Amarna Period.
thumb|Four colossal statues of Ramesses II flank the entrance of his temple Abu Simbel.
Around 1279BC, Ramesses II, also known as Ramesses the Great, ascended the throne, and went on to build more temples, erect more statues and obelisks, and sire more children than any other pharaoh in history. A bold military leader, Ramesses II led his army against the Hittites in the Battle of Kadesh (in modern Syria) and, after fighting to a stalemate, finally agreed to the first recorded peace treaty, around 1258BC.
Egypt's wealth, however, made it a tempting target for invasion, particularly by the Libyan Berbers to the west, and the Sea Peoples, a conjectured confederation of seafarers from the Aegean Sea. Initially, the military was able to repel these invasions, but Egypt eventually lost control of its remaining territories in southern Canaan, much of it falling to the Assyrians. The effects of external threats were exacerbated by internal problems such as corruption, tomb robbery, and civil unrest. After regaining their power, the high priests at the temple of Amun in Thebes accumulated vast tracts of land and wealth, and their expanded power splintered the country during the Third Intermediate Period. |
Ancient Egypt | Third Intermediate Period (1069–653 BC) | Third Intermediate Period (1069–653 BC)
Following the death of Ramesses XI in 1078BC, Smendes assumed authority over the northern part of Egypt, ruling from the city of Tanis. The south was effectively controlled by the High Priests of Amun at Thebes, who recognized Smendes in name only. During this time, Libyans had been settling in the western delta, and chieftains of these settlers began increasing their autonomy. Libyan princes took control of the delta under Shoshenq I in 945BC, founding the so-called Libyan or Bubastite dynasty that would rule for some 200 years. Shoshenq also gained control of southern Egypt by placing his family members in important priestly positions. Libyan control began to erode as a rival dynasty in the delta arose in Leontopolis, and Kushites threatened from the south.
thumb|left|Statues of two pharaohs of Egypt's Twenty-Fifth Dynasty and several other Kushite kings, Kerma Museum
Around 727BC the Kushite king Piye invaded northward, seizing control of Thebes and eventually the Delta, which established the 25th Dynasty. During the 25th Dynasty, Pharaoh Taharqa created an empire nearly as large as the New Kingdom's. Twenty-fifth Dynasty pharaohs built, or restored, temples and monuments throughout the Nile valley, including at Memphis, Karnak, Kawa, and Jebel Barkal. During this period, the Nile valley saw the first widespread construction of pyramids (many in modern Sudan) since the Middle Kingdom.
Egypt's far-reaching prestige declined considerably toward the end of the Third Intermediate Period. Its foreign allies had fallen into the Assyrian sphere of influence, and by 700BC war between the two states became inevitable. Between 671 and 667BC the Assyrians began the Assyrian conquest of Egypt. The reigns of both Taharqa and his successor, Tanutamun, were filled with frequent conflict with the Assyrians. Ultimately, the Assyrians pushed the Kushites back into Nubia, occupied Memphis, and sacked the temples of Thebes. |
Ancient Egypt | Late Period (653–332 BC) | Late Period (653–332 BC)
The Assyrians left control of Egypt to a series of vassals who became known as the Saite kings of the Twenty-Sixth Dynasty. By 653BC, the Saite king Psamtik I was able to oust the Assyrians with the help of Greek mercenaries, who were recruited to form Egypt's first navy. Greek influence expanded greatly as the city-state of Naucratis became the home of Greeks in the Nile Delta. The Saite kings based in the new capital of Sais witnessed a brief but spirited resurgence in the economy and culture, but in 525BC, the Persian Empire, led by Cambyses II, began its conquest of Egypt, eventually defeating the pharaoh Psamtik III at the Battle of Pelusium. Cambyses II then assumed the formal title of pharaoh, but ruled Egypt from Iran, leaving Egypt under the control of a satrap. A few revolts against the Persians marked the 5th centuryBC, but Egypt was never able to overthrow the Persians until the end of the century.
Following its annexation by Persia, Egypt was joined with Cyprus and Phoenicia in the sixth satrapy of the Achaemenid Persian Empire. This first period of Persian rule over Egypt, also known as the Twenty-Seventh Dynasty, ended in 402BC, when Egypt regained independence under a series of native dynasties. The last of these dynasties, the Thirtieth, proved to be the last native royal house of ancient Egypt, ending with the kingship of Nectanebo II. A brief restoration of Persian rule, sometimes known as the Thirty-First Dynasty, began in 343BC, but shortly after, in 332BC, the Persian ruler Mazaces handed Egypt over to Alexander the Great without a fight. |
Ancient Egypt | Ptolemaic period (332–30 BC) | Ptolemaic period (332–30 BC)
thumb|Portrait of Ptolemy VI Philometor wearing the double crown of Egypt
In 332BC, Alexander the Great conquered Egypt with little resistance from the Persians and was welcomed by the Egyptians as a deliverer. The administration established by Alexander's successors, the Macedonian Ptolemaic Kingdom, was based on an Egyptian model and based in the new capital city of Alexandria. The city showcased the power and prestige of Hellenistic rule, and became a centre of learning and culture that included the famous Library of Alexandria and the Mouseion. The Lighthouse of Alexandria lit the way for the many ships that kept trade flowing through the city—as the Ptolemies made commerce and revenue-generating enterprises, such as papyrus manufacturing, their top priority.
Hellenistic culture did not supplant native Egyptian culture, as the Ptolemies supported time-honored traditions in an effort to secure the loyalty of the populace. They built new temples in Egyptian style, supported traditional cults, and portrayed themselves as pharaohs. Some traditions merged, as Greek and Egyptian gods were syncretized into composite deities, such as Serapis, and classical Greek forms of sculpture influenced traditional Egyptian motifs. Despite their efforts to appease the Egyptians, the Ptolemies were challenged by native rebellion, bitter family rivalries, and frequent mob violence in Alexandria. In addition, as Rome relied more heavily on imports of grain from Egypt, the Romans took great interest in the political situation in the country. Continued Egyptian revolts, ambitious politicians, and powerful opponents from the Near East made this situation unstable, leading Rome to send forces to secure the country as a province of its empire. |
Ancient Egypt | Roman period (30 BC – AD 642) | Roman period (30 BC – AD 642)
thumb|right|The Fayum mummy portraits epitomize the meeting of Egyptian and Roman cultures.
Egypt became a province of the Roman Empire in 30BC, following the defeat of Mark Antony and Ptolemaic Queen Cleopatra VII by Octavian (later Emperor Augustus) in the Battle of Actium. The Romans relied heavily on grain shipments from Egypt, and the Roman army, under the control of a prefect appointed by the emperor, quelled rebellions, strictly enforced the collection of heavy taxes, and prevented attacks by bandits, which had become a notorious problem during the period. Alexandria became an increasingly important center on the trade route with the orient, as exotic luxuries were in high demand in Rome.
Although the Romans had a more hostile attitude than the Greeks towards the Egyptians, some traditions such as mummification and worship of the traditional gods continued. The art of mummy portraiture flourished, and some Roman emperors had themselves depicted as pharaohs, though not to the extent that the Ptolemies had. The former lived outside Egypt and did not perform the ceremonial functions of Egyptian kingship. Local administration became Roman in style and closed to native Egyptians.
From the mid-first century AD, Christianity took root in Egypt and it was originally seen as another cult that could be accepted. However, it was an uncompromising religion that sought to win converts from the pagan Egyptian and Greco-Roman religions and threatened popular religious traditions. This led to the persecution of converts to Christianity, culminating in the great purges of Diocletian starting in 303, but eventually Christianity won out. In 391, the Christian emperor Theodosius introduced legislation that banned pagan rites and closed temples. Alexandria became the scene of great anti-pagan riots with public and private religious imagery destroyed. As a consequence, Egypt's native religious culture was continually in decline. While the native population continued to speak their language, the ability to read hieroglyphic writing slowly disappeared as the role of the Egyptian temple priests and priestesses diminished. The temples themselves were sometimes converted to churches or abandoned to the desert. |
Ancient Egypt | Government and economy | Government and economy |
Ancient Egypt | Administration and commerce | Administration and commerce
thumb|The pharaoh was usually depicted wearing symbols of royalty and power.
The pharaoh was the absolute monarch of the country and, at least in theory, wielded complete control of the land and its resources. The king was the supreme military commander and head of the government, who relied on a bureaucracy of officials to manage his affairs. In charge of the administration was his second in command, the vizier, who acted as the king's representative and coordinated land surveys, the treasury, building projects, the legal system, and the archives. At a regional level, the country was divided into as many as 42 administrative regions called nomes each governed by a nomarch, who was accountable to the vizier for his jurisdiction. The temples formed the backbone of the economy. Not only were they places of worship, but were also responsible for collecting and storing the kingdom's wealth in a system of granaries and treasuries administered by overseers, who redistributed grain and goods.
