sister of Djehutihotep

Ancient Egyptian woman, sister of Djehutihotep, an ancient Egyptian nomarch of the fifteenth nomos of Upper Egypt during the twelfth dynasty

Mask

Mask

Fragment of a mask with very distinct facial features. It shows wavy hair, a straight nose, large eyes and an open mouth.

IHNASIYA EL-MADINA/HERAKLEOPOLIS

GRAECO-ROMAN PERIOD: PTOLEMAIC PERIOD >

http://www.globalegyptianmuseum.org/record.aspx?id=7929

MUSEO ARQUEOLÓGICO NACIONAL

LOPEZ, J., Rapport préliminaire sur les fouilles d' Hérakléopolis ( 1966 ), Oriens Antiquus, XIII, 1974, Lám. XIV.

PONS MELLADO E., Terracotas de época Greco-romana procedentes de Enhasya el Medina (Heracleópolis Magna). Bolletín del Museo Arqueológico Nacional, t. XVI, nº 118.

mask

Mask
Gilded funerary mask representing the deceased's face with conventional traits: large eyes, long eyebrows and a somewhat expressionless look. The deceased is wearing a helmet-like wig.
PAINTED ON STUCCO
...

GRAECO-ROMAN PERIOD
MUSEO ARQUEOLÓGICO NACIONAL
http://www.globalegyptianmuseum.org/record.aspx?id=7472

sarchophagus

Exhibit in the Matsuoka Museum of Art - 5 Chome-12-6 Shirokanedai, Minato, Tokyo 108-0071, Japan.

oval face

The oval face represents a man or perhaps a deity. The face has holes of various shapes and sizes representing the eyes, nostrils and mouth; the nose is a gentle protrusion. There are small holes all around the skull, presumably to hold tufts of real hair. The entire face was apparently painted ochre, or orange-yellow, and still bears visible traces of that color. There is a deep hole under the neck, which suggests that the face was once fixed to a post and was probably used in cult ceremonies

MARIMDA BENI SALAMA

EGYPTIAN MUSEUM

http://www.globalegyptianmuseum.org/record.aspx?id=14730

boat

Boat

The hull of a model boat, made from red pottery. Such an object would have been placed in the tomb with the deceased.

PREDYNASTIC PERIOD ?

LIVERPOOL MUSEUM

http://www.globalegyptianmuseum.org/record.aspx?id=4001

shabti

SHABTI

A wooden shabti with a worn face. The figure bears no trace of colour, no implements are apparent. There is a single line of text incised on the front of the figure, now illegible.

MIR

wood

NEW KINGDOM

LIVERPOOL MUSEUM

Inventory number 36.119.72

H.M Stewart; "Egyptian Shabtis", (1995).

http://www.globalegyptianmuseum.org/record.aspx?id=3590

Cartonnage Mummy Mask of Isis

Cartonnage Mummy Mask of Isis

The tomb of Sennedjem was used to bury some other members of his family. The cartonnage funerary mask belongs to Sennedjem's sister-in-law, Isis.

The mask was made of several layers of plastered cloth, upon which her facial features were painted in bright colors.

Created to cover the mummy in the inner coffin, the mask shows Isis' rounded face. Her nose and lips are modeled in subtle relief. Her earlobes, adorned with gold earrings, are visible on both sides of her fleshy face.

On her head, she wears a long wig fashionable at this period. The wig is bound at the top with a wide floral fillet, or ribbon. It is tied at the sides with intricately patterned ribbons. Over the chest is an enormous floral collar with ornamental lotus flowers.

DEIR EL-MEDINAH

http://www.globalegyptianmuseum.org/record.aspx?id=15844

Inventory number JE 27309 B

EGYPTIAN MUSEUM

Anthropomorphic canopic stopper

Anthropomorphic canopic stopper

The canopic jars were used from the Old Kingdom onwards to preserve the internal organs which were removed from the body of the deceased. This vase stopper, which dates from the Middle Kingdom, represents the face of the deceased. The eyes are accentuated by the black make-up lines: this refers to the symbolism of the hieroglyphic and protective character of the made-up eye signifying "being intact". The example is distinguished by a blue wig and a brownish coloured face.

KMKG - MRAH

Inventory number E.4353

(M. Werbrouck,) Musées Royaux d'Art et d'Histoire, Bruxelles. Département égyptien, Album, Bruxelles 1934, pl. 93

F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 66, 71

http://www.globalegyptianmuseum.org/record.aspx?id=663

MASK

MASK
ROMAN PERIOD
Œuvres d’art acquises par l’État en 1966, n° 450; «Chronique des arts», in Supplément à la Gazette des Beaux-Arts, 1176, février 1967, p. 44, n° 173; Cl. DERRIKS, Choix d’œuvres, I, Égypte, Morlanwelz, 1990, n° 42; Cl. DERRIKS et L. DELVAUX (éds.), Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 372.
...

