estela A Amarna

The boundary stele of Akhenaten, marked Stele A by Finders Petrie, it was erected to mark the inclusion of the area to Akhenaten's new capital Amarna. Detail. Culture: Ancient Egyptian Date/Period: In use from the 19th Dynasty until Ptolemaic times, c.1295 - 100 BC. Place of Origin: Tuna el-Gebel. Credit Line: Werner Forman Archive. Location: 34B.

Stela A

The boundary stele of Akhenaten, marked Stele A by Finders Petrie, it was erected to mark the inclusion of the area to Akhenaten's new capital Amarna. Detail of the king and his family offering to the god Aten. Culture: Ancient Egyptian Date/Period: In use from the 19th Dynasty until Ptolemaic times, c.1295 -100 BC. Place of Origin: Tuna el-Gebel. Credit Line: Werner Forman Archive

stelaA Akhenaton

The boundary stele of Akhenaten, marked Stele A by Finders Petrie, it was erected to mark the inclusion of the area to Akhenaten's new capital Amarna. Detail. Culture: Ancient Egyptian Date/Period: In use from the 19th Dynasty until Ptolemaic times, c.1295 - 100 BC. Place of Origin: Tuna el-Gebel. Credit Line: Werner Forman Archive. Location: 34B.

fragment vessel Meroe

Part of the rim of a vessel made from fine creamy ware, painted with a naked couple and lotuses.The man is bearded and the woman holds a large patterned object in front of her. This is a rare example of a narrative scene in Meroitic and was probably influenced by contemporary styles in Alexandria. The scene was possibly meant to be erotic.
Begrawiya
LIVERPOOL MUSEUM [03/061] LIVERPOOL
globalegyptianmuseum

Black granite seated baboon representing the god Thoth

Black granite seated baboon representing the god Thoth,

On the pectoral at the front, Yua-wer, First prophet of Amun is shown offering to Thoth. From Koptos, c.1250 BC during the reign of Rameses II (User-maat-ra Setepen-ra).
www.ancient-egypt.co.uk

enterramiento en Darkhan tumba 1702

 Dibujo en colores del enterramiento en Darkhan. De la  tumba 1702.
 63 x 139 x 208 cm son las medidas de la tumba

se trata de la tumba de una mujer, en la imagen se ven con círculos las vasijas del ajuar funerario, el ataúd es de madera. datación según Petrie 3000 años antes de n/ era.

fotos: digitalegypt.ucl.uk

sarchophagus: fragment

Ancient Egypt. Late Period, c. 664 - 323 BC. Large rectangular wooden foot panel of a sarcophagus. The feet in red and stylized, a checkered pattern between and zigzag lines, alternating in red and black, to either side. One of the attachment dowels in place, the left now missing. 10 5/8" x 4 3/4" (27 x 12.1 cmancientresource.com

El polvo de momia

El polvo de momia
En el renacimiento se empiezan a criticar algunas supersticiones medicinales que estuvieron de moda en la Edad Media. y es que se habían utilizado momias y se las había triturado para conseguir el famoso polvo de momia.
Debido a la confusión de la palabra "mummia" que en persa significada betún, y después de que muchos viajeros comenzaran a contar cosas, como que las momias tenían carácter curativo ( heridas,etc) etc etc ,se produce una caza de momias egipc...ias para ser molidas y obtener el famoso polvo de momia.

Muchos boticarios diluían el polvo en vino y miel, otras veces se tomaba directamente con agua. Pero había veces que no venían en polvo, sino que directamente venían trozos del cadáver o en forma de pasta negruzca.

Harpa , Reino Nuevo

Harpa , Reino Nuevo
Museo Metropolitano



 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.

This type of portable, boat-shaped arched harp was a favorite during the New Kingdom and is shown in the hands of processional female musicians performing alone or in ensembles with singers, wind instruments, sistrums, and rattles. Prior to the Middle Kingdom, depictions of harpists feature men as the chief musicians. Harps and other instruments were used for praise singing and entertainment at ritual, court, and military events. Today, arched harps derived from these ancient Egyptian forms are still used in parts of Africa and Asia.
metmuseum.org

coptic textil

A fragment of a cloth with a blue border decorated with a series of identical white geometric motifs and a band with three palm branches topped by a red bud.
coptic
EL-SHEIKH `ABADA/ANTINOOPOLIS
linen and wool

MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO [05/027] FLORENCE

Painted fragment of wall-plaster

Painted fragment of wall-plaster
A fragment of wall-plaster with a fishing scene, from a tomb. Two men on the shore hold an extremity of a net, while a third fisherman on a boat at the other end unrolls the other extremity.
MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO [05/027]

globalegyptian museum

Ostrakon of the tale of Sinuhé.

