miércoles, 16 de agosto de 2017

JOSEPH LINDON SMITH The Man and the Artist

The Man and the Artist
Dr. M. Mahdi Allam

domingo, 13 de agosto de 2017

A unfinished relief fragment

A unfinished relief fragment with the figures of Akhenaten and a child. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: 18th dynasty

Partie de statue de Ramsès II

Partie de statue de Ramsès II (fouille arrêtée, le site se trouvant sous un cimetière moderne)
Akhmim - Moitié de statue monumentale de Ramsès II marquant sans doute un partie de la façade du temple de Min

Statue funéraire d'un prêtre de Sarapis trouvée dans la nécropole d'Oxyrhynque Louvre

Statue funéraire d'un prêtre de Sarapis trouvée dans la nécropole d'Oxyrhynque


Ineb-Hedj, premier nome sur le mur de la Chapelle Blanche de Sésostris Ier à Karnak

Pottery ushabti

Pottery ushabti with linen grave clothes of T3y-ms. 19th Dynasty. From Heracleopolis Magna, Egypt. The Petrie Museum of Egyptian Archaeology, London. With thanks to the Petrie Museum of Egyptian Archaeology, UCL


A Saite 26th Dynasty period (664-525 BC) bronze art work of an Egyptian cat playing with one of her kittens and feeding another. The goddess Bastet, which had a cat’s head, was one of the many gods in Egypt’s polytheistic religion and had her own temple in Bubastis, in the Nile delta. [Gulbekian Museum; Inv. No.21]

funerary statue

11th Dynasty Egyptian funerary statue
Gulbenkian Museum

sábado, 12 de agosto de 2017

miércoles, 2 de agosto de 2017

martes, 1 de agosto de 2017

The tomb of Ankhtifi at Mo'alla

The tomb of Ankhtifi at Mo'alla

Pillar 20
The lower register is occupied entirely by dancers (thirteen originally, of which four are better preserved) who are holding each other by the hand. It seems that the artist, using the round shape of the support, wanted to give to the spectator the impression that these women were dancing around the pillar. A short legend is painted in black above some of these women and pernits their identification: "His daughter [beloved], Nebi, the younger"; "His [daughter] Iret (?) and (his) daughter Nebi.. do that which Hathor likes in favour of Ankhtifi".
In the upper register, women (nine originally) are again arranged around the pillar, but this time, they don't hold each other anymore by the hand. Today this scene has almost entirely disappeared
The tomb of Ankhtifi at Mo'alla

Templo de Amon. Geberl Barkal

Templo de Amon. Geberl Barkal



domingo, 23 de julio de 2017

La tombe de Merefnebef

La scène de chasse aux oiseaux prend place dans un cadre de 1,48m de large et 1,18m de haut. Elle est remarquable de par la préservation miraculeuse de sa polychromie, qui donne une idée de la chatoyance que devait avoir toute la pièce à l'origine.
Autre point intéressant : la scène présente des retouches gris-noirâtre, notamment derrière la tête de Merefnebef, en continuité avec les modifications apportées à la scène de pêche qui se situe plus à droite. Nous reviendrons sur leur signification.
On peut subdiviser la scène en trois : au centre, Merefnebef sur son bateau ; devant lui, le marais ; derrière lui, des porteurs d'offrandes.

 La tombe de Merefnebef a été découverte en 1997 sur le site de Saqqara par une équipe du Centre d'Archéologie Méditerranéenne de l'université de Varsovie, dirigée par le Pr Karol Myśliwiec. La découverte succédait à deux années de travail de repérage sur le terrain, notamment géophysique, suivi de sondages.


The Complete Valley of the Kings.pdf

The Complete Valley of the Kings.pdf


simbolos de egipto


pinturas egipcias en tumbas y templos




Escena de la tumba de Nakhtamon TT335.

Escena de la tumba de Nakhtamon TT335.


TT 409

Tomb N° 409 is situated in West Thebes, in the Assassif, close to the temple of Deir el-Bahari . Samut aka Kiki.


