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  • Author or Editor: Dietrich Wildung x
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The first history of Ancient Egypt has been written by Herodotus, a Greek. There are no historians in Egyptian historiography which doesn’t know a continuous description of the past. There is no linear evolution of history, starting from an “ab urbe condita”. Egyptian historiography consists of kings lists; their content is limited to the sequence of names of rulers, complemented in one case, the Royal Canon of Turin, by the exact duration of their reigns. Any other information is missing. The identifiers of history in Ancient Egypt are not the rulers and military leaders. The idea of history is not based on events of interior or foreign policy. The Egyptians see the highlights of their past in cultural achievements, whose creators are remembered over centuries and millennia as representatives of the greatness of Egypt. The statues of Mentuhotep (ca. 1950 BC), the chief architect of Karnak, have been restored and reinscribed with his name after 500 years. Amenhotep-son-of-Hapu, who erected the Colossi of Memnon and the temples of Luxor and Soleb (ca. 1380–1350 BC), became a hero of culture, elevated to the rank of a saint and finally a god. Imhotep, who had built the Step Pyramid at Saqqâra (ca. 2650 BC), the first architecture in stone, remained alive in the cultural memory of Egypt until Roman times and survives even in Arab tradition. The pharaohs—Sesostris I, Amenhotep III and Djeser—behind these great ones don’t have a place in the historical consciousness of the Egyptians. “Was aber bleibet, stiften die Dichter” (Hölderlin) has been anticipated by the Egyptians: Artists create history.

In: Israel and the Cosmological Empires of the Ancient Orient
Bild, Text, Paratext
Die Bildwerke des US-amerikanischen Künstlers Cy Twombly (1928–2011) gelten noch heute als schwer zugänglich. Bleistiftgekritzel, Farbballungen, taumelnde Linien, einander überlagernde Farbschichten, geometrische Figuren, Zahlenreihen und anderes mehr stellen vor ganz besondere Herausforderungen.
Getreu seiner interdisziplinär-transkulturellen Forschungsmethode lud das Internationale Kölner Kolleg Morphomata 2012 neben Kunsthistorikern namhafte Fachleute aus den Bereichen Ägyptologie, Archäologie, Germanistik, Gräzistik, Anglistik und Japanologie, d.h. all jenen Fachgebieten, die eine Inspirationsquelle für das Œuvre Cy Twomblys darstellten, zu einem Kongress ein. Durch umfassende Deutungen berühmter Einzelwerke und Werkgruppen in sämtlichen von Twombly angewandten künstlerischen Medien erschließt der Band einen Zugang zur assoziativ-referentiellen Bildsprache Cy Twomblys.