Mummy of Artemidora

Mummy of Artemidora

A.D. 90–100

Roman Period

This mummy of a woman called Artemidora is lavishly equipped with appliqués and an elaborate funerary mask. The mask portrays a young woman lying flat as if upon her bier. Her hair is arranged in tiers of snail curls over her forehead. Alongside her face flows a black Egyptian-style wig, the long locks bound with narrow rings of gold in pharaonic fashion. She wears a Roman-style dark red tunic with black clavi (stripes) edged in gold. The jewelry includes snake bracelets and gold ball earrings. At the back of the head is a support decorated with imagery signifying rebirth, including a dark blue glass scarab beetle. Attached to the wrappings of the mummy are gold appliqué figures of the deities Osiris, Isis and Nephthys.

On the bottom of the foot is an image of the god Anubis bearing the disk of the moon. Set in a tabula ansata (tablet with handles in latin) above this is a conventional Greek funerary inscription, "Artemidora, daughter of Harpokras, died untimely, aged 27. Farewell." A rough estimate of her age based on radiographic images of the mummy confirms that she was an adult who never reached an old age.

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#3575. Mummy of Artemidora

#3694. Mummy of Artemidora

Supported by Bloomberg Philanthropies

Period: Roman Period

Date: A.D. 90–100

Geography: From Egypt, Middle Egypt, Meir, Khashaba excavations, 1910–11

https://www.metmuseum.org/art/collection/search/547696

 

the royal couple

The royal couple, accompanied by the goddess Hathor, are under a richly decorated marquee, surmounted of a frieze of uraei (view tb_3334). The structure is supported by delicately slim lotusform and papyriform columns. It should be noted that the queen stands behind the seated king and Hathor.

Tomb Kheruef

source: osirisnet.net

 

Relief of Sakeh

Relief of Sakeh
The upper register contains a tree with the arms of a woman holding a tray with offerings in its/her left hand, and with the right hand pouring water over it from a vase. The tomb owner is kneeling and taking some of the offerings on the tray and receiving the dispensed water for drinking. His soul, which is depicted as a bird with human head and arms, also catches some of the water. The lower register depicts the deceased enjoying a copious offering table. The inscription identifies him as "the two eyes of the king ..., the king's confidant in Memphis, Speaker of the king, Nomarch of Memphis, Sakeh". He is dressed in the finest of pleated garments and he is wearing an ornate curly wig and a splendid necklace. The origin and date of the relief are clear from its artistic style.

Present location KUNSTHISTORISCHES MUSEUM [09/001] VIENNA
Inventory number 5816
Dating 18TH DYNASTY
Archaeological Site UNKNOWN
Category RELIEF
Material LIMESTONE
Technique HEWN; ENGRAVED
Height 80.3 cm
Width 58.2 cm
Depth 15 cm


Translation
... the two eyes of the King of Lower Egypt (in) the entire (land), the king's confidant in Memphis, the Speaker of the king, the Nomarch of Memphis, Sakeh true of voice. Possessor of favour because of what his mouth speaks, (possessor of love) because of his character, ...

Bibliography•Reinisch, L., Die aegyptischen Denkmaeler in Miramar (1865) 256, Nr. 21, Taf. 39 D.
•Bergmann, E. von / Dedekind, A., Die Sammlung der Aegyptischen Alterthümer, in: Uebersicht der kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses (1894) 36, Nr. 8.
•Satzinger, H., Das Kunsthistorische Museum in Wien. Die Ägyptisch-Orientalische Sammlung. Zaberns Bildbände zur Archäologie 14. Mainz. 1994.
•Katalog "Wasser und Wein", Krems (1995), Nr.1/29.
•Gessler-Löhr, B., Bemerkungen zur Nekropole des Neuen Reiches von Saqqara vor der Amarna-Zeit. II. Gräber der Bürgermeister von Memphis, Oudheidkundige Mededelingen uit het Rijksmuseum van Oudheden te Leiden, 77 (1997), 57-58, Taf. 10).

globalegyptianmuseum.org

 

MINIATURE COFFIN

MINIATURE COFFIN

E.0487

Small sarcophagus of Wood

This small model of a coffin of painted wood comes from the excavations of the Egypt Exploration Fund at Abydos at the beginning of the 20th century. On the top the figure of a jackal (Anubis) and another of a falcon (Horus), both of them in wood covered with stucco, have survived. The upper part of the long sides is rounded off and decorated by four figures of crouching genii, holding a knife in their hands. The corners of the coffin carry, on each side, a column of text containing an offering formula and the name of the owner. The board which formed the base and the one which formed one of the two small sides are not preserved. The piece dates from the Late Period or the Ptolemaic Period.

