jueves, 23 de junio de 2016

Head of Trajan

Head of Trajan (reign 98–117 CE), from an oversized statue (around 2.70 m height).


Sestertius of Trajan

Sestertius of Trajan (reverse), it reads SPQR OPTIMI PRINCIPI, "from the Senate and People of Rome, to the best of all emperors", from Deva Victrix (Chester, UK), The Grosvenor Museum

Magical Bricks

Magical Bricks
in the Oriental Institute Museum of the University ofChicago*
Abstract:
Foy Scalf
(Tafel 9-18)...
This article publishes in full the 10 magical bricks in the Egyptian collection of the Oriental Institute Museum of
the University of Chicago, including description, transcription, transliteration, translation, photographs and copies.
Their relationship to the corpus of known magical bricks is detailed and their relevance to this corpus discussed.

http://oi.uchicago.edu/…/sh
a…/docs/magical_bricks_sak_38.pdf

Painted wooden figure of a Ba bird




Painted wooden figure of a Ba bird
In addition to the wig and false beard of the deceased, this Ba also wears an amuletic collar. Such statuettes were sometimes mounted on painted wooden funerary stelae.
LATE PERIOD
Inventori number RIA1954:163
NATIONAL MUSEUM OF IRELAND
globalegyptianmuseum

Figurine of Bes


Figurine of Bes
Openwork figure of the childbirth god Bes, the crown missing.
FAIENCE
GRAECO-ROMAN PERIOD
Inventory number RIA1957:233
NATIONAL MUSEUM OF IRELAND
globalegyptianmuseum

Upper portion of a statuette of a woman


Upper portion of a statuette of a woman
Upper half of a terracotta figure in Hellenistic style, showing a naked woman, holding her right hand to her head, her left hand holding a long lock of hair. She is probably to be identified as the Greek goddess Aphrodite.
PTOLEMAIC PERIOD
NATIONAL MUSEUM OF IRELAND
globalegyptianmuseum

Banquet scene


Banquet scene
This object in terracotta, of which the provenance is not known, represents a banquet scene. One notices a man, lying on his back, the head reclined on a cushion. In his left hand, he holds a jug; his right hand is stretched out behind the woman who is seated at the feet of the bed and who bangs a drum. The piece, which bears many traces of wear, dates from the Roman Period.
ROMAN PERIOD
Keizers aan de Nijl (Exposition Tongres), Louvain 1999, 218 nº 130
KMKG - MRAH
globalegyptianmuseum

The Social and Ritual Contextualisation of Ancient Egyptian Hair and Hairstyles from the Protodynastic to the End of the Old Kingdom

Magic wand

Magic wand
Period:Middle KingdomDynasty:Dynasty 12Date:ca. 1981–1802 B.C.Geography:From Egypt, Memphite Region, Lisht South, Pyramid Temple of Senwosret I, Outer Court, Pit 504, MMA excavations, 1908Medium:Hippopotamus ivoryDimensions:Max. h. 16 cm (6 5/16 in); l. 33.5 cm (13 3/16 in); th. 0.6 cm
Wands such as this were a common feature in burials of the late Middle Kingdom. This one shows signs of wear on one tip, suggesting that it was used over a period of time before bei...ng placed in the tomb. The wand is decorated on one side with the figures of protective deities most of whom carry knives to ward off evil spirits.
The purpose of the wands is revealed by an inscription carved on the back of this
one:
"Recitation by the many protectors: We have come that we may extend our protection around the healthy child Minhotep, alive, sound, and healthy, born of the noblewoman Sitsobek, alive, sound, and healthy. "
Other wands (15.3.197; 30.8.218) are inscribed on the front with the words "protection by day" and "protection by night." The texts indicate that the wands were used to defend infants against malign forces, perhaps by scratching a circle in the earth around the area where they slept. Having provided defense against illness during life, after death the wands were placed in the tomb to ensure the continued protection of the deceased's spirit in its eternal afterlife
Met Museum
memuseum.org

miércoles, 22 de junio de 2016

History of Ancient Egyptian Obstetrics & Gynecology: A Review

History of Ancient Egyptian Obstetrics & Gynecology: A Review
http://scholarsresearchlibrary.com/J…/JMB-2011-1-1-35-39.pdf

