Mysteries of Khufu's Pyramid and Djedi

"Djedi" is a joint international-Egyptian mission, which dr. Zahi Hawas, secretary general of the Supreme Council of Antiquities, named after Djedi, the magician who "Khufu" consulted when planning the layout of his pyramid.

The purpose of this project is to send a robotic tunnel explorer into the two “air shafts” that lead from the Queen’s Chamber of the Great Pyramid of Khufu to gather evidence to determine the purpose of the shafts.He selected the "Djedi team" during a competition that he coordinated to pick the best possible robot to explore the shafts in the Great Pyramid.

This international team is experienced in the development and deployment of systems to meet real world challenges, including systems for space, search and rescue and medical devices, as well as inspection of stone structures.

"Djedi team" hopes to uncover the meaning of these airshafts by drilling through the doors that are blocking them. The team has made to previous examinations of the airshafts in July and December of 2009. The team is hoping to gather as much evidence as possible to try to piece together the purpose of the airshafts, while at the same time ensuring that the Great Pyramid is not damaged in any way.

The story of the discovery of the hidden doors began in 1992, when "Zahi Hawas" made the decision to close the Great Pyramid to visitors in order to begin a project to reduce the humidity inside and to correct the damage that was occurring from the accumulation of salt. Each visitor who enters the pyramid leaves behind about 20 grams of moisture from their breath and sweat. When it evaporates, this moisture leaves behind salt deposits, which erode the stone over time.

In 1992, It was found that the humidity inside the pyramid was hovering around 85%, and salt deposits covered the walls of the Grand Gallery hence the salt was cleaned from the walls of the Grand Galley, but it was known that to save the pyramid from irreversible damage, a way should be found to reduce the humidity inside.

Dr." Zahi Hawa" contacted some specialists for installing a ventilation and humidity control system in the pyramid. The first step was to clear the two shafts, each about 20 cm wide and 14 cm high, that lead from the King’s Chamber to the exterior of the monument. Then they installed ventilation equipment in the shafts. This project was very successful, allowing reduction and stabilization of the humidity inside the pyramid.

The shafts themselves are a great mystery. In addition to the two that extend from the King’s Chamber, there are two in the Queen’s chamber as well - one in the northern wall, and one opposite it in the southern wall. No one knows why these shafts were included in the pyramid’s design. An important part of the work in the shafts in the King’s Chamber was sending a small robot inside with a camera attached, to

inspect them along their entire lengths.

Reference: from an article , by Zahi Hawas

Cleopatra's Items in Franklin institute on exhibit

An exhibit focusing on one of ancient Egypt's most enigmatic rulers, Cleopatra, and featuring never-before-displayed artifacts, has opened in Philadelphia.

Cleopatra: The Search for the Last Queen of Egypt, on exhibit at the Franklin Institute, is a splashy show with videos, a glass walkway and lots of sound and light.

At the heart of the 150-artifact collection, which opened its doors Saturday, is an attempt to uncover the mystery behind the queen. None of the items at the exhibit have ever before been shown to the public.

Little evidence has survived of Cleopatra, who at 39 years of age chose a suicidal snake bite rather than surrender to the conquering Romans in 30 BC. The Roman general Octavian, later known as Augustus Caesar, ordered all her images destroyed. Her life story has been subjected to much speculation and interpretation, largely through popular depictions, notably in a 1963 Elizabeth Taylor film.

The first part of the exhibit concentrates on discoveries made by underwater archeologist, Franck Goddio, who has spent 20 years off the coast of Alexandria, Egypt, excavating Cleopatra's palace and two temples. Earthquakes and tsunamis submerged ancient Alexandria more than 1,500 years ago.

Items on display from Goddio's work include gold coins and 4.5-metre-high granite figures.

The second part of the exhibit includes finds of "Zahi Hawass", a celebrated archeologist who is secretary general of the Supreme Council of Antiquities in Cairo.

He has been searching for the lost tomb of Cleopatra and her lover, the Roman general "Mark Antony", and has uncovered mummies, jewelry and sculptures at three sites west of Alexandria.

The show will be at the Philadelphia museum until January, and then is expected to tour the U.S. at five locations yet to be announced.

Reference: CBC- News

Rampant Tut-mania in New York

Tutankhamun and the Golden Age of the Pharaohs," now on view in Manhattan until Jan. 2, 2011, has unleashed rampant Tut-mania in New York, just like it did at the exhibition’s previous seven stops. This is last venue for this touring blockbuster. A selection of about 50 pieces unearthed from the tomb of King Tut (ca. 1343 BC-1333 BC) is being shown with about 80 more items from the 18th Dynasty in Egypt.

Among the most intriguing pieces from Tut’s tomb is a painted wooden torso of Tut. He may have been considered both a god and a human being, but the human dominates in this startlingly realistic bust, wearing a royal crown and linen shirt, but without arms. It projects a lively presence, but its purpose is one of the many mysteries still unanswered about Tut.

But the most impressive pieces are the many fine gold, personal items found with Tutankhamun’s mummy. The show’s grand finale consists of a replica of the mummy chamber with a handful of finely wrought, mostly gold objects -- a jeweled pectoral, made of gold, silver, glass and semiprecious stones, a gold diadem, and a gold knife and sheath too delicate for this world but perfect for use in a royal afterlife among others.

This is the second Tut exhibition to tour the U.S. and very different from the earlier 1976-79 King Tut tour. Only a handful of pieces are the same, so fans of that show at the Metropolitan Museum will want to visit the Discovery Center to see the new material. This show also contains some of the latest scientific research on Tut. It’s explained along with a replica of Tut’s mummy at the very end of the exhibition.

The King Tut shows are more than simple cultural exchanges, of course; they’re designed for fundraising as well, and this tour should help pay for a new museum to house antiquities in Cairo. Admission is $27.50 for adults.

In publicity for the show, there is a golden statue of King Tut that looks like the gilded funerary mask of King Tut’s mummy, which appeared in the last exhibition. The golden mask won’t leave Cairo again by order of the Egyptian government. What you are actually seeing is a much smaller, but also exquisite piece, one of four miniature coffins for the viscera of Tut. The Egyptians embalmed the body, placing the heart back into it, but putting the stomach, intestines, and lungs and, in this case, the liver in separate containers.

Tut’s liver caffeinate is made of gold, with inlays of colored glass and carnelian, and obsidian and rock crystal for his eyes. He holds a flail, symbol of royal power, and a crook, symbol of the king as shepherd of his people. It measures only about ten inches high, yet it exudes power.

One of the favorite pieces isn’t made of gold. It’s a carved-calcite cylindrical cosmetic jar with a recumbent lion, representing the king, on the lid. Instead of feet, the jar rests on four heads of traditional enemies of Egypt, two Nubians of carved black stone, and two western Asians carved in red stone. The exterior walls of the vessel are incised and painted blue. They show a lion attacking a bovine with the help of dogs.

For Tut enthusiasts, the Metropolitan Museum of Art is presenting a show of finds from the embalming site of Tut, "Tutankhamun’s Funeral," through Sept. 2, 2010. The small show has more artifacts than art but the importance of floral collars and the beads they incorporated are worth a look.

Reference: an article written by N.F. Karlins