viernes, 31 de octubre de 2014
Ba birds. Coumn
stars Teti pyramid
Kom el-Nana
Kom el-Nana is an archaeological site near the ancient Egyptian city of Akhet-Aten. It lies south of the city and east of the modern village of el-Hagg Quandil. For a long time its ruins were thought to be those of a Roman military camp, but between 1988 and 2000 Barry Kemp excavated remains of an Amarna period stone temple with garden and subsidiary buildings including a bakery and a brewery. Neither the original name nor the owner of the complex has been identified.[1] It is likely to have been a sun temple and is very similar to Maru-Aten. It consists of a brick enclosure with an area of 228×213 m; it is divided into two unequal parts by an east-west wall. It is likely that pylon gates opened on all four outer walls. Since it stood at a very prominent place – at the southern end of the so-called Royal Road, the main street of Akhet-Aten – it's possibly identical with the sunshade temple of Nefertiti mentioned on the boundary stelae.[2]
In the northern part of the enclosure brick ovens were found, findings suggest a bakery and brewery. Traces of a building (the "northern shrine") were also found. Most of the northern part was overbuilt by a 5th-6th century Christian monastery that reused the original walls, so the southern part, which was not overbuilt, is better preserved; the follosing buildings were excavated:[2]
A stone-floored pylon
The rectangular Southern Pavilion, surrounded by sunken gardens;
A central platform with a building including a columned hall and other rooms
The Southern Shrine, consisting of rooms and a western portico.
In the southeast corner of the southern enclosure stood a group of houses in two sets, with garden plots
Kom El-Nana
This local name is given to an enclosure south of the main city and to the east of the modern village of el-Hagg Qandil, originally built by Akhenaten probably as a sun temple. Between 1988 and 2000 the Egypt Exploration Society excavated key areas as part of an attempt (so far successful) to prevent the site falling under cultivation. Most of the excavations have been filled in.
A single large brick enclosure (228 x 213 metres), its walls reinforced with thick external buttresses, had been divided into two unequal parts by an east–west dividing wall and had been entered by pylon-flanked gateways probably on all four sides. The northern portion had contained a set of parallel brick chambers provided with ovens. Excavated evidence (including pottery bread moulds) suggests a combined brewery and bakery. Beside it a depression in the desert probably marks the presence of a well. Traces were also found of a gypsum foundation for a stone building (the North Shrine).
http://www.amarnaproject.com/pages/amarna_the_place/komelnana/index.shtml
Sandstone architrave block carved with poorly executed cartouches of Akhenaten
Amarna: escenas
An award scene with Akhenaten and Nefertiti from the tomb of Parennefer
Grab des Parennefer in Amarna
An award scene with Akhenaten and Nefertiti from the tomb of Parennefer
Grab des Parennefer in Amarna
Amarna
Akhenaten leading Tiye to the temple
Akhenaten and his mother Tiye. Princess Beketaten in the lower left side.
Amarna tomb of Huya
The two royal families as shown on the lintel
The royal families of Akhenaten and Amenhotep III. On the left: Akhenaten and Nefertiti with their daughters Meritaten, Meketaten, Ankhesenpaaten and Neferneferuaten; on the right: Amenhotep III and Tiye with their youngest child Beketaten. Amarna tomb of Huya.
mastaba of Meresankh III
and its rock-cut chapel, G7530sub.
Scene:
Meresankh stands behind her mother.
The daughter has a short black wig encircled by a decorated headband which is fastened at the back with the two ends hanging down. This is an exception in the decoration of this tomb. She also has a choker around her neck, a large necklace, bracelets and anklets. Her long dress, which also has shoulder straps, is elaborately decorated below the breast with a beaded-net pattern. With her right hand she clutches a stem of papyrus and with the left she embraces her mother around her waist.
At the stern, standing behind Meresankh, a boatman steadies the craft with a long black pole, but with his head facing behind him. He wears a white lotus flower around his neck and a white belt from which the end strips of cloth (from the fastening knot) hang down. The prow of the craft penetrates in the undergrowth of papyrus.
jueves, 30 de octubre de 2014
Seshemnefer
miércoles, 29 de octubre de 2014
Wine-jar sherd with hieratic inscription
Wine-jar sherd with contents noted in the cursive or 'hieratic' script. The hieratic text identifies the contents of the jar as wine of the 29th year of a reign. Few kings ruled so many years, and it seems likely that the unnamed monarch is Amenhotep III, who was on the throne for 37 years. Large numbers of labelled wine jars from his reign survive from his palace at Malqata on the Theban West Bank, and from the city of his son Akhenaten at El -`Amarna.
