Stelae in the context of "Frederick Catherwood"

Ethiopian historiography includes the ancient, medieval, early modern, and modern disciplines of recording the history of Ethiopia, including both native and foreign sources. The roots of Ethiopian historical writing can be traced back to the ancient Kingdom of Aksum (c. AD 100 – c. 940). These early texts were written in either the Ethiopian Ge'ez script or the Greek alphabet, and included a variety of mediums such as manuscripts and epigraphic inscriptions on monumental stelae and obelisks documenting contemporary events. The writing of history became an established genre in Ethiopian literature during the early Solomonic dynasty (1270–1974). In this period, written histories were usually in the form of royal biographies and dynastic chronicles, supplemented by hagiographic literature and universal histories in the form of annals. Christian mythology became a linchpin of medieval Ethiopian historiography due to works such as the Orthodox Kebra Nagast. This reinforced the genealogical traditions of Ethiopia's Solomonic dynasty rulers, which asserted that they were descendants of Solomon, the legendary King of Israel.

Ethiopian historiographic literature has been traditionally dominated by Christian theology and the chronology of the Bible. There was also considerable influence from Muslim, pagan and foreign elements from within the Horn of Africa and beyond. Diplomatic ties with Christendom were established in the Roman era under Ethiopia's first Christian king, Ezana of Axum, in the 4th century AD, and were renewed in the Late Middle Ages with embassies traveling to and from medieval Europe. Building on the legacy of ancient Greek and Roman historical writings about Ethiopia, medieval European chroniclers made attempts to describe Ethiopia, its people, and religious faith in connection to the mythical Prester John, who was viewed as a potential ally against Islamic powers. Ethiopian history and its peoples were also mentioned in works of medieval Islamic historiography and even Chinese encyclopedias, travel literature, and official histories.

Theban Tomb TT71 is located in the Theban Necropolis, on the west bank of the Nile, opposite to Luxor. It was the tomb chapel of Senenmut, who was the steward and architect of Hatshepsut. The chapel is located in the necropolis area around Sheikh Abd el-Qurna. Previously (for about 100 years) the tomb was accessible and for most of this time the target of numerous investigations and intrusions, although early on already heavily destroyed. The tomb was visited already early. In the first half of the nineteenth century, John Gardner Wilkinson, Robert Hay and J. Wild copied scenes, although the decoration was already badly destroyed. Richard Lepsius (1842–45) took the false door to Berlin and copied some inscribed bricks. Only in 1906 Kurt Sethe copied all inscriptions. In 1930–31 Herbert Winlock cleared the whole tomb. Winlock found the fragments of a smashed sarcophagus.

Today the tomb chapel's decoration is almost totally gone. With its dimensions it is one of the biggest Theban chapels of the 18th Dynasty. The facade is about 30 meter wide. In the middle there is the entrance and on either side there are four niches with windows. The inner of the chapel has an (upside-down) T-shaped plan. The transverse hall is about 26 m long and supported by eight columns. At the back there are several small niches. In the hall appears the oldest depictions of Minoans in Egypt so far known. There are also remains of soldiers under a Hathor frieze and a biographical inscription. After the transverse hall follows a long passage with a niche at the end. Only few remains of the decoration survived, such as an offering list and a banquet scene, where Senenmut is once shown with his mother and once with his father. A special feature only known from this tomb are several rock cut stelae providing the name and titles of Senenmut.

The Longmen Grottoes (simplified Chinese: 龙门石窟; traditional Chinese: 龍門石窟; pinyin: Lóngmén Shíkū; lit. 'Dragon's Gate Grottoes') or Longmen Caves are some of the finest examples of Chinese Buddhist art. Housing tens of thousands of statues of Shakyamuni Buddha and his disciples, they are located 12 kilometres (7.5 mi) south of present-day Luoyang in Henan province, China. The images, many once painted, were carved as outside rock reliefs and inside artificial caves excavated from the limestone cliffs of the Xiangshan (香山) and Longmenshan, running east and west. The Yi River (Chinese: 伊河) flows northward between them and the area used to be called Yique (伊阙; 'The Gate of the Yi River'). The alternative name of "Dragon's Gate Grottoes" derives from the resemblance of the two hills that check the flow of the Yi River to the typical "Chinese gate towers" that once marked the entrance to Luoyang from the south.There are as many as 100,000 statues within the 2,345 caves, ranging from 1 inch (25 mm) to 57 feet (17 m) in height. The area also contains nearly 2,500 stelae and inscriptions, hence the name "Forest of Ancient Stelae", as well as over sixty Buddhist pagodas. Situated in a scenic natural environment, the caves were dug from a 1 kilometre (0.62 mi) stretch of cliff running along both banks of the river. 30% date from the Northern Wei and 60% from the Tang dynasty, caves from other periods accounting for less than 10% of the total. Starting with the Northern Wei dynasty in 493 AD, patrons and donors included emperors, Wu Zetian, members of the royal family, other rich families, generals, and religious groups.

In 2000 the site was added to the UNESCO World Heritage List as "an outstanding manifestation of human artistic creativity," for its perfection of an art form, and for its encapsulation of the cultural sophistication of Tang China.

The Eye of Horus, wedjat eye or udjat eye is a concept and symbol in ancient Egyptian religion that represents well-being, healing, and protection. It derives from the mythical conflict between the god Horus with his rival Set, in which Set tore out or destroyed one or both of Horus's eyes and the eye was subsequently healed or returned to Horus with the assistance of another deity, such as Thoth. Horus subsequently offered the eye to his deceased father Osiris, and its revitalizing power sustained Osiris in the afterlife. The Eye of Horus was thus equated with funerary offerings, as well as with all the offerings given to deities in temple ritual. It could also represent other concepts, such as the moon, whose waxing and waning was likened to the injury and restoration of the eye. The multiple meanings of the Eye of Horus sometimes overlapped with the meanings of the Eye of Ra, which was a distinct but related concept in Egyptian mythology.

The Eye of Horus symbol, a stylized eye with distinctive markings, was believed to have protective magical power and appeared frequently in ancient Egyptian art. It was one of the most common motifs for amulets, remaining in use from the Old Kingdom (c. 2686–2181 BC) to the Roman period (30 BC – 641 AD). Pairs of Horus eyes were painted on coffins during the First Intermediate Period (c. 2181–2055 BC) and Middle Kingdom (c. 2055–1650 BC). Other contexts where the symbol appeared include on carved stone stelae and on the bows of boats. To some extent the symbol was adopted by the people of regions neighboring Egypt, such as Syria, Canaan, and especially Nubia.

Karahan Tepe is a Pre-Pottery Neolithic archaeological site in Şanlıurfa, Turkey. The site is in the same geographical region as Göbekli Tepe and archaeologists have also uncovered T-shaped stelae there and believe that the sites are related. Additionally, the site may be the earliest known human village, predating the construction of Göbekli Tepe by several centuries, dating to between 10,000 and 9500 BCE.

The site is located near Yağmurlu and roughly 46 kilometers east of Göbekli Tepe, which is often called its sister site. It was discovered in 1997 by Bahattin Celik (Harran University). It is part of the Göbekli tepe Culture and Karahan tepe Excavations project. The area is known as “Keçilitepe” by local people. It is part of a group of about 12 similar sites now being investigated, known as "Taş Tepeler". Research is being made to better understand the organization of the workforce and the degree and nature of the specialization involved in the construction of these monuments.