Estatua de Hapuseneb

Estatua de Hapuseneb Museo del Louvre

Model of a funerary boat

Funerary boat, of low keel and not too high ends. Six persons are standing in line on its deck, holding a lamb to be sacrificed. On one end of the boat there is a squatting man, who would be in charge of the rudder, and next to him another man standing up, completing the crew. This piece is not of high artistic merit; it is the product of a workshop for middle class customers who were improving their lifestyle in this period. It is not a boat for going on pilgrimage to Abydos, but a model of offering bearers that were placed inside the tombs.

Present location	MUSEO ARQUEOLÓGICO NACIONAL [21/007] MADRID
Inventory number	16029
Dating	MIDDLE KINGDOM
Archaeological Site	EL-GABALIN/GEBELEIN
Category	BOAT (MODEL)
Material	WOOD
Technique	INCISED; PAINTED ON STUCCO
Height	13.5 cm
Width	8.5 cm		Met Museum	metmuseum.org

Hippopotamus

Hippopotamus
Period: Middle Kingdom
Dynasty: Dynasty 12, first half
...

Reign: Senwosret I to Senwosret II
Date: ca. 1961–1878 B.C.
Geography: From Egypt, Middle Egypt, Meir (Mir), Tomb B no. 3 of the nomarch Senbi II, pit 1 (steward Senbi), Khashaba excavations, 1910
Medium: Faience
Dimensions: L. 20 cm (7 7/8 in.); W. 7.5 cm (2 15/16 in.); H. 11.2 cm (4 7/16 in.)
Credit Line: Gift of Edward S. Harkness, 1917
Accession Number: 17.9.1


Met Museum
metmuseum.org

Mummy Case Lid

Mummy Case Lid
Object Number: E14344C Place Name: Egypt, Thebes (uncertain) (Egypt) Period: Third Intermediate Period, Twenty-First Dynasty -
: http://www.penn.museum/collections/list.php?id=39#sthash.dV6aqIGQ.dpuf

catonage

Cartonnage Object Number: 52-11-1 Place Name: Egypt

- See more at: http://www.penn.museum/collections/list.php?id=39#sthash.dV6aqIGQ.dpuf
Penn Museum

Standing Statue of Merer

Standing Statue of Merer wearing a long, high-waisted kilt. His head is shaved/bald. His left foot is advanced in a striding pose. There is an inscription on the base with a dedication to Ptah and identifying him: "The gardener Merer, born of the lady of the house Neferu."

E10751

 Middle Kingdom
Twelfth Dynasty
Thirteenth Dynasty 

Penn Museum

 http://www.penn.museum,org

Ptah

Figurine of Ptah, Memphis, Dynasty 18, reign of Amenhotep III - Tutankhamun (1390-1322 BCE), polychrome faience

Brilliantly colored and designed as part of a larger statue, this figurine was likely set up in a shrine or temple at Memphis. The god Ptah appears seated on a low-back throne, inscribed with the standard epithets or descriptions of the deity. Holding a was-scepter, formed from the hieroglyph meaning “dominion,” he wears a special feathered garment over his usual mummiform costume – a feature found on a few other representations of Ptah from the reigns of Amenhotep III and Tutankhamun. This small masterpiece attests to the skill of the workers in ancient faience workshops. 
Penn Museum

Sekhmet

http://www.penn.museum/sites/amarna/gallery.shtml

Statue of Sekhmet, Thebes (Ramesseum), Dynasty 18, reign of Amenhotep III (1390-1353 BCE), Granodiorite As a warlike and protective goddess, imagery of Sekhmet often accompanied the pharaoh into battle. With her fiery arrows, she could send plagues and other diseases against her (and Pharaoh’s) enemies. The Egyptians also invoked her to ward off or cure diseases. Some scholars believe that a plague during the reign of Amenhotep III may have prompted that king to erect numerous statues of this goddess as an appeal for divine help. This Sekhmet statue is one of the less-common standing types. Photo: Tom Jenkins.

