martes, 31 de marzo de 2015

Figured ostracon from Deir el-Medina

Figured ostracon from Deir el-Medina
CURRENT RESEARCHIN EGYPTOLOGY 2011
Proceedings of the Twelfth Annual Symposium
...
which took place atDurham University, United KingdomMarch 2011
https://www.academia.edu/…/Figured_ostraca_from_Deir_el-Med…

Anthropoid wooden inner coffin

Anthropoid wooden inner coffin, painted white with a colourful collar on the chest and a painted inscription, giving the name of the soldier Userhet; face black; wig, beard, eyebrows and cosmetic lines blue.
Beni Hasan
Twelfth Dynasty; Middle Kingdom
Garstang, J.. Burial customs of ancient Egypt; as illustrated by tombs of the Middle Kingdom, being a report of excavations made in the necropolis of Beni Hasan during 1902-4.p. 173, 217
fig. 181


Vassilika, E.. 1995. Egyptian Art [1995].p. 36, #14


Bourriau, J.D.. 1988. Pharaohs and mortals; Egyptian art in the Middle Kingdom.Cambridge (Cambs.): p. 91-92
Also plate III, 3 and fig. on p. 86, #72


Porter, Bertha. Moss, Rosalind L.B.. Topographical bibliography of ancient Egyptian hieroglyphic texts, reliefs and paintings. Vol.4, Lower and Middle Egypt (Delta and Cairo to Asyût).p. 162

http://webapps.fitzmuseum.cam.ac.uk/

Coffin of Ikhet

Coffin of Ikhet


Period: Middle Kingdom

Dynasty: Dynasty 13

Date: ca. 1802–1640 B.C.

Geography: From Egypt, Upper Egypt; Thebes, el-Asasif, East of Pabasa and north of Padiamenemopet, MMA excavations, 1919–20

Medium: Sycomore wood

Dimensions: coffin box: l. 198 cm (77 15/16 in); w. 49.5 cm (19 1/2 in); h. 60 cm (23 5/8 in) lid: l. 177 cm (69 11/16 in); w. 44 cm (17 5/16 in); h. 17 cm (6 11/16 in)

Credit Line: Rogers Fund, 1932

MET MUSEUM

metmusuem.org


 This coffin, which is inscribed for a man named Ikhet, and another inscribed for a woman named Netnefret (32.3.429a, b), are decorated in the same manner, perhaps even by the same painter. In each case, the eye panel at the head end of the left side is placed above a polychrome palace facade with a double door that is clearly bolted shut. This is a "false door" through which the spirit may leave and re-enter the coffin. These coffins are similar in style to two other black-painted coffins in gallery 109 (32.3.428a, b; 32.3.431a, b).

Shabti of Seniu

Shabti of Seniu


Period: New Kingdom

Dynasty: Dynasty 18, early

Reign: reign of Amenhotep I–Thutmose III

Date: ca. 1525–1504 B.C.

Geography: From Egypt, Upper Egypt; Thebes, Southern Asasif, Cliff Tomb (MMA 1021), Radim near mouth of tomb, MMA excavations, 1918–19

Medium: Glazed steatite, paint

Dimensions: H. 27.3 cm (10 3/4 in); w. 8 cm (3 1/8 in); d. 5 cm (1 15/16 in)

Metropolitan Museum

Credit Line: Rogers Fund, 1919

Accession Number: 19.3.206


metmuseum.org

Wax figure

Wax figure
From Egypt
Roman Period, 2nd century AD
...
Containing a piece of papyrus on which part of a spell is written
Figurines in human form were used to cast spells on the people that they depicted. These figures were usually of wax, a substance which was regarded by the ancient Egyptians as both protective and destructive. This example, from the Roman period, has human hair pushed into its navel, to transfer to it the essence of the person against whom it was directed. Some curse spells of this period recommended that the hair be mixed with that of a dead person, to make it more effective.
The scrap of papyrus inserted in the back of the figure was probably inscribed with a spell, but is now illegible. The spell did not necessarily wish harm on the individual. Figures were also used to gain somebody's love. Invocations were also written on lead tablets and tied to the figures with string, or placed beside them when they were buried in the cemetery.
Written evidence suggests that this use of figurines was part of Egyptian religious practice in earlier times. Figures of malevolent demons and enemies of the state were ritually destroyed in secret ceremonies within the major temples. This was seen as part of the eternal battle against the forces of chaos.
G. Pinch, Magic in Ancient Egypt (London, The British Museum Press, 1994)
British Museum

britishmuseum.org

u¡ushabti wx

Precursor ushabti shaped like a naked, standing man. Wax, 11th dynasty (circa 2050 BCE), Middle Kingdom. Munich, Staatliches Museum Ägyptischer Kunst, ÄS 6085.

