jueves, 30 de abril de 2015

ostracon

E 14335
2341Musée du Louvrefasc. 2, pl. 52

   

Ostraca figurés publiés par Jeanne Vandier D’Abbadie (DFIFAO 2, fasc. 1-4)
et conservés dans d’autres collections qu’à l’IFAO

Une grande partie des ostraca figurés provenant des fouilles françaises de Deir el-Medina ont été publiés dans un même ouvrage par Madame Jeanne Vandier d’Abbadie (DFIFAO 2, fasc. 1-4, 1936-1959), bien qu’ils aient été répartis entre différentes collections : Musée du Louvre, Musée égyptien du Caire, Musée agricole Fouad Ier (aujourd’hui « Musée de l’agriculture » du Caire), collections particulières et Institut français d’archéologie orientale.

 http://www.ifao.egnet.ne

Fragment of a Winged Sun Disk

Fragment of a Winged Sun Disk
  • Medium: Glass
  • Place Made: Egypt
  • Dates: 305 B.C.E.-100 C.E.
  • Period: Ptolemaic Period-Roman Period
  • Dimensions: 11/16 x 1 5/8 in. (1.8 x 4.2 cm)
  •  
  • Brooklyn museum
  • website museum 

Furniture fragment with the "woman at the window"

Furniture fragment with the "woman at the window"

Period: Neo-Assyrian
Date: ca. 9th–8th century B.C.
Geography: Syria, probably from Arslan Tash (ancient Hadatu)
Culture: Assyrian
Medium: Ivory, glass
Dimensions: H. 2 1/2 x W. 1 3/4 x Th. 1/2 in. (6.4 x 4.5 x 1.2 cm)
Classification: Ivory/Bone-Reliefs
Credit Line: Fletcher Fund, 1957
Accession Number: 57.80.12



Metmuseum
metmuseum website

Foundation peg in the form of the forepart of a lion

Foundation peg in the form of the forepart of a lion

Period: Early Bronze Age
Date: ca. 2200–2100 B.C.
Geography: Syria, probably from Tell Mozan (ancient Urkesh)
Culture: Hurrian
Medium: Copper alloy
Dimensions: H. 4 5/8 x W. 3 1/8 in. (11.7 x 7.9 cm)
Classification: Metalwork-Sculpture-Inscribed
Credit Line: Purchase, Joseph Pulitzer Bequest, 1948
Accession Number: 48.180


Met Museum
metmuseum.org

Mastaba de Inefrt



























Mastaba de Inefrt
dionastia V
Saqqara


Coffin of Henettawy,

Coffin of Henettawy, 3d Intermediate Period, 21st Dynasty, 1075–945 B.C., polychromed wood, length 187 cm (inner coffin). MFA 54.639, 640, acquired by exchange with the Metropolitan Museum of Art. Courtesy of ©Museum of Fine Arts, Boston, neg. 2459. The face, probably gilded, was removed from the coffin in antiquity, most likely by priests adding another burial to the tomb.





ostracon

Ostracon
Inv. No. 4588
Limestone
Deir el-Bahari, 7th century


Long before the Coptic era, ostraca were favored material for drawing unconventional sketches. This example is of a man falling from a palm tree

trial piece of Akhenaten

Trial piece of Akhenaten, on the reverse a horse's head

Period: New Kingdom, Amarna Period
Dynasty: Dynasty 18
Reign: reign of Akhenaten
Date: ca. 1353–1336 B.C.
Geography: From Egypt, Middle Egypt, Amarna (Akhetaten); inc. el-Hagg Qandil, Sculptors' workshop near south end of the town, Petrie/Carter excavations, 1891–92
Medium: Limestone
Dimensions: h. 17 cm (6 11/16 in); w. 13.5 cm (5 5/16 in)
Credit Line: Gift of Edward S. Harkness, 1921
Accession Number: 21.9.13
 
 This unfinished study of the head of Akhenaten was one of a number excavated by Flinders Petrie and Howard Carter in 1891–92 from the sculptors' workshops at Tell el-Amarna, the new royal capital founded by Akhenaten. It came to the Museum from the collection of Lord Amherst, who sponsored the excavations. It shows the king in the later, more naturalistic Amarna style. The characteristic attributes of the portraits of the king—long almond-shaped eyes, full lips, elongated jaw and chin, and sloping brow—are present but without the exaggeration of the earlier portraits. These studies may have served as models for or practice pieces by the sculptors carving the reliefs for the huge Aten temples that the king was building in order to worship according to his own unorthodox interpretation of the religion of ancient Egypt; it is also possible that some may have been employed as donation pieces.
 
