martes, 30 de junio de 2015

TT341, the tomb of Nakhtamon

TT341, the tomb of Nakhtamon
This is identical in both wings, occupying a considerable height of the wall. It is composed of four elements:
• A representation of the goddess Hathor in the form of a feminine head seen in front view, executed quite well, with the ears of a cow. She wears a crown of feathers and rests on the hieroglyphic sign of "nb".
• Three khekeru: these are colourful stylised plant trusses bound together at the top. ...
• A representation of Anubis (see eh-29) in the form of a black jackal, a red ribbon around the neck, with his traditional flagellum seeming to come out of his back. Not quite as common, in front of him is a sekhem sceptre and a Hathoric Menat necklace. He reclines on a highly symbolic representation: usually he is found on the facade of the entry of a tomb, but here the artist combined it with the two mountains of the horizon of the akhet symbol . The deceased enters into his tomb as the sun sets on the western horizon or rises on the eastern one of the sky (the ancient uniquely identified two horizons).

Relief Fragment with Horses

Relief Fragment with Horses
  • Medium: Limestone, painted
  • Place Excavated: Tell el Amarna, Egypt
  • Dates: ca. 1352-1336 B.C.E.
  • Dynasty: XVIII Dynasty
  • Period: New Kingdom, Amarna Period
  • Dimensions: 9 1/4 x 12 15/16 x 2 3/4 in. (23.5 x 32.8 x 7 cm)  (show scale)
  • Collections:Egyptian, Classical, Ancient Near Eastern Art
  • Museum Location: This item is not on view
  • Accession
    Number: 33.687
  •  Brooklyn Museum

Stone statue of a man

Stone statue of a man

From Mesopotamia
Early Dynastic Period, about 2600-2500 BC
A figure probably left as a votive donation in a temple
Figures of men and women were set up in temples to symbolically represent their donor in prayer before the gods. Different forms show a variety of hair styles and costumes. It is not known whether they actually reflect the appearance of the donor, but they usually have typically stylized features, and sometimes very large eyes. The hands are nearly always clasped in front of their chest, perhaps in a gesture of reverence.
The origin of this broken statue was not known when it was acquired by the Museum in 1854. However, it was probably deposited in a temple as a votive offering.
As with many figures of this type, there is an inscription in cuneiform on the right shoulder, but in this case it has not yet been possible to decipher it. The statue seems to have been lost and then re-discovered one or two thousand years after it was made, since it has some doodles on the back in cuneiform written at a much later date.
J.E. Reade, Mesopotamia (London, The British Museum Press, 1991)
H.W.F. Saggs, Babylonians (London, The British Museum Press, 1995)

 British Museum

Fragment of throwstick-shaped ivory 'wand

Fragment of throwstick-shaped ivory 'wand', with representation of a crocodile. It is thought that the crocodile indicates the god Sobek. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: Middle Kingdom c. 2030-1785 BC. Material Size: Ivory. Credit Line: Werner Forman Archive/ Egyptian Museum, Berlin . Location: 37

Fertility figurine of a woman on a bed

Fertility figurine of a woman on a bed 

In clearing the temple of Hatshepsut of the 18th Dynasty, the Egypt Exploration Fund discovered large numbers of votive offerings placed as prayers or thanks to the goddess Hathor. The majority of these offerings seem to have been made by women, and were probably intended to guarantee fertility and safe birth. This is an example of the most explicit type, small figures of a woman and (where the lower part is preserved) a male child on a bed.

