miércoles, 29 de julio de 2015
A fragment of a millefiori
Present location LIVERPOOL MUSEUM [03/061] LIVERPOOL
Inventory number 49.47.932
Dating MEROITIC PERIOD
Archaeological Site BEGRAWIYA
Category PLATE
Material GLASS
Technique MILLEFIORI
Bibliography•Piotr Bienkowski and Angela Tooley., Gifts of The Nile: Ancient Egyptian Arts and Crafts in Liverpool Museum., 1995., 99; pl.156.
globalegyptianmuseum
Senet board
Senet board
A fragment of a faience game board for Senet, with four pieces, from Abydos. The board has a blue/green glaze and the squares are painted on in black. Board games were very popular and were often depicted on wall paintings and included in funerary furniture. Senet is known from Predynastic times to the late Roman Period, today a similar game is still played in the Sudan.
...
A fragment of a faience game board for Senet, with four pieces, from Abydos. The board has a blue/green glaze and the squares are painted on in black. Board games were very popular and were often depicted on wall paintings and included in funerary furniture. Senet is known from Predynastic times to the late Roman Period, today a similar game is still played in the Sudan.
...
Present location LIVERPOOL MUSEUM [03/061] LIVERPOOL
Inventory number 55.82.9
Dating NEW KINGDOM
Archaeological Site ABYDOS
Category SENET-GAME/THIRTY SQUARE BOARD
Material FAIENCE
Technique FAYENCE
Bibliography•Piotr Bienkowski and Angela Tooley., Gifts of The Nile: Ancient Egyptian Arts and Crafts in Liverpool Museum., 1995., 48-49; pl.64.
globalegyptianmuseum
Inventory number 55.82.9
Dating NEW KINGDOM
Archaeological Site ABYDOS
Category SENET-GAME/THIRTY SQUARE BOARD
Material FAIENCE
Technique FAYENCE
Bibliography•Piotr Bienkowski and Angela Tooley., Gifts of The Nile: Ancient Egyptian Arts and Crafts in Liverpool Museum., 1995., 48-49; pl.64.
globalegyptianmuseum
A model depicting brewing
A model depicting brewing, baking and butchery, made from wood and gesso. On the left two women are grinding flour, a bread oven is next to them. A woman originally kneeling beside the oven is now lost. In the centre a man is cutting the throat of an ox with a flint knife; the legs of the ox are bound together and the man kneels with one hand pressing the head to the floor. To the right another man is pressing barley bread through a sieve into a vat where it will ferment when mixed with water and date juice. Beside him are other vats and sealed beer jars, two with net coverings. Models like this one, showing butchery, are from the tombs of nobles, the only Egyptians to eat meat regularly.
Present location | LIVERPOOL MUSEUM [03/061] LIVERPOOL |
Inventory number | 55.82.7 |
Dating | MIDDLE KINGDOM |
Archaeological Site | BENI HASSAN |
Category | MODEL |
Material | WOOD; GESSO |
Technique | WOOD-TECHNIQUE |
Bibliography
- Piotr Bienkowski and Angela Tooley., Gifts of The Nile: Ancient Egyptian Arts and Crafts in Liverpool Museum., 1995., 13; pl.17.
A rhyton in the form of a bull
Faience figurine of a small man
Present location LIVERPOOL MUSEUM [03/061] LIVERPOOL
Inventory number 1993.75
Dating PTOLEMAIC PERIOD
Archaeological Site UNKNOWN
Category EROTIC FIGURINE
Material FAIENCE
Technique FAYENCE
Height 6.8 cm
Bibliography•Piotr Bienkowski and Angela Tooley., Gifts of The Nile: Ancient Egyptian Arts and Crafts in Liverpool Museum., 1995., 25; pl.27.
globaegyptianmuseum
Hollow clay cylinder inscribed in cuneiform
Coin of Diocletian, minted in Alexandria
Coin with depictions of, on one side, the head of the emperor Diocletian, and, on the other, a standing bearded god with an indistinct attribute, perhaps the horn of plenty. The reign of Diocletian marks a turning-point in the history of the Empire, and in Egypt the end of support for Pharaonic traditions such as the construction of temples in Egyptian style with hieroglyphic inscription. Diocletian was one of the few Roman Emperors to visit Egypt, overhauling military and civilian government. He persecuted the Christian community with such ferocity that the Coptic Church dates its years from his accession, as the 'Era of Martyrs'.
Present location NATIONAL MUSEUM OF IRELAND [30/002] DUBLIN
Inventory number RIA3764
Dating DIOCLETIAN
Archaeological Site UNKNOWN
Category COIN
Material BRONZE
Diameter 2 cm
globalegyptianmuseum
lunes, 27 de julio de 2015
shabti from the burial of Takeloth
Texto de execración en figurilla
A detail of the reliefs on the stairways leading to the audience hall of Darius and Xerxes
Tomb of Shuroy
Phoenician; [Spain?]