Much of the economy was centrally organized and strictly controlled. Although the ancient Egyptians did not use coinage until the Late period, they did use a type of money-barter system, with standard sacks of grain and the deben, a weight of roughly of copper or silver, forming a common denominator. Workers were paid in grain; a simple laborer might earn sacks (200 kg or 400 lb) of grain per month, while a foreman might earn sacks (250 kg or 550 lb). Prices were fixed across the country and recorded in lists to facilitate trading; for example a shirt cost five copper deben, while a cow cost 140deben. Grain could be traded for other goods, according to the fixed price list. During the fifth centuryBC coined money was introduced into Egypt from abroad. At first the coins were used as standardized pieces of precious metal rather than true money, but in the following centuries international traders came to rely on coinage. |
Ancient Egypt | Social status | Social status
thumb|Painted limestone relief of a noble member of Ancient Egyptian society during the New Kingdom
Egyptian society was highly stratified, and social status was expressly displayed. Farmers made up the bulk of the population, but agricultural produce was owned directly by the state, temple, or noble family that owned the land. Farmers were also subject to a labor tax and were required to work on irrigation or construction projects in a corvée system. Artists and craftsmen were of higher status than farmers, but they were also under state control, working in the shops attached to the temples and paid directly from the state treasury. Scribes and officials formed the upper class in ancient Egypt, known as the "white kilt class" in reference to the bleached linen garments that served as a mark of their rank. The upper class prominently displayed their social status in art and literature. Below the nobility were the priests, physicians, and engineers with specialized training in their field. It is unclear whether slavery as understood today existed in ancient Egypt; there is difference of opinions among authors.
The ancient Egyptians viewed men and women, including people from all social classes, as essentially equal under the law, and even the lowliest peasant was entitled to petition the vizier and his court for redress. Although slaves were mostly used as indentured servants, they were able to buy and sell their servitude, work their way to freedom or nobility, and were usually treated by doctors in the workplace. Both men and women had the right to own and sell property, make contracts, marry and divorce, receive inheritance, and pursue legal disputes in court. Married couples could own property jointly and protect themselves from divorce by agreeing to marriage contracts, which stipulated the financial obligations of the husband to his wife and children should the marriage end. Compared with their counterparts in ancient Greece, Rome, and even more modern places around the world, ancient Egyptian women had a greater range of personal choices, legal rights, and opportunities for achievement. Women such as Hatshepsut and Cleopatra VII even became pharaohs, while others wielded power as Divine Wives of Amun. Despite these freedoms, ancient Egyptian women did not often take part in official roles in the administration, aside from the royal high priestesses, apparently served only secondary roles in the temples (not much data for many dynasties), and were not so probably to be as educated as men. |
Ancient Egypt | Legal system | Legal system
thumb|left|The Seated Scribe from Saqqara, 5th dynasty
The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference.
Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense. Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgement by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon. |
Ancient Egypt | Agriculture | Agriculture
thumb|right|Measuring and recording the harvest, from the tomb of Menna at Thebes (Eighteenth Dynasty)
thumb|Rectangular fishpond with ducks and lotus planted round with date palms and fruit trees, Tomb of Nebamun, Thebes, 18th Dynasty
A combination of favorable geographical features contributed to the success of ancient Egyptian culture, the most important of which was the rich fertile soil resulting from annual inundations of the Nile River. The ancient Egyptians were thus able to produce an abundance of food, allowing the population to devote more time and resources to cultural, technological, and artistic pursuits. Land management was crucial in ancient Egypt because taxes were assessed based on the amount of land a person owned.
Farming in Egypt was dependent on the cycle of the Nile River. The Egyptians recognized three seasons: Akhet (flooding), Peret (planting), and Shemu (harvesting). The flooding season lasted from June to September, depositing on the river's banks a layer of mineral-rich silt ideal for growing crops. After the floodwaters had receded, the growing season lasted from October to February. Farmers plowed and planted seeds in the fields, which were irrigated with ditches and canals. Egypt received little rainfall, so farmers relied on the Nile to water their crops. From March to May, farmers used sickles to harvest their crops, which were then threshed with a flail to separate the straw from the grain. Winnowing removed the chaff from the grain, and the grain was then ground into flour, brewed to make beer, or stored for later use.
The ancient Egyptians cultivated emmer and barley, and several other cereal grains, all of which were used to make the two main food staples of bread and beer. Flax plants, uprooted before they started flowering, were grown for the fibers of their stems. These fibers were split along their length and spun into thread, which was used to weave sheets of linen and to make clothing. Papyrus growing on the banks of the Nile River was used to make paper. Vegetables and fruits were grown in garden plots, close to habitations and on higher ground, and had to be watered by hand. Vegetables included leeks, garlic, melons, squashes, pulses, lettuce, and other crops, in addition to grapes that were made into wine.
thumb|center|upright=3|A tomb relief depicts workers plowing the fields, harvesting the crops, and threshing the grain under the direction of an overseer, painting in the tomb of Nakht. |
Ancient Egypt | Animals | Animals
thumb|left|Sennedjem plows his fields in Aaru with a pair of oxen, Deir el-Medina.
The Egyptians believed that a balanced relationship between people and animals was an essential element of the cosmic order; thus humans, animals and plants were believed to be members of a single whole. Animals, both domesticated and wild, were therefore a critical source of spirituality, companionship, and sustenance to the ancient Egyptians. Cattle were the most important livestock; the administration collected taxes on livestock in regular censuses, and the size of a herd reflected the prestige and importance of the estate or temple that owned them. In addition to cattle, the ancient Egyptians kept sheep, goats, and pigs. Poultry, such as ducks, geese, and pigeons, were captured in nets and bred on farms, where they were force-fed with dough to fatten them. The Nile provided a plentiful source of fish. Bees were also domesticated from at least the Old Kingdom, and provided both honey and wax.
The ancient Egyptians used donkeys and oxen as beasts of burden, and they were responsible for plowing the fields and trampling seed into the soil. The slaughter of a fattened ox was also a central part of an offering ritual. Horses were introduced by the Hyksos in the Second Intermediate Period. Camels, although known from the New Kingdom, were not used as beasts of burden until the Late Period. There is also evidence to suggest that elephants were briefly used in the Late Period but largely abandoned due to lack of grazing land. Cats, dogs, and monkeys were common family pets, while more exotic pets imported from the heart of Africa, such as Sub-Saharan African lions, were reserved for royalty. Herodotus observed that the Egyptians were the only people to keep their animals with them in their houses. During the Late Period, the worship of the gods in their animal form was extremely popular, such as the cat goddess Bastet and the ibis god Thoth, and these animals were kept in large numbers for the purpose of ritual sacrifice. |
Ancient Egypt | Natural resources | Natural resources
Egypt is rich in building and decorative stone, copper and lead ores, gold, and semiprecious stones. These natural resources allowed the ancient Egyptians to build monuments, sculpt statues, make tools, and fashion jewelry. Embalmers used salts from the Wadi Natrun for mummification, which also provided the gypsum needed to make plaster. Ore-bearing rock formations were found in distant, inhospitable wadis in the Eastern Desert and the Sinai, requiring large, state-controlled expeditions to obtain natural resources found there. There were extensive gold mines in Nubia, and one of the first maps known is of a gold mine in this region. The Wadi Hammamat was a notable source of granite, greywacke, and gold. Flint was the first mineral collected and used to make tools, and flint handaxes are the earliest pieces of evidence of habitation in the Nile valley. Nodules of the mineral were carefully flaked to make blades and arrowheads of moderate hardness and durability even after copper was adopted for this purpose. Ancient Egyptians were among the first to use minerals such as sulfur as cosmetic substances.
The Egyptians worked deposits of the lead ore galena at Gebel Rosas to make net sinkers, plumb bobs, and small figurines. Copper was the most important metal for toolmaking in ancient Egypt and was smelted in furnaces from malachite ore mined in the Sinai. Workers collected gold by washing the nuggets out of sediment in alluvial deposits, or by the more labor-intensive process of grinding and washing gold-bearing quartzite. Iron deposits found in upper Egypt were used in the Late Period. High-quality building stones were abundant in Egypt; the ancient Egyptians quarried limestone all along the Nile valley, granite from Aswan, and basalt and sandstone from the wadis of the Eastern Desert. Deposits of decorative stones such as porphyry, greywacke, alabaster, and carnelian dotted the Eastern Desert and were collected even before the First Dynasty. In the Ptolemaic and Roman Periods, miners worked deposits of emeralds in Wadi Sikait and amethyst in Wadi el-Hudi. |
Ancient Egypt | Trade | Trade
thumb|Hatshepsut's trading expedition to the Land of Punt
The ancient Egyptians engaged in trade with their foreign neighbors to obtain rare, exotic goods not found in Egypt. In the Predynastic Period, they established trade with Nubia to obtain gold and incense. They also established trade with Palestine, as evidenced by Palestinian-style oil jugs found in the burials of the First Dynasty pharaohs. An Egyptian colony stationed in southern Canaan dates to slightly before the First Dynasty. Tell es-Sakan in present-day Gaza was established as an Egyptian settlement in the late 4th millennium BC, and is theorised to have been the main Egyptian colonial site in the region. Narmer had Egyptian pottery produced in Canaan and exported back to Egypt.