Tomb TT335 of the sculptor Nakhtamon

Tomb TT335 of the sculptor Nakhtamon was discovered by Bernard Bruyère on January 16th, 1925, just to the south of TT336, of his brother Neferrenpet and to the north of the one of his brother-in-law Qen, TT4. He is mentioned in both, as well as in TT217 of another of his brothers, Ipuy. Currently, the report of Bruyère, dating from years 1924-1925, in spite of its preliminary nature, constitutes the only source of information concerning the funerary complex detailed below.
This complex originally included a courtyard, a chapel and an underground system of chambers. It is especially this last which will be examined, because the three funeral chambers and their decoration are nearly intact. This typical example of the style known as monochrome painting is of exceptional quality and makes this tomb one of the jewels of Deir el-Medineh.
( source: website osirisnet. net)
Towards the right are represented the deceased Nakhtamon and his wife, "the mistress of the house, Nebuemsheset". They are shown in a very traditional style, although not in their usual dark and pale skin colours. They are seated on two chairs, side by side, the legs of which end in lion paws resting on small supporting cylindrical pillars. The artist created detail on the chairs, showing the cane-work as well as of mortise and tenon joints (see db-15-detail). The feet of the deceased couple and their chairs rest on a reed mat.
Nebuemsheset embraces her husband with both arms.
The picture of the couple is very beautiful (see ch-063-detail), showing a great amount of detail. The image of this young woman, clearly shows her long curly tripartite wig with twisted braids of hair extending much further than the main part. The wig is fastened at the top by a band from which projects, at the front, a lotus flower button. Her earring is positioned cleverly, and, whilst drawing the corner of her lips, the artist gave her a flicker of a smile, exceptional in Egyptian tomb paintings. This was the work of a true master artist. In contrast, the head of Nakhtamon seems almost awkward, too large, whereas the proportions are identical. Each of them wears on the top of their head the "cone of ointment", whose physical reality is questionable: it is rather a metaphor for fragrances and/or fat (certainly scented) used as hair gel (see JAS extract). The couple both wear ample garments. Nakhtamon wears a broad necklace and bracelets, whilst Nebuemsheset, who can be seen to wear a broader necklace, retains no evidence to indicate what adornments she wore on her arms. His right hand is folded on his chest, tightly holding the stem of a lotus blossom in full bloom, with the open corolla held up in front of his nostrils, a promise of rebirth. His left hand, is placed on his thigh, holding a folded piece of linen. His wife has her right hand on his right shoulder, her left (no longer visible) was probably holding on to his left upper arm.
In front of the couple, the ritual offerings are brought by the two eldest daughters, "Webkhet" and "Henutiamu", as well as by the teenage son, "Ankhau". The young ladies wear long wigs, on top of which again are placed the ointment cones, with a head-band from the front of which appears, for the first, an open lotus flower, for the second, a flower in button.
• Ubkhet, the first of the girls, holds a vase with both hands. This, which has a floral decoration, she holds in front of the faces of her parents. These vases, covered with a delicate painting, are almost specific to Deir el-Medineh. Clearly this is not about a vessel for the daily use, but intended for the funeral cult (an example exists in the Louvre museum). These vases would have been produced by the workers themselves on the occasion of the Beautiful Festival of the Valley, a festival of rebirth, to which the workers were very attached.
The vase which Ubkhet holds is of this type: with a base formed by an open flowers rise stems, evoking germinating seedlings, which seem to be enclosed by a ribbon at their summit. This resembles the hieroglyphic sign (Gardiner M37). The artist had cleverly combined the symbolism of the vase with that of the lotus flower held by Nakhtamon, whose curved stem seems to combine with this floral vessel.
• Henutiamu, the second girl, raises her right hand in a sign of greeting, whilst hanging from her left hand is a vase with a long neck, probably intended for the libations.
• The young boy, Ankhau, also raises a hand, whilst in the other it is very difficult to identify the object he holds. It seems to be a bag, which contains round grains (see tb-242).