Netting Birds, Tomb of Khnumhotep

Netting Birds, Tomb of Khnumhotep

Artist: Nina de Garis Davies (1881–1965)

Period: Middle Kingdom

Dynasty: Dynasty 12

Reign: reign of Amenemhat II

Date: ca. 1897–1878 B.C.

Geography: From Egypt, Middle Egypt, Beni Hasan, Tomb of Khnumhotep (Tomb 3), MMA graphic expedition 1931 (probably)

Medium: Tempera on paper

Dimensions: facsimile: h. 101 cm (39 3/4 in); w. 260 cm (102 3/8 in) Scale 1:1 framed: h. 104.1 cm (41 in.); w. 264.5 cm (104 1/8 in.)

Credit Line: Rogers Fund, 1933

Accession Number: 33.8.18

 

Met Museum.org

Tit amulet

Metropolitan Museum

Metropolitanmuseum.org

 

Tit (Isis knot) amulet
Period: New Kingdom, Ramesside
Dynasty: Dynasty 19–20
Date: ca. 1295–1070 B.C.
Geography: From Egypt, Northern Upper Egypt, Abydos, Cemetery D, Tomb D33, Egypt Exploration Fund excavations, 1900...
Medium: Jasper, red
Dimensions: H. 6.6 cm (2 5/8 in): w. 2.8 cm (1 1/8 in); th. 0.7cm (1/4 in)
Credit Line: Gift of Egypt Exploration Fund, 1900
Accession Number: 00.4.39

The tit symbol (pronounced teet) illustrates a knotted piece of cloth whose early meaning is unknown, but in the New Kingdom it was clearly associated with the goddess Isis, the great magician and wife of Osiris. By this time, the tit was also associated with blood of Isis. The tit sign was considered a potent symbol of protection in the afterlife and the Book of the Dead specifies that the tit be made of blood-red stone, like this example, and placed at the deceased's neck.
Knots were widely used as amulets because the Egyptians believed they bound and released magic (for another amuletic knot wee 27.3.398).

Sunk relief from the facade of a shrine showing Akhenaten and Nefertiti offering libations

Sunk relief from the facade of a shrine showing Akhenaten and Nefertiti offering libations to Aten, the sun god. During the Amarna period shrines in the form of pylons were placed in private houses to serve as altars for the cult of the royal family and the god Aten. Country of Origin: Egypt Culture: Ancient Egyptian. Date/Period: New Kingdom, 18th dynasty 1365 - 1349 BC. Place of Origin: Discovered in the house of Paneshy at Amarna. Material Size: Painted limestone H= 98cm W=118cm. Credit Line: Werner Forman Archive/ Egyptian Museum, Cairo. Location 72

facade of a shrine showing Akhenaten and Nefertiti

Sunk relief from the facade of a shrine showing Akhenaten and Nefertiti offering libations to Aten, the sun god. During the Amarna period shrines in the form of pylons were placed in private houses to serve as altars for the cult of the royal family and the god Aten. Country of Origin: Egypt Culture: Ancient Egyptian. Date/Period: New Kingdom, 18th dynasty 1365 - 1349 BC. Place of Origin: Discovered in the house of Paneshy at Amarna. Material Size: Painted limestone H= 98cm W=118cm. Credit Line: Werner Forman Archive/ Egyptian Museum, Cairo.

Monkey amulet

 Monkey Amulet

LATE PERIOD 
The god Thoth in the form of a seated monkey, with suspension loop on the back. It is well-made, but the exterior surface has suffered some damage.
MUSEO ARQUEOLÓGICO NACIONAL

globalegyptianmuseum

The Singer of Amun Nany's Funerary Papyrus

The Singer of Amun Nany's Funerary Papyrus

Period: Third Intermediate Period

Dynasty: Dynasty 21

Reign: reign of Psusennes I

Date: ca. 1050 B.C.