By the Second Dynasty at latest, ancient Egyptian trade with Byblos yielded a critical source of quality timber not found in Egypt. By the Fifth Dynasty, trade with Punt provided gold, aromatic resins, ebony, ivory, and wild animals such as monkeys and baboons. Egypt relied on trade with Anatolia for essential quantities of tin as well as supplementary supplies of copper, both metals being necessary for the manufacture of bronze. The ancient Egyptians prized the blue stone lapis lazuli, which had to be imported from far-away Afghanistan. Egypt's Mediterranean trade partners also included Greece and Crete, which provided, among other goods, supplies of olive oil. |
Ancient Egypt | Language | Language |
Ancient Egypt | Historical development | Historical development
The Egyptian language is a northern Afro-Asiatic language closely related to the Berber and Semitic languages. It has the longest known history of any language having been written from BC to the Middle Ages and remaining as a spoken language for longer. The phases of ancient Egyptian are Old Egyptian, Middle Egyptian (Classical Egyptian), Late Egyptian, Demotic and Coptic. Egyptian writings do not show dialect differences before Coptic, but it was probably spoken in regional dialects around Memphis and later Thebes.
Ancient Egyptian was a synthetic language, but it became more analytic later on. Late Egyptian developed prefixal definite and indefinite articles, which replaced the older inflectional suffixes. There was a change from the older verb–subject–object word order to subject–verb–object. The Egyptian hieroglyphic, hieratic, and demotic scripts were eventually replaced by the more phonetic Coptic alphabet. Coptic is still used in the liturgy of the Egyptian Orthodox Church, and traces of it are found in modern Egyptian Arabic. |
Ancient Egypt | Sounds and grammar | Sounds and grammar
Ancient Egyptian has 25 consonants similar to those of other Afro-Asiatic languages. These include pharyngeal and emphatic consonants, voiced and voiceless stops, voiceless fricatives and voiced and voiceless affricates. It has three long and three short vowels, which expanded in Late Egyptian to about nine. The basic word in Egyptian, similar to Semitic and Berber, is a triliteral or biliteral root of consonants and semiconsonants. Suffixes are added to form words. The verb conjugation corresponds to the person. For example, the triconsonantal skeleton is the semantic core of the word 'hear'; its basic conjugation is , 'he hears'. If the subject is a noun, suffixes are not added to the verb: , 'the woman hears'.
Adjectives are derived from nouns through a process that Egyptologists call nisbation because of its similarity with Arabic. The word order is in verbal and adjectival sentences, and in nominal and adverbial sentences. The subject can be moved to the beginning of sentences if it is long and is followed by a resumptive pronoun. Verbs and nouns are negated by the particle n, but nn is used for adverbial and adjectival sentences. Stress falls on the ultimate or penultimate syllable, which can be open (CV) or closed (CVC). |
Ancient Egypt | Writing | Writing
thumb|The Rosetta Stone ( BC) enabled linguists to begin deciphering ancient Egyptian scripts.|280x280px
Hieroglyphic writing dates from BC, and is composed of hundreds of symbols. A hieroglyph can represent a word, a sound, or a silent determinative; and the same symbol can serve different purposes in different contexts. Hieroglyphs were a formal script, used on stone monuments and in tombs, that could be as detailed as individual works of art. In day-to-day writing, scribes used a cursive form of writing, called hieratic, which was quicker and easier. While formal hieroglyphs may be read in rows or columns in either direction (though typically written from right to left), hieratic was always written from right to left, usually in horizontal rows. A new form of writing, Demotic, became the prevalent writing style, and it is this form of writing—along with formal hieroglyphs—that accompany the Greek text on the Rosetta Stone.
Around the first century AD, the Coptic alphabet started to be used alongside the Demotic script. Coptic is a modified Greek alphabet with the addition of some Demotic signs. Although formal hieroglyphs were used in a ceremonial role until the fourth century, towards the end only a small handful of priests could still read them. As the traditional religious establishments were disbanded, knowledge of hieroglyphic writing was mostly lost. Attempts to decipher them date to the Byzantine and Islamic periods in Egypt, but only in the 1820s, after the discovery of the Rosetta Stone and years of research by Thomas Young and Jean-François Champollion, were hieroglyphs substantially deciphered. |
Ancient Egypt | Literature | Literature
thumb|Hieroglyphs on stela in Louvre, BC
Writing first appeared in association with kingship on labels and tags for items found in royal tombs. It was primarily an occupation of the scribes, who worked out of the Per Ankh institution or the House of Life. The latter comprised offices, libraries (called House of Books), laboratories and observatories. Some of the best-known pieces of ancient Egyptian literature, such as the Pyramid and Coffin Texts, were written in Classical Egyptian, which continued to be the language of writing until about 1300BC. Late Egyptian was spoken from the New Kingdom onward and is represented in Ramesside administrative documents, love poetry and tales, as well as in Demotic and Coptic texts. During this period, the tradition of writing had evolved into the tomb autobiography, such as those of Harkhuf and Weni. The genre known as Sebayt ('instructions') was developed to communicate teachings and guidance from famous nobles; the Ipuwer papyrus, a poem of lamentations describing natural disasters and social upheaval, is a famous example.
The Story of Sinuhe, written in Middle Egyptian, might be the classic of Egyptian literature. Also written at this time was the Westcar Papyrus, a set of stories told to Khufu by his sons relating the marvels performed by priests. The Instruction of Amenemope is considered a masterpiece of Near Eastern literature. Towards the end of the New Kingdom, the vernacular language was more often employed to write popular pieces such as the Story of Wenamun and the Instruction of Any. The former tells the story of a noble who is robbed on his way to buy cedar from Lebanon and of his struggle to return to Egypt. From about 700BC, narrative stories and instructions, such as the popular Instructions of Onchsheshonqy, as well as personal and business documents were written in the demotic script and phase of Egyptian. Many stories written in demotic during the Greco-Roman period were set in previous historical eras, when Egypt was an independent nation ruled by great pharaohs such as Ramesses II. |
Ancient Egypt | Culture | Culture |
Ancient Egypt | Daily life | Daily life
thumb|left|Lower-class occupations
Most ancient Egyptians were farmers tied to the land. Their dwellings were restricted to immediate family members, and were constructed of mudbrick designed to remain cool in the heat of the day. Each home had a kitchen with an open roof, which contained a grindstone for milling grain and a small oven for baking the bread. Ceramics served as household wares for the storage, preparation, transport, and consumption of food, drink, and raw materials. Walls were painted white and could be covered with dyed linen wall hangings. Floors were covered with reed mats, while wooden stools, beds raised from the floor and individual tables comprised the furniture.
thumb|Egyptians celebrated feasts and festivals, accompanied by music and dance.
The ancient Egyptians placed a great value on hygiene and appearance. Most bathed in the Nile and used a pasty soap made from animal fat and chalk. Men shaved their entire bodies for cleanliness; perfumes and aromatic ointments covered bad odors and soothed skin. Clothing was made from simple linen sheets that were bleached white, and both men and women of the upper classes wore wigs, jewelry, and cosmetics. Children went without clothing until maturity, at about age 12, and at this age males were circumcised and had their heads shaved. Mothers were responsible for taking care of the children, while the father provided the family's income.
Music and dance were popular entertainments for those who could afford them. Early instruments included flutes and harps, while instruments similar to trumpets, oboes, and pipes developed later and became popular. In the New Kingdom, the Egyptians played on bells, cymbals, tambourines, drums, and imported lutes and lyres from Asia. The sistrum was a rattle-like musical instrument that was especially important in religious ceremonies.
right|thumb|Ruins of Deir el-Medina
The ancient Egyptians enjoyed a variety of leisure activities, including games and music. Senet, a board game where pieces moved according to random chance, was particularly popular from the earliest times; another similar game was mehen, which had a circular gaming board. "Hounds and Jackals" also known as 58 holes is another example of board games played in ancient Egypt. The first complete set of this game was discovered from a Theban tomb of the Egyptian pharaoh Amenemhat IV that dates to the 13th Dynasty. Juggling and ball games were popular with children, and wrestling is also documented in a tomb at Beni Hasan. The wealthy members of ancient Egyptian society enjoyed hunting, fishing, and boating as well.