lunes, 30 de marzo de 2015

Model from the tomb of Nephepetre MentuhotepII


Model from the tomb of Nephepetre
MentuhotepII

From Deir el-Bahari, Egypt
11th Dynasty, around 2000 BC

The baking process

This model showing the baking process was placed in the tomb of King Nebhepetre Mentuhotep II (2055-2004 BC) to ensure that he would be provided with bread for eternity. The model is essentially schematic, showing the stages of bread-making rather than a real bakery. It is particularly interesting to learn that kings of this period felt that they needed to be equipped with these objects - not only officials and more ordinary people.

Bread was the staple food of ancient Egypt. It was of such importance in everyday life that several hieroglyphic signs are of different types of loaf, and the symbol for 'offering' is a loaf of bread on a mat. It was included in the offerings made to sustain the deceased in the Afterlife, whether he was a humble farmer or a king.

The first stage of making bread was to grind the grain (barley or emmer) between a grinding stone and a saddle quern. This grinding wore down the millstones, making the flour very gritty. This grit, and other impurities such as sand, were responsible for many dental problems due to excessive wear to the teeth. The flour was sieved to remove the larger impurities, and then made into dough before being shaped into loaves which were baked in circular ovens.

S. Quirke and A.J. Spencer, The British Museum book of anc (London, The British Museum Press, 1992)
British Museum
britismuseum.org

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

A Mittani-Era tablet from Umm el-Marra




A Mittani-Era tablet from Umm el-Marra 





A Mittani-Era tablet from Umm el-Marra

Jarold Cooper
Glenn Schawarts
Raymon Westbrook


http://neareast.jhu.edu/bin/k/s/jc%20Umm%20el-Marra.pdf

 

Shire stela of Amenhotep III and Tiye

 Shire stela of Amenhotep III and Tiye

From the house of Panehsy, Tell el-Amarna, Egypt
18th Dynasty, around 1340 BC
Probably from a domestic shrine
The reign of King Amenhotep IV (Akhenaten) (1352-1336 BC) brought a very different style of art to Egypt for a few years. This is clearly associated with the religious changes which Akhenaten started, centred around the cult of the sun disc, known as the Aten. Features of this style include the use of more relaxed poses, accentuated stomachs and heads, and the motif of the sun disc with its life-giving rays.
In the new theology of Amarna, Akhenaten was the sole intermediary of the Aten, and thus all addresses to the deity had to go through him. Houses contained small shrines to the king for this purpose. The shrine in the house of Panehsy contained this plaque that unusually shows Akhenaten's father, Amenhotep III (1390-1352 BC) beneath the sun disc, in the style usually confined to Akhenaten and his officials, though Amenhotep III did identify himself with the sun in the later years of his life.
The name of the old god Amun was proscribed on monuments of the Amarna Period, and so Amenhotep III is identified here by his throne name Nebmaatre.
A.P. Kozloff and B.M. Bryan, Egypts dazzling sun: Amenhotep (Cleveland Museum of Art, 1992)
E.R. Russmann, Eternal Egypt: masterworks of (University of California Press, 2001)
R.E. Freed, Y.J. Markowitz and S.H. D'Auria (eds.), Pharaohs of the sun: Akhenaten (London, Thames & Hudson, 1999)
S. Quirke and A.J. Spencer, The British Museum book of anc (London, The British Museum Press, 1992)

British museum
britishmuseum.org


Mummy Board of Henettawy

Mummy Board of Henettawy (C), Probable Sister-Wife of High Priest of Amun Smendes

