Anastasiia Stupko-Lubczynska
Biographic Data
| ID | 4184973 |
|---|---|
| NAME | Anastasiia Stupko-Lubczynska |
| GIVEN NAMES | Anastasiia |
| FAMILY NAME | Stupko-Lubczynska |
| SIGNATURE | STUPKO-LUBCZYNSKA A |
| AFFILIATIONS | University of Warsaw |
| ORCID | 0000-0003-3845-0085 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
In Search for the Ritual Origins of the “Seven Sacred Oils” in Ancient Egypt
The Author Takes a Bow
In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli’s Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not c…
Masters and apprentices at the Chapel of Hatshepsut
Ancient art is typically studied in terms of its aesthetic or historical value. This article presents an alternative approach, examining ancient Egyptian wall reliefs from achaîne opératoireperspective. The reliefs assessed here adorn the walls of the Chapel of Hatshepsut at Deir el-Bahari in Thebes. The analysis reveals, for the first time, the sequence of the artists' work, from the initial preparation of the wall surface to the master sculptor…
Inscribed pot-stands represented in the Temple of Hatshepsut at Deir el-Bahari
On the lateral walls of the Bark Hall in the Main Sanctuary of Amun in the Temple of Hatshepsut, four stands for burning offerings are represented in front of Amun’s bark. Conservation work on the walls of this room uncovered the painted layer. One of the stands preserves traces of an inscription which was erased in ancient times in two phases. The first phase of erasure may be dated to the reign of Tuthmosis III, while the second one was execute…
A Third Intermediate Period openwork piece of funerary equipment from the Chapel of Hatshepsut at Deir el-Bahari
A set of wooden figures representing female deities with painted fronts and flat backs was identified in the archaeological material coming from recent excavations in the Chapel of Hatshepsut. The fragments were scattered through the shafts of Third Intermediate Period date. Most probably they had once formed a single piece of funerary equipment from one of the burials. Remains of nine figures were distinguished. These were divided into two group…
Masters and apprentices at the Chapel of Hatshepsut
Ancient art is typically studied in terms of its aesthetic or historical value. This article presents an alternative approach, examining ancient Egyptian wall reliefs from achaîne opératoireperspective. The reliefs assessed here adorn the walls of the Chapel of Hatshepsut at Deir el-Bahari in Thebes. The analysis reveals, for the first time, the sequence of the artists' work, from the initial preparation of the wall surface to the master sculptor…
A Third Intermediate Period openwork piece of funerary equipment from the Chapel of Hatshepsut at Deir el-Bahari
A set of wooden figures representing female deities with painted fronts and flat backs was identified in the archaeological material coming from recent excavations in the Chapel of Hatshepsut. The fragments were scattered through the shafts of Third Intermediate Period date. Most probably they had once formed a single piece of funerary equipment from one of the burials. Remains of nine figures were distinguished. These were divided into two group…
Inscribed pot-stands represented in the Temple of Hatshepsut at Deir el-Bahari
On the lateral walls of the Bark Hall in the Main Sanctuary of Amun in the Temple of Hatshepsut, four stands for burning offerings are represented in front of Amun’s bark. Conservation work on the walls of this room uncovered the painted layer. One of the stands preserves traces of an inscription which was erased in ancient times in two phases. The first phase of erasure may be dated to the reign of Tuthmosis III, while the second one was execute…
Masters and apprentices at the Chapel of Hatshepsut
Ancient art is typically studied in terms of its aesthetic or historical value. This article presents an alternative approach, examining ancient Egyptian wall reliefs from achaîne opératoireperspective. The reliefs assessed here adorn the walls of the Chapel of Hatshepsut at Deir el-Bahari in Thebes. The analysis reveals, for the first time, the sequence of the artists' work, from the initial preparation of the wall surface to the master sculptor…
The Author Takes a Bow
In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli’s Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not c…
In Search for the Ritual Origins of the “Seven Sacred Oils” in Ancient Egypt
Ancient Egypt and Archaeology (4 works) · Art (4 works) · History (4 works) · Ancient history (3 works) · Archaeology (3 works) · Archaeology and Historical Studies (3 works) · Art history (3 works) · Chapel (2 works) · Temple (2 works) · Ancient Mediterranean Archaeology and History (1 work)