Inventory number 1904:535
Archaeological Site DEIR EL-BAHARI
Material POTTERY
Height 4 cm
Width 5.5 cm


Terracota bottle in a sharpe of a female lute player

 Terracota bottle in a sharpe of a
female lute player

From Thebes, Egypt
mid-18th Dynasty (about 1479-1352 BC)
A magical vase?
The form of this bottle is often compared to the female musicians shown in Eighteenth-Dynasty (1550-1295 BC) banquet scenes on the walls of Theban tombs. The women depicted in the tombs are usually naked, but the one represented by this vase wears a long dress with the hem and other details painted in black. Parts of the small lute she carries are also painted in black, and it seems likely from the markings on the soundbox that it represents one made of tortoiseshell.
There are no other pottery vessels known that are exactly comparable to this one. The vessel belongs to a broader category of New Kingdom (1550-1070 BC) figured vases that are most commonly in the form of animals or female figures. It is possible that this type of vessel was used as a container for human milk and, because of the association with life and rebirth, they may also have had a magical dimension for their owners.
E. Brovarski and others (eds), Egypts golden age: the art of (Museum of Fine Arts, Boston, 1982)
E.R. Russmann, Eternal Egypt: masterworks of (University of California Press, 2001)
J. Bourriau, Cahiers de la céramique égypti (Institut Francais d'Archeologie Orientale du Caire, 1987)
J. Bourriau, Umm el-Gaab: pottery from the (Cambridge University Press, 1981)
S. Quirke and A.J. Spencer, The British Museum book of anc (London, The British Museum Press, 1992)

British Museum

Magical amulet i

Magical amulet in the form of a mother and baby lying on a bed. Its purpose was to ensure a safe and easy birth. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: 19th dynasty c1295-1186 BC. Material Size: wood. Credit Line: Werner Forman Archive/ British Museum, London . Location: 37.

Paddle Doll

Paddle Doll

Period: Middle Kingdom
Dynasty: Dynasty 11, late-12
Date: ca. 2030–1802 B.C.
Geography: From Egypt, Upper Egypt; Thebes, el-Asasif, Tomb MMA 816, pit, MMA excavations, 1929–30
Medium: Wood, mud, linen string, paint
Dimensions: Body: H. 22.8 cm (9 in.); W. 7 cm (2 3/4 in.); Th. 0.9 cm (3/8 in.)
Credit Line: Rogers Fund, 1931
Accession Number: 31.3.35a, b
 Metropolitan Museum

Fertility Statuette of a Woman

Fertility Statuette of a Woman
Scholars once thought that nude female figurines of this type—with incomplete legs, jewelry, often an elaborate hairdo, and sometimes tattoos—served as symbolic concubines for men in the afterlife. We now know, however, that they functioned as fertility figurines for both men and women. Most were dedicated in shrines of Hathor and other goddesses by those hoping to have a child.

  • Medium: Limestone, painted
  • Place Made: Egypt
  • Dates: ca. 1938-1539 B.C.E.
  • Dynasty: XII Dynasty-XVII Dynasty
  • Period: Middle Kingdom-Second Intermediate Period
  • Dimensions: 4 5/8 x 1 7/8 in. (11.8 x 4.7 cm)
  •  Brooklyn Museum

lunes, 29 de junio de 2015

Plaque with Name of Amenhotep III

Plaque with Name of Amenhotep III

Batalla de Alejandro Magno contra Darío I

Batalla de Alejandro Magno contra Darío I
alexander mosaic photographed in Museo Archaeologico Naples

Amulets and beads

Amulets and beads 

Part of the jewellery and cosmetic items from the burial of a young woman, including this bead string, a calcite kohl jar and lid, calcite jar, slate palette and grinder, faience and cornelian bead string and a cornelian scarab amulet. One of the beads is in the shape of a hippotamus head. Intact burials are rare at all periods,and this group shows the range of personal goods owned by young, upper class women at Abydos in the late Old Kingdom.