Period: Third Intermediate Period
Dynasty: Dynasty 21
Date: ca. 990–970 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Deir el-Bahri, Tomb MMA 60, Chamber B, Burial of Henettawy C (4), MMA excavations, 1923–24
Medium: Wood, gesso, paint
Dimensions: l. 171 cm (67 5/16 in)
Credit Line: Rogers Fund, 1925
Accession Number: 25.3.6
 Discovered in a communal tomb dug in the courtyard of Hatshepsut's temple at Deir el-Bahri, this is the innermost element of a nest of coffins belonging to the Mistress of the House, Singer of Amun, Chief of the Harim of Amun, Flutist of Mut, and God's Mother of Khonsu Henettawy (C). Likely the daughter of the High Priest of Amun, Menkheperre, and his wife Isetemkheb, she apparently married the next pontiff, Smendes and died at some seventy years of age. When this board was lifted, the body beneath was found enveloped in a shroud bearing an image of the god Osiris, with amulets wrapped within her bandages for additional protection (see 25.3.171a to e). Buried with her were several religious papyri (25.3.28. .29; see also 25.3.35a–b), as well as two boxes of faience shabtis (25.3.19, .20). Her outer coffins are now in the Museum of Fine Arts, Boston (MFA 54.639-40).
The original gilding on the hands, breasts, earrings, and face on the outer surface of the board was hacked away by robbers. On the inner side, a figure of Imentet, goddess of the West (land of the dead), stands and offers ankhs (signifying life) to two human-headed birds representing the ba (soul) of the deceased. Flanking Imentet are two cobra-headed deities, then two emblems of the west symbolizing the goddesses Selket and Neith. In the lowest register, two mummiform images of Henettawy bracket a scepter that stands in for Anubis, god of embalming.
Met Museum
metmuseum.org

Shabti Box of Henettawy

Shabti Box of Henettawy (C), Daughter of Isetemkheb

Period: Third Intermediate Period
Dynasty: Dynasty 21
Date: ca. 990–970 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Deir el-Bahri, Tomb MMA 60, Chamber B, Burial of Henettawy C (4), MMA excavations, 1923–24
Medium: Wood, whitewash, fiber, mud
Dimensions: Shabti Box: H. 52.5 x W. 51 cm (20 11/16 x 20 1/16 in.)
Credit Line: Rogers Fund, 1925
Accession Number: 25.3.19.1a–c
 
Met Museum
 
 
metmuseum.org

Shabti box of Ramose

Shabti box of Ramose

Period: New Kingdom, Ramesside
Dynasty: Dynasty 19
Reign: reign of Ramesses II
Date: ca. 1279–1213 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Deir el-Medina, Tomb of Sennedjem (TT 1), Egyptian Antiquities Service/Maspero excavations, 1885–86
Medium: Wood, gesso, paint
Dimensions: H. 22.5 cm (8 7/8 in)
Credit Line: Funds from various donors, 1886
Accession Number: 86.1.15

Met Museum

metmuseum.org
Met 

Shabti box of Yuya

Shabti box of Yuya

Period: New Kingdom
Dynasty: Dynasty 18
Reign: reign of Amenhotep III
Date: ca. 1390–1352 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Valley of the Kings, Tomb of Yuya and Tjuyu (KV 46), Davis/Quibell & Weigall excavations, 1905
Medium: Painted wood
Dimensions: H. 35.5 cm (14 in); w. 14.5 cm (5 11/16 in)
Credit Line: Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915
Accession Number: 30.8.60a, b




Met Museum
source: metmuseum.org

Painted wooden panel of Tabakenkhonsu

Painted wooden panel of Tabakenkhonsu


Period: Late Period, Kushite
Dynasty: Dynasty 25
Date: ca. 680–670 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Deir el-Bahri, Temple of Hatshepsut, Hathor Shrine, pit in hypostyle hall, Egypt Exploration Fund excavations, 1894–95
Medium: Wood, gesso, paint
Dimensions: H.. 31.1 cm (12 1/4 in); W. 26.7 cm (10 1/2 in)
Credit Line: Gift of Egypt Exploration Fund, 1896
Accession Number: 96.4
 
 
Met Museum
 
 
 
metmuseum.org

lunes, 23 de marzo de 2015


edfu


ancient Egyptian servants

Ancient Egyptian slave market, with Nubian slaves waiting to be sold. Archaeological Museum, Bologna

market


Templo de Edfú

Fotografia de 1901
Templo de Edfú



Tiye

Relief portait of Queen Tiye wife of Amenhotep III and mother of Akhenaten . Country of Origin: Egypt. Date/Period: 18th Dynasty, c.1375 BC. Place of Origin: Funerary temple of Amenhotep III, West Thebes. Material/Size: Quartzite, H=36.4cm . Credit Line: Werner Forman Archive/ The Egyptian Museum, Berlin. Location: 47

