jueves, 17 de septiembre de 2015

Statuette of a Nude Girl

Statuette of a Nude Girl

To ancient Egyptians, this miniature representation of a nude young girl would have had erotic appeal. Her heavy wig alludes to the Egyptian practice of wearing an elaborate coiffure during sex. The gesture of placing the left hand beneath the breast also had a strong sexual connotation. Although this figure's original function is not clear, the loop on the top of the head implies that it was suspended from a cord.

MEDIUM Ivory, painted

•Place Made: Egypt

DATES ca. 1390-1353 B.C.E.


PERIOD New Kingdom

DIMENSIONS 3 1/4 x 5/8 in. (8.3 x 1.6 cm)

Brooklyn Museum




UC9601, Egyptian figurine dating to c.3600 BC. Excavated from the surface of cemetery 100 at Qau in the early 1920s.


Limestone block statue of Inebny

Limestone block statue of Inebny

From Thebes, Egypt
18th Dynasty, around 1450 BC
Evidence of the official persecution of a king's history
The inscription on this block statue contains the conventional prayer for offerings, and Inebny's name and titles, as commander of bowmen and overseer of the king's weapons. It also records that it was 'made by the favour' of the joint sovereigns Hatshepsut (1479-1457 BC) and Thutmose III (1479-1425 BC), who ruled together for a time. Hatshepsut's name is preceded by the phrase 'perfect goddess, lady of Two Lands', a feminine version of the titles of Pharaoh. However, Hatshepsut's name has subsequently been erased.
Thutmose III was the son of Thutmose II (1492-1479 BC) by a relatively minor queen, Isis, and was only six years old on his accession. Consequently Hatshepsut, Thutmose II's principal wife, acted as regent. At some point around year 7 of his reign, Hatshepsut declared herself king and took on the full titulary and iconography of royalty, only the second woman to do so in ancient Egypt. She never denied that Thutmose was also king, but he was kept in a secondary role until her death in around year 21 of his reign.
Later in the reign, there was an official persecution of Hatshepsut's memory, and public monuments were comprehensively edited, and her name erased.
The incised hieroglyphic text was painted blue to stand out against the white background. The black of the wig, eyes and eyebrows also add to the sculpture's striking appearance

British Museum

Drawing on a limestone flake

Drawing on a limestone flake showing Hathor as a cow in a papyrus boat. The fine quality of this drawing could only have been achieved by an experienced artist, who may have been the person who made the offering. This constrasts with the bulk of informal votive offerings to the goddess Hathor found by the Egypt Exploration Fund during the clearance of the temple of Hatshepsut at Deir el-Bahari. The majority of these offerings seem to have been deposited by women, and were probably intended to guarantee fertility and safe birth.

From Dr. Naville's excavations at Deir el-Bahari.



Head of a figure of the cow of Hathor

Head of a figure of the cow of Hathor
From Deir el-Bahari, Egypt
18th Dynasty, around 1450 BC
A cult statue
Hathor, as goddess of the West, was particularly associated with the necropolis (cemetery) of the west bank at Thebes. In this form, she was often shown as a woman with a sun disc between a pair of cow's horns on her head. She could also appear as a cow with a sun disc or pair of feathers on its head. This cult statue originally had horns and wore a feather head-dress, both of which were probably gilded. The eyes were inlaid with rock crystal and lapis lazuli. The colour white was associated with sacredness and purity. Sacred animals were often this colour.
The statue was from the shrine of Hathor at the mortuary temple which Hatshepsut (1479-1457 BC) built at Deir el-Bahari. The decoration of the shrine emphasizes a more ancient aspect of Hathor, who since the Old Kingdom (about 2613-2160 BC) was also thought to nurture and protect the king. Hatshepsut used this device to show that the gods recognized her as king, a status to which she had no right as she was a woman. Hatshepsut's self-proclaimed divine birth, and Hathor's aspect as a fertility goddess, meant that many women left offerings at the shrine in hope of conceiving a child.
British Museum

A red pottery jar

A red pottery jar from which beer or wine
was served. It is decorated on the neck with a
blue band on which are painted zig-zag lines of
red and black representing water and on the
upper half of the body with bands of lotus, mandrake,
and poppy petals and bunches of grapes;
these are outlined in black and painted in blue
and red on buff. The undecorated parts of the
jar are covered with a burnished red hematite
slip. Serving jars were often garlanded with real
flowers and greenery at banquets to keep their
contents cool and fresh; painted decoration
representing garlands is characteristic of the late
XVIII Dynasty. This jar is exceptional both for
its size (27 in. high) and perfect state of preservation.
Probably from el (Amarneh. About 1365 B.C.
Dick Fund, I955. Acc. no. 55.92.2.