KMKG - MRAH

globalegyptianmuseum
 

Vase égyptien représentant une femme tenant un enfant sur ses genoux

 Vase égyptien représentant une femme tenant un enfant sur ses genoux
probablement de la seconde partie de la XVIII° dynastie
Musée du Louvre - AF 1660 (provenance inconnue ancien N 968)
photo Marie Grillot

https://egyptophile.blogspot.com.es/2018/03/la-mere-et-lenfant.html#!/2018/03/la-mere-et-lenfant.htmld

statua

 

statua – Nuovo Regno: XVIII dinastia, regno di Hatscepsut (1479-1458 a.C.)

Hapuseneb fu un funzionario importante alla corte della regina Hatshepsut (1479-1458 a.C.), ricoprendo il ruolo di visir e di primo profeta di Amon; di lui sono noti molti monumenti fra cui un cenotafio a Gebel el Silsila e la tomba a Tebe, da cui proviene probabilmente anche questa statua che lo mostra seduto su un seggio dal basso schienale e con i piedi in appoggio su un alto zoccolo. Il mantello che avvolge il corpo, incrociandosi a V all’altezza del petto e lasciando scoperta solo la mano sinistra, crea un’ampia superficie dai profili morbidi in contrasto alla geometrica semplicità del sedile. La lunga iscrizione incisa su tre lati del seggio in fitte colonne verticali di geroglifici a incavo poco profondo e con tracce di colore blu tramanda parte della titolatura di Hapuseneb, alcune note biografiche e la tipica formula per l’offerta funeraria. Un’unica colonna di testo incisa sul corpo, in posizione frontale tra la vita e i piedi, presenta ampie lacune in corrispondenza del nome di Hapuseneb e di suo padre, ma può essere facilmente integrata come segue: “Il nobile, il principe, il cancelliere del re del Basso Egitto, il primo profeta di Amon [Hapuseneb, giustificato (dal tribunale ultraterreno di Osiri), nato dal dignitario Hapu, giustificato], generato dalla [concubina] regale Iahhotep, giustificata.”. Questa erasione, così come la mancanza della testa della statua, di cui è visibile solo una piccola parte della parrucca, potrebbe essere attribuibile alla damnatio memoriae che colpì la regina Hatshepsut e alcuni suoi fidati funzionari durante il regno del suo successore Thutmosis III (1479-1426 a.C.) e ancora di più in età ramesside.

Informazioni

Provenienza:

Materiale: Calcare dipinto

Dimensioni: Altezza: 93 cm - Larghezza: 33 cm

Numero di inventario: MCA-EGI-EG_1822

Biografia: Museo Civico di Bologna. Catalogo di Antichità Egizie descritte dal prof. cav. Giovanni Kminek-Szedlo, Torino, 1895, n. 1822; Curto, Silvio, L’Egitto antico nelle collezioni dell’Italia settentrionale, Bologna, 1961, n. 22; Pernigotti, Sergio, La statuaria egiziana nel Museo Civico Archeologico di Bologna, Bologna, 1980, n. 6; Il senso dell’arte nell’antico Egitto, Milano, 1990, n. 34; Morigi Govi, Cristiana, La collezione egiziana, Milano, 1994, p. 66.

http://informa.comune.bologna.it/.../offset/2272/id/2802

Pectoral with a depiction of the god Shed

 

Pectoral with a depiction of the god Shed

The frame of this pectoral is curved and has been embellished with colourful inlays. It depicts a chapel with an elaborately dressed and bejewelled figure of the god Shed. He is shown with a side-lock of youth and a quiver with arrows hanging from his shoulder. In his hands he holds serpents and gazelles, and he is standing on two crocodiles. The animals as well as the kilt and face of the deity have been chased in gold leaf. The torso and other body parts were inlaid in a red material which is now lost. On the back of the pectoral the principal details have been chased into the gold leaf.

Present location PELIZAEUS-MUSEUM [04/030] HILDESHEIM

Inventory number 5922

Dating 20TH DYNASTY (not after); NEW KINGDOM; 18TH DYNASTY (not before)

Archaeological Site UNKNOWN

Category PECTORAL

Material GOLD

Technique METAL-TECHNIQUE; INLAY; CHISSELED

Height 6.9 cm

Width 5.2 cm

Depth 0.8 cm

Bibliography

Eggebrecht, A. (Hrsg.), Suche nach Unsterblichkeit : Totenkult und Jenseitsglaube im Alten Ägypten, Hildesheim - Mainz 1990, Kat.-Nr. T 24.

Eggebrecht, A. (Hrsg.), Pelizaeus-Museum Hildesheim : Die ägyptische Sammlung, Hildesheim - Mainz 1993, Abb. 62.

Schmitz, B., Ein neuer Beleg für den Gott Sched : Amulett Hildesheim Pelizaeus-Museum 5922, in: Bryan, B.M. & Lorton, D. (Hrsg.), Essays in Egyptology in honor of Hans Goedicke, San Antonio 1994, S. 255-263.

Seipel, W., u.a., Ägypten : Im Reich der Pharaonen; Auf der Suche nach Schönheit und Vollkommenheit, Leoben 2001, Kat.-Nr. 192.

http://www.globalegyptianmuseum.org/detail.aspx?id=11484

Rishi coffin

 

Rishi coffin

ca. 1640–1504 B.C.