Ostrakon of the tale of Sinuhé.
Probably from Thebes, Egypt
19th Dynasty, around 1250 BC
A Hollywood ending?
...

The eight lines of hieratic on one side of this ostrakon are a copy of the final lines of a classic poem of Egyptian literature. It is probably a copy made by an apprentice scribe. It is also inscribed with the colophon, the indication that the end of the text has been reached. A number of small red dots in the text are what is known as 'verse points', and mark the ends of lines of verse.
It is thought that the Tale of Sinuhe was originally composed over seven centuries earlier, in the early Twelfth Dynasty (about 1985-1795 BC). The full text is principally known from two papyri in Berlin, at the Ägyptisches Museum and Payrus-Sammlung. It is written as an autobiography placed in a tomb, but the complexity and subtlety of the language make it certain that it is fictional. The story follows Sinuhe's flight from Egypt after the death of Amenemhat I (about 1955 BC), his stay in Palestine, and his subsequent return to Egypt.
The Tale continued to be read and copied well into the New Kingdom (about 1550-1070 BC), with many surviving extracts on ostraka and papyri.
In modern times the story inspired a novel by Mika Waltari (1908-79), Sinuhe the Egyptian (1945), in which the Tale was set in the more glamorous Amarna Period, with the hero dying in tragic exile. In the original version, Sinuhe regains his postion in Egyptian society and -in the final words - '[he] was in the favour of the king's giving, / until the day of landing [that is, death] came. The Tale was also retold as a Hollywood epic, The Egyptian (directed by Michael Curtiz, 1954), starring Edmond Purdom as Sinuhe, and co-starring Peter Ustinov. The Tale of Sinuhe is now regarded as the masterpiece of ancient Egyptian writing.
R. Parkinson, Cracking codes: the Rosetta St (London, The British Museum Press, 1999)
R.B. Parkinson and S. Quirke, Papyrus, (Egyptian Bookshelf) (London, The British Museum Press, 1995)
R.B. Parkinson, The Tale of Sinuhe and other a (Oxford University Press, 1997)
Met Museum


source: metmuseum.org

 

Hand and foot amulets

Hand and foot amulets, Dynasty V–VIII (ca. 2465–2100 b.c.)
Egyptian
Carnelian
Gift of Helen Miller Gould, 1910 (foot: 10.130.2355; hand: 10.130.2358)
Met Museum.
During the Old Kingdom and First Intermediate Period, small amulets of hands and feet were commonly included in bracelets and anklets. These amulets protected the limbs and extremities of their wearers, while possibly conferring abilities such as dexterity, creative potential, or speed. Often these amulets were made of carnelian, an orange-red stone. The color, reminiscent of blood, would bring power and energy to the amulet.

metmuseum.org

Headrest of Khentika

Headrest of Khentika


Period: Old Kingdom

Dynasty: Dynasty 6

Date: ca. 2323–2150 B.C.

Geography: From Egypt, Memphite Region, Saqqara; includes the Serapeum, Teti Pyramid Cemetery, Tomb of Khentika, Shaft B, Egyptian Antiquities Service

Medium: Travertine (Egyptian alabaster)

Dimensions: H. 19.5 cm x L. 16 cm

Credit Line: Rogers Fund, 1926

Accession Number: 26.2.11
Metmuseum

Reposacabezas

Reposacabezas procedente de Tebas,
el-Asasif, enterramiento 6A.X.B29, MMA
Reino Medio
Met Museum

 metmuseum.org

 amuleto en forma de reposacabezas
dinastía ptolemaica
Museo Metropolitano

Carlos barahona P

limestone relief

On a small rectangular slab of limestone, a standing quail chick is depicted in high relief. The object has broken into several pieces, the lower part with the feet is missing. The modelling and the execution of the relief are very fine.
The object could be a votive plaque, but, as this bird is a very common hieroglyph (Gardiner G43), it is more likely to be a sculptor's trial piece or model
late period
ALLARD PIERSON MUSEUM [06/002] AMSTERDAM

globalegyptianmuseum

ostracón Nebnefer

Sketch by the artist Nebnefer of a kneeling goddess, either Isis or Nepthys. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: New Kingdom. Place of Origin: Thebes, Valley of the Kings. Material Size: Ink on Limestone, h = 25.5 cm. Credit Line: Werner Forman Archive/ Egyptian Museum, Cairo . Location: 90.