UC 6642

UC 6642
date: Senusret II (about 1850 BC) or shortly after
From Lahum
Petrie Museum

Sedment Tomb 2111

Sedment Tomb 2111

a shaft tomb with a chamber (bricked up), belonging to Khenty-khety (his body is described as 'middle aged man')

measurements: 1.32 x 1.19 x 2.71 (chamber); 1.19 x 2.56 x 3.68 (shaft)

date: late First Intermediate Period - Early Middle Kingdom

finds: pottery, headrest, wooden model, two coffins

the outer coffin is recorded by Petrie (click on the pictures to see the coffin walls enlarged
Petrie/Brunton 1924: 11-12, pl. XVIII-XIXB.

Copyright © 2000 University College London

lunes, 14 de septiembre de 2015



Several Late Period texts mention a lion god named Tutu, son of

he goddess Neith of Sais in the Delta. From the Ptolemaic Period onwards his name was hellenized to the form Tithoes. He was among those deities termed 'pantheistic worldgods'; composite images built up from various divine attributes. In this cult relief, Tithoes is shown as a sphinx, wearing a hairstyle which reminds one of both the nemes-headdress and of a wig, which is in turn surmounted by the beginning of a crown or horizontal ram's horns. The uraeus on the front is barely visible. The head is encircled by a halo. The chest is covered with an aegis from which appear, on the left, a ram's head, and on the right, a forepart of a crocodile. The tail of the feline erects itself like a serpent. On the back, he bears a griffin carrying a shield. His paws rest on the body of a snake which erects itself before him. An axe and a harpoon protrude from his rear limbs. The scene is decorated at the top left with a winged disc.

Present location KMKG - MRAH [07/003] BRUSSELS
Inventory number A.1505
Archaeological Site EL-FAIYUM ?
Category RELIEF
Technique RELIEF
Height 30 cm
Width 42 cm
Depth 12.5 cm

Bibliography•Fr. Cumont, Musées Royaux du Cinquantenaire. Catalogue des sculptures et inscriptions antiques (monuments lapidaires), Bruxelles 1913, 73-74 nº 57
•B. Van Rinsveld, Goden en godinnen van het Oude Egypte - Dieux et déesses de l'Ancienne Égypte, Bruxelles 1994, 56-57
•Keizers aan de Nijl (Exposition Tongres), Louvain 1999, 285-286 nº 220


domingo, 13 de septiembre de 2015


Double-sided rectangular bone comb. The comb as an item worn in elaborate hairstyles is a Roman innovation, among the many changes in material culture under Roman rule.





Side: right
Sandstone sphinx; Sinaitic hieroglyphs on the right shoulder and base.
© The Trustees of the British Museum

Museum number



Sandstone sphinx; Sinaitic hieroglyphs on the right shoulder and base

sábado, 12 de septiembre de 2015

Period: Early Bronze Age

Period: Early Bronze Age

Date: ca. 2500–1900 B.C.

Culture: Cypriot

Medium: Terracotta; Red Polished Ware

Dimensions: H. 3 in. (7.6 cm)

Classification: Vases

Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76

Accession Number: 74.51.1291

Met Museum

Faience Sistrum

Faience Sistrum Inscribed with the Name of Ptolemy I

Period: Ptolemaic Period
Date: 305–282 B.C.
Geography: From Egypt
Medium: Faience
Dimensions: H. 26.7 cm (10 1/2 in.); W. 7.5 cm (2 15/16 in.); D. 3.7 cm (1 7/16 in.)
Credit Line: Rogers Fund, 1950
Accession Number: 50.99
Met Museum


Present location


Inventory number

AH 113



Archaeological Site









48 cm


9.5 cm


21 cm


  • Boeser, P. A. A., Beschrijving van de Egyptische Verzameling III, Den Haag 1910, 43, pl. XV.
  • Schneider, H. D. en M. J. Raven, De Egyptische Oudheid, Den Haag 1981, nr. 41.
  • Schneider, H. D., Egyptisch Kunsthandwerk, Amsterdam 1995, 32-34, nr. 9.
  • Schneider, H. D., De ontdekking van de Egyptische Kunst, Den Haag 1998, afb. 82.
  • Schulz, R. en M. Seidel, Egypt: the world of the pharaohs, Keulen 1998, 260, fig. 220.
  • Bourriau, J., An early Twelfth dynasty sculpture, in: E. Goring, N. Reeves en J. Ruffle (ed.), Chief of seers: Egyptian studies in memory of Cyril Aldred, Londen 1997, 52, afb. 2.
  • Wildung, D., Ägypten 2000 v. Chr.: die Geburt des Individuums, München 2000, nr. 49.
  • Aldred, C., Middle kingdom art in ancient Egypt 2300-1590 B.C., Londen 1950, 41-42, nr. 29, pl. 29.
  • Porter, B, Moss, R. L. B. en J. Malek (ed.), Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, VIII: Objects of Provenance not known, Part 1, Oxford 1999, nr. 801-462-000.