The excavation of the workers' village of Deir el-Medina has resulted in one of the most thoroughly documented accounts of community life in the ancient world, which spans almost four hundred years. There is no comparable site in which the organization, social interactions, and working and living conditions of a community have been studied in such detail. |
Ancient Egypt | Cuisine | Cuisine
thumb|Hunting game birds and plowing a field, tomb of Nefermaat and his wife Itet ()
Egyptian cuisine remained remarkably stable over time; indeed, the cuisine of modern Egypt retains some striking similarities to the cuisine of the ancients. The staple diet consisted of bread and beer, supplemented with vegetables such as onions and garlic, and fruit such as dates and figs. Wine and meat were enjoyed by all on feast days while the upper classes indulged on a more regular basis. Fish, meat, and fowl could be salted or dried, and could be cooked in stews or roasted on a grill. |
Ancient Egypt | Architecture | Architecture
The architecture of ancient Egypt includes some of the most famous structures in the world: the Great Pyramids of Giza and the temples at Thebes. Building projects were organized and funded by the state for religious and commemorative purposes, but also to reinforce the wide-ranging power of the pharaoh. The ancient Egyptians were skilled builders; using only simple but effective tools and sighting instruments, architects could build large stone structures with great accuracy and precision that is still envied today.
The domestic dwellings of elite and ordinary Egyptians alike were constructed from perishable materials such as mudbricks and wood, and have not survived. Peasants lived in simple homes, while the palaces of the elite and the pharaoh were more elaborate structures. A few surviving New Kingdom palaces, such as those in Malkata and Amarna, show richly decorated walls and floors with scenes of people, birds, water pools, deities and geometric designs. Important structures such as temples and tombs that were intended to last forever were constructed of stone instead of mudbricks. The architectural elements used in the world's first large-scale stone building, Djoser's mortuary complex, include post and lintel supports in the papyrus and lotus motif.
The earliest preserved ancient Egyptian temples, such as those at Giza, consist of single, enclosed halls with roof slabs supported by columns. In the New Kingdom, architects added the pylon, the open courtyard, and the enclosed hypostyle hall to the front of the temple's sanctuary, a style that was standard until the Greco-Roman period. The earliest and most popular tomb architecture in the Old Kingdom was the mastaba, a flat-roofed rectangular structure of mudbrick or stone built over an underground burial chamber. The step pyramid of Djoser is a series of stone mastabas stacked on top of each other. Pyramids were built during the Old and Middle Kingdoms, but most later rulers abandoned them in favor of less conspicuous rock-cut tombs. The use of the pyramid form continued in private tomb chapels of the New Kingdom and in the royal pyramids of Nubia. |
Ancient Egypt | Art | Art
thumb|Menna and Family Hunting in the Marshes, Tomb of Menna, BC
The ancient Egyptians produced art to serve functional purposes. For over 3500 years, artists adhered to artistic forms and iconography that were developed during the Old Kingdom, following a strict set of principles that resisted foreign influence and internal change. These artistic standards—simple lines, shapes, and flat areas of color combined with the characteristic flat projection of figures with no indication of spatial depth—created a sense of order and balance within a composition. Images and text were intimately interwoven on tomb and temple walls, coffins, stelae, and even statues. The Narmer Palette, for example, displays figures that can also be read as hieroglyphs. Because of the rigid rules that governed its highly stylized and symbolic appearance, ancient Egyptian art served its political and religious purposes with precision and clarity.
thumb|Egyptian tomb models as funerary goods
Ancient Egyptian artisans used stone as a medium for carving statues and fine reliefs, but used wood as a cheap and easily carved substitute. Paints were obtained from minerals such as iron ores (red and yellow ochres), copper ores (blue and green), soot or charcoal (black), and limestone (white). Paints could be mixed with gum arabic as a binder and pressed into cakes, which could be moistened with water when needed.
Pharaohs used reliefs to record victories in battle, royal decrees, and religious scenes. Common citizens had access to pieces of funerary art, such as shabti statues and books of the dead, which they believed would protect them in the afterlife. During the Middle Kingdom, wooden or clay models depicting scenes from everyday life became popular additions to the tomb. In an attempt to duplicate the activities of the living in the afterlife, these models show laborers, houses, boats, and even military formations that are scale representations of the ideal ancient Egyptian afterlife.
Despite the homogeneity of ancient Egyptian art, the styles of particular times and places sometimes reflected changing cultural or political attitudes. After the invasion of the Hyksos in the Second Intermediate Period, Minoan-style frescoes were found in Avaris. The most striking example of a politically driven change in artistic forms comes from the Amarna Period, where figures were radically altered to conform to Akhenaten's revolutionary religious ideas. This style, known as Amarna art, was quickly abandoned after Akhenaten's death and replaced by the traditional forms. |
Ancient Egypt | Religious beliefs | Religious beliefs
thumb|upright=1.35|The Book of the Dead was a guide to the deceased's journey in the afterlife.
Beliefs in the divine and in the afterlife were ingrained in ancient Egyptian civilization from its inception; pharaonic rule was based on the divine right of kings. The Egyptian pantheon was populated by gods who had supernatural powers and were called on for help or protection. However, the gods were not always viewed as benevolent, and Egyptians believed they had to be appeased with offerings and prayers. The structure of this pantheon changed continually as new deities were promoted in the hierarchy, but priests made no effort to organize the diverse and sometimes conflicting myths and stories into a coherent system. These various conceptions of divinity were not considered contradictory but rather layers in the multiple facets of reality.
alt=Painted relief of a seated man with green skin and tight garments, a man with the head of a jackal, and a man with the head of a falcon|thumb|The gods Osiris, Anubis, and Horus in the tomb of Horemheb (KV57) in the Valley of the Kings
Gods were worshiped in cult temples administered by priests acting on the king's behalf. At the center of the temple was the cult statue in a shrine. Temples were not places of public worship or congregation, and only on select feast days and celebrations was a shrine carrying the statue of the god brought out for public worship. Normally, the god's domain was sealed off from the outside world and was only accessible to temple officials. Common citizens could worship private statues in their homes, and amulets offered protection against the forces of chaos. After the New Kingdom, the pharaoh's role as a spiritual intermediary was de-emphasized as religious customs shifted to direct worship of the gods. As a result, priests developed a system of oracles to communicate the will of the gods directly to the people.
The Egyptians believed that every human being was composed of physical and spiritual parts or aspects. In addition to the body, each person had a šwt (shadow), a ba (personality or soul), a ka (life-force), and a name. The heart, rather than the brain, was considered the seat of thoughts and emotions. After death, the spiritual aspects were released from the body and could move at will, but they required the physical remains (or a substitute, such as a statue) as a permanent home. The ultimate goal of the deceased was to rejoin his ka and ba and become one of the "blessed dead", living on as an akh, or "effective one". For this to happen, the deceased had to be judged worthy in a trial, in which the heart was weighed against a "feather of truth". If deemed worthy, the deceased could continue their existence on earth in spiritual form. If they were not deemed worthy, their heart was eaten by Ammit the Devourer and they were erased from the Universe. |
Ancient Egypt | Burial customs | Burial customs
thumb|left|Anubis, the god associated with mummification and burial rituals, attending to a mummy
The ancient Egyptians maintained an elaborate set of burial customs that they believed were necessary to ensure immortality after death. These customs involved preserving the body by mummification, performing burial ceremonies, and interring with the body goods the deceased would use in the afterlife. Before the Old Kingdom, bodies buried in desert pits were naturally preserved by desiccation. The arid, desert conditions were a boon throughout the history of ancient Egypt for burials of the poor, who could not afford the elaborate burial preparations available to the elite. Wealthier Egyptians began to bury their dead in stone tombs and use artificial mummification, which involved removing the internal organs, wrapping the body in linen, and burying it in a rectangular stone sarcophagus or wooden coffin. Beginning in the Fourth Dynasty, some parts were preserved separately in canopic jars.
By the New Kingdom, the ancient Egyptians had perfected the art of mummification; the best technique took 70 days and involved removing the internal organs, removing the brain through the nose, and desiccating the body in a mixture of salts called natron. The body was then wrapped in linen with protective amulets inserted between layers and placed in a decorated anthropoid coffin. Mummies of the Late Period were also placed in painted cartonnage mummy cases. Actual preservation practices declined during the Ptolemaic and Roman eras, while greater emphasis was placed on the outer appearance of the mummy, which was decorated.