Geography: From Egypt, Upper Egypt; Thebes, Deir el-Bahri, Tomb of Meritamun (TT 358, MMA 65), first corridor, inside Osiris figure, MMA excavations, 1928–29

Medium: Papyrus, paint

Dimensions: l. 521.5 cm (206 5/16 in); h. 35 cm (13 3/4 in)

Credit Line: Rogers Fund, 1930

Accession Number: 30.3.31

Metropolitam Museum

 Archaeologists found this papyrus in the burial of Nany, a woman in her seventies. She was a singer of the god Amun-Re. Nany also had the title "king's daughter," which probably means that she was a child of the high priest of Amun and titular king, Painedjem I. As was customary during the Third Intermediate Period, Nany's coffins (30.3.23–.25) and boxes of shabtis (30.3.26–.30) were accompanied by a hollow wooden Osiris figure, which contained a papyrus scroll inscribed with a collection of texts called the "Book of Coming Forth by Day" – better known to us as the Book of the Dead. When unrolled, this scroll is more than seventeen feet long.
The scene depicted here shows the climax of the journey to the afterlife. Nany is in the Hall of Judgment. Holding her mouth and eyes in her hand, she stands to the left of a large scale. Her heart is being weighed against Maat, the goddess of justice and truth, who is represented as a tiny figure wearing her symbol, a single large feather, in her headband. On the right, Osiris, god of the underworld and rebirth, presides over the scene. He wears the white crown of Upper Egypt and the curving beard of a god. His body is wrapped like a mummy except for his hands, which clasp a crook. On the table before him is an offering of a joint of beef. Jackal-headed Anubis, overseer of mummification, adjusts the scales, while a baboon—symbolizing Thoth, the god of wisdom and writing—sits on the balance beam and prepares to write down the result. Behind Nany stands the goddess Isis, both wife and sister of Osiris. She is identified by the hieroglyph above her head.
In this scene Nany has been found truthful and therefore worthy of entering the afterlife. Anubis says to Osiris, "Her heart is an accurate witness," and Osiris replies, "Give her her eyes and her mouth, since her heart is an accurate witness." In the horizontal register above the judgment scene, Nany appears in three episodes: worshiping the divine palette with which all is written, praising a statue of Horus in his falcon form, and standing by her own tomb.

metmuseum.org

Plaque with figure of one of the sons of Horus

 

Plaque with figure of one of the sons of Horus

Small faience plaque with two-dimensional depiction of a jackal-headed mummiform god, to be identified as Duamutef, one of the four sons of Horus (protective guardians of the internal organs removed and embalmed separately in mummification).
 DUAMUTEF

NATIONAL MUSEUM OF IRELAND [30/002]

globalegyptianmuseum

TOMB EQUIPMENT

Present location	INSTITUT DE PAPYROLOGIE ET D'ÉGYPTOLOGIE, UNIVERSITÉ DE LILLE III [02/049] LILLE
Inventory number	L 2485
Dating	NEW KINGDOM
Archaeological Site	SAI ISLAND
Category	TOMB EQUIPMENT
Material	COPPER; ROCK
Technique	FULL CAST; HAMMERING; WELDED; HEWN; INLAY
Width	2.4 cm
Depth	2.3 cm

Bibliography

• Gratien Brigitte, La Nubie au temps des pharaons, catalogue d'exposition, [Boulogne-sur-mer], 1975, p.26, n°264.
• Minault-Gout Anne, Nubie, les cultures antiques du Soudan, catalogue d'exposition, Lille, 1994, p.181, n°270.

Model Funerary Bark of Ukhhotep

Model Funerary Bark 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, stucco

Dimensions: l. 124 cm (48 13/16 in); w. 56 cm (22 1/16in); h. 71.5 cm (28 1/8 in)

Credit Line: Gift of J. Pierpont Morgan, 1912

Accession Number: 12.183.4

A bronze statue of a Divine Adoratrice of Amun

A bronze statue of a Divine Adoratrice of Amun, from the Twenty-second dynasty of Egypt, in the Egyptian Museum of Berlin

Kitchen model;

Kitchen model; women workers grinding, baking and brewing. Bread- and beer-making (made of fermented bread) were usually women's tasks. Twelfth dynasty of Egypt, 2050-1800 BCE. Egyptian Museum of Berlin.