GARGOYLE/RAIN SPOUT

GARGOYLE/RAIN SPOUT
The head and forepaws of a lion carved onto a small sandstone plaque. The curve of the plaque indicates that it was mounted on a round basin, with pins drawn through the circular holes at each end. It was probably intended as a spout, the square hole between the paws providing a channel for the fluid. The piece comes from the temple of the lion-god Apedemak.
BEGRAWIYA
MEROITIC PERIOD
From Professor J. Garstang in 1947, from his excavations at Meroe 1909-1914.
Piotr Bienkowski and Angela Tooley, "Gifts of The Nile: Ancient Egyptian Arts and Crafts in the Liverpool Museum", 1995, 98; pl. 152.
Inventory number 47.48.512
LIVERPOOL MUSEUM
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The identity and work of the ancient Egyptian surgeon

The identity and work of the ancient Egyptian surgeon
 
 
That a well-developed and hierarchical medical profession existed in Pharaonic Egypt is without doubt. What is a matter of contention is the existence of a recognizable surgical profession, or even of the practice of surgery by medically qualified personnel. Palaeorchaeological specimens that demonstrate some form of surgical procedure are rare. Medical papyri and the treatises of the historians of antiquity provide a far more reliable source of information on surgical practice. They have indicated possible titles for surgeons, and the types of instruments used
https://www.researchgate.net/publication/14406775_The_identity_and_work_of_the_ancient_Egyptian_surgeon

Amulets




Amulet
Amarna Reino Nuevo

 http://www.digitalegypt.ucl.ac.uk

Statue

Statue
Cette statue montre un homme debout dans l’attitude de la marche, jambe gauche avancée. Les bras étaient rapportés, fixés au torse par de petits tenons. Le bras gauche pend le long du corps, et la main gauche, fermée devait tenir un objet, pièce de tissu ou sceptre. Le bras droit est perdu et la forme de son attache au torse ne permet pas de déterminer s’il pendait verticalement ou était porté vers l’avant, tenant une canne. Cependant, dans la majorité des cas, celle-c...i est tenue dans la main gauche, du côté de la jambe avancée. Le personnage de Mariemont devait donc avoir le bras droit le long du corps, la main simplement fermée ou, éventuellement, tenant un sceptre sekhem. Le vêtement est un simple pagne uni, à petit devanteau trapézoïdal. Les retombées latérales du tissu descendent sur les côtés des cuisses, jusqu’à la limite inférieure du devanteau. Le pagne est retenu par une ceinture étroite et dépourvue de décor, qui souligne l’abdomen d’une légère courbe. Le personnage a le crâne rasé et ses oreilles sont grandes et décollées. Le visage est un ovale très régulier dont la largeur culmine au niveau des pommettes. Les yeux sont grands, très légèrement inclinés, avec une paupière inférieure sinueuse qui prolonge en pointe la zone lacrymale vers l’attache du nez. La paupière supérieure, doucement renflée, dessine un arc très régulier qui plonge rapidement vers le coin intérieur de l’œil où elle se redresse pour rejoindre le tracé de la paupière inférieure. Les sourcils sont sculptés de manière naturelle, et sont à peine saillants par rapport au plan du front. Le nez est brisé, mais ses narines semblent relativement larges. La bouche est horizontale et sa largeur dépasse légèrement celle des ailes du nez; les lèvres sont d’une épaisseur semblable. Le menton, dont la courbe prolonge celle des joues, est petit et arrondi, peu saillant par rapport aux plans du visage. La taille est étroite, mettant en valeur le renflement des pectoraux. La musculature des jambes est soigneusement indiquée, notamment celle des genoux et de l’avant des cuisses. Les pieds, aujourd’hui disparus, étaient fixés aux chevilles par de petits tenons. La base de la statue est perdue et, dans son état actuel, l’objet ne porte aucune inscription.
Première Période Intermédiaire-début du Moyen Empire
MUSÉE ROYAL DE MARIEMONT
golbalegyptianmuseum

Amulette

Amulette
Inventory number Ac.2003/27
QUARTZ/ROCK CRISTAL
...
Cl. DERRIKS, «L’Égypte ancienne et le cristal de roche», in J. TOUSSAINT (dir.), Pierre de lumière. Le cristal de roche dans l’art et l’archéologie, Namur, 2007, p. 103-108, fig. p. 106; Cl. DERRIKS et L. DELVAUX (éds.), Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 248-249.
MUSÉE ROYAL DE MARIEMONT
globalegyptianmuseum

lunes, 20 de junio de 2016

Model of a serpent


Model of a serpent
This object in limestone is the model of a sculptor. Coming from the excavations of E. Naville in the temple of Montuhotep at Deir el-Bahari, it represents a serpent in the specific form of the uraeus. It is possible that this is the <A HREF="God">goddess</A> Meretseger, patroness of the Theban necropolis. She was worshipped in company with the god Ptah in a sanctuary hollowed out in the rock, not far from the Valley of the Queens.
SCULPTOR'S MODEL
DEIR EL-BAHARI: TEMPLE OF MENTUHOTEP NEBHEPETRE
18TH DYNASTY
KMKG - MRAH
globalegyptianmuseum