Inventory number 1909:355 - 358
Archaeological Site ABYDOS
Category BEAD


extranjeros en Egipto

domingo, 28 de junio de 2015

Egyptianizing figures on either side of a tree with a winged disk,

Egyptianizing figures on either side of a tree with a winged disk, 8th–7th century b.c.; Neo–Assyrian
Mesopotamia, Nimrud (ancient Kalhu)
Ivory; H. 4.88 in. (12.4 cm)
Rogers Fund, 1962 (62.269.3)

 During the ninth to seventh centuries B.C., vast quantities of luxury goods, often embellished with carved ivory in local, Syrian, and Phoenician styles, accumulated in Assyrian palaces, much of it as booty or tribute. This plaque, once part of a piece of furniture, is carved in high relief in a typical Phoenician style with Egyptian themes and motifs. Two pharaoh-like figures, standing on either side of a branching tree, wear a version of the double crown of Egypt with the rearing cobra, or uraeus, emblem in front. They also wear a beard, necklace, and pleated short skirt belted at the waist with a central panel decorated with a chevron pattern and uraeus on either side. An ankle-length pleated apron with patterned border falls from behind the figures. Each man holds a ram-headed scepter in his right hand while the figure at left holds a ewer in his left hand; it is unclear what the other man holds. Framed above the scene is a winged sun disk surmounted by a horizontal panel with ten uraei supporting sun disks.

 Met Museum

sábado, 27 de junio de 2015

Bronze head from a full lenght portrait

 Bronze head from a full lenght portrait

Hellenistic Greek, 2nd century BC
Acquired in Constantinople (modern Istanbul), Turkey

Perhaps the poet Sophokles
(about 496-406 BC)

During the Hellenistic period portrait types were created to represent earlier historical figures. The Athenian dramatist Sophokles (about 496-406 BC) lived during the fifth century BC, but most surviving portraits of him are Roman copies or versions of Hellenistic creations. Such statues adorned the libraries of the Hellenistic kingdoms. The Romans continued the practice, often reducing the full-length portrait to a more compact bust or herm (a head on a pillar), sometimes inscribed with the name of the subject.
This head represents a man of middle age, with a thick beard, slightly thinning hair and a severe expression, enhanced by a deeply wrinkled brow. His hair is bound by a rolled band, like a diadem of a type usually associated with Hellenistic rulers, rather than philosophers or playwrights. The body types for statues of famous intellectuals are generally semi-draped, with perhaps only the chest bared. Both the body and the face usually exhibit signs of age.
Acquired in Constantinople (Istanbul) in the early seventeenth century for the Arundel Collection, the head then entered the possession of Dr Richard Mead (1673-1754) and later was in the collection of the Earl of Exeter. In 1760 the Earl presented the head to The British Museum.
S. Walker, Greek and Roman portraits (London, The British Museum Press, 1995)
L. Burn, The British Museum book of G-1, revised edition (London, The British Museum Press, 1999)

Brtish Museum

Basalt statue of Sematawy offering a shrine

 Basalt statue of Sematawy offering a shrine

From Egypt
Ptolemaic Period, mid-2nd-1st century BC
A statue with a lined and careworn face
Egyptian statues that show a figure offering a shrine are called 'naophorous' after the Greek word naos, meaning shrine. These statues were placed within the courtyards of temples, showing the eternal devotion of the individual to a god. This figure stands in the traditional male stance, with one foot slightly forward. The shrine that he offers is also entirely Egyptian, of the type that stood in temple sanctuaries.
The narrow shoulders of the man are unlike those of male statues of Pharaonic Egypt. Men were usually shown in their prime, with broad shoulders and with muscles emphasized. They sometimes appeared portly, showing that they had wealth and position.
The realistic facial features on this statue are perhaps due to contact with the Mediterranean world. The man is shown in his middle or later years, with a lined and careworn face. A trend towards a greater degree of naturalism in the features of statues first becomes apparent at the beginning of the Late Period (661-332 BC). This was a time when Greek mercenaries and other immigrants started to settle in Egypt.
S. Quirke and A.J. Spencer, The British Museum book of anc (London, The British Museum Press, 1992)

 British Museum

martes, 23 de junio de 2015

Relief carving depicting two bound oxen, flanked by rows of lotus flowers. Country of Origin: Egypt. Culture: Graeco-Roman. Date/Period: Ptolemaic Period. Place of Origin: Alexandria. Credit Line: Werner Forman Archive/ Graeco-Roman Museum, Alexandria, Egypt. Location: 83.