 
 met museum.org

Part of the shrine of Queen Henhenet

Part of the shrine of Queen Henhenet

Period: Middle Kingdom
Dynasty: Dynasty 11
Reign: early reign of Mentuhotep II
Date: ca. 2051–2030 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Deir el-Bahri, Temple of Mentuhotep II, Shrine of Queen Henhenet, Egypt Exploration Fund excavations, 1904–06
Medium: Limestone, paint
Dimensions: H. 120 cm (47 1/4 in.); W. 114 cm (44 7/8 in.); D. 34 cm (13 3/8 in.)
Credit Line: Gift of Egypt Exploration Fund, 1906, 1907
Accession Number: 07.230.1d
 
 
 The funerary complex of King Mentuhotep II at Deir el-Bahri is one of the most important monuments in the Theban area. Built between around 2050-2000 B.C., before the more famous Temple of Hatshepsut directly to its north, it lies in a remote desert valley within a bay of spectacular limestone cliffs. The monument served multiple functions: it was a mortuary complex for the king and female members of his family; a place of commemoration for Mentuhotep II's achievements as military and spiritual leader in the reunification of Egypt; and a sanctuary of the solar deity Montu, the Upper Egyptian counterpart to Re of Heliopolis.
Inside the temple precinct, in addition to both a burial place and a cenotaph for the king himself, were a number of tombs for royal women. The reconstruction here, a modern restoration incorporating ancient fragments, comes from the mortuary monument of Queen Henenet, one of six minor royal wives buried in shafts below the pavement of the temple's inner courtyard. These royal females, the youngest of whom was only about five, also served as priestesses to the goddess Hathor. Above each burial shaft was a limestone shrine built to imitate wooden architecture.
 
Met Museum
metmuseum website

ostracon copet


Inventaire principal:OC 549   ostracon copte

Fragement from a jar with a label identifying contents as honey


Fragement from a jar with a label identifying contents as honey

Period: New Kingdom
Dynasty: Dynasty 18
Reign: reign of Amenhotep III
Date: ca. 1390–1352 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Malqata, Palace of Amenhotep III, MMA excavations, 1916–17
Medium: Pottery, ink
Dimensions: H. 8.5 cm (3 3/8 in); w. 15.3 (6 in); th. 0.7 cm (1/4 in)
Credit Line: Rogers Fund, 1917
Accession Number: 17.10.12
 
 
Metmuseum
metmuseum.org

fragment: sarchophagus

This is a fragment from a wooden outer-coffin of the Middle Kingdom, Dynasty 12, that was gessoed and painted on the inside. Four thousand years later, the colors are still extraordinarily vibrant.

 The horizontal hieroglyphic text on the top refers to two of the four sons of Horus: On the left, we can read im-st, referring to Imsety the human-headed deity protecting the liver. On the right, we read h-p-y, referring to Hapy, the baboon-headed deity protecting the lungs. The two large and symmetrically identical figures of the panel wear the ceremonial ‘false beard’. “The beard was evidently a symbol of power, and, in the form of the ceremonial ‘false beard’… strictly reserved for the chins of kings and gods” (Shaw 2000:50).

 But it is the text on the two vertical columns that is most tantalizing. On the right, htp-di-nsw, “a boon which the king gives”, is an introduction to the name of the deceased, to be revealed either on the adjacent panel below (missing), or in the next column of hieroglyphs to the left. The three hieroglyphs on that column read : k-a-i, which could either be the name of the deceased, or k-wr-i, which contains wr meaning “great.”

It so happens that we do know of an individual of some prominence named Kai, son of the nomarch (head of a ‘nome’) Neheri, who lived about that time, and might possibly be the defunct. As King Mentuhotep II proceeded with reunifying Egypt, around 2040 BC, “Neheri, who was the nomarch of Hermopolis at that time as well as the vizier and commander of one of the two Herakleopolitan divisions, simply protected his province with the help of his son Kay and the future Tunakht V…” (Grimal 1994:145).