MUSÉE ROYAL DE MARIEMONT
globalegyptianmuseum

Mace-head

MACE-HEAD

Inventory number 1973.2.242

A pear-shaped mace-head with a wide bore, made from black and white marble.

MARBLE

PREDYNASTIC PERIOD

Piotr Bienkowski and Angela Tooley, "Gifts of The Nile: Ancient Egyptian Arts and Crafts in the Liverpool Museum", 1995, 51; pl. 69.

Aylward M. Blackman, "The Nugent and Haggard Collections of Egyptian Antiquities", Journal of Egyptian Archaeology, Volume I, Part IV, 1917, 43, pl. XII.

http://www.globalegyptianmuseum.org/record.aspx?id=3183

LIVERPOOL MUSEUM

HUMAN FIGURINE

HUMAN FIGURINE

The wooden figurine, which was purchased during the public sale of the Amherst collection at London in 1921, consists only of a naked torso surmounted by a head with a pointed beard. The person represented has lost the upper limbs which were once held in place by the tenons at the chest. Of the lower limbs only a part of the right thigh has survived. The function of the quadrangular hole, hollowed out in the abdominal region, is not clear: could it have served to fasten a kilt or to provide a place of attachment for the genitalia? The most characteristic detail is nevertheless the enormous protruding thorax and the dorsal hump due to a pronouced curvature of the vertebral column. The paleopathological exam of the symptoms prove that this person was struck in childhood by vertebral tuberculosis.

Inventory number E.5850

PREDYNASTIC PERIOD >

EARLY DYNASTIC PERIOD/THINITE PERIOD

Fr. Jonckheere, Le bossu des Musées Royaux d'Art et d'Histoire de Bruxelles, Cd'É 23 (1948) 24-35

R. Watermann, Bilder aus dem Lande des Ptah und Imhotep, Cologne 1958, pl. 14-15

B. Hornemann, Types of Ancient Egyptian Statuary, Munksgaard 1966, II 386

E. Strouhal, Life in Ancient Egypt, Cambridge 1992, 249 fig. 268

J. Fischer, Der Zwerg, der Phallos und der Buckel, Cd'É 73 (1998) 354-355

KMKG - MRAH

http://www.globalegyptianmuseum.org/record.aspx?id=885

Faience djed-pillar amulet

Faience djed-pillar amulet

Period:Late Dynastic–HellenisticDate:664–30 B.C.Culture:EgyptianMedium:Clay, glazedDimensions:H.: 2 1/8 in. (5.4 cm)Classification:Gold and Silver

Symbolic objects used for amulets include a menat-pendant, the djed-sign, and a papyrus capital, all common in Egyptian architecture. A pectoral used on mummies, a bunch of grapes or other clusters of fruit, and an inscribed bead are also represented.

http://www.metmuseum.org/art/collection/search/243780

Djed pillar

Djed pillar

Period:Late Period–Ptolemaic PeriodDate:525–30 BCGeography:From EgyptMedium:Yellow GlassDimensions:H. 3.4 × W. 1.3 cm (1 5/16 × 1/2 in.)Credit Line:Gift of J. Pierpont Morgan, 1917

Starting in the later Late Period and continuing through the Ptolemaic Period, glass a type of glass amulet cast by pressing the glass into a shallow open mold appears. The back was left rough, and the amulets may look ragged because glass overflowed the mold around the edges. The earlier amulets are monochrome, bi- or multicolor amulets supplement the repertoire during the Ptolemaic Period.

Some of the amulets can be specifically tied to spells of the Book of the Dead – for example, acc. no. 17.194.2526 – and most are clearly funerary amulets, presumably meant to be wrapped between the bandages of the mummy where the presence of the amulet would do its job irrespective of its degree of finish.

http://metmuseum.org/art/collection/search/559435

Djed pillar Amulet

Djed pillar Amulet

Period:Late Period–Ptolemaic PeriodDynasty:Dynasty 26–29Date:664–30 B.C.Geography:From EgyptMedium:FaienceDimensions:H. 4.5cm (1 3/4 in); w. 1.7cm (11/16 in); th. 0.9cm (3/8 in)

This emblem of Osiris, god of the underworld, was a potent symbol of regeneration and therefore made to accompany the mummy on its journey. What the form represents is unknown: a leafless tree or a pole with notches or attachments. Eventually it came to represent the backbone of Osiris and in the New Kingdom decorated the bases of coffins.

http://www.metmuseum.org/art/collection/search/548359

seal ring

Seal ring featuring the inscription: "Ptah the one with durable favours" Hieroglyphs-(read from right, top): Ptah-(p-t-h)-(gives)-enduring-(Djed)-favors-(i.e.-libation offerings-(3, for plural)).

djed amulet

A djed amulet with the name of Ramesses IX of the Twentieth dynasty inscribed upon it.