Wealthy Egyptians were buried with larger quantities of luxury items, but all burials, regardless of social status, included goods for the deceased. Funerary texts were often included in the grave, and, beginning in the New Kingdom, so were shabti statues that were believed to perform manual labor for them in the afterlife. Rituals in which the deceased was magically re-animated accompanied burials. After burial, living relatives were expected to occasionally bring food to the tomb and recite prayers on behalf of the deceased. |
Ancient Egypt | Military | Military
thumb|Tutankhamun charging enemies on his chariot, 18th dynasty
The ancient Egyptian military was responsible for defending Egypt against foreign invasion, and for maintaining Egypt's domination in the ancient Near East. The military protected mining expeditions to the Sinai during the Old Kingdom and fought civil wars during the First and Second Intermediate Periods. The military was responsible for maintaining fortifications along important trade routes, such as those found at the city of Buhen on the way to Nubia. Forts also were constructed to serve as military bases, such as the fortress at Sile, which was a base of operations for expeditions to the Levant. In the New Kingdom, a series of pharaohs used the standing Egyptian army to attack and conquer Kush and parts of the Levant.
thumb|Wooden figures of soldiers, from the tomb of nomarch Mesehti (11th dynasty)
Typical military equipment included bows and arrows, spears, and round-topped shields made by stretching animal skin over a wooden frame. In the New Kingdom, the military began using chariots that had earlier been introduced by the Hyksos invaders. Weapons and armor continued to improve after the adoption of bronze: shields were now made from solid wood with a bronze buckle, spears were tipped with a bronze point, and the khopesh was adopted from Asiatic soldiers. The pharaoh was usually depicted in art and literature riding at the head of the army; it has been suggested that at least a few pharaohs, such as Seqenenre Tao II and his sons, did do so. However, it has also been argued that "kings of this period did not personally act as frontline war leaders, fighting alongside their troops". Soldiers were recruited from the general population, but during, and especially after, the New Kingdom, mercenaries from Nubia, Kush, and Libya were hired to fight for Egypt. |
Ancient Egypt | Technology, medicine and mathematics | Technology, medicine and mathematics |
Ancient Egypt | Technology | Technology
thumb|right|Glassmaking was a highly developed art.
In technology, medicine, and mathematics, ancient Egypt achieved a relatively high standard of productivity and sophistication. Traditional empiricism, as evidenced by the Edwin Smith and Ebers papyri (), is first credited to Egypt. The Egyptians created their own alphabet and decimal system. |
Ancient Egypt | Faience and glass | Faience and glass
Even before the Old Kingdom, the ancient Egyptians had developed a glassy material known as faience, which they treated as a type of artificial semi-precious stone. Faience is a non-clay ceramic made of silica, small amounts of lime and soda, and a colorant, typically copper. The material was used to make beads, tiles, figurines, and small wares. Several methods can be used to create faience, but typically production involved application of the powdered materials in the form of a paste over a clay core, which was then fired. By a related technique, the ancient Egyptians produced a pigment known as Egyptian blue, also called blue frit, which is produced by fusing (or sintering) silica, copper, lime, and an alkali such as natron. The product can be ground up and used as a pigment.
The ancient Egyptians could fabricate a wide variety of objects from glass with great skill, but it is not clear whether they developed the process independently. It is also unclear whether they made their own raw glass or merely imported pre-made ingots, which they melted and finished. However, they did have technical expertise in making objects, as well as adding trace elements to control the color of the finished glass. A range of colors could be produced, including yellow, red, green, blue, purple, and white, and the glass could be made either transparent or opaque. |
Ancient Egypt | Medicine | Medicine
The medical problems of the ancient Egyptians stemmed directly from their environment. Living and working close to the Nile brought hazards from malaria and debilitating schistosomiasis parasites, which caused liver and intestinal damage. Dangerous wildlife such as crocodiles and hippos were also a common threat. The lifelong labors of farming and building put stress on the spine and joints, and traumatic injuries from construction and warfare all took a significant toll on the body. The grit and sand from stone-ground flour abraded teeth, leaving them susceptible to abscesses (though caries were rare).
The diets of the wealthy were rich in sugars, which promoted periodontal disease. Despite the flattering physiques portrayed on tomb walls, the overweight mummies of many of the upper class show the effects of a life of overindulgence. Adult life expectancy was about 35 for men and 30 for women, but reaching adulthood was difficult as about one-third of the population died in infancy.
thumb|left|The Edwin Smith surgical papyrus describes anatomy and medical treatments, written in hieratic, .
Ancient Egyptian physicians were renowned in the ancient Near East for their healing skills, and some, such as Imhotep, remained famous long after their deaths. Herodotus remarked that there was a high degree of specialization among Egyptian physicians, with some treating only the head or the stomach, while others were eye-doctors and dentists. Training of physicians took place at the Per Ankh or "House of Life" institution, most notably those headquartered in Per-Bastet during the New Kingdom and at Abydos and Saïs in the Late period. Medical papyri show empirical knowledge of anatomy, injuries, and practical treatments.
Wounds were treated by bandaging with raw meat, white linen, sutures, nets, pads, and swabs soaked with honey to prevent infection, while opium, thyme, and belladona were used to relieve pain. The earliest records of burn treatment describe burn dressings that use the milk from mothers of male babies. Prayers were made to the goddess Isis. Moldy bread, honey, and copper salts were also used to prevent infection from dirt in burns. Garlic and onions were used regularly to promote good health and were thought to relieve asthma symptoms. Ancient Egyptian surgeons stitched wounds, set broken bones, and amputated diseased limbs, but they recognized that some injuries were so serious that they could only make the patient comfortable until death occurred. |
Ancient Egypt | Maritime technology | Maritime technology
Early Egyptians knew how to assemble planks of wood into a ship hull and had mastered advanced forms of shipbuilding as early as 3000BC. The Archaeological Institute of America reports that the oldest planked ships known are the Abydos boats. A group of 14 discovered ships in Abydos were constructed of wooden planks "sewn" together. Discovered by Egyptologist David O'Connor of New York University, woven straps were found to have been used to lash the planks together, and reeds or grass stuffed between the planks helped to seal the seams. Because the ships are all buried together and near a mortuary belonging to Pharaoh Khasekhemwy, originally they were all thought to have belonged to him, but one of the 14 ships dates to 3000BC, and the associated pottery jars buried with the vessels also suggest earlier dating. The ship dating to 3000BC was long and is now thought to perhaps have belonged to an earlier pharaoh, perhaps one as early as Hor-Aha.
Early Egyptians also knew how to assemble planks of wood with treenails to fasten them together, using pitch for caulking the seams. The "Khufu ship", a vessel sealed into a pit in the Giza pyramid complex at the foot of the Great Pyramid of Giza in the Fourth Dynasty around 2500BC, is a full-size surviving example that may have filled the symbolic function of a solar barque. Early Egyptians also knew how to fasten the planks of this ship together with mortise and tenon joints.
thumb|left|Seagoing ship of an expedition to Punt, from a relief of Hatshepsut's Mortuary temple, Deir el-BahariLarge seagoing ships are known to have been heavily used by the Egyptians in their trade with the city states of the eastern Mediterranean, especially Byblos (on the coast of modern-day Lebanon), and in several expeditions down the Red Sea to the Land of Punt. In fact one of the earliest Egyptian words for a seagoing ship is a "Byblos Ship", which originally defined a class of Egyptian seagoing ships used on the Byblos run; however, by the end of the Old Kingdom, the term had come to include large seagoing ships, whatever their destination.
In 1977, an ancient north–south canal was discovered extending from Lake Timsah to the Ballah Lakes. It was dated to the Middle Kingdom of Egypt by extrapolating dates of ancient sites constructed along its course.
In 2011, archaeologists from Italy, the United States, and Egypt, excavating a dried-up lagoon known as Mersa Gawasis, unearthed traces of an ancient harbor that once launched early voyages, such as Hatshepsut's Punt, expedition onto the open ocean. Some of the site's most evocative evidence for the ancient Egyptians' seafaring prowess include large ship timbers and hundreds of feet of ropes, made from papyrus, coiled in huge bundles. In 2013, a team of Franco-Egyptian archaeologists discovered what is believed to be the world's oldest port, dating back about 4500 years, from the time of King Khufu, on the Red Sea coast, near Wadi el-Jarf (about 110 miles south of Suez). |
Ancient Egypt | Mathematics | Mathematics
right|thumb|Facsimile of the Astronomical chart in Senemut's tomb, 18th dynasty
The earliest attested examples of mathematical calculations date to the predynastic Naqada period, and show a fully developed numeral system. The importance of mathematics to an educated Egyptian is suggested by a New Kingdom fictional letter in which the writer proposes a scholarly competition between himself and another scribe regarding everyday calculation tasks such as accounting of land, labor, and grain. Texts such as the Rhind Mathematical Papyrus and the Moscow Mathematical Papyrus show that the ancient Egyptians could perform the four basic mathematical operations—addition, subtraction, multiplication, and division—use fractions, calculate the areas of rectangles, triangles, and circles and compute the volumes of boxes, columns and pyramids. They understood basic concepts of algebra and geometry, and could solve systems of equations.