“When at the end of the Old Kingdom, high-ranking officials ceased to be buried in imposing mastabas whose walls were entirely covered with relief decoration, the coffins were embellished with further decorative elements. The interior began to be covered with images and texts which, it was thought, would prove useful to the deceased in the Underworld” (Tiradritti 1998:126).

Sarcophagus
 Sarcophagus is a Greek term used in Egyptology to designate a container made to protect a mummified body (the term literally means “body eater”). Although we are guilty here of using the term loosely, the generally accepted convention today is to use ‘sarcophagus’ for a stone container, and ‘coffin’ for a wooden or metal container.

 Initially, Egyptian coffins were rectangular (sometimes with arched tops). They were decorated with symbolically charged motifs and ritual texts. Around Dynasty 12 (Middle Kingdom) appeared the first anthropomorphic coffins, which followed the general shape of the human body. By the New Kingdom, royal burial sets had become very elaborate: “The mummy. . . lay in three mummiform coffins; the innermost is made of solid gold, and the other two of wood covered with sheet gold. . . [the] set of anthropomorphic coffins was laid into a rectangular or cartouche-shaped sarcophagus, which in turn was surrounded by several chapel-like wooden structures. . .” (Redford 2001:[1]283).



Bibliography (for this item)
Andrews, Carol
 1984 Egyptian Mummies. Harvard University Press, Cambridge, MA. (
 6 # 4
 )

Grimal, Nicolas
 1994 A History of Ancient Egypt (Reprint of the 1994 edition, translated by Ian Shaw). Blackwell, Oxford, United Kingdom. (145)

Hart, George
 1986 A Dictionary of Egyptian Gods and Goddesses. Routledge & Kegan Paul, London, United Kingdom. (75-76
 195)

Shaw, Ian
 2000 The Oxford History of Ancient Egypt. Oxford University Press, Oxford, United Kingdom. (50)

Tiradritti, Francesco
 1998 Egyptian Treasures from the Egyptian Museum in Cairo. White Star Publishers, Vercelli, Italy. (
 126-127)




Bibliography (on Sarcophagus)
Redford, Donald B.
 2001 Oxford Encyclopedia of Ancient Egypt. Oxford University Press, London. (283)

Period:  Egypt, Middle Kingdom, Dynasty 12
Dating:  1991 BC–1782 BC
Origin:  Egypt, 
Material:  Wood (undetermined)
Physical:  43.5cm. (17 in.) - 
Catalog:  WOD.XL.00526
http://www.virtual-egyptian-museum.org/Collection/

female dwarf

Figure of a Female Dwarf

Period: Middle Kingdom
Dynasty: Dynasty 12–13
Date: ca. 1981–1640 B.C.
Geography: From Egypt
Medium: Faience
Dimensions: H. 6.4 cm (2 1/2 in.); W. 3.5 cm (1 3/8 in.); D. 2.4 cm (15/16 in.)
Credit Line: Rogers Fund, 1972
Accession Number: 1972.48
 
 Dwarves and pygmies were highly respected in ancient Egypt. Apparently their short stature gave raise to the belief that they possessed beneficial magic powers. They also served as well-liked jesters at the royal court. This figure of a female dwarf of light blue faience is represented with a long bead necklace, armlets and an elaborate hairdo. An ancient magical spell prescribes that a dwarf figure should be placed on the body of a woman giving birth.
 
 

portrait carved in wood

This portrait carved in wood, originally fully gessoed, painted and gilded, is really the sawed off upper section of a sarcophagus lid. The rest of the sarcophagus, which would have provided the identity of its owner, was probably discarded as superfluous cargo by unscrupulous tomb raiders. The large size of the piece indicates that it was an outer sarcophagus, within which fit a smaller sarcophagus containing the mummy.

 The headdress was originally painted blue, highlighted with gold. Between the descending tresses, we have a glimpse of the traditional collar of concentric blue, green, and red bands, each bordered with gold. The face and neck were fully gilded, as was most probably the rest of the sarcophagus, adorned with images of the protective gods, goddesses and hieroglyphic inscriptions of ritual formulas introducing the defunct to the other world on his judgment day, with his name, titles and filiation.

 The loss of its gilded splendor and vivid colors allows us to fully appreciate the understated perfection of the modeling, the tranquil beauty of his serene expression, the incredible mastery of Theban craftsmen of Dynasty 18.