La tombe TT 277 de Ameneminet

Ce sont deux sarcophages anthropoïdes avec une barbe tressée contenant probablement la momie qui sont redressés à la verticale. Le fait qu'il y en ait deux pour l'enterrement d'une seule personne pose un problème : la barbe postiche indique qu'il s'agit d'un homme, et comme aucun autre défunt n'est mentionné dans les textes, Mme Vandier pense qu'il s'agit du même sarcophage représenté à deux moments différents de la cérémonie. C'est d'autant plus vraisemblable que dans les deux scènes suivantes relatives, à la fin des funérailles, il n'y a plus qu'un seul sarcophage, et que tous ces cercueils sont identiques.
Les deux cercueils sont démesurément longs, encadrés de hautes tiges de papyrus. Aux pieds du premier on trouve l'épouse du défunt "La chanteuse d'Amon, Nefertari" qui porte la même robe gris-bleutée que les pleureuses ; elle verse de la poussière sur ses cheveux défaits, signe classique de deuil, tandis que son autre bras entoure les jambes du sarcophage ; on remarquera comme sa main est maladroitement coincée entre l'arrière du sarcophage et le pagne du "(Le) prêtre ouab Ptahmes" qui maintient le cercueil debout
Derrière cette scène on trouve, reproduite en miniature, la stèle qui se dressait autrefois sur la façade de la chapelle.

La tombe TT 277 de Ameneminet

osirisnet.net

Nyuserre

 Isometric views of the pyramids of Neferirkare and Niuserre taken from 3d models
 Isometric image of the pyramid complexes of Nerferirakre Kakai and Nyuserre Ini taken from 3d models
Image of the sun Temple of Nyuserre Ini taken from a 3d model






Nyuserre Ini



 

Egypt, 5th Dynasty, reign of Nyuserre, 2474-2444 B.C. Sculpture Granite Height: 4 3/4 in. (12.07 cm) William Randolph Hearst Collection (51.15.6) Egyptian Art Currently on public view: Hammer Building, floor 3



Head and torso in the style of a 5th Dynasty king, thought to represent Nyuserre Ini



 The famous Double Statue in the Museum of Egyptian Art in Munich, portraying Nyuserre as both a young man and an old man






 Statue des Niuserre, wahrscheinlich aus Memphis, heute im Ägyptischen Museum, Kairo (CG 38)

domingo, 22 de marzo de 2015

Karnak

Karnak. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: 19th dynasty, c. 1295-1186 BC. Place of Origin: Karnak (Thebes). Credit Line: Werner Forman Archive/ . Location: 23.


 The colonnades of the great temple of Amun at Karnak. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: New Kingdom. Place of Origin: Karnak (Thebes). Credit Line: Werner Forman Archive/ . Location: 23.

e Sacred Lake at Karnak

View of the Sacred Lake at Karnak. The lake fulfilled a number of different cultic purposes and was home of aquatic, sacred animals such as geese or crocodiles. Country of Origin: Egypt. Culture: Ancient Egyptian. Place of Origin: Karnak (Thebes). Credit Line: Werner Forman Archive/ . Location: 23.

The chapel of the tomb of Meryre-nufer qar

The chapel of the tomb of Meryre-nufer qar. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: Old Kingdom. 6th dynasty. Place of Origin: Giza. Credit Line: Werner Forman Archive/ . Location: 14.

Relief, Saqqara

Relief, Saqqara. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: Old Kingdom. Credit Line: Werner Forman Archive/ . Location: 16.

Limestone stela with a seated figure of Akhenaten

 Limestone stela with a seated  figure of Akhenaten


Probably from Tell el-Amarna, Egypt
18th Dynasty, around 1340 BC
In the Amarna Period (1352-1336 BC) a major change of emphasis took place in some religious beliefs and in artistic style. This limestone stela illustrates the shift in both these areas of Egyptian life. The king, Amenhotep IV (Akhenaten, reigned 1352-1336 BC), is shown in a relaxed pose, which would have been unthinkable in earlier times, with a protruding chin and belly; he is seated below the disc of the Aten (the sun) whose rays extend down to the king. Each ray terminates in a small hand and symbolizes the manner in which the sun hands its benefits down to the king.
The new beliefs formulated at Tell el-Amarna, and held to a limited extent elsewhere, stressed that Akhenaten was the sole person with access to the Aten. The Aten, Akhenaten believed, was the principal god and the source of all life. Thus, only the royal family is ever shown making offerings to the Aten; private individuals had to direct their devotions through the king. Stelae like this, bearing images of the king, have been found in a number of houses at Tell el-Amarna, and would probably have formed the centre of domestic devotions.
S. Quirke, Ancient Egyptian religion (London, The British Museum Press, 1992)
I.E.S. Edwards (ed.), Hieroglyphic texts from Egyp-8, Part 8 (London, British Museum, 1939)
E.R. Russmann, Eternal Egypt: masterworks of (University of California Press, 2001)



EA 24431;EA 63778 (fragment in top right hand corner)

British Museum
britishmuseum.org