Relief carving depicting two bound oxen, flanked by rows of lotus flowers. Country of Origin: Egypt. Culture: Graeco-Roman. Date/Period: Ptolemaic Period. Place of Origin: Alexandria. Credit Line: Werner Forman Archive/ Graeco-Roman Museum, Alexandria, Egypt. Location: 83.
 flanked by rows of lotus flowers. Country of Origin: Egypt. Culture: Graeco-Roman. Date/Period: Ptolemaic Period. Place of Origin: Alexandria. Credit Line: Werner Forman Archive/ Graeco-Roman Museum, Alexandria, Egypt. Location: 83.

tomb of Renni

The tomb of Renni, numbered EK 7, El Kab
In this scene we can see:
two supervisors, the overseer of the farm land and the overseer of the farmers, who are prostrated "nose to the ground" in front of the master (whose representation has disappeared) and exclaiming : "Let's praise him ! May Ra give him a long life, our master". In front of him is his dog, a sort of greyhound, which turns its head toward him ....
The long inscription above, ends with the name (missing) of "... the mistress of the house of Ahmose".

Karnak Piers with Capitals.

Karnak Piers with Capitals.
  • Image: "Karnak Piers with Capitals.". Printed material. Brooklyn Museum. (N376_B51_Binion_Ancient_Egypt_or_Mizraim_v1_pt1_plVIII.jpg)
  • Rights Statement: No known copyright restrictions

  • Title: Ancient Egypt or Mizraïm
    • Author: Binion, Samuel Augustus, 1853-1914.
    • Description: 2 v. in 3 : ill., plates (some col.), map, plans ; 51 x 66 cm.
    • Citation: Brooklyn Museum Libraries. Wilbour Library of Egyptology. Special Collections
    • Imprint: New York : H.G. Allen, [c1887]
    • rooklyn Museum


Head and bust of the Apis bull with a solar disc between the horns and an uraeus. A pendant is hanging from his neck. The piece bears

Roman Period




lunes, 22 de junio de 2015

Vignette from a Ritual upon papyrus,

Vignette from a Ritual upon papyrus,
in the Louvre. Chap. XC., 20th dynasty.

Renni tomb

Renni tomb
The ceiling is painted entirely. In the main room, a central axis represents a beam of wood which separates, on both sides a checkerboard motif. The squares have a background of turquoise blue (often faded to white), black now often dark blue) and yellow. They include a red, black or yellow four-leaved motif. This checkerboard design continues on the ceiling of the niche, at the rear, but it doesn't include the image of the central beam

Recumbent Anubis

Recumbent Anubis
Period: Late Period–Ptolemaic Period
Date: 664–30 B.C.
Geography: From Egypt, Memphite Region, Saqqara; includes the Serapeum, Temple deposit, Emery excavations, 1966–67
Medium: Limestone, originally painted black
Dimensions: h. 38.1 cm (15 in); l. 64 cm (25 3/16 in); w. 16.5 cm (6 1/2 in)
Credit Line: Adelaide Milton de Groot Fund, in memory of the de Groot and Hawley families, 1969
Accession Number: 69.105
The Sacred Animal Necropolis at North Saqqara included catacombs that housed the burials of sacred animals - the Mother of Apis cows, falcons, baboons, and ibises. In front of them were arranged shrines attached to their respective cults. The area saw much attention and construction in the Late Period and presumably in the Ptolemaic Period. The extension of the Main Terrace to include the Northern Enclosure, probably as a cult place for the Mother of Apis cows since it was near those catacombs, can be dated to sometime after 343 B.C. This statue of Anubis was found in the fill for the Northern Enclosure, so its date is not certain.
The jackal was found in two pieces and in the vicinity of other statues of recumbent jackals which actually lay beneath remains of a remarkable reed structure. The reed structure comprised panels made of vertical bundles of round reeds, bound and lashed with reed fiber ties, and strengthened with cross members at intervals. It seemed to the excavators that the elements found were originally part of a tall. four-sided pavilion with a square or rectangular ground plan, originally roofed and possibly provided with double doors at the front. Being composed of reeds, such a pavilion could only be for temporary use during a specific ritual, festival, or funerary ceremonies. Embalming tents, called in Egyptian ibou, are constructed of reeds and fibers, and are known to have been used in the funeral ceremonies of the Apis bull and so presumably also for the Mother of Apis cow. Anubis being the god of embalming, it is tempting to speculate the jackal statues originally stood somewhere in the temple precincts in the vicinity of the area used for the embalming pavilions.
Met Museum

