sábado, 28 de marzo de 2015

amulet

An amuletic spacer bead in the form of a reclining cat . Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: Ptolemaic Period c.305-51 BC. Material Size: faience. Credit Line: Werner Forman Archive/ Schimmel Collection, New York . Location: 37.

TT295 -TT296


TT296, the Tomb of Nefersekheru



TT296, the Tomb of Nefersekheru










 



Hola egiptomaniacoa, aquí tenemos una escena que me encanta. Es de la tumba, TT296, de Nefersekheru.
Esta un poco deteriorada y es una pena.
Aquí vemos al difunto y a su esposa Nedjmaat Mut, que está situada detrás de él, porta un sistro y un papiro en sus manos. Y los dos personajes están delante del dios Osiris. Detrás de este dios, que está sentado podemos ver a Isis.
En la pared podemos ver el texto del himno a Osiris

osirisnent.nt la foto

viernes, 27 de marzo de 2015

Obelisco erigido por Thutmose I en Karnak

Obelisco erigido por Thutmose I en Karnak

página web con traduccucciones y trasliteraciones:

 http://www.egiptomania.com/jeroglificos/practica/obelisco-estelas.asp

Ay tomb


This wall provides an example of the frequent representation of the worship of Aten by the royal family (view 40). The wall has suffered greatly at the top through exposure and, as can be seen, by damage caused by plunderers in antiquity.
The king and queen (who was wearing the atef-crown) are followed by the three princesses. Still distinguishable in the upper register is the queen's sister, princess Mutnedjemet (or Mutbeneret, depending on the reading of the vertical sign, 'ndm' or 'bnr'), accompanied by her two dwarfs and courtiers.
The dwarfs, who can also be found with her on the west wall of the tomb, have names which, according to Norman of Garis Davies, may have been chosen in jest : the first, a woman according to the determinative of the name, is designated as "the vizier of the queen, Erneheh", the second, a man, is "the vizier of his mother, Para".

The lower part of the wall is occupied by a long prayer, at bottom-right of which are the kneeling figures of Ay and Tiy. The text once more combines the praises to Aten, in a style suitable for the Great Hymn, along with praise of the deceased, which aims to confer on them the benevolence of the god (view 8 and view 9 and view 21. See also pl 25 for full hieroglyphs).

"When he rises in the sky, he rejoices at his son; he embraces him with his rays; he gives him eternity as king like the Aten, Neferkheperure Waenre, my god who made me and who brought into being my ka. [… …] The divine father, the standard bearer at the right-hand of the king, chief of all of the cavalry of his Majesty, true scribe of the king, whom he loves, Ay, said : 'I was faithful towards the king …' ". 


osirisnet.net

Neclaces of fayience beads and pendants

 Neclaces of fayience beads and pendants


Canaanite, about 1500-1200 BC
From Lachish (modern Tell ed-Duweir), Israel
Egyptian fashions in the southern Levant
These fine necklaces from the Fosse Temple at Lachish illustrates the strongly Egyptianizing style of Cannanite art of the Late Bronze Age. During this period the southern Levant was under Egyptian domination. Lachish is referred to in the Amarna letters - a group of clay tablets written in Babylonian cuneiform found at Tell el-Amarna in Egypt and preserving diplomatic correspondence to Egyptian pharaohs from vassal kings. The ruler of Lachish was Shipti-ba’al, a vassal king, subject to the firm control of Egypt, and enjoying the wealth and security that such political domination provided.
The so-called Fosse Temple was a small sanctuary first built around 1550 BC in the disused moat (fosse) that had formed part of the fortifications of Lachish in the early second millennium. A sudden destruction in about 1200 BC left remarkable contents in position in the building. These included many vessels containing the bones of animal offerings, and also rich finds of glass, faience and alabaster, imported pottery, ivories and jewellery in many materials, including gold and silver.
J.N. Tubb, Canaanites (London, The British Museum Press, 1998)


British Museum

britismuseum.org

jueves, 26 de marzo de 2015