Shabti of the lady Nay
Finely modelled and incised shabti of a woman depicted with mummiform body, holding a pick and a hoe for work, and wearing an intricately braided heavy wig. The lines of hieroglyphs over the lower body give the shabti formula, and identify the owner as a lady named Nay.
Inventory number: 1954:161 ...
NEW KINGDOM: 19TH DYNASTY
NATIONAL MUSEUM OF IRELAND
El arte del Antiguo Egipto
Formato: 572 págs. Tamaño: 22 x 28 Encuadernación: tela con sobrecubierta... Edición: 1991 Traductor: Rosina Lajo y Mª Victoria Frigola I.S.B.N.: 9788476007662
Una obra esencial para conocer el desarrollo de las artes en Egipto a lo largo de sus dos mil años de historia. Junto a capítulos de carácter general sobre la configuración geográfica del país y las características de sus habitantes, su religión, su lengua y su cultura, la obra sigue un desarrollo cronológico desde la época predinástica y el período tinita a través de los Imperios Antiguo y Nuevo hasta llegar al Egipto del inicial período cristiano. Hitos sustanciales en este largo camino serán temas como el establecimiento del canon de la representación humana en la época del Imperio Antiguo, o el nuevo canon del templo y la arquitectura en la época de los grandes conquistadores. Las especiales características de la colección, la calidad científica del texto y la abundancia de la documentación gráfica ofrecida, que incluye multitud de ilustraciones en color y blanco y negro y un extenso apéndice de más de cien páginas reservado al análisis en fichas (con plantas, alzados y secciones anejas) monumento por monumento, constituye en conjunto una obra imprescindible.
Imhotep is represented sitting, his feet resting on a rectangular base. He wears a short kilt and a broad collar; his head is shaven. In his hands he holds an unrolled papyrus. There is a tenon below the base of the statuette. Most probably the statuette had originally been sitting on a separately cast chair.
In Ancient Egypt, young male children depicted in sculpture or wall paintings were mostly shown nude and uncircumcised. They would also be shown with a side lock of hair and an index finger in their mouth.
The late Old Kingdom statuette depicts a young boy, who is nude. The boy wears a nicely arranged curly black wig, which flares a little to the sides. The wide eyes and eyebrows are painted black.
The artist modeled the upper part of the body well, although the arms are too long. The lower part is not well proportioned and the clumsily sculpted feet are attached to a small base.
Statue of a Woman with Her Daughter
The statue depicts a mother combing her daughter's hair. The mother is seated with her legs extending in front of her. The daughter sits on her mother's legs. The mother places her hands on the daughter's head and is combing her hair to style it. Ancient Egyptian hairstyles, especially those of women, were elaborate, often created with ribbons, floral garlands, and elegant pins. Traces of colors can be seen on the statue, for example, on th...e hair of the mother. Traces of black can be seen on the little girl, especially around the eyes.
Inventory number JE 33732
Standing Group Statue of Khaemwas and Manana
This statue of the couple Khaemwas and Manana demonstrates high-quality workmanship that is visible in the beauty of the lady's face and the careful details of their clothing.
The man wears a long wig with wavy locks that is set off in front with a step-like pattern of curls. ...
His clothing consists of a tunic with short sleeves, tied at the neck, and a loose skirt. The skirt is held at the waist by a long plaited sash, the fringed edge of which hangs down in front. The cartouches of the reigning king, Amenhotep the Third, are carved on his chest and arm.
The woman's graceful figure is adorned with an extravagant wig of inverted V-shaped curls, tied by a lotus crown and large band. A Usekh collar, which is made up of several rows of beads, and two rosettes cover her front.
She wears a long, tight-fitting gown. A pleated shawl hangs on her shoulders. She wears large bracelets on her wrists. In her left hand she holds the Menat collar, a necklace and symbol of Hathor with a special counterweight that served as a rattle.
The names and titles of the couple are written on the base and back pillars. An offering formula runs around the limestone base.
NEW KINGDOM: 18TH DYNASTY: AMENHOTEP III/AMENOPHIS III/NEBMAATRE
Inventory number: JE 87911.A,B
This statuette portrays a standing nude young girl. She has a side lock of hair, which is attached to her head with a wooden nail. The girl once held a scepter as we can see from a hole in her right hand.
Some traces of hieroglyphic text are still visible on the pedestal of this statuette.
The statuette is of a perfect nude figure, most probably a dancing girl.
Her figure is gracefully modeled and the arms, which were carved separately and then attached to the shoulders, are now missing. Her wide eyes and eyebrows are painted black with a long cosmetic eyeline.
The girl has very short black hair with a long braid ending in a heavy ball. These balls were usually shown hanging from the braids of child dancers. The girls would turn their heads rapidly while dancing and the ball hanging from the head would twirl around.
This wooden head is a part of a composite female statue. The parts of this statue were sculpted separately and then assembled.
It is believed to have belonged to a princess or even a queen of the Twelfth Dynasty, based on the fine depiction of the face, the careful selection of the precious materials, and in the execution of the wig. We can see the black hair of the princess on her forehead covered by the wig. It is attached to the head by tenons made of a black material inlaid with gold. The eyes of this statue were once inlaid but this inlay is now missing.