Mathematical notation was decimal, and based on hieroglyphic signs for each power of ten up to one million. Each of these could be written as many times as necessary to add up to the desired number; so to write the number eighty or eight hundred, the symbol for ten or one hundred was written eight times respectively. Because their methods of calculation could not handle most fractions with a numerator greater than one, they had to write fractions as the sum of several fractions. For example, they resolved the fraction two-fifths into the sum of one-third + one-fifteenth. Standard tables of values facilitated this. Some common fractions, however, were written with a special glyph—the equivalent of the modern two-thirds is shown on the right.
Ancient Egyptian mathematicians knew the Pythagorean theorem as an empirical formula. They were aware, for example, that a triangle had a right angle opposite the hypotenuse when its sides were in a 3–4–5 ratio. They were able to estimate the area of a circle by subtracting one-ninth from its diameter and squaring the result:
Area ≈ [()D]2 = ()r2 ≈ 3.16r2,
a reasonable approximation of the formula . |
Ancient Egypt | Population | Population
thumb|The halls of Karnak Temple are built with rows of large columns.
Estimates of the size of the population range from 1–1.5 million in the 3rd millennium BC to possibly 2–3 million by the 1st millennium BC, before growing significantly towards the end of that millennium. |
Ancient Egypt | Archaeogenetics | Archaeogenetics
According to historian William Stiebling and archaeologist Susan N. Helft, conflicting DNA analysis on recent genetic samples such as the Amarna royal mummies has led to a lack of consensus on the genetic makeup of the ancient Egyptians and their geographic origins.
The genetic history of Ancient Egypt remains a developing field, and is relevant for the understanding of population demographic events connecting Africa and Eurasia. To date, the amount of genome-wide aDNA analyses on ancient specimens from Egypt and Sudan remain scarce, although studies on uniparental haplogroups in ancient individuals have been carried out several times, pointing broadly to affinities with other African and Eurasian groups.
The currently most advanced full genome analyses was made on three ancient specimens recovered from the Nile River Valley, Abusir el-Meleq, Egypt. Two of the individuals were dated to the Pre-Ptolemaic Period (New Kingdom to Late Period), and one individual to the Ptolemaic Period, spanning around 1300 years of Egyptian history. These results point to a genetic continuity of Ancient Egyptians with modern Egyptians. The results further point to a close genetic affinity between ancient Egyptians and Middle Eastern populations, especially ancient groups from the Levant.
thumb|The preserved Temple of Horus at Edfu is a model of Egyptian architecture.
Ancient Egyptians also displayed affinities to Nubians to the south of Egypt, in modern-day Sudan. Archaeological and historical evidence support interactions between Egyptian and Nubian populations more than 5000 years ago, with socio-political dynamics between Egyptians and Nubians ranging from peaceful coexistence to variably successful attempts of conquest. A study on sixty-six ancient Nubian individuals revealed significant contact with ancient Egyptians, characterized by the presence of % Neolithic/Bronze Age Levantine ancestry in these individuals. Such geneflow of Levantine-like ancestry corresponds with archaeological and botanic evidence, pointing to a Neolithic movement around 7,000 years ago.
Modern Egyptians, like modern Nubians, also underwent subsequent admixture events, contributing both "Sub-Saharan" African-like and West Asian-like ancestries, since the Roman period, with significance on the African Slave Trade and the Spread of Islam.
Some scholars, such as Christopher Ehret, caution that a wider sampling area is needed and argue that the current data is inconclusive on the origin of ancient Egyptians. They also point out issues with the previously used methodology such as the sampling size, comparative approach and a "biased interpretation" of the genetic data. They argue in favor for a link between Ancient Egypt and the northern Horn of Africa. This latter view has been attributed to the corresponding archaeological, genetic, linguistic and biological anthropological sources of evidence which broadly indicate that the earliest Egyptians and Nubians were the descendants of populations in northeast Africa. |
Ancient Egypt | Legacy | Legacy
thumb|Frontispiece of Description de l'Égypte, published in 38 volumes between 1809 and 1829
The culture and monuments of ancient Egypt have left a lasting legacy on the world. Egyptian civilization significantly influenced the Kingdom of Kush and Meroë with both adopting Egyptian religious and architectural norms (hundreds of pyramids (6–30 meters high) were built in Egypt/Sudan), as well as using Egyptian writing as the basis of the Meroitic script. Meroitic is the oldest written language in Africa, other than Egyptian, and was used from the 2nd century BC until the early 5th century AD. The cult of the goddess Isis, for example, became popular in the Roman Empire, as obelisks and other relics were transported back to Rome. The Romans also imported building materials from Egypt to erect Egyptian-style structures. Early historians such as Herodotus, Strabo, and Diodorus Siculus studied and wrote about the land, which Romans came to view as a place of mystery.
During the Middle Ages and the Renaissance, Egyptian pagan culture was in decline after the rise of Christianity and later Islam, but interest in Egyptian antiquity continued in the writings of medieval scholars such as Dhul-Nun al-Misri and al-Maqrizi. In the seventeenth and eighteenth centuries, European travelers and tourists brought back antiquities and wrote stories of their journeys, leading to a wave of Egyptomania across Europe, as evident in symbolism such as the Eye of Providence and the Great Seal of the United States. This renewed interest sent collectors to Egypt, who took, purchased, or were given many important antiquities. Napoleon arranged the first studies in Egyptology when he brought some 150 scientists and artists to study and document Egypt's natural history, which was published in the Description de l'Égypte.
In the 20th century, the Egyptian Government and archaeologists alike recognized the importance of cultural respect and integrity in excavations. Since the 2010s, the Ministry of Tourism and Antiquities has overseen excavations and the recovery of artifacts. |
Ancient Egypt | See also | See also
Egyptology
Glossary of ancient Egypt artifacts
Index of ancient Egypt–related articles
Outline of ancient Egypt
List of ancient Egyptians
List of Ancient Egyptian inventions and discoveries
Archaeology of Ancient Egypt
Archeological Map of Egypt
British school of diffusionism |
Ancient Egypt | Notes | Notes |
Ancient Egypt | References | References |
Ancient Egypt | Citations | Citations |
Ancient Egypt | Works cited | Works cited
|
Ancient Egypt | Further reading | Further reading
|
Ancient Egypt | External links | External links
BBC History: Egyptiansprovides a reliable general overview and further links
Ancient Egyptian Science: A Source Book Door Marshall Clagett, 1989
Napoleon on the Nile: Soldiers, Artists, and the Rediscovery of Egypt, Art History.
Digital Egypt for Universities. Scholarly treatment with broad coverage and cross references (internal and external). Artifacts used extensively to illustrate topics.
Priests of Ancient Egypt In-depth-information about Ancient Egypt's priests, religious services and temples. Much picture material and bibliography. In English and German.
UCLA Encyclopedia of Egyptology
Ancient Egypt and the Role of Women by Joann Fletcher
Category:Ancient Egypt
Category:Bronze Age civilizations
Category:Cradle of civilization
Egypt
Category:Former empires in Asia
Category:Ancient peoples
Category:History of Egypt by period
Category:History of the Mediterranean |
Ancient Egypt | Table of Content | Short description, History, Predynastic period, Early Dynastic Period ({{circa, Old Kingdom (2686–2181 BC), First Intermediate Period (2181–2055 BC), Middle Kingdom (2134–1690 BC), Second Intermediate Period (1674–1549 BC) and the Hyksos, New Kingdom (1549–1069 BC), Third Intermediate Period (1069–653 BC), Late Period (653–332 BC), Ptolemaic period (332–30 BC), Roman period (30 BC – AD 642), Government and economy, Administration and commerce, Social status, Legal system, Agriculture, Animals, Natural resources, Trade, Language, Historical development, Sounds and grammar, Writing, Literature, Culture, Daily life, Cuisine, Architecture, Art, Religious beliefs, Burial customs, Military, Technology, medicine and mathematics, Technology, Faience and glass, Medicine, Maritime technology, Mathematics, Population, Archaeogenetics, Legacy, See also, Notes, References, Citations, Works cited, Further reading, External links |
Analog Brothers | Short description | Analog Brothers were an experimental hip hop band featuring Tracy "Ice-T" Marrow (Ice Oscillator) on keyboards, drums and vocals, Keith "Kool Keith" Thornton (Keith Korg) on bass, strings and vocals, Marc Live (Marc Moog) on drums, violins and vocals, Christopher "Black Silver" Rodgers (Silver Synth) on synthesizer, lazar bell and vocals, and Rex Colonel "Pimpin' Rex" Doby Jr. (Rex Roland JX3P) on keyboards, vocals and production. |
Analog Brothers | Music | Music
The group's only studio album Pimp to Eat featured guest appearances by various members of Rhyme Syndicate, Odd Oberheim, Jacky Jasper (who appears as Jacky Jasper on the song "We Sleep Days" and H-Bomb on "War"), D.J. Cisco from S.M., Synth-A-Size Sisters and Teflon. |
Analog Brothers | Legacy | Legacy
While the group only recorded one album together as the Analog Brothers, a few bootlegs of its live concert performances, including freestyles with original lyrics, have occasionally surfaced online. After Pimp to Eat, the Analog Brothers continued performing together in various line ups. Kool Keith and Marc Live joined with Jacky Jasper to release two albums as KHM. Marc Live rapped with Ice-T's group SMG. Marc also formed a group with Black Silver called Live Black, but while five of their tracks were released on a demo CD sold at concerts, Live Black's first album has yet to be released.