Bronze; H. 13.98 in. (35.51 cm)
Purchase, Joseph Pulitzer Bequest, 1955 (55.121.1)
Vessels of similar form and construction have been excavated in Cyprus, Italy, and the Iberian Peninsula, with related ceramic examples from Cyprus and the Levant. The piriform shape of this vessel is divided into two sections by a narrow raised band. The convex lower body rests on a hollow ring foot above which the elegant neck gradually tapers into a trefoil lip. A three-ridged handle spouts from a palmette with tendrils and attaches the lower body to the lip. At the top of the handle the three ridges transform into three snake heads, the central one of which extends directly into the vessel. The closest parallel to this ewer is an example from Niebla in Spain, at the Instituto de Valencia de Don Juan, Madrid, which has looped snake heads at the top of the handle.
Met Museum
metmuseum.org
Sumerian marble mace head
sábado, 25 de julio de 2015
A vessel in the form of a ram
Green Room" in the North Palace at Amarna,
Egyptian; original from Amarna, North Palace
Color facsimile by Norman (1865–1941) or Nina de Garis Davies (1881–1965)
Tempera on paper
H. 41 9/16 in. (105.5 cm), W. 167 5/16 in. (425 cm), scale 1:1
Rogers Fund, 1930 (30.4.136)
Rogers Fund, 1930 (30.4.136)
This painting is a restoration of a scene of marsh life that formed a continuous frieze in the so-called Green Room in the North Palace at Amarna. The North Palace was a rather isolated structure on the Royal Road north of the Central City. In its final state, it was the palace of the king's eldest daughter and heir Meritaten; previously it may have been the palace of Kiya. From the entry at the west, courts, solar altars, and a window of appearance are succeeded by more reserved areas around what appears to have been a central well, including a throne room, formal and private apartments, kitchens and staff areas, and animal pens. At the northeast corner was a complex where a sunken garden was surrounded on three sides by small cubicles, some of which had windows onto the central garden. Scenes of feeding fowl or waterbank scenes were found in many places. In the Green Room, part of a double cubicle on the north side, a continuous scene of waterfowl and plants had been painted on four walls. This facsimile copies a long-preserved stretch on the west wall.
The blank yellow rectangles mark the place of niches in the original Green Room, all of them framed, and the upper ones with a small pool of water painted beneath. At the bottom, a water channel with lotus plants is bounded on either side by black silty stretches with brushy plants. Above is a tangle of marsh plants and papyrus populated by lively birds. The strikingly beautiful idyllic painting surrounding the small space in the cubicle would have created an encompassing experience.
Met Museum
metmuseum.org
Demotic Graffiti from the Wadi Hammamat
http://jan.ucc.nau.edu/~gdc/wadilink.htm
Sa sign
Egyptian; Thebes, Mentuhotep Temple, North Triangular Court, Pit 23
Electrum, silver
Rogers Fund, 1925 (25.3.253
This hieroglyph, depicting a shepherd's rolled-up shelter, means protection. It was used regularly as an amulet and carried by certain deities, especially the Bes image and Taweret.
Met Museum
metmuserum.org
Stamp seal amulet of a seated woman
Iran or Mesopotamia
Rhodochrosite; 0.85 x 1.02 in. (2.3 x. 3 cm)
Gift of Martin and Sarah Cherkasky, 1988 (1988.380.1)
See complete record 
.
. This tiny but finely carved seal amulet is in the shape of a squatting female wearing a diadem. The single row of small cavities on the diadem, as well as those on her breasts and in her eye, were probably filled with inlay. Her head is shown in profile with a prominent nose. One visible arm rests on her torso, with her hand on a folded knee, while the other knee is held up. Similar squatting figures are known both on cylinder seals from Iran, Mesopotamia, and Syria and as small sculpture in the round from the Iranian site of Susa. Dating from the end of the late fourth into the early third millennium B.C., such depictions are today known as "pig-tailed women" and, although many appear to be engaged in pottery of textile manufacture, they may also have had some religious meaning, perhaps depicting a gesture of worship. The other side of the amulet may have been used as a seal to make an impression in damp clay. It is flat with eight groups of drill holes that possibly represent schematic dogs.
Met Museum
metmuseum.org
Hollow clay cylinder inscribed in cuneiform
viernes, 24 de julio de 2015
redynastic unfired clay statuette
Plaster head model of a falcon
Plaster head model of a falcon. Likely from the 30th dynasty, circa 378-341 BC
Greek Corinthian Helmet and skull
Greek Corinthian Helmet and skull reportedly found inside it from the w:Battle of Marathon, now residing in the Royal Ontario Museum, T
·
Palmyra Tombstone of Akmath
A jar bearing the face of Bes
Rosicrucian Egyptian museum
Group of the nobleman and mayor of Thebes Sennefer
Group of the nobleman and mayor of Thebes Sennefer, his wife Sentnay and their daughter Mutnefert between them; other daughters in relief on sides. Granite from Karnak, reign of Amenhotep III, 18th dynasty, New Kingdom. Cairo, Egyptian Museum CG 42126 (JE 36574).