Present location | NATIONAL MUSEUM OF IRELAND [30/002] DUBLIN | |||||||
Inventory number | E72:80 | |||||||
Dating | 18TH DYNASTY | |||||||
Archaeological Site | UNKNOWN | |||||||
Category | JAR LABEL | |||||||
Material | POTTERY | |||||||
Technique | PAINTED | |||||||
Width | 11.5 cm | globalegyptianmuem |
ostraca
19th dynasty of later date - possibly Ptolemaic
Limestone
Red pigment
Drawing of a king making an offering of two pots to
Min-Amun. The king wears the red crown of Lower Egypt
and a short skirt with pleats and a central panel.
Min-Amun stands on the right on a podium with a sloping
front. He is represented in mummiform. His figure is
faint, while the figure of the king and the podium
underneath Min-Amun's feet are coloured in. Between the
two figures there is an offering table with a cup and
possibly two bull's heads on it.
There are two vertical columns of hieroglyphic inscriptions
at the top, reading Min-Amun, Mn. The horizontal line at
the bottom reads "htp-di-nsw Mn-Imn", meaning "The
offering which the king gives to Min-Amun".
The style of the drawing shows signs of Ptolemaic style.
It could originate from Koptos, where the local fertility
god Min was worshipped and where Flinders Petrie
excavated the temple of Min.
Height: 18.7 cm
Width: 16.8 cm
http://xy2.org/lenka/Petriefiguredostraka.html
Ostracón procedente de Deir el medina.
En la actualidad está en el museo de EL Louvre.
E 27671
fuente: cartelfr.louvre.fr
Two soldiers, perhaps Nubians, are shown grasping each other's necks in what is presumably a starting hold at the beginning of a match.
At the side of the sketch a long hieroglyphic inscription reads, "Behold, I will make you take a fall helpless, in front of the Pharaoh, may he live, be prosperous and healthy." It seems that the figures of the wrestlers were sketched on this ostracon and then corrected later in the final drawing.
Cairo Museum,
dinasty XVIII
"Behold, I will make you take a fall helpless, in front of the Pharaoh, may he live, be prosperous and healthy."
source:globalegyptianmuseum.
Artist's Painting of a Hippopotamus
Period: New Kingdom
Dynasty: Dynasty 18
Reign: Joint reign of Hatshepsut and Thutmose III
Date: ca. 1479–1425 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Deir el-Bahri, Hatshepsut Hole, MMA 1922–1923
Medium: Limestone, paint
Dimensions: h. 10.8 cm (4 1/4 in); w. 12 cm (4 3/4 in); th. 1.7 cm (11/16 in)
Credit Line: Rogers Fund, 1923
Accession Number: 23.3.6
Met Museum
http://www.metmuseum.org/collection
Artist's Sketches of Senenmut
Period: New Kingdom
Dynasty: Dynasty 18
Reign: Joint reign of Hatshepsut and Thutmose III
Date: ca. 1479–1458 B.C.
Geography: From Egypt, Upper Egypt; Thebes
Medium: Limestone, ink
Dimensions: h. 10 cm (3 15/16 in); w. 16.5 cm (6 11/16 in); th. 3 cm (1 3/16 in)
Credit Line: Anonymous Gift, 1931
Accession Number: 31.4.2
Met Museum
http://www.metmuseum.org/
ostracón de Deir el Medina
Museo de El Louvre
Ancient sketch on an ostracon of two flanking images of a scarab, showing the proportions being used in Ancient Egyptian art.