Sarcophagus
 Sarcophagus is a Greek term used in Egyptology to designate a container made to protect a mummified body (the term literally means “body eater”). Although we are guilty here of using the term loosely, the generally accepted convention today is to use ‘sarcophagus’ for a stone container, and ‘coffin’ for a wooden or metal container.

 Initially, Egyptian coffins were rectangular (sometimes with arched tops). They were decorated with symbolically charged motifs and ritual texts. Around Dynasty 12 (Middle Kingdom) appeared the first anthropomorphic coffins, which followed the general shape of the human body. By the New Kingdom, royal burial sets had become very elaborate: “The mummy. . . lay in three mummiform coffins; the innermost is made of solid gold, and the other two of wood covered with sheet gold. . . [the] set of anthropomorphic coffins was laid into a rectangular or cartouche-shaped sarcophagus, which in turn was surrounded by several chapel-like wooden structures. . .” (Redford 2001:[1]283).

Dynasty 18
 In many ways, Dynasty 18 could be viewed as the golden age of the Egyptian Civilization. Spanning almost 280 years (1570-1293 BC), it ushered in the New Kingdom by a return to a powerful, monolithic Egyptian nation unified by a heavily centralized government under the undivided control of the king.

 Egypt’s dominions expanded to include territory rife with natural resources; this wealth of resources fueled Egypt’s economy to unprecedented levels; the economic activity prompted the development of international trade and diplomacy; cultural and technological exchanges, together with spreading wealth, yielded a blossoming of the arts, and a widespread refinement of the Egyptian culture.

 It would be unfair, if not untrue, to suggest that the achievements of Dynasty 18 were greater than those of, say, Dynasty 12 in the Middle Kingdom, or Dynasty 3 in the Old Kingdom. But the sheer volume of exquisite material goods produced and preserved from that period, the tantalizing political intrigues and mysteries of its controversial monarchs (such as Queen Hatshepsut and King Akhenaten), and the comparatively extensive written record (both from within and without Egypt), cannot help but make Egypt’s Dynasty 18 a most fascinating period of human history.

 Founded by King Ahmose, who reclaimed the Delta from the Hyksos, Dynasty 18 saw some of the most enlightened monarchs of Egypt’s history. Blending the unwavering projection of military power with the development of social policies and the shepherding of culture, they left an indelible mark on their civilization. After a long period of prosperity and stability under a succession of kings named Tuthmosis and Amenhotep (and the great queen Hatshepsut), the dynasty stumbled when Amenhotep IV attempted to change just about everything about Egyptian culture: under his new name Akhenaten, he left the old capital and built a new one, abandoned Egypt’s traditional gods and created a new monotheistic cult, abandoned Egypt’s established artistic conventions and fostered a new, disturbingly realistic, aesthetic canon. Too much, too fast, Akhenaten’s reforms were soon undone. His capital was abandoned, his monuments destroyed, and records of his reign meticulously expunged. Turning a new page, his successor Tutankhaten soon changed his name to Tutankhamun. The Dynasty never regained its luster, and soon made way for a new line of rulers emerging from the ranks of the military: the Ramessids.



Bibliography (for this item)
Andrews, Carol
 1984 Egyptian Mummies. Harvard University Press, Cambridge, MA.

D’Auria, Sue, Peter Lacovara, and Catharine H. Roehrig
 1992 Mummies & Magic. The Funerary Arts of Ancient Egypt (Reprinted with changes by the Dallas Museum of Arts, from the 1988 Boston edition). Boston Museum of Fine Arts, Boston, MA.

Tiradritti, Francesco
 1998 Egyptian Treasures from the Egyptian Museum in Cairo. White Star Publishers, Vercelli, Italy. (167-173
 202-203, 228-235
 290.295)

http://www.virtual-egyptian-museum.org/Period:  Egypt, New Kingdom, Dynasty 18
Dating:  1570 BC–1307 BC
Origin:  Egypt, Upper Egypt
Material:  Wood (undetermined)
Physical:  58cm. (22.7 in.) - 
Catalog:  WOD.VL.00641

Bandage, Mummy cloth

Bandage, Mummy cloth

dentifier mma_bandage_mummy_cloth_564877
Accession_number X.471
Date 664–30 B.C.
Dimensions L. 23.3 cm x H. 12.7 cm
Gallery_id 134
Mediatype image
Medium Linen
Scanner Internet Archive Python library 0.5.1
What Linen, Cloth, Mummies, Bandages, Africa, Egypt, 664–30 B.C., Linen, Metropolitan Museum of Art

Two Panels with striding lions

Two Panels with striding lions

Date: ca. 604–562 B.C.