Hieratic papyri from Gurob and Kahum

Hieratic papyri from Gurob and Kahum
http://www.etana.org/sites/default/files/coretexts/15145.pdf

The doctor in Ancient Egypt

The doctor in Ancient Egypt
J.F. Nunn

 http://www.evolve360.co.uk/data/10/docs/07/07nunn.pdf

domingo, 19 de junio de 2016

Ebers Papyrus

Ebers Papyrus
Transcription of
parts of Papyrus Ebers, on the basis of Möller (1927), pp. 23-25.
https://mjn.host.cs.st-andrews.ac.uk/egyptian/texts/corpus/pdf/Ebers.pdf

Herbal medicine in ancient Egyp

Herbal medicine in ancient Egypt
N. H. Aboelsoud
https://www.researchgate.net/publication/228634623_Herbal_medicine_in_ancient_Egypt

Amulet of the Deity Heh Holding Signs for Millions of Years







Amulet of the Deity Heh Holding Signs for Millions of Years


Living persons wore only one or a few amulets at a time, but mummies usually bear many amulets. The Ma’at amulet (no. 2) and heart scarabs (nos. 1, 3, 11), which occurred in many forms, guaranteed a successful judgment of the dead. The amulets of a hand (no. 8), lungs and a windpipe (no. 12), and wadjet-eyes (i.e., “healthy” eyes; no. 4) protected those parts of the body and also had connotations of resurrection and the unity or integrity of the mummy. The enigmatic aper amulet (no. 13) takes the form of the hieroglyph meaning “to be equipped,” perhaps in reference to the mummy’s preparation. The two crowns (nos. 5, 6) were symbols of power. The Heh insignia (no. 7), like the popular ankh-sign, denoted eternal life. Among the living, the frog (no. 9) and possibly also the hare (no. 10) suggested fertility. The amulets of the Four Sons of Horus (no. 15) perhaps served, as they did with canopic jars, to protect various organs of the body.
MEDIUM Faience, glazed
  • Place Made: Egypt
  • DATES ca. 945-718 B.C.E.
    PERIOD Third Intermediate Period
    DIMENSIONS 1 9/16 x 7/8 x 1/4 in. (3.9 x 2.2 x 0.6 cm) 
     
    Brooklyn museum
     
    brooklynmuseum.org

    Fragment of Stela with Figures Holding Lotuses


    Fragment of Stela with Figures Holding Lotuses
    MEDIUM Limestone, pigment
    PERIOD Ptolemaic Period
    ...
    DIMENSIONS 5 7/8 x 6 1/2 in. (14.9 x 16.5 cm)
    Brooklyn Museum
    brooklynmuseum.org

    sábado, 18 de junio de 2016

    Cylinder Inscribed with a King's Name


    Cylinder Inscribed with a King's Name
    The faintly incised inscription on this cylinder gives the name of Hetepsekhemwy, the first ruler of the Second Dynasty. His name appears within a rectangle, called a serekh, representing a palace facade. Kings were associated with the celestial falcon god Horus. Here this idea is shown through the bird’s figure perched atop the facade.
    MEDIUM Bone
    •Place Collected: Helwan, Egypt
    DATES ca. 2800-2780 B.C.E.
    DYNASTY II Dynasty
    PERIOD early Dynastic Period
    DIMENSIONS 2 1/4 x Diam. 1 5/16 in. (5.7 x 3.3 cm)
    Brooklyn Museum
    brooklynmuseum.org

    Stucco Masks from the Ptolemaic Period

    Stucco Masks from the Ptolemaic Period
    A collection of stucco masks, some with the eyes empty while others have them painted. The masks show the head and the neck only. They were usually put on the recumbent mummy.
    They were made by casting the stucco in molds. Coal was used to color the hair black, while gold was used to paint jewelry such as earrings, necklaces and head bindings.
    There are numerous examples in which the mask is completely painted with gold. It is obvious that these masks have been refurbished.
    ALEXANDRIA
    PTOLEMAIC PERIOD
    BIBLIOTHECA ALEXANDRINA ANTIQUETIES MUSEUM
    ç
    globalegyptianmuseum