In 2008, Ice-T and Black Silver toured together as Black Ice, and released an album together called Urban Legends.
In 2013, Black Silver and newest member to Analog Brothers, Kiew Kurzweil (Kiew Nikon of Kinetic) collaborated on the joint album called Slang Banging (Return to Analog) with production by Junkadelic Music. In addition to all this, the Analog Brothers continue to make frequent appearances on each other's solo albums. |
Analog Brothers | Discography | Discography
2000 - 2005 A.D. (single), Ground Control Records/Nu Gruv
2000 - Pimp to Eat (LP), Ground Control Records/Mello Music Group
2014 - Slang Banging (Return to Analog), Junkadelic Music |
Analog Brothers | References | References |
Analog Brothers | External links | External links
Kool Keith's Site
Ultrakeith
Analog Brothers at Discogs
Category:Ice-T
Category:American hip-hop groups |
Analog Brothers | Table of Content | Short description, Music, Legacy, Discography, References, External links |
Motor neuron diseases | short description | Motor neuron diseases or motor neurone diseases (MNDs) are a group of rare neurodegenerative disorders that selectively affect motor neurons, the cells which control voluntary muscles of the body. They include amyotrophic lateral sclerosis (ALS), progressive bulbar palsy (PBP), pseudobulbar palsy, progressive muscular atrophy (PMA), primary lateral sclerosis (PLS), spinal muscular atrophy (SMA) and monomelic amyotrophy (MMA), as well as some rarer variants resembling ALS.
Motor neuron diseases affect both children and adults. While each motor neuron disease affects patients differently, they all cause movement-related symptoms, mainly muscle weakness. Most of these diseases seem to occur randomly without known causes, but some forms are inherited. Studies into these inherited forms have led to discoveries of various genes (e.g. SOD1) that are thought to be important in understanding how the disease occurs.
Symptoms of motor neuron diseases can be first seen at birth or can come on slowly later in life. Most of these diseases worsen over time; while some, such as ALS, shorten one's life expectancy, others do not. Currently, there are no approved treatments for the majority of motor neuron disorders, and care is mostly symptomatic. |
Motor neuron diseases | Signs and symptoms | Signs and symptoms
thumb|325x325px|A man with amyotrophic lateral sclerosis (ALS). (A) He needs assistance to stand. (B) Advanced atrophy of the tongue. (C) There is upper limb and truncal muscle atrophy with a positive Babinski sign. (D) Advanced thenar muscle atrophy.
Signs and symptoms depend on the specific disease, but motor neuron diseases typically manifest as a group of movement-related symptoms. They come on slowly, and worsen over the course of more than three months. Various patterns of muscle weakness are seen, and muscle cramps and spasms may occur. One can have difficulty breathing with climbing stairs (exertion), difficulty breathing when lying down (orthopnea), or even respiratory failure if breathing muscles become involved. Bulbar symptoms, including difficulty speaking (dysarthria), difficulty swallowing (dysphagia), and excessive saliva production (sialorrhea), can also occur. Sensation, or the ability to feel, is typically not affected. Emotional disturbance (e.g. pseudobulbar affect) and cognitive and behavioural changes (e.g. problems in word fluency, decision-making, and memory) are also seen. There can be lower motor neuron findings (e.g. muscle wasting, muscle twitching), upper motor neuron findings (e.g. brisk reflexes, Babinski reflex, Hoffman's reflex, increased muscle tone), or both.
Motor neuron diseases are seen both in children and adults. Those that affect children tend to be inherited or familial, and their symptoms are either present at birth or appear before learning to walk. Those that affect adults tend to appear after age 40. The clinical course depends on the specific disease, but most progress or worsen over the course of months. Some are fatal (e.g. ALS), while others are not (e.g. PLS). |
Motor neuron diseases | Patterns of weakness | Patterns of weakness
Various patterns of muscle weakness occur in different motor neuron diseases. Weakness can be symmetric or asymmetric, and it can occur in body parts that are distal, proximal, or both. According to Statland et al., there are three main weakness patterns that are seen in motor neuron diseases, which are:
Asymmetric distal weakness without sensory loss (e.g. ALS, PLS, PMA, MMA)
Symmetric weakness without sensory loss (e.g. PMA, PLS)
Symmetric focal midline proximal weakness (neck, trunk, bulbar involvement; e.g. ALS, PBP, PLS) |
Motor neuron diseases | Lower and upper motor neuron findings | Lower and upper motor neuron findings
Motor neuron diseases are on a spectrum in terms of upper and lower motor neuron involvement. Some have just lower or upper motor neuron findings, while others have a mix of both. Lower motor neuron (LMN) findings include muscle atrophy and fasciculations, and upper motor neuron (UMN) findings include hyperreflexia, spasticity, muscle spasm, and abnormal reflexes.
Pure upper motor neuron diseases, or those with just UMN findings, include PLS.
Pure lower motor neuron diseases, or those with just LMN findings, include PMA.
Motor neuron diseases with both UMN and LMN findings include both familial and sporadic ALS. |
Motor neuron diseases | Causes | Causes
Most cases are sporadic and their causes are usually not known. It is thought that environmental, toxic, viral, or genetic factors may be involved. |
Motor neuron diseases | DNA damage | DNA damage
TAR DNA-binding protein 43 (TDP-43), is a critical component of the non-homologous end joining (NHEJ) enzymatic pathway that repairs DNA double-strand breaks in pluripotent stem cell-derived motor neurons. TDP-43 is rapidly recruited to double-strand breaks where it acts as a scaffold for the recruitment of the XRCC4-DNA ligase protein complex that then acts to repair double-strand breaks. About 95% of ALS patients have abnormalities in the nucleus-cytoplasmic localization in spinal motor neurons of TDP43. In TDP-43 depleted human neural stem cell-derived motor neurons, as well as in sporadic ALS patients' spinal cord specimens there is significant double-strand break accumulation and reduced levels of NHEJ. |
Motor neuron diseases | Associated risk factors | Associated risk factors
In adults, men are more commonly affected than women. |
Motor neuron diseases | Diagnosis | Diagnosis
Differential diagnosis can be challenging due to the number of overlapping symptoms, shared between several motor neuron diseases. Frequently, the diagnosis is based on clinical findings (i.e. LMN vs. UMN signs and symptoms, patterns of weakness), family history of MND, and a variation of tests, many of which are used to rule out disease mimics, which can manifest with identical symptoms. |
Motor neuron diseases | Classification | Classification
thumb|296x296px|Corticospinal tract. Upper motor neurons originating in the primary motor cortex synapse to either lower motor neurons in the anterior horn of the central gray matter of the spinal cord (insert) or brainstem motor neurons (not shown). Motor neuron disease can affect either upper motor neurons (UMNs) or lower motor neurons (LMNs).
Motor neuron disease describes a collection of clinical disorders, characterized by progressive muscle weakness and the degeneration of the motor neuron on electrophysiological testing. The term "motor neuron disease" has varying meanings in different countries. Similarly, the literature inconsistently classifies which degenerative motor neuron disorders can be included under the umbrella term "motor neuron disease". The four main types of MND are marked (*) in the table below.
All types of MND can be differentiated by two defining characteristics:
Is the disease sporadic or inherited?
Is there involvement of the upper motor neurons (UMN), the lower motor neurons (LMN), or both?
Sporadic or acquired MNDs occur in patients with no family history of degenerative motor neuron disease. Inherited or genetic MNDs adhere to one of the following inheritance patterns: autosomal dominant, autosomal recessive, or X-linked. Some disorders, like ALS, can occur sporadically (85%) or can have a genetic cause (15%) with the same clinical symptoms and progression of disease.