Medium: Ceramic, glaze

Accession Number: 31.13.1-.2

On view in Gallery 404
Met Museum
metmuseum website

Tombe 357 Thothermaktouf



Tombe 357 Thothermaktouf
Bernard Bruyère
Archives de Bernard Bruyère (1879-1971)
IFAO

miércoles, 29 de abril de 2015

Djehutyhotep tomb






This inscription of 12 lines was the object of several reproductions, and this is fortunate because today it is no longer there. It described the transportation of the colossal statue, which takes place in front of Djehutyhotep



Following a statue of 13 cubits of stone of Hatnub. Behold, the way upon which it came, was very difficult, beyond anything. Behold, the dragging of the great things upon it was difficult for the heart of the people, because of the difficult stone of the ground, being hard stone.
 I caused the youth, the young men of the recruits to come, in order to make for it (the statue) a road, together with shifts of necropolis-miners and of quarrymen, the foremen and the wise. The people of strength said: "We come to bring it;" while my heart was glad; the city was gathered together rejoicing; very good it was to see beyond everything. The old man among them, he leaned upon the child; the strong-armed together with the tremblers, their courage rose. Their arms grew strong; one of them put forth the strength of 1000 men.
 Behold, this statue, being a squared block on coming forth from the great mountain, was more valuable than anything. Vessels were equipped, filled with supplies, [in advance (?)] of my army of recruits, the youth bore [... in advance of (?)] it. Their words were laudation, and my praises from the king. My children ... adorned were behind me. My nome shouted praise. I arrived in the district of this city, the people were gathered together, praising; very good it was to see, beyond everything. The counts who were of old; the judge and local governor who were appointed for ... in this city, and established for the [...] upon the river, their hearts had not thought of this which I had done, [in that I made (?)] for myself ... established for eternity, after this my tomb was complete in its everlasting work.

The long inscription - by Breasted
The long inscription - by Breasted

Djehutyhotep tomb

The tomb of Djehutyhotep, Great Chief of the Hare Nome is the most important and the best preserved of the tombs of the site of el-Bersheh. It bears the number 17L20/1
osirisnet.net

Outer coffin of Prince Djehutynakht

Outer coffin of Prince Djehutynakht: offering scene, late 11th or early 12th Dynasty, 2008–1836 B.C., painted cedar wood, 115 × 263 cm. MFA 20.1822. Courtesy of ©Museum of Fine Arts, Boston, 2002, neg. SC29799

cool.conservation-us.org

harp

Period: New Kingdom

Dynasty: Dynasty 18, late

Date: ca. 1390–1295 B.C.

Geography: From Egypt

Medium: Wood

Dimensions: L. (diagonally) 82 cm (32 5/16 in); l. of sound box 36 cm (14 3/16 in)

Credit Line: Rogers Fund, 1943

Accession Number: 43.2.1
Egyptian arched harps from Dynasty 4 onward coexisted with a great variety of harps in different shapes and sizes. Two harp types were most common—the arched harp with a curved neck, like this one, and the angled harp with a neck sharply perpendicular to the body. Unlike most European versions, ancient Egyptian harps have no forepillars to strengthen and support the neck. Older forms of arched harps had four or five strings, this harp has twelve strings. Skin once covered the open, slightly waisted sound box. Rope tuning rings under each string gave a buzzing sound to the soft-sounding tone produced. Topping the arched frame of the harp is a carved human head.
Met Museum
metmuseum.org