Egypt, possibly Roman Period (30 BCE - 200 CE) Tools and Equipment; ostraka Limestone Gift of Robert Miller and Marilyn Miller Deluca (M.80.199.49)
ostracón con dibujos de peces
Museo de Louvre
fuente:allposters
Ostracon , instituto oriental de Chicago
fuente: Hans Hollerman, galeria de flickr
The Egyptians drew on ostraka for a variety of reasons; for example, while planning work on tombs or as exercises. Some creations were simply the result of the craftsman's imagination. This ostrakon shows king Ramesses III wearing the red crown of Lower Egypt smiting with his weapon foreign enemies whom he holds by the hair. This drawing is probably a copy of a wall scene on one of the pylons of a ramesside temple. The scene is accompanied by two royal cartouches and a simple caption in hieroglyphs.
Present location | KMKG - MRAH [07/003] BRUSSELS |
Inventory number | E.7359 |
Dating | RAMESSES III/USERMAATRE-MERIAMUN (not before); NEW KINGDOM; NEW KINGDOM (not after) |
Archaeological Site | UNKNOWN |
Category | FIGURED OSTRACON |
Material | LIMESTONE |
Technique | ROUGH-HEWN; DRAWING |
Height | 17.5 cm |
source:globalegyptianmuseum
prince Montuherkhepeshef , KV 19
osirisnet.net
Combined from Dynasty XIX, the entity Ptah-Tatenen results from the union of two Memphite gods, Ptah and Tatenen, who were then worshipped as a royal creator god. As usual he is depicted in human form wearing a crown consisting of a pair of ram's horns surmounted by a sun disk and two tall feathers.
The original form of Ptah, who raised from the primordial mound, was as a creator-god and maker of things, the patron of craftsmen, especially sculptors. He was thus not originally a funerary god, but a creator god, even when combined with Tatenen. He later acquired these functions in his association with Sokar and Osiris, making the combined Ptah-Sokar-Osiris, one of the main funeral entities of later times.
The other entity, Tatenen (meaning 'the land that rises up") is analogous with the primordial mound which emerged from the ocean (was this from where Ptah arose?), but also with the fertile alluvium deposit after the Nile flood and (by extension) entire Egypt.
Montuherkhepeshef makes, with the help of an ewer, a libation of water on the offerings placed on the table in front of him
martes, 28 de octubre de 2014
Akhmenu
Akhmenu
The Akhmenu was a large, rectangular temple located in the eastern part of Karnak, just outside of the original early 18th Dynasty temple complex. Entrance to the building was gained through a main door in the temple's southwest corner, as well as through a door (only recently discovered) in the center of the building's west wall. The southwest entrance led to a line of nine small chambers to the south and to a short vestibule on the north. A small room north of the entrance corridor, known as the "hall of ancestors," was the location of a type of king list; sixty-one kings, the royal ancestors of Thutmose III, were depicte
The temple's main pillared hall (the heret-ib) was covered with a beautifully painted blue ceiling with yellow stars. The roof was supported by two rows of uniquely shaped columns representing the poles of a portable tent. At the north of the hall stood three chapels decorated with relief scenes of cult rituals and processions, including the procession of royal statues (the wehem-ankh). Inside the largest of these shrines stood a quartzite triad of Thutmose III with the gods Amun and Mut.
The southeast sector of the building, dedicated to the god Sokar, consisted of a suite of rooms leading onto a hall with eight fluted columns. The block of rooms just north of the Sokar suite were dedicated to the ithyphallic form of the god Amun and to the king himself.
Depictions of exotic flora and fauna sighted by the king on his military campaign are inscribed onto the walls of the famous "botanical room," located in the temple's northeast section. The "botanical room," fittingly adorned by four papyrus columns, led into the Akhmenu's main sanctuary. Eight niches lined the sides of the sanctuary's walls; each originally held a statue, possibly of the Theban Ennead. A larger niche in the rear was left for the placement of the naos.
A stairway accessed from the northeast corner of the pillared hall led up to a solar shrine on the roof of the temple. A Heliopolitan-type solar altar, shaped like a series of hetep symbols, stood within this solar sanctuary.
It is possible that the building overlaid an earlier temple on the same location dated to the reign of Hatshepsut or to the co-regency of Hatshepsut and Thutmose III.
Measurements: The building is 40m deep by 77.5m wide. The main pillared hall spans 40m.
Phase: Thutmose III
Thutmose III began construction on the Akhmenu in the 23rd year of his reign and it was completed 7 years later. Inscriptions in the "botanical room" record that decoration of the temple began 2 years after initial construction. The large pillared hall commemorates the jubilee of Thutmose III, likely celebrated in his year 30.