UMNs are motor neurons that project from the cortex down to the brainstem or spinal cord. LMNs originate in the anterior horns of the spinal cord and synapse on peripheral muscles. Both motor neurons are necessary for the strong contraction of a muscle, but damage to an UMN can be distinguished from damage to a LMN by physical exam.
Type UMN degeneration LMN degenerationSporadic MNDs Sporadic amyotrophic lateral sclerosis (ALS)* Yes YesPrimary lateral sclerosis (PLS)* Yes NoProgressive muscular atrophy (PMA)* No YesProgressive bulbar palsy (PBP)* Yes Yes, bulbar regionPseudobulbar palsy Yes, bulbar region NoMonomelic amyotrophy (MMA)NoYesInherited MNDsFamilial amyotrophic lateral sclerosis (ALS)*YesYes |
Motor neuron diseases | Tests | Tests
Cerebrospinal fluid (CSF) tests: Analysis of the fluid from around the brain and spinal cord could reveal signs of an infection or inflammation.
Magnetic resonance imaging (MRI): An MRI of the brain and spinal cord is recommended in patients with UMN signs and symptoms to explore other causes, such as a tumor, inflammation, or lack of blood supply (stroke).
Electromyogram (EMG) & nerve conduction study (NCS): The EMG, which evaluates muscle function, and NCS, which evaluates nerve function, are performed together in patients with LMN signs.
For patients with MND affecting the LMNs, the EMG will show evidence of: (1) acute denervation, which is ongoing as motor neurons degenerate, and (2) chronic denervation and reinnervation of the muscle, as the remaining motor neurons attempt to fill in for lost motor neurons.
By contrast, the NCS in these patients is usually normal. It can show a low compound muscle action potential (CMAP), which results from the loss of motor neurons, but the sensory neurons should remain unaffected.
Tissue biopsy: Taking a small sample of a muscle or nerve may be necessary if the EMG/NCS is not specific enough to rule out other causes of progressive muscle weakness, but it is rarely used. |
Motor neuron diseases | Treatment | Treatment
There are no known curative treatments for the majority of motor neuron disorders.
Physiotherapy helps maintain movement and function when someone is affected by
disability, injury or illness. This is achieved through movement and exercise, manual
therapy, education and advice. Although physiotherapy can’t reverse the effects of
MND, or Kennedy’s disease, it can help maintain range of movement and comfort
for as long as possible. |
Motor neuron diseases | Prognosis | Prognosis
The table below lists life expectancy for patients who are diagnosed with MND.
TypeMedian survival time from start of symptomsAmyotrophic lateral sclerosis (ALS)2–5 yearsPrimary lateral sclerosis (PLS)8–10 yearsProgressive muscular atrophy (PMA)2–4 yearsProgressive bulbar palsy (PBP)6 months – 3 yearsPseudobulbar palsyNo change in survival |
Motor neuron diseases | Terminology | Terminology
In the United States and Canada, the term motor neuron disease usually refers to the group of disorders while amyotrophic lateral sclerosis is frequently called Lou Gehrig's disease. In the United Kingdom and Australia, the term motor neuron(e) disease is used for amyotrophic lateral sclerosis, although is not uncommon to refer to the entire group.
While MND refers to a specific subset of similar diseases, there are numerous other diseases of motor neurons that are referred to collectively as "motor neuron disorders", for instance the diseases belonging to the spinal muscular atrophies group. However, they are not classified as "motor neuron diseases" by the 11th edition of the International Statistical Classification of Diseases and Related Health Problems (ICD-11), which is the definition followed in this article. |
Motor neuron diseases | See also | See also
Spinal muscular atrophies
Hereditary motor and sensory neuropathies
Stephen Hawking |
Motor neuron diseases | References | References |
Motor neuron diseases | External links | External links
Motor neuron diseases
Category:Rare diseases
Category:Systemic atrophies primarily affecting the central nervous system |
Motor neuron diseases | Table of Content | short description, Signs and symptoms, Patterns of weakness, Lower and upper motor neuron findings, Causes, DNA damage, Associated risk factors, Diagnosis, Classification, Tests, Treatment, Prognosis, Terminology, See also, References, External links |
Abjad | short description | An abjad ( or abgad) is a writing system in which only consonants are represented, leaving the vowel sounds to be inferred by the reader. This contrasts with alphabets, which provide graphemes for both consonants and vowels. The term was introduced in 1990 by Peter T. Daniels.Daniels, P. (1990). "Fundamentals of Grammatology". Journal of the American Oriental Society, 110(4), 727-731. . "We must recognize that the West Semitic scripts constitute a third fundamental type of script, the kind that denotes individual consonants only. It cannot be subsumed under either of the other terms. A suitable name for this type would be alephbeth, in honor of its Levantine origin, but this term seems too similar to alphabet to be practical; so I propose to call this type an "abjad," [Footnote: I.e., the alif-ba-jim order familiar from earlier Semitic alphabets, from which the modern order alif-ba-ta-tha is derived by placing together the letters with similar shapes and differing numbers of dots. The abjad is the order in which numerical values are assigned to the letters (as in Hebrew).] from the Arabic word for the traditional order6 of its script, which (unvocalized) of course falls in this category... There is yet a fourth fundamental type of script, a type recognized over forty years ago by James- Germain Fevrier, called by him the "neosyllabary" (1948, 330), and again by Fred Householder thirty years ago, who called it "pseudo-alphabet" (1959, 382). These are the scripts of Ethiopia and "greater India" that use a basic form for the specific syllable consonant + a particular vowel (in practice always the unmarked a) and modify it to denote the syllables with other vowels or with no vowel. Were it not for this existing term, I would propose maintaining the pattern by calling this type an "abugida," from the Ethiopian word for the auxiliary order of consonants in the signary." Other terms for the same concept include partial phonemic script, segmentally linear defective phonographic script, consonantary, consonant writing, and consonantal alphabet.Amalia E. Gnanadesikan (2017), "Towards a typology of phonemic scripts", Writing Systems Research, 9:1, 14-35, . "Daniels (1990, 1996a) proposes the name abjad for these scripts, and this term has gained considerable popularity. Other terms include partial phonemic script (Hill, 1967), segmentally linear defective phonographic script (Faber, 1992), consonantary (Trigger, 2004), consonant writing (Coulmas, 1989) and consonantal alphabet (Gnanadesikan, 2009; Healey, 1990). "
Impure abjads represent vowels with either optional diacritics, a limited number of distinct vowel glyphs, or both. |
Abjad | Etymology | Etymology
The name abjad is based on the Arabic alphabet's first (in its original order) four corresponding to a, b, j, and to replace the more common terms "consonantary" and "consonantal alphabet" in describing the family of scripts classified as "West Semitic". It is similar to other Semitic languages such as Phoenician, Hebrew and Semitic proto-alphabets: specifically, aleph, bet, gimel, dalet. |
Abjad | Terminology | Terminology
According to the formulations of Peter T. Daniels, abjads differ from alphabets in that only consonants, not vowels, are represented among the basic graphemes. Abjads differ from abugidas, another category defined by Daniels, in that in abjads, the vowel sound is implied by phonology, and where vowel marks exist for the system, such as nikkud for Hebrew and ḥarakāt for Arabic, their use is optional and not the dominant (or literate) form. Abugidas mark all vowels (other than the "inherent" vowel) with a diacritic, a minor attachment to the letter, a standalone glyph, or (in Canadian Aboriginal syllabics) by rotation of the letter. Some abugidas use a special symbol to suppress the inherent vowel so that the consonant alone can be properly represented. In a syllabary, a grapheme denotes a complete syllable, that is, either a lone vowel sound or a combination of a vowel sound with one or more consonant sounds.
The contrast of abjad versus alphabet has been rejected by other scholars because abjad is also used as a term for the Arabic numeral system. Also, it may be taken as suggesting that consonantal alphabets, in contrast to e.g. the Greek alphabet, were not yet true alphabets. Florian Coulmas, a critic of Daniels and of the abjad terminology, argues that this terminology can confuse alphabets with "transcription systems", and that there is no reason to relegate the Hebrew, Aramaic or Phoenician alphabets to second-class status as an "incomplete alphabet".
However, Daniels's terminology has found acceptance in the linguistic community. "Abjads / Consonant alphabets",
Omniglot.com, 2009, quote: "Abjads, or consonant alphabets, represent consonants only, or consonants plus some vowels. Full vowel indication (vocalisation) can be added, usually by means of diacritics, but this is not usually done." Accessed 22 May 2009.Rogers, Henry (2005): Writing systems: a linguistic approach. Wiley-Blackwell. ISBN 0-631-23464-0, ISBN 978-0-631-23464-7. See esp. Chap. 7, pp. 115ff.Schone, Patrick (2006): "Low-resource autodiacritization of abjads for speech keyword search", In INTERSPEECH-2006, paper 1412-Mon3FoP.13. |
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