Double Statue of Nimaatsed
Nimaatsed was a priest of Re and Hathor in the solar temple of Neferirkare. He also served as a judge and priest at the pyramids of Neferirkare, Neferefre, and Niuserre.
The statues share one base and are nearly identical but differ slightly in height. His hands are by his sides and he holds the two small rods of dignity. On his head he wears a short, large wig that leaves his ears uncovered. ... His eyelids, eyebrows, and fine mustache are painted in black. His neck is decorated with a beautiful multicolored necklace and his body is the reddish-brown color that was commonly used for male statues. He wears a short white kilt with a yellow pleated extremity.
In Egyptian tombs, it was common to find double or triple statues of the owner. They perhaps showed the deceased at different ages or represented him with his Ka. That would enable him have more offerings and prayers in the afterlife.
Inventory number CG 133
Mummy dating from the Greco-Roman period, from Thebes, belonging to the so-called "Marquess Busca's mummy" in the Egyptian Museum in the Castello sforzesco in Milan, Italy. This is a pastiche/hoax created at the beginning of 19th century by Egyptian clandestine atnique dealers for roma marquess Carlo Busca. They created a "compete" sarcophagus by using the cover of the sarcophagus once beloged to a Pa-di-Khonsu (XX/XXIV dinasty, 9th century BC), the sarcophagus once beloged to a Di-Hor-Khapet (XXV/XXVII dinasty, 7th/6th century BC), a mummy from the Greco-Roman period, and the papyrus scroll of a Book of the Dead by scribe Pthames (15th century BC). - Picture by Giovanni Dall'Orto
The collar from the collection of Mesehti, Mayor of Asiut, consists of large round beads. The 18 beads of this collar are all that have survived.
The beads have been restrung with modern wire to preserve the original form of the collar. The shape of the fastener at the ends of the original wire is unknown.
Beads of comparable size to this example were worn around the neck by both men and women and in the hair by women. They were thought to magically protect the neck as well as to enhance the wearer's beauty.
Plate from By Nile and Tigris vol.2, 1920 (facing p.360) showing how the body (EA 32751) was displayed in the British Museum at that time.
Budge, Ernest Alfred Wallis (died in 1934) - Budge, Ernest Alfred Wallis (1920), By Nile and Tigris: A narrative of journeys in Egypt and Mesopotamia on behalf of the British Museum between the years 1886 and 1913. By Sir E. A. Wallis Budge. With numerous Illustrations, John Murray, OCLC 558957855
This is the photograph on the plate facing page 360 of Budge's book. The photo is of the mummified remains of a Pre-dynastic man (dated to 3400BC), currently on display in the British Museum ref.1900,1018.1 / EA 32751
Model boat of Ukhhotep
Period: Middle Kingdom
Dynasty: Dynasty 12 ...
Date: ca. 1981–1802 B.C.
Geography: Probably from Egypt, Middle Egypt, Meir (Mir)
Medium: Wood, paint
Dimensions: l. 115 cm (45 1/4 in); w. 19 cm (7 1/2 in); h. 46.5 cm (18 5/16 in)
One of two funerary boats bearing the name of Ukhhotep, this vessel carries a mummy on a canopied bier with a leopard skin spread on its roof. The deceased is accompanied by two female mourners, probably his relatives, in the guise of the goddesses Isis and Nephthys. There are two attendant priests, each dressed in a leopard-skin garment that indicates their office; one holds an open scroll inscribed with a formulaic funerary offering requesting bread, beer, and cool water for Ukhhotep.
Met Museum metmuseum.org
B. VAN DE WALLE, Antiquités égyptiennes, Bruxelles, 1952 (Les antiquités égyptiennes, grecques, étrusques, romaines, gallo-romaines du Musée de Mariemont), n° E. 115, p. 47, pl. 13; M.-C. BRUWIER, «La collection égyptienne de Raoul Warocqué, II. De 1912 à 1917», in Cahiers de Mariemont, 20-21, 1989-1990, p. 51; Cl. DERRIKS et L. DELVAUX (éds.), Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 248.
Studies on the History of Late Antique and Christian Nubia (Variorum Collected Studies Series)
by Laurence Kirwan
Gathered together here are the fruits of 60 years of research by the late Sir Laurence Kirwan into the history and archaeology of the mid 1st millennium AD in the Middle Nile Valley, papers previously scattered through a wide range of publications. Kirwan's fieldwork in the region, undertaken between 1929 and 1936, kindled a life-long interest in the transition from the pagan Kushite kingdom to the medieval Nubian states of Nobadia, Makuria and Alodia (Alwa) and of their conversion to Christianity in the 6th century AD. The 25 studies, one published here for the first time, were often of seminal importance when they first appeared, the author being exemplary in his use of the written sources to elucidate the archaeological data. As the preface by the editors shows, the views expressed remain fundamental to modern scholarship, offering valuable insights into this still relatively obscure period of transition from the ancient to the medieval world.
Plano de la tumba de Merynefer
En el plano observamos que unas escaleras conducen a la entrada y a través de un corredor se llega a la cámara principal. Al oeste de esta cámara está la sala de las ofrendas y al este está el almacén. En las fotos que ha puesto serezhade se observan las escenas de las paredes de la tumba y las estatuas. La puerta falsa está situada en la pared oeste.