Painted cartonnage panel from a set of mummy-casings

Painted cartonnage panel from a set of mummy-casings, with rough depictions of a series of three squatting and one standing mummiform gods. The crude drawing of the second figure from the right, wearing the sun-disk, indicates a date in the Ptolemaic or early Roman Periods, as does the choice of pink for one of the vertical dividing bands. A beaded base-line of alternating red and blue rectangles between white-black-white segments appears to mark the border of the panel.
ptol...emaic period

Dar a tierra

Quizás la mayoria de los embarazos eran deseados pero posiblemente un porcentaje de ellos no eran deseados y por eso aparecen en el papiro de Kahum algunas recetas para evitarlos. En ese sentido también posiblemente existian métodos para intentar interrumpir el embarazo.
Lo que es curioso es que las recetas son para aplicar de forma externa, por lo menos la mayoria de ellas.
Hay también remedios para intentar sacar al hijo del vientre de la mujer, posiblemente estos remedios eran para adelantar el nacimiento o quizás para abortar. Por ejemplo en el papiro de Ebers 797-799 hay recetas para que la mujer "dé a tierra", es decir "redi r ta". A no ser que se quisiera adelantar el nacimiento por el sufrimiento de la mujer, en cualquier caso eran para que se acelerara el momento de expulsar al feto, pero como comenté estos remedios consisten en colocar cosas en la vagina, ingerir algunas sustancias, sentarse encima del abdomen de la mujer , colocar cosas en vendajes encima del vientre, etc.
Para hacer salir a un hijo del vientre de la madre habia un encantamiento que se recoge en el papiro Ramesseum IV

domingo, 21 de junio de 2015

Egyptian Painting Paperback

Egyptian Painting Paperback

Ritual vessel (nemset-jar) with lid

Ritual vessel (nemset-jar) with lid
New Kingdom, Dynasty 18, reign of Thutmose IV
1400–1390 B.C.
Faience Nemset vessel. It has a greensih blue glaze. There are borders of ankh and dad signs, with a cartouche. It is a tall shouldered jar. It has a flat base. It has a lid. The top is missing. It is much mended.
03.1116 is the lid of this vessel.
Height: 10.5 cm (4 1/8 in.)
Accession Number
Medium or Technique
From Thebes, Valley of the Kings, Tomb of Thutmose IV. June 11, 1903: given to the MFA by Theodore M. Davis.

Graffiti de Lepsius

Graffiti de Lepsius

sábado, 20 de junio de 2015

Elephant ivory carved handle of a ceremonials knife

Elephant ivory carved handle of a ceremonials knife dated to the end of the pre-dynastic period. Ivory handles such as this were attached to flint knives or daggers. On the outward side (above) are three rows of animals, (1) storks and giraffe (2) elephant standing on two intertwined serpent followed by three Hippos and (3) wild bulls and wild pig. These animals were indigenous to Egypt during this period.

On the reverse of side of the handle (below) was a protruding piece of ivory to attach the knife to a belt. This side, even though it would not normally have been visible, was also heavily carved with animal figures.

Instrumentos quirúrgicos Komb Ombo