Wall relief showing childbirth,

Wall relief showing childbirth, Treasure Hall, Temple of Edfu, Egypt.

Model Sailing Boat with Mummy

Model Sailing Boat with Mummy

Period: Middle Kingdom

Dynasty: Dynasty 12

Reign: Amenemhat II, late

Date: ca. 1900–1885 B.C.

Geography: From Egypt, Memphite Region, Lisht South, Mastaba B (Djehuty), South Area, between mastaba and south enclosure wall, MMA 1930–1931

Medium: Wood, paint

Dimensions: L. 80.6 cm (31 3/4 in.); W. 21.2 cm (8 3/8 in.); H. to top of mast 54 cm (21 1/4 in.) Beam L. 23 cm (9 1/16 in.)

Credit Line: Rogers Fund, 1932

Accession Number: 32.1.124a

 

 A group of sailors standing by the mast hoists the sail (not preserved) for this boat which carries a mummy on a bier under a baldaquin. The mummy is tended by two women - perhaps impersonating the goddesses Isis and Nephthys - while a priest reads from a papyrus scroll. Four men sit crouched before the mast and baldaquin. Their posture is akin to the so-called "block statues" or "cube statues," well known from Middle Kingdom art. It has been argued that this posture indicates the person so represented is partaking in rituals. The steersman and another person at the side of the bier crouch in a similar position, although each of them has one arm free for action.

 

Met Museum

 

 

metmuseum.org

 

ostrakon with a register od workmen´s absenses

From Deir el-Medina, Egypt
19th Dynasty, around 1250 BC

Egypt: the birthplace of bureaucracy?

Deir el-Medina is the remains of a walled village for the craftsmen who built and decorated the New Kingdom tombs in the Valley of the Kings. It appears that a close record was kept of workmen's attendance, the materials used, and so on. This ostrakon seems to be a workman's register for 280 days of Year 40 of the reign of Ramesses II (about 1279-1213 BC). Only about 70 of these days seem to have been full working days. Aside from holidays and other non-working periods, by Year 40 of Ramesses's reign the royal tomb would have been substantially finished, and it is possible that men were taken off onto other projects.
A list of forty names is arranged in columns of hieratic script on the right-hand edge of each side. To the left are dates written in black in a horizontal line. The reasons for absences are written above the dates in red ink. They are varied and give us a fascinating insight into some aspects of life in ancient Egypt. Illness figures prominently; a couple of examples of illnesses of the eyes are mentioned. One workman functioned as a doctor and was often away attending on others. Absences due to deaths of relatives are recorded, as are also references to purifications, perhaps relating to childbirth. Frequently a day missed is down to a man 'being with his boss'; other sources show that workmen did frequently do work for their superiors. Occasionally a man is away 'building his house', or at 'his festival', and there are even examples of drinking, in particular 'drinking with Khonsu'.
There is mention of a Qeniherkhepeshef, who is also alluded to as 'the scribe' in several places. The British Museum also has a shabti figure and a funerary headrest belonging to Qeniherkhepeshef.
J.J. Janssen, 'Absence from work by the necropolis workmen of Thebes', Studien zur altägyptischen Kul, 8 (1980)
R. Parkinson, Cracking codes: the Rosetta St (London, The British Museum Press, 1999)
J. Cerny and A.H. Gardiner, Hieratic ostraca I (Oxford University Press, 1957)
S. Quirke and A.J. Spencer, The British Museum book of anc (London, The British Museum Press, 1992)

British Museum

britishmuseum.org

TT38, la tombe de Djeserkareseneb connu aussi sous le diminutif de Djeserka .

 

TT38, la tombe de Djeserkareseneb connu aussi sous le diminutif de Djeserka .

