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| title | chunk | source | category | tags | date_saved | instance |
|---|---|---|---|---|---|---|
| Ancient Egyptian race controversy | 14/18 | https://en.wikipedia.org/wiki/Ancient_Egyptian_race_controversy | reference | science, encyclopedia | 2026-05-05T06:54:30.828998+00:00 | kb-cron |
Manu Ampim, a professor at Merritt College specializing in African and African American history and culture, claims in the book Modern Fraud: The Forged Ancient Egyptian Statues of Ra-Hotep and Nofret, that many ancient Egyptian statues and artworks are modern frauds that have been created specifically to hide the "fact" that the ancient Egyptians were black, while authentic artworks that demonstrate black characteristics are systematically defaced or even "modified". Ampim repeatedly makes the accusation that the Egyptian authorities are systematically destroying evidence that "proves" that the ancient Egyptians were black, under the guise of renovating and conserving the applicable temples and structures. He further accuses "European" scholars of wittingly participating in and abetting this process. Ampim has a specific concern about a wall painting depicting in a scene from the Book of Gates identified as the 4th Division, 5th Hour. an Egyptian funerary text the in the Tomb of Ramesses III (KV11). The Book of Gates is a funerary text appears in a number of New Kingdom tombs, and they were usually provided for the guidance of the soul of the deceased. The Egyptians did not assign a name to this text; it was later termed 'Livre des Portes' (Book of Gates) by the French Egyptologist Gaston Maspero. This particular scene (4th division, 5th hour) was also not titled by the Egyptians. It depicts Egyptians and three other ethnic groups being led to the afterlife by Horus. Some, in modern times call it the "Table of Nations" a phrase sometimes used by biblical scholars referring to the unrelated genealogical record in Genesis 10. Others in modern times, such as E.A. Wallis Budge 9in 1906), have called the scene "The Four Races of Men" Budge's interpretation of the Egyptian text describing each figure: "The first are RETH, the second are AAMU, the third are NEHESU, and the fourth are THEMEHU. The RETH are Egyptians, the AAMU are dwellers in the deserts to the east and north-east of Egypt, the NEHESU are the black races, and the THEMEHU are the fair-skinned Libyans." The archaeologist Karl Richard Lepsius documented many ancient Egyptian tomb paintings in his work Denkmäler aus Aegypten und Aethiopien. In 1913, after the death of Lepsius, an updated reprint of the work was produced, edited by Kurt Sethe. This printing included an additional section, called the "Ergänzungsband" in German, which incorporated many illustrations that did not appear in Lepsius' original work. One of them, plate 48, illustrated one example of each of the four "nations" as depicted in KV11, and shows the "Egyptian nation" and the "Nubian nation" as identical to each other in skin color and dress. Ampim has declared that plate 48 is a true reflection of the original painting, and that it "proves" that the ancient Egyptians were identical in appearance to the Nubians, even though he admits no other examples of this "Table of Nations" scene in the Book of Gates in other tombs where it appears show this similarity. Another inconsistency with other tombs in the depiction of the scene in the Tomb of Ramesses III (KV11) that Ampim does not mention is while the Asiatic and Libyan are in consistent 2nd and 4th position at both Seti I and Merenptah's tombs the figure types switch position at the tomb of Ramesses III while the hieroglyphs do not. At Seti I and Merenptah tombs the Asiatic in the second position is depicted as is typical in much other art of the period, a bearded figure with a cloth headband with two excess pieces of the headband hanging down. Additionally at these two tombs, Seti and Merenptah, a Libyan is at the end of the row, at the 4th position and is depicted with typical Libyan features of the period, a side lock of hair and a long gown-like garment that is worn somewhat openly and with one or both shoulders exposed. However, while all the hieroglyphs in all three tombs remain in the same position left to right, at Ramesses III, these two figures Asiatic and Libyan, have switched position in comparison to the other tombs. The figures may have been created after a separate artisan had first rendered the hieroglyphs. The only figure at Ramesses III that is in the same position as the figures at Seti I and Merenptah tombs is the Nubian in the third position. The hieroglyph position have no irregularities in type or sequence between each tomb. Ampim has further accused "Euro-American writers" of attempting to mislead the public on this issue. The late Egyptologist Frank J. Yurco visited the tomb of Ramesses III (KV11), and in a 1996 article on the Ramesses III tomb reliefs he pointed out that the depiction of plate 48 in the Ergänzungsband section is not a correct depiction of what is actually painted on the walls of the tomb. Yurco notes, instead, that plate 48 is a "pastiche" of samples of what is on the tomb walls, arranged from Lepsius' notes after his death, and that a picture of a Nubian person has erroneously been labeled in the pastiche as an Egyptian person. Yurco points also to the much more recent photographs of Erik Hornung as a correct depiction of the actual paintings. (Erik Hornung, The Valley of the Kings: Horizon of Eternity, 1990). Yurco later concluded that Egyptian iconography reflected "various complexions" and that "current scholarship in Egyptology, not acknowledged often by Afrocentrists, has demonstrated that the Egyptians were most closely related to Saharan Africans, culturally and linguistically, and that such Mesopotamian influence can be inferred, came through the Nile Delta town of Buto, as part of long-distance trade". He also noted that the Egyptians made distinctions between groups from Nubia, such as "Nhsy" and "Mdja" with the former group described as "darker, with frizzy hair and wore a distinctive dress". Ampim nonetheless continues to argue that plate 48 shows accurately the images that stand on the walls of KV11, and he categorically accuses both Yurco and Hornung of perpetrating a deliberate deception for the purposes of misleading the public about the true race of the ancient Egyptians.