Horemheb tomb

Horemheb tomb

Next to the gate, with their backs to it, stand twelve black mummies ("the gods who dwell in the Duat"), inside round topped shrines. A long serpent stretches over them facing away from the gate. An oblong lake with slightly rounded ends, fills the res...Ver más

Tombs and mastabas of ancient Egypt, central page...

tombs and mastabas and monuments of Ancient Egypt

osirisnet.net|De Thierry BENDERITTER


Above is a text in retrograde writing : "This Great God is hauled by those of the Duat.
The journey of the mysterious region, (it is for) taking care of those who are in it. Ra says : "Haul me, you of the Duat, look(?) at me, it is I who follow your creator, use your arms! Haul me among them, move back toward the eastern sky, toward the place where Osiris rises, toward this mysterious mountain, (...toward) this...

osirisnet.net light which surrounds the gods. Receive me, when I come out of there, from the Mysterious region! Haul me, I take care of you by the hidden pylon of those of the Duat!"
"Ra says to them : "Look at me, Oh Gods, be powerful in your chapels! Arise, Gods! I have determined that you are inside your chapels! You are the guardians of souls, you who live on their decomposition, who breathes their light! Your exaltation comes from my disk, your good direction from my light! What is due to you is for you in the Duat, among what I ordered for you."
"Their offerings consist of meat, their beer is the Djsrt, their refreshment is water. They moan when they hear the doors close themselves on them!" (osirisnet. net)

Ramesses I tomb


domingo, 16 de julio de 2017


Tanoutamon et Osiris.

Tanoutamon et Osiris. Chapelle d'Osiris Ptah Neb-ânkh (Cl. K. el-Dowi, J.-Fr. Gout, J. Maucor/CFEETK).

tumba de Tutmosis IV, KV 43

tumba de Tutmosis IV, KV 43
Hathor, Lady of the Western Hill with Thutmosis IV

Thutmosis IV

Hathor, Mistress of the western desert
- Anubis on his hill
- Hathor, Mistress of Thebes, Lady of the sky, Mistress of the Double Lands
- Osiris-Khentyamentiu
- Hathor, Mistress of Thebes, Lady of the sky, Mistress of the Double Lands (.Notice that the goddess's head had been cut away then it was able to be put back in place.
Underneath the scenes is the same arrangement of of coloured bands.
Eighth king of the 18th Dynasty, Thutmosis IV had a short reign, of about 9 years (approx. 1419-1410 B.C.). He inherited a country of which his two predecessors, his grandfather Thutmosis III and his father Amenhotep II had made a vast soundly controlled empire. The king will break with this warlike tradition while preferring a diplomatic policy of alliance. Thus he will marry a Mitanian princess and found a period of peace with this ancient enemy of Egypt by this marriage.
The king seems to have been more concerned than his predecessors in the question of religion and in particular the relationship between royalty and the solar divinity. It is also thought that he could be a precursor of the renewal of the solar theology which his successors Amenhotep III and Amenhotep IV (Akhenaton) would later developed. This wouldn't stop him from being an enthusiastic zealot of Amon, for example, the construction of a columned court in the temple of Karnak.