Traveling Boat being Rowed
From Egypt, Upper Egypt; Thebes, Southern Asasif, Tomb of Meketre (TT 280, MMA 1101), serdab, MMA 1920
Wood, paint, gesso, linen twine and linen fabric
l. 50 3/8 in. (128 cm), with rudder 68 7/8 in. (175 cm) x w. with oars 12 in. (30.5 cm) x h. 14 9/16 in. (37 cm)
Rogers Fund and Edward S. Harkness Gift, 1920 (20.3.1)
This model of a riverboat was found with twenty three other models of boats, gardens, and workshops in a hidden chamber at the side of the passage leading into the rock cut tomb of the royal chief steward Meketre, who began his career under King Nebhepetre Mentuhotep II of Dynasty 11 and continued to serve successive kings into the early years of Dynasty 12. Meketre is seated smelling a lotus blossom in the shade of a small cabin, which on an actual boat would have been made of a light wooden framework with linen or leather hangings. Here the hangings are shown partly rolled up to let the breeze into the cabin. Wooden shields covered with bulls' hides are painted on each side of the cabin roof. A singer, with his hand to his lips, and a blind harper entertain Meketre on his voyage. Standing in front of him is a man, probably the ship's captain, with his arms crossed over his chest. He may be depicted awaiting orders, but he may also be paying homage to the deceased Meketre. As the twelve oarsmen propel the boat, a lookout in the bow holds a weighted line used to determine the depth of the river. At the stern, the helmsman controls the rudder. A tall white post amidship supported a mast and sail (not found in the tomb), which would have been taken down when the boat was rowed downstream—as it is here—against the prevailing north wind. Going south (upstream), with the wind behind it, the boat would have been sailed. The boat is similar to one Meketre might have used in his lifetime. Certain details, however, suggest that on this voyage Meketre is traveling toward the afterlife. For instance the blossom he holds is the blue lotus, a flower the Egyptians associated with rebirth.
All the accessible rooms in the tomb of Meketre had been robbed and plundered already during Antiquity; but early in 1920 the Museum's excavator, Herbert Winlock, wanted to obtain an accurate floor plan of the tomb's layout for his map of the Eleventh Dynasty necropolis at Thebes and, therefore, had his workmen clean out the accumulated debris. It was during this cleaning operation that the small hidden chamber was discovered, filled with twenty-four almost perfectly preserved models. Eventually, half of these went to the Egyptian Museum, Cairo, and the other half came to the Metropolitan Museum in the partition of finds.
Met Museum
metmuserum.org
miércoles, 22 de julio de 2015
TT277, the tomb of Ameneminet .
.the Chapel
It is clear that it is backed by the Theban mountain in which it penetrates.
• At the summit is a pyramid, covered with a black pyramidion, with the usual niche intended for a stele (see pm-112151).
• Below are found two ledges with between the two a scene showing the knelt down deceased, in worship in front of the solar boat, with the fragmentary remains of a text: "[...] for the divine father Ameneminet, just of voice".
• The wooden door is painted yellow and contains a small representation of the deceased in worship in front of Osiris.
• The lintel which overhangs it includes, as downstrokes, a text (see ch-256): "An offering which the king gives to Re-Horakhty, the great god. An offering which the king gives to Atum, master of Heliopolis".
• Left doorpost: "An offering which the king gives to Osiris khentimentiu, Unnefer, Lord of Abydos [...] for the ka [...] Ameneminet".
• Right doorpost: "An offering which the king gives to Anubis, (master of) the tent of purification, which is in its bands, the master of the necropolis, for the Ka of the divine father of Ptah-Sokaris, Ameneminet".
osirisnet.net
TT341, the tomb of Nakhtamon
TT341, the tomb of 
Nakhtamon
The Henu barque
in the Shetit shrine,
in tomb TT45
osirisnet.net
Nakhtamon
in the Shetit shrine,
in tomb TT45
osirisnet.net
Stamp seal with quadruped
Syro/Cilicia or Anatolia
Chlorite
1.24 x 1.16 in. (3.16 x 2.96 cm)
Bequest of Lester Wolfe, 1984 (1984.175.15)
Bequest of Lester Wolfe, 1984 (1984.175.15)
During the Neolithic period (ca. 7000 B.C.), stamp seals are known from northern Iraq, northern Syria, and southeastern Anatolia. These pendants were carved with designs that probably combined a glyptic and an amuletic role and are of simple, mostly geometric forms. This seal demonstrates the development in the Ubaid period of seals depicting animals. A quadruped with an elongated body faces left. Above the animal are two joined arcs over which may be an inverted horned animal's head. A branching form beneath the quadruped may represent vegetation.
Met Museum
metmuseum.org
bearer from the tomb of Niankhpepi
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