Devant les convives se tiennent huit musiciennes, cinq debout et trois assises. La première, vêtue comme les deux filles de Djeserka, est une harpiste. La suivante est une adolescente qui a perdu aujourd'hui la partie supérieure du corps ; elle chante en s'accompagnant d'un luth ; elle est nue en dehors de ses bijoux et d'une ceinture de perles autour de la taille. Elle est suivie par une petite fille tout aussi peu vêtue, qui porte sur le côté de la tête la mèche de l'enfance, qui chante et danse, tout en battant des mains sur son corps. Vient ensuite une femme vêtue d'une ample robe transparente, dont le visage et le torse ont aussi disparu : tête tournée (on le voit sur le dessin de Davies) elle joue d'une double flûte, tout en semblant esquisser des pas de danse. La cinquième intervenante est habillée comme la première et, comme elle, reste immobile, pieds joints ; elle joue d'un étrange instrument évoquant à la fois une lyre et une harpe, mais qui ne comporte que sept cordes horizontales. La partie carrée de l'instrument servait de caisse de résonnance.


osirisnet.net

Conjuro 72, libro de los muertos de Ramose

Opening phrase
from Spell 72,
Book of the
Dead of Ramose

 http://www.fitzmuseum.cam.ac.uk

Book of the Dead of Ramose

Vignette from Spell 15, ‘for worshipping Ra
when he rises in the horizon until the
occurrence of his setting in life’,
from the Book of the Dead of Ramose


 http://www.fitzmuseum.cam.ac

Book of the Dead of Ramose

Vignette from Spell 95, for being in the presence
of Thoth, Book of the Dead of Ramose


 http://www.fitzmuseum.cam.ac.uk/gallery/papyru

'Book of the Dead', Papyrus of Ani (sheet 35): Spell 110 (vignette); spell 148

Museum number

EA10470,35

Description

Detail: Other
'Book of the Dead', Papyrus of Ani (sheet 35): Spell 110 (vignette); spell 148. Life in the Afterworld: Ani has passed judgment and entered paradise. The large scene on the left is the vignette for Spell 110. Ani is shown doing things he is unlikely to have done on earth, not only greeting various gods of the Underworld, but also paddling his own boat in the top register, which is labeled, at the far right, "Field of Offerings." In the second register, he harvests flax and drives oxen over a threshing floor, and he is plowing with oxen in the third, which is labeled over the cattle's backs as the "Field of Reeds." Other captions in the scene make it clear that this is a blessed land, a land of abundance. The labors of Ani, who is here referred to only as Osiris, will ensure provisions for himself and these celestial spirits. Ani will join them soon - already his boat has the same shape as the one in which the sun god travels the sky. The fields are shown as surrounded by water. There are two small islands and an inlet or harbour for one of the boats. It is questionable, however, whether the four large registers should be interpreted as separate islands, since their numbers vary in different compositions. The fields are drawn as a combination of a plan and elevations. The plan takes the form of a highly schematic, and of course imaginary, map. To the right is part of Spell 148 and its vignette. This scene is composed within an architectural framework, as if it is taking place in a temple or shrine. The unrealistically narrow doors, one of which is visible on the left, are open. Inside, Ani prays to the sun god Ra, here shown as a mummiform falcon-headed figure. The cows represented are shown wrapped in red shrouds, each wearing a necklace and a sun disk between her horns. The bull has no signs of divinity. The animals are not named here, though we know their names from other sources. On the other side of this vignette, the four steering oars are depicted, with their names.