Djed

Djed constructed of gilded inlay on wood with red, blue, and green glass.The Walters Art Museum.

stela

Stela
This monument forms the bottom of a stela belonging to the "scribe accountant of the grain of Amun", Neferhotep. It is composed of double scenes, arranged as a diptych. In the right-hand scene, the deceased is seen standing in adoration before Re-Harakhty and his daughter Maat. The creator of the cosmos has a falcon's head surmounted by a solar disk. The <A HREF="God">goddess</A> Maat wears a feather in her hair, which represents her name in hieroglyphic writing. The le...ft-hand scene shows Neferhotep praying before Osiris who is accompanied by his wife Isis. The two scenes together symbolise the heavenly world and underworld, where the deceased hopes to continue earthly life.

Re-Harakhty and Maat
THEBES: WEST BANK: EL-KHOKHA
18TH DYNASTY
L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 34 nº 116
(M. Werbrouck,) Musées Royaux d'Art et d'Histoire, Bruxelles. Département égyptien, Album, Bruxelles 1934, pl. 3
J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 24
B. Van Rinsveld, Goden en godinnen van het Oude Egypte - Dieux et déesses de l'Ancienne Égypte, Bruxelles 1994, 24-25
KMKG - MRAH
http://www.globalegyptianmuseum.org/record.aspx?id=273

stela

Magical Stela (Cippus of Horus)

Period:Late PeriodDynasty:Dynasty 30Reign:reign of Nectanebo IIDate:360–343 B.C.Geography:From Egypt, Alexandria Region, Alexandria; Probably originally from Memphite Region, Heliopolis (Iunu; On), Temple of the Mnevis bullsMedium:Meta-GreywackeDimensions:Overall h. 83.5 cm (32 7/8 in); w. 33.5 cm (13 3/16 in); d. 7.2 cm (2 13/16 in); h. of base 14.4 cm( 5 11/16 in); 33.5 cm (13 3/16 in); d. 14.4 cm (5 11/16 in)Credit Line:Fletcher Fund, 1950Accession Number:50.85

The top half of this stela was skillfully carved in the hard dark stone. On the part below the central figure panel, rows of hieroglyphs record thirteen magic spells to protect against poisonous bites and wounds and to cure the illnesses caused by them. The stela was commissioned by the priest Esatum to be set up in the public part of a temple. A victim could recite or drink water that had been poured over the magic words and images on the stela. As a mythic precedent, the hieroglyphic inscription around the base describes the magic cure that was worked upon the infant Horus by Thoth, the god of wisdom and writing.

On the stela Isis speaks and recounts that while she and Horus were still hiding in the marshes, the child became ill. In her despair, she cried for help to the "Boat of Eternity" (the sun boat in which the god travels over the sky), "and the sun disk stopped opposite her and did not move from his place." Thoth was sent from the sun boat to help Isis and cured Horus by reciting a catalogue of spells. The spells always ended with the phrase "and the protection of the afflicted as well," indicating that by using these spells, any type of affliction in human beings would be healed.

In this detail of the stela, Horus emerges from the background in such high relief that he is posed as an actual three-dimensional statue, with his left leg striding forward and his head directly facing the viewer. He is portrayed in the conventional Egyptian form for youth; that is, he is nude and wearing his hair in a side lock. The soft, rounded forms of the bodies of Horus and the other deities are typical of the style of the period.

To symbolize his magic powers, Horus holds snakes and scorpions as well as an antelope (by its horns) and a lion (by its tail) in his closed fists. His feet rest on two crocodiles. Above him is the head of Bes, the dwarf deity with leonine features who had traditionally protected households but by this time had become a more general protective deity. Horus is flanked by three deities who stand upon coiled snakes. On the right is Thoth, identified by his ibis head, and on the left is Isis. Both protectively hold the walls of a curved reed hut, a primeval chapel, in which the Horus child stands together with a figure of Re-harakhty, god of the rising sun, and two standards in the form of papyrus and lotus columns. The lotus standard supports the two feathers of Osiris's headdress.