Texts within the hall describe the building as a "mansion of millions of years," a type of building that in part was dedicated to the cult of the divine king. Many of the mortuary temples on Thebes’ west bank were given this same title. The temple appears to have served as a locus of cult for worship of the king's royal ancestors, the divine king Thutmose III, the god Amun (unified with the king), as well as solar and underworld deities.
Later changes to the Akhmenu were minimal. The upper solar shrine was altered and decorated in the Ramesside period. A new stairway may have been added at this time as well. Decoration in the rooms dedicated to the king and the ithyphallic Amun was altered during the reign of Alexander the Great in the fourth century BCE.
http://dlib.etc.ucla.edu/projects/Karnak/feature/Akhmenu
The Akhmenu was a large, rectangular temple located in the eastern part of Karnak, just outside of the original early 18th Dynasty temple complex. Entrance to the building was gained through a main door in the temple's southwest corner, as well as through a door (only recently discovered) in the center of the building's west wall. The southwest entrance led to a line of nine small chambers to the south and to a short vestibule on the north. A small room north of the entrance corridor, known as the "hall of ancestors," was the location of a type of king list; sixty-one kings, the royal ancestors of Thutmose III, were depicte
The temple's main pillared hall (the heret-ib) was covered with a beautifully painted blue ceiling with yellow stars. The roof was supported by two rows of uniquely shaped columns representing the poles of a portable tent. At the north of the hall stood three chapels decorated with relief scenes of cult rituals and processions, including the procession of royal statues (the wehem-ankh). Inside the largest of these shrines stood a quartzite triad of Thutmose III with the gods Amun and Mut.
The southeast sector of the building, dedicated to the god Sokar, consisted of a suite of rooms leading onto a hall with eight fluted columns. The block of rooms just north of the Sokar suite were dedicated to the ithyphallic form of the god Amun and to the king himself.
Depictions of exotic flora and fauna sighted by the king on his military campaign are inscribed onto the walls of the famous "botanical room," located in the temple's northeast section. The "botanical room," fittingly adorned by four papyrus columns, led into the Akhmenu's main sanctuary. Eight niches lined the sides of the sanctuary's walls; each originally held a statue, possibly of the Theban Ennead. A larger niche in the rear was left for the placement of the naos.
A stairway accessed from the northeast corner of the pillared hall led up to a solar shrine on the roof of the temple. A Heliopolitan-type solar altar, shaped like a series of hetep symbols, stood within this solar sanctuary.
It is possible that the building overlaid an earlier temple on the same location dated to the reign of Hatshepsut or to the co-regency of Hatshepsut and Thutmose III.
Measurements: The building is 40m deep by 77.5m wide. The main pillared hall spans 40m.
Phase: Thutmose III
Thutmose III began construction on the Akhmenu in the 23rd year of his reign and it was completed 7 years later. Inscriptions in the "botanical room" record that decoration of the temple began 2 years after initial construction. The large pillared hall commemorates the jubilee of Thutmose III, likely celebrated in his year 30.
Texts within the hall describe the building as a "mansion of millions of years," a type of building that in part was dedicated to the cult of the divine king. Many of the mortuary temples on Thebes’ west bank were given this same title. The temple appears to have served as a locus of cult for worship of the king's royal ancestors, the divine king Thutmose III, the god Amun (unified with the king), as well as solar and underworld deities.
Later changes to the Akhmenu were minimal. The upper solar shrine was altered and decorated in the Ramesside period. A new stairway may have been added at this time as well. Decoration in the rooms dedicated to the king and the ithyphallic Amun was altered during the reign of Alexander the Great in the fourth century BCE.
http://dlib.etc.ucla.edu/projects/Karnak/feature/Akhmenu
Léon Jean J. Dunois
Bibliothèque Nationale de France: http://gallica.bnf.fr/
Léon Jean J. Dunois
Panthéon Égyptien. Collection des Personages Mythologiques de l'Ancienne Égypte, d'après les Monuments".
Léon Jean J. Dunois
Panthéon Égyptien. Collection des Personages Mythologiques de l'Ancienne Égypte, d'après les Monuments".
sábado, 25 de octubre de 2014
Tumba de Nakht
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