Book of the Dead', Papyrus of Ani

Museum number

EA10470,35

Description

Detail: Other
'Book of the Dead', Papyrus of Ani (sheet 35): Spell 110 (vignette); spell 148. Life in the Afterworld: Ani has passed judgment and entered paradise. The large scene on the left is the vignette for Spell 110. Ani is shown doing things he is unlikely to have done on earth, not only greeting various gods of the Underworld, but also paddling his own boat in the top register, which is labeled, at the far right, "Field of Offerings." In the second register, he harvests flax and drives oxen over a threshing floor, and he is plowing with oxen in the third, which is labeled over the cattle's backs as the "Field of Reeds." Other captions in the scene make it clear that this is a blessed land, a land of abundance. The labors of Ani, who is here referred to only as Osiris, will ensure provisions for himself and these celestial spirits. Ani will join them soon - already his boat has the same shape as the one in which the sun god travels the sky. The fields are shown as surrounded by water. There are two small islands and an inlet or harbour for one of the boats. It is questionable, however, whether the four large registers should be interpreted as separate islands, since their numbers vary in different compositions. The fields are drawn as a combination of a plan and elevations. The plan takes the form of a highly schematic, and of course imaginary, map. To the right is part of Spell 148 and its vignette. This scene is composed within an architectural framework, as if it is taking place in a temple or shrine. The unrealistically narrow doors, one of which is visible on the left, are open. Inside, Ani prays to the sun god Ra, here shown as a mummiform falcon-headed figure. The cows represented are shown wrapped in red shrouds, each wearing a necklace and a sun disk between her horns. The bull has no signs of divinity. The animals are not named here, though we know their names from other sources. On the other side of this vignette, the four steering oars are depicted, with their names

Museum number EA10470,35 Description Full: Front 'Book of the Dead', Papyrus of Ani (sheet 35): Life in the Afterworld:

Museum number

EA10470,35

Description

Full: Front
'

Museum number

EA10470,35

Description

Full: Front
'Book of the Dead', Papyrus of Ani (sheet 35): Life in the Afterworld: Ani has passed judgment and entered paradise. The large scene on the left is the vignette for Spell 110. Ani is shown doing things he is unlikely to have done on earth, not only greeting various gods of the Underworld, but also paddling his own boat in the top register, which is labeled, at the far right, "Field of Offerings." In the second register, he harvests flax and drives oxen over a threshing floor, and he is plowing with oxen in the third, which is labeled over the cattle's backs as the "Field of Reeds." Other captions in the scene make it clear that this is a blessed land, a land of abundance. The labors of Ani, who is here referred to only as Osiris, will ensure provisions for himself and these celestial spirits. Ani will join them soon - already his boat has the same shape as the one in which the sun god travels the sky. The fields are shown as surrounded by water. There are two small islands and an inlet or harbour for one of the boats. It is questionable, however, whether the four large registers should be interpreted as separate islands, since their numbers vary in different compositions. The fields are drawn as a combination of a plan and elevations. The plan takes the form of a highly schematic, and of course imaginary, map. To the right is part of Spell 148 and its vignette. This scene is composed within an architectural framework, as if it is taking place in a temple or shrine. The unrealistically narrow doors, one of which is visible on the left, are open. Inside, Ani prays to the sun god Ra, here shown as a mummiform falcon-headed figure. The cows represented are shown wrapped in red shrouds, each wearing a necklace and a sun disk between her horns. The bull has no signs of divinity. The animals are not named here, though we know their names from other sources. On the other side of this vignette, the four steering oars are depicted, with their names.
© The Trustees of the British Museum

: Ani has passed judgment and entered paradise. The large scene on the left is the vignette for Spell 110. Ani is shown doing things he is unlikely to have done on earth, not only greeting various gods of the Underworld, but also paddling his own boat in the top register, which is labeled, at the far right, "Field of Offerings." In the second register, he harvests flax and drives oxen over a threshing floor, and he is plowing with oxen in the third, which is labeled over the cattle's backs as the "Field of Reeds." Other captions in the scene make it clear that this is a blessed land, a land of abundance. The labors of Ani, who is here referred to only as Osiris, will ensure provisions for himself and these celestial spirits. Ani will join them soon - already his boat has the same shape as the one in which the sun god travels the sky. The fields are shown as surrounded by water. There are two small islands and an inlet or harbour for one of the boats. It is questionable, however, whether the four large registers should be interpreted as separate islands, since their numbers vary in different compositions. The fields are drawn as a combination of a plan and elevations. The plan takes the form of a highly schematic, and of course imaginary, map. To the right is part of Spell 148 and its vignette. This scene is composed within an architectural framework, as if it is taking place in a temple or shrine. The unrealistically narrow doors, one of which is visible on the left, are open. Inside, Ani prays to the sun god Ra, here shown as a mummiform falcon-headed figure. The cows represented are shown wrapped in red shrouds, each wearing a necklace and a sun disk between her horns. The bull has no signs of divinity. The animals are not named here, though we know their names from other sources. On the other side of this vignette, the four steering oars are depicted, with their names.
© The Trustees of the British Museum