The images incised into the stone at the top of the stela portray the perilous nighttime journey of the sun as it passes through the nether world under the earth. Its rebirth each morning is shown at the uppermost point of the stela, where Thoth, four baboons, and the kneeling King Nectanebo II lift their arms in the gesture of adoration and prayer. Nectanebo II was the last indigenous king of ancient Egypt. He struggled valiantly against the Persian empire only to be defeated in the end. After the lost battle, he fled to Upper Egypt, and nothing is known about his end.

http://www.metmuseum.org/art/collection/search/546037

Canopic jar of Horemheb

Canopic jar of Horemheb

This canopic jar (see E.5898) was part of the oldest collections in the Museum and bears the name of Horemheb, son of Shepensopdet. It has a lid in the shape of a human head and a text referring to Amset the Son of Horus. The texts indicate that the owner lived during the 26th Dynasty. The Metropolitan Museum in New York also has a canopic jar belonging to the same Horemheb.

CALCITE/ALABASTER

26TH DYNASTY

Hr-m-Hb

Sp-n-spd.t

L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 81 nº 303

K. Sethe, Zur Geschichte der Einbalsamierung bei den Ägyptern und einiger damit verbundenen Bräuche, Berlin 1934, 13*

H. De Meulenaere, Kanopenvazen met opschrift in de Egyptische Verzameling, MRAH 37 (1965) 5-6, 10

B. van de Walle, L. Limme et H. De Meulenaere, La collection égyptienne. Les étapes marquantes de son développement, Bruxelles 1980, 43-44

Henri-Joseph Redouté et l'Expédition de Bonaparte en Égypte (Exposition Saint-Hubert en Ardenne 1993), Bruxelles 1993, 146 nº 38

globalegyptianmuseum

necklace

NECKLACE

This beautiful necklace has been reconstructed from elements found in the tomb of Kheti at Beni Hassan. It is composed of five rows of small stems coloured black and turquoise and of two shoulder pieces in the form of falcon heads "wesekh" type). It seems that the collar was never worn, but played a part in the funerary rites of the owner.

BENI HASSAN

FAYENCE

MIDDLE KINGDOM

E. De Keyser, Colliers Ousekh, BMRAH 4e série 19 (1947) 85-89

Artisans de l'Égypte ancienne (Exposition), Morlanwelz 1981, 58-59 nº 53

Van dieren en mensen. Getuigenissen uit Prehistorie en Oudheid - Des animaux et des hommes. Témoignages de la Préhistoire et de l'Antiquité (Exposition), Bruxelles 1988, 172 nº 152

Inventory number E.3385

KMKG - MRAH

globalegyptianmuseum

Shabti of Nen

Shabti of Nen

This shabti of serpentine represents a mummified person, who holds a was-sceptre and the ankh-sign of life in its hands. The statuette, which dates from the Middle Kingdom, bears a hieroglyphic text written in a vertical column. The owner was a "Chief of Weavers", named Nen, son of Senankh.

ABYDOS

L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 32 nº 95

H. Schneider, Shabtis, Leyde 1977, I 181

Inventory number E 3394

KMKG - MRAH

globalegyptianmuseum

SHABTI

SHABTI

Inventory number E 100

DEIR EL-BAHARI

FAIENCE

21ST DYNASTY

Tnt-wAs-Ar-kn

Wsir Tnt-sr-kn(A)

MUSEU NACIONAL DE ARQUEOLOGIA

Lisbon

Stela of Anlamani

Stela of Anlamani

7th century BC Nubian king

Cartouches of Aspelta

British Museum, London…

Cartouches of Aspelta, found at Nuri

A small glass vase with the cartouches of Rudamun

A small glass vase with the cartouches of Rudamun

The Tomb of Prince Montuherkhepeshef - KV19

the prince in front of Duamutef
This represents the fourth and final son of Horus, recognisable by his black canine head which is a reminder of that of Anubis. Unlike the other three, who wear golden knee-length tunics, this one is sheathed in a gilt shroud. From the front of the shroud emerge two black hands with a gold bracelet on each wrist, clutching a was-sceptre. Despite having the canine head, he still wears human hair on his head, trimmed with gold.
Again, Montuherkhepeshef has empty hands raised in homage in front of the image of the divinity. 

The Tomb of Prince Montuherkhepeshef - KV19

 

osirisnet.net

Ramesses III and Prince Amenherkhepeshef

Ramesses III and Prince Amenherkhepeshef before Hathor

Artist:

Nina de Garis Davies (1881–1965)

Period:

New Kingdom, Ramesside

Dynasty:

Dynasty 20

Reign:

reign of Ramesses III

Date:

Original ca. 1184–1153 B.C.

Geography:

Original from Egypt, Upper Egypt, Thebes, Valley of the Queens, Tomb of Amenherkhepeshef (QV 55), MMA graphic expedition 1933

Medium:

Paper, tempera paint, ink

Dimensions:

facsimile: h. 94.5 cm (37 3/16 in); w. 64.5 cm (25 3/8 in) scale about 2:5 framed: h. 87.3 cm (34 3/8 in); w. 67.3 cm (26 1/2 in)

 

 http://www.metmuseum.org/art/collection/search/548357