Kohl tube and stick

Kohl tube and stick
Period: New Kingdom
Dynasty: Dynasty 18, early
...
Reign: reign of Ahmose–Joint reign
Date: ca. 1550–1458 B.C.
Geography: From Egypt, Upper Egypt; Thebes, el-Asasif, Tomb CC 37, Burial 16, Hall C, Carnarvon/Carter excavations, 1911
Medium: Wood (cedar?), ebony, ivory, copper
Dimensions: H. 7.8 cm (3 1/16 in.)
Credit Line: Purchase, Edward S. Harkness Gift, 1926
Accession Number: 26.7.1447
Met Museum
This container of black eye paint, or kohl is a neat little portable object. It consists of an octagonal wooden box with an ivory base and lid. The lid swivels around a wooden peg with a studded head. A copper-wire loop has been fixed to the front of the lid, and two pairs of such loops are attached to the main body of the container. The two pairs on the front of the body hold a small, accurately shaped replica of a kind of bolt used in ancient Egypt to close doors of houses and shrines. When pushed upward this bolt fits into the wire loop on the lid and thus closes the box. The two other wire loops hold the implement with which the owner applied the kohl.
metmuseum.org

Shabti box and shabtis

Shabti box and shabtis

Period: New Kingdom, Ramesside
Dynasty: Dynasty 19
Reign: reign of Ramesses II
Date: ca. 1279–1213 B.C.
Geography: From Egypt, Upper Egypt; Thebes, Deir el-Medina, Tomb of Sennedjem (TT 1), Egyptian Antiquities Service/Maspero excavations, 1885–86
Medium: Painted wood, limestone, and ink
Dimensions: Shabti box (86.1.14): H. 28.5 cm (11 1/4 in) Shabti of Khaibekhnet and Ineferty (86.1.18): H. 16.7 cm (6 9/16 in) Shabti of Khonsu (86.1.21): H. 17.7 cm (6 15/16 in) Shabti of Khaibekhnet (67.80): H. 18.6 cm (7 5/16 in) Shabti of Mesu (86.1.28): H. 15 cm (5 7/8 in)
Credit Line: Funds from various donors, 1886 (86.1.14, .18, .21, .28) Gift of J. Lionberger Davis, 1967 (67.80)
Accession Number: 86.1.14-group
 
Mer museum
metmuseum.org

vessel

Vessel
Present location MUSÉE ROYAL DE MARIEMONT [07/009] MARIEMONT
Inventory number Ac.66/11
Dating COPTIC PERIOD
Archaeological Site UNKNOWN
Category JAR
Material POTTERY
Technique FORMED ON THE POTTER'S WHEEL; ENGOBE
Height 592 cm


Diameter 55 cm
Bibliography•«Chronique des Arts», in Supplément à la Gazette des Beaux-Arts, 1176, 1967, p. 44, n° 172. Rome, ses origines et son Empire, (catalogue d’exposition. Morlanwelz, Musée de Mariemont, 7 mai - 31 octobre 1966) (Trésors inconnus du Musée de Mariemont, 1), n° 239, pl. XXVIII; Arts tardifs et chrétiens d’Égypte (catalogue d’exposition. Louvain-la-Neuve, Musée archéologique, 1988), in Le Monde Copte, 14-15, 1988, n° 116, p. 61-62; Connaître… les anciennes écritures et les alphabets par les collections du Musée royal de Mariemont, Mariemont, 2006, p. 47; Cl. DERRIKS et L. DELVAUX, Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 406-409.


globalegyptianmuseum

Faience wedjat eye amulet

 Faience wedjat  eye amulet







Third intermediate period

The 'sound' eye that restores life
The wedjat eye is perhaps the best known of all Egyptian protective amulets. The drop and spiral below the eye imitate the markings on a lanner falcon, the bird associated with the god Horus. The name wedjat means 'the sound one', referring to the lunar left eye of Horus that was plucked out by his rival Seth during their conflict over the throne. The restoration of the eye is variously attributed to Thoth, Hathor or Isis. The injury to the eye and its subsequent healing were believed to be reflected in the waxing and waning of the moon.
The first use of the wedjat eye as an amulet was when Horus offered it to Osiris. It was so powerful that it restored him to life. The regenerative and protective powers of the amulet meant that it was placed among the wrappings of mummies in great numbers. It could even replace food offerings in rituals. It first appeared in the late Old Kingdom and was used until mummification was no longer practised, in the Roman Period (30 BC - AD 395)
Amulets were made from many different materials, but blue or green faience was the most common, as these colours symbolized regeneration to the ancient Egyptian. The wedjat eye was also worn by the living. Faience factories have been found at Tell el-Amarna, where rings with wedjat eye bezels were very popular among the inhabitants.
C.A.R. Andrews, Amulets of Ancient Egypt (London, The British Museum Press, 1994)



 British museum

museum website