miércoles, 14 de junio de 2017

The Sunshade Chapel of Meritaten from the House-of-Waenre of Akhenaten

The Sunshade Chapel of Meritaten from the House-of-Waenre of Akhenaten

Inbunden, Engelska, 2017-01-
The quartzite architectural block E16230 has been on display in the Penn Museum for 115 years. E16230 is one of the few large architectural pieces in the world surviving from the much-debated reign of the "heretic" king Akhenaten. This block is one of the most historically significant objects on display in the Egyptian galleries, yet it has never been analyzed or published. This volume addresses that glaring gap and provides for the first time a translation and discussion of the important texts on the object, along with analysis of the architectural evidence it provides. The block is part of the once intensely ornamented facade of a solar chapel ("sunshade") dedicated to princess Meritaten, the eldest daughter of Akhenaten and Nefertiti. The large (1100 kg) block originates in a chapel that was part of a royal ceremonial palace of Akhenaten named Per-Waenre ("the house of the Unique-one-of-Re"). Later, after demolition of the building, the block was reused in the city of Heliopolis as the base for a sphinx of king Merenptah (Dynasty 19). Subsequently the block underwent a final stage of reuse in Cairo in the Islamic Period where it was found ca. 1898 in the Mousky district of central Cairo. Because the block is such a major architectural element it provides considerable detail in the reconstruction of the essential appearance, decoration, and other aspects of the Meritaten sunshade. The volume addresses the significance of the piece and the Meritaten sunshade in the context of Akhenaten's monumental program. Major implications emerge from the analysis of E16230 providing further evidence on the royal women during Akhenaten's reign. The book examines two possibilities for the original location of the Per-Waenre in which the Meritaten sunshade stood. It may be part of a large Amarna Period cult precinct at Heliopolis, which may, like the capital city at Tell el-Amarna, have born the wider name Akhet-Aten, "Horizon of the Aten." Alternatively it could derive from Tell el-Amarna itself, possibly belonging to a hitherto unidentified palatial complex at that site. The book is a contribution to the study of one of the most debated eras of ancient Egyptian history focused on this long-ignored treasure of the Penn Museum's Egyptian collection. University Museum Monograph 144
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The Mortuary Temple of Senwosret III at Abydos av Josef Wegner

The Mortuary Temple of Senwosret III at Abydos
av Josef Wegner
Inbunden, Engelska, 2007-05-01
1609 kr
The ruins of the mortuary complex named Enduring-are-the Places of Khakaure-true-of-voice in Abydos are located at South Abydos. Erected for pharaoh Khakaure-Senwosret III (ca. 1878-1841 BC) of Dynasty 12, the Abydos complex includes a subterranean royal tomb built beneath a peak anciently called Anubis-Mountain, and a mortuary temple named Nefer-Ka (Beautiful-is-the-Ka) established for the afterlife cult of Senwosret III. Although the Egypt Exploration Fund initially discovered and examined the site between 1899-1902, the Senwosret III complex has for the last century remained enigmatic, partially through virtue of its location at Abydos. It has often been identified as an Abydene royal cenotaph. In 1994 the University of Pennsylvania-Yale University-Institute of Fine Arts, NYU Expedition initiated a renewed program of excavation at South Abydos. A focus of this work has been a comprehensive investigation of the Senwosret III mortuary temple. Excavation of the temple's well-preserved architecture in tandem with work on its surroundings now provides the basis for a detailed reconstruction of this major Middle Kingdom royal mortuary temple. The volume includes six parts arranged in twenty-two chapters with three appendixes. Part I examines the organization of the Senwosret III complex as a whole. Part II is devoted to the architecture and functions of the containment building that housed the stone-built cult structure named Nefer-Ka . Part III examines the architecture, decorative and statue program of the cult building proper and presents a reconstruction of the building's layout and appearance. Part IV discusses the significant archaeological contexts that surround the temple including external activity areas, refuse deposits and the temple's ceramic assemblage. Part V includes publication of the seal corpus associated with the temple and presents a model of the temple's administrative structure based on institutional stamp seals and private name seals. Part VI examines the current evidence pertaining to the tomb enclosure and Senwosret III's subterranean tomb. The volume includes drawings and photographs of approximately one thousand objects: relief, statue and architectural fragments, small objects, seals and seal impressions, and ceramics. In its overall characteristics, the Senwosret III complex is an innovative royal mortuary establishment. Although it has discernible roots in the preceding royal pyramid tradition, the complex as a whole displays traits which presage the New Kingdom format of royal burial complex in the Valley of the Kings. Its hidden tomb at the foot of Anubis-Mountain , paired with its cultivation-edge mortuary temple makes this site pivotal in the evolution of the Egyptian royal mortuary complex. The volume addresses our understanding of this site as either a cenotaph or burial complex for Senwosret III, and the cult of this king which was maintained at South Abydos for some 150 years until its decline at the end of the 13th Dynasty, ca. 1700 BC.