Second Intermediate Period–Early New Kingdom

Discovered in a tomb cut into the courtyard of a larger Middle Kingdom monument, this is an interesting example of a rishi (feathered) coffin. As is the case on most coffins of this type, the crudely-carved and painted face of the deceased is shown framed by the striped nemes headcloth, in this case with short feathers shown covering the top. Around the neck is painted a broad collar with falcon-head terminals; a vulture, its wings outstretched, protects the chest. Covering the body are feathers of various sizes, representing a bird's body, tail,, and wing feathers.

Title: Rishi coffin

Period: Second Intermediate Period–Early New Kingdom

Dynasty: Dynasty 17–early Dynasty 18

Date: ca. 1640–1504 B.C.

Geography: From Egypt, Upper Egypt, Thebes, Asasif, Tomb CC 62, tomb no. 64, Burial 10, Carnarvon Excavations 1907–1914

Medium: Sycomore wood, stucco, paint

Dimensions: L. 218 cm (85 13/16 in); H. 51 cm (20 1/16 in)

Credit Line: Gift of the Earl of Carnarvon, 1914

Accession Number: 14.10.1a, b

https://www.metmuseum.org/art/collection/search/544783

A unique rear facing picture of the Ancient Egyptian temple of Kalabsha in Nubia as seen from the Temple of Beit al-Wali..

A unique rear facing picture of the Ancient Egyptian temple of Kalabsha in Nubia as seen from the Temple of Beit al-Wali..

Necao I

 

Bronze kneeling statuette of the pharaoh Necho (either Necho I, circa 673-664 B.C., or Necho II, circa 610-595 B.C.)

Imagen de la Estatua oferente del Faraón Necao I en el Museo Brooklyn.

Granite sphinx of Taharqo, 25th Dynasty from a temple at Kawa. Now residing in the British Museum, London.

Granite sphinx of Taharqo, 25th Dynasty from a temple at Kawa. Now residing in the British Museum, London.

Vaso predinástico de cerámica pintada (Egipto)

Vaso predinástico de cerámica pintada (Egipto)

Francisco Luis Borrego Gallardo

http://www.man.es/.../man-pieza-mes-2006-06-vaso-pintado.pdf

 

El arte del Egipto predinástico. Ritual, significado y función = Predynastic Art in Egypt. Ritual, Sense and Function.

El arte del Egipto predinástico. Ritual, significado y función = Predynastic Art in Egypt. Ritual, Sense and Function.

Lagarcha

El arte del período predinástico se ha estudiado y entendido como característico de unas culturas neolíticas que precedieron a la unificación de Egipto y el comienzo de la I dinastía. Sin embargo, las investigaciones y excavaciones realizadas en los últimos años revelan que el arte faraónico tuvo algunos de sus precedentes en este período.En este artículo analizaremos la evolución del arte y su intencionalidad a lo largo de dicho período, al tiempo que estudiaremos las manifestaciones artísticas desde la óptica de la antropología cultural para entender el arte del Egipto predinástico en su contexto cultural y social, en especial en el ámbito de los rituales y en el proceso de creación de una memoria cultural.AbstractThe art of the Predynastic period has been studied and understood as a cultural manifestation of the Neolithic cultures preceeding to the unification of Egypt and the beginning of the 1st dynasty. However, the investigations and excavations carried out in recent years have showed that Pharaonic art had some of its origin in this period.In this article we will analyse the evolution of art and its intentionality throughout this period, while we will be studying the artistic manifestations from the perspective of cultural anthropology, looking for new ways of asking a work of art to understand it in its cultural and social context.

https://www.researchgate.net/.../337963159_El_arte_del...

 

Estela de Meretitef.

 Meretitef, músico de Tefnut, honrando a los dioses de Tinis: Onuris, Osiris e Isis.

Estela de Meretitef. Louvre.

Estatua de Ramsés II y Tatenen

 

Estatua de Ramsés II y Tatenen, procedente de Menfis (Egipto), expuesta en la Ny Carlsberg Glyptotek.

Le Livre des Portes.

Le Livre des Portes. Séthi 1er est le 1er Roi important de l'époque Ramesside (1294-1279 av. J.C.). Il a fait construire de nombreux temples dont la grande salle hypostyle du temple d'Amon à Karnak ou le temple de millions d'années à Thèbes ouest. La tombe de Séthi 1er a été découverte par l'italien Belzoni en octobre 1817. Sa conception est totalement nouvelle. Une division est introduite entre les parties supérieures et inférieures et surtout la totalité de la tombe (100m de long) est décorée en relief peint.

Damaged basalt head of a foreigner, from a door socket. Ea

Damaged basalt head of a foreigner, from a door socket. Early Dynastic Period, 1st to 2nd Dynasties. From Thebes, Egypt.

The Petrie Museum of Egyptian Archaeology, London.