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    Easy Lessons in Egyptian Hieroglyphics
    Easy Lessons in Egyptian Hieroglyphics
    Easy Lessons in Egyptian Hieroglyphics
    Ebook269 pages56 minutes

    Easy Lessons in Egyptian Hieroglyphics

    By E.A. Wallis Budge

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    About this ebook

    Written by perhaps the most prolific, erudite Egyptologist of the 20th century, this solid guide to hieroglyphics remains the standard introduction. Budge gives the history of hieroglyphic writing, its evolution into hieratic and demotic scripts, and the fascinating tale of its decipherment by Young, Champollion, Åkerblad, and others.
    LanguageEnglish
    PublisherDover Publications
    Release dateJun 14, 2012
    ISBN9780486140568
    Easy Lessons in Egyptian Hieroglyphics

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      Go to a good Library (Bibliothèque) and take photo-copy of Gardinar's Grammar, the pages with the 'Signs List' and its small 'dictionnary', both at the end of the book.Later, you can by the Grammar published in Oxford, relatively cheap compared to any other ?

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    Easy Lessons in Egyptian Hieroglyphics - E.A. Wallis Budge

    CHAPTER I.

    HIEROGLYPHIC WRITING.

    THE ancient Egyptians expressed their ideas in writing by means of a large number of picture signs which are commonly called Hieroglyphics. They began to use them for this purpose more than seven thousand years ago, and they were employed uninterruptedly until about B. C. 100, that is to say, until nearly the end of the rule of the Ptolemies over Egypt. It is hardly probable that the hieroglyphic system of writing was invented in Egypt, and the evidence on this point now accumulating indicates that it was brought there by certain invaders who came from north-east or central Asia; they settled down in the valley of the Nile at some place between Memphis on the north and Thebes on the south, and gradually established their civilization and religion in their new home. Little by little the writing spread to the north and to the south, until at length hieroglyphics were employed, for state purposes at least, from the coast of the Mediterranean to the most southern portion of the Island of Meroë, that is to say, over a tract of country more than 2000 miles long. A remarkable peculiarity of Egyptian hieroglyphics is the slight modification of form which they suffered during a period of thousands of years, a fact due, no doubt, partly to the material upon which the Egyptians inscribed them, and partly to a conservatism begotten of religious convictions. The Babylonian and Chinese picture characters became modified at so early a period that, some thousands of years before Christ, their original forms were lost. This reference to the modified forms of hieroglyphics brings us at once to the mention of the various ways in which they were written in Egypt, i. e., to the three different kinds of Egyptian writing.

    etep, who lived at the period of the rule of the IVth dynasty will explain this ; by the side of each hieroglyphic is its description.

    doorway surmounted by cornice of small serpents

    a jackal

    a kind of water fowl

    an owl

    a reed to which is tied a scribe’s writing tablet or palette, having two hollows in it for red and black ink

    of an inch to 1 inch ; the details of the objects represented were given either by cutting or by painting in colours. In the earliest times the mason must have found it easier to cut characters into the stone than to sculpture them in relief ; but it is probable that the idea of preserving carefully what had been inscribed also entered his mind, for frequently when the surface outline of a character has been destroyed sufficient traces remain in the incuse portion of it for purposes of identification. Speaking generally, celestial objects are coloured blue, as also are metal vessels and instruments ; animals, birds, and reptiles are painted as far as possible to represent their natural colours 5 the Egyptian man is painted red, and the woman yellow or a pinky-brown colour ; and so on. But though in some cases the artist endeavoured to make each picture sign an exact representation of the original object in respect of shape or form and colour, with the result that the simplest inscription became a splendid piece of ornamentation in which the most vivid colours blended harmoniously, in the majority of painted texts which have been preserved to us the artists have not been consistent in the colouring of their signs. Frequently the same tints of a colour are not used for the same picture, an entirely different colour

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