Book of the Dead', Papyrus of Ani (sheet 35)

useum number

EA10470,35

Description

Detail: Other
'Book of the Dead', Papyrus of Ani (sheet 35): Spell 110 (vignette); spell 148. Life in the Afterworld: Ani has passed judgment and entered paradise. The large scene on the left is the vignette for Spell 110. Ani is shown doing things he is unlikely to have done on earth, not only greeting various gods of the Underworld, but also paddling his own boat in the top register, which is labeled, at the far right, "Field of Offerings." In the second register, he harvests flax and drives oxen over a threshing floor, and he is plowing with oxen in the third, which is labeled over the cattle's backs as the "Field of Reeds." Other captions in the scene make it clear that this is a blessed land, a land of abundance. The labors of Ani, who is here referred to only as Osiris, will ensure provisions for himself and these celestial spirits. Ani will join them soon - already his boat has the same shape as the one in which the sun god travels the sky. The fields are shown as surrounded by water. There are two small islands and an inlet or harbour for one of the boats. It is questionable, however, whether the four large registers should be interpreted as separate islands, since their numbers vary in different compositions. The fields are drawn as a combination of a plan and elevations. The plan takes the form of a highly schematic, and of course imaginary, map. To the right is part of Spell 148 and its vignette. This scene is composed within an architectural framework, as if it is taking place in a temple or shrine. The unrealistically narrow doors, one of which is visible on the left, are open. Inside, Ani prays to the sun god Ra, here shown as a mummiform falcon-headed figure. The cows represented are shown wrapped in red shrouds, each wearing a necklace and a sun disk between her horns. The bull has no signs of divinity. The animals are not named here, though we know their names from other sources. On the other side of this vignette, the four steering oars are depicted, with their names

Henuttawy

Henuttawy
escena del libro de los muertos
Museo Británico

fuente: britishmuseum.org

ostracón

Two men practicing Tahtib, one of them with androgenic alopecia, on an Ostracon from Ancient Egypt, Louvre

Chapel of Anubis at the temple of Hatshepsut

A wall painting in the Chapel of Anubis at the temple of Hatshepsut. Hatshepsut depictured as a male pharaoh brings offerings to the god Horus. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: 18th dynasty c.1550-1295BC. Place of Origin: Deir el-Bahri, West Thebes. Credit Line: Werner Forman Archive . Location: 73.

Fotos antiguas

Underground gallery with an empty Apis bull sarcophagus from the Serapeum

Underground gallery with an empty Apis bull sarcophagus from the Serapeum. The Serapeum is a system of underground galleries hewn out of solid rock with large side chambers where the mummified remains of the sacred bulls of Apis were held in sarcophagi. The whole complex was dedicated to the god Osiris-Apis (Osirapis). Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: dating from the 18th Dynasty, 1550 - 1295 BC to Ptolemaic times 332 - 30 BC. Place of Origin: Memphis, Saqqara. Credit Line: Werner Forman Archive/ N.J. Saunders.

Book of the Dead of Nebqed

Detail from the Book of the Dead of Nebqed. The monster 'Swallower of the Dead' waits to devour the souls of the unworthy. One of the earliest depictions of the part lion, part crocodile, part hippopotamus, monster. Country of Origin: Ancient Egypt. Culture: Ancient Egyptian. Date/Period: New Kingdom, early-mid 18th Dynasty, c.1400 BC. Credit Line: Werner Forman Archive/ Louvre Museum,Paris . Location: 137.

Detail of one of the four pillars from the tomb of Ptahmose depicting an adorant

Detail of one of the four pillars from the tomb of Ptahmose depicting an adorant. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: 19th Dynasty, c. 1258 BC. Place of Origin: Found in Saqqara. Material Size: Limestone W=40 cm. Credit Line: Werner Forman Archive/ Rijksmuseum van Oudheden, Leiden.