domingo, 31 de enero de 2016
faience
UC75461
tools
UC75461
Levallois core and biface
...
Levallois core and biface
...
Materials: flint
Dimensions:
Core length: 6.1 cms
width: 6.1 cms
Biface length: 6.1 cms
width: 5.8 cms
Petrie Museum
petriecat.museums.ucl.ac.uk
Dimensions:
Core length: 6.1 cms
width: 6.1 cms
Biface length: 6.1 cms
width: 5.8 cms
Petrie Museum
petriecat.museums.ucl.ac.uk
This steatite pendant
Wooden statues of Kekheretnebti
Wooden statues of Kekheretnebti and in the background, of Neserkauhor, now in the Náprstek Museum
Prague
Djedkare Isesi
A gold cylander seal bearing the names and titles of the pharaoh Djedkare Isesi. From the 5th dynasty, reign of Djedkare Isesi, circa 2381-2353 B.C. Now at the Museum of Fine Arts, Boston. Museum catalog number: 68.115.
Drawing of the Sayala mace
Sketch of the mace and its decorations
Naqada IIIa, Predynastic Egypt c. 3200 BC
Egyptian Museum, Cairo (until 1920, thereafter unknown)
sábado, 30 de enero de 2016
The temples of Hatshepsut and Mentuhotep II
The terraced temple of Hatshepsut (foreground) and the temple of Mentuhotep II at Deir el-Bahri (T 3120). Photograph by Harry Burton, ca. 1912. Archives of the Egyptian Expedition, Department of Egyptian Art.
Hatshepsut was the most significant of Egypt's female rulers. She came to power early in Dynasty 18, at the beginning of the New Kingdom. First as regent, then as co-ruler with her stepson and nephew, Thutmose III, Hatshepsut wielded the authority of king for more than twenty years (ca. 1479–1458 B.C.).
The crowning architectural achievement of Hatshepsut's reign was her terraced funerary temple, Djeser-djeseru, at Deir el-Bahri in western Thebes opposite modern Luxor. The temple, with its three levels of pillared porticoes, combined building, sculpture, and landscape in one of the world's great architectural masterpieces. Djeser-djeseru was partly inspired by a neighboring temple built five centuries earlier for Mentuhotep II, founder of the Middle Kingdom. By associating herself with Mentuhotep, one of Egypt's greatest rulers, Hatshepsut reinforced her own position as king.
Hatshepsut revitalized the royal funerary complex by combining her mortuary cult with a temple of the gods. Chief among the deities worshipped at Djeser-djeseru was Amun, whose principal temple, Karnak, was at Thebes, on the east bank of the Nile. Amun's chapel dominates the central axis of Djeser-djeseru, and once a year, during the "Beautiful Feast of the Valley," the god's image was brought from Karnak, in a boat-shaped shrine, to rest in Hatshepsut's temple.
Although Djeser-djeseru was partly destroyed by falling rock from the cliffs above, it was never completely buried. In the seventh century A.D., a Coptic monastery of mudbrick was constructed on the ruins of the upper terrace and, centuries later, the ruined monastery inspired the name of the site, Deir el-Bahri (northern monastery).
Excavations
The temples of Hatshepsut and Mentuhotep II were well known when the Metropolitan Museum's excavators, led by Museum Egyptologist Herbert E. Winlock, began clearing the area in front of them in 1923. Winlock was searching for information about the early Middle Kingdom when he began finding fragments of statues belonging to the time of Hatshepsut. Some were pieces of limestone sculpture that had been part of the temple architecture. These giant images of Hatshepsut had once decorated the portico and niches of the upper terrace. Other fragments of granite and sandstone came from huge sphinxes and freestanding statues of Hatshepsut that had lined the processional way leading to the sanctuary of Amun. The sculpture had been destroyed some twenty years after Hatshepsut's death by her nephew, Thutmose III, for reasons that still are not completely understood.
Between 1923 and 1931, tens of thousands of fragments—some weighing more than a ton, others smaller than a human fist—were recovered and sorted. Examples of the architectural statues were reattached to the temple's facade and some of the sphinxes and other freestanding statues were reassembled and divided between the Egyptian Antiquities Service and the Metropolitan Museum. Objects acquired by the Museum in this division of finds are on view in Egyptian galleries 115, 116, and 117.
Met Museum´s website
Hatshepsut was the most significant of Egypt's female rulers. She came to power early in Dynasty 18, at the beginning of the New Kingdom. First as regent, then as co-ruler with her stepson and nephew, Thutmose III, Hatshepsut wielded the authority of king for more than twenty years (ca. 1479–1458 B.C.).
The crowning architectural achievement of Hatshepsut's reign was her terraced funerary temple, Djeser-djeseru, at Deir el-Bahri in western Thebes opposite modern Luxor. The temple, with its three levels of pillared porticoes, combined building, sculpture, and landscape in one of the world's great architectural masterpieces. Djeser-djeseru was partly inspired by a neighboring temple built five centuries earlier for Mentuhotep II, founder of the Middle Kingdom. By associating herself with Mentuhotep, one of Egypt's greatest rulers, Hatshepsut reinforced her own position as king.
Hatshepsut revitalized the royal funerary complex by combining her mortuary cult with a temple of the gods. Chief among the deities worshipped at Djeser-djeseru was Amun, whose principal temple, Karnak, was at Thebes, on the east bank of the Nile. Amun's chapel dominates the central axis of Djeser-djeseru, and once a year, during the "Beautiful Feast of the Valley," the god's image was brought from Karnak, in a boat-shaped shrine, to rest in Hatshepsut's temple.
Although Djeser-djeseru was partly destroyed by falling rock from the cliffs above, it was never completely buried. In the seventh century A.D., a Coptic monastery of mudbrick was constructed on the ruins of the upper terrace and, centuries later, the ruined monastery inspired the name of the site, Deir el-Bahri (northern monastery).
Excavations
The temples of Hatshepsut and Mentuhotep II were well known when the Metropolitan Museum's excavators, led by Museum Egyptologist Herbert E. Winlock, began clearing the area in front of them in 1923. Winlock was searching for information about the early Middle Kingdom when he began finding fragments of statues belonging to the time of Hatshepsut. Some were pieces of limestone sculpture that had been part of the temple architecture. These giant images of Hatshepsut had once decorated the portico and niches of the upper terrace. Other fragments of granite and sandstone came from huge sphinxes and freestanding statues of Hatshepsut that had lined the processional way leading to the sanctuary of Amun. The sculpture had been destroyed some twenty years after Hatshepsut's death by her nephew, Thutmose III, for reasons that still are not completely understood.
Between 1923 and 1931, tens of thousands of fragments—some weighing more than a ton, others smaller than a human fist—were recovered and sorted. Examples of the architectural statues were reattached to the temple's facade and some of the sphinxes and other freestanding statues were reassembled and divided between the Egyptian Antiquities Service and the Metropolitan Museum. Objects acquired by the Museum in this division of finds are on view in Egyptian galleries 115, 116, and 117.
Met Museum´s website
PYRAMIDION
THEBES: WEST BANK
Hieroglyphics...
Q2:ir-Y4-ms-s-!
G39&Z1-E17-G3-i*w-E14:D40-!
[1] wsjr sS ms / sA sAb mAjw-nxt
[2] dwA=k ra nb
Pelizaeus erwarb die Objekte PM 2124 - PM 2129 im Frühjahr 1912 in Kairo; er überwies sie im Juni 1912 nach Hildesheim.
Roeder, G., Die Denkmäler des Pelizaeus-Museums zu Hildesheim, Hildesheim 1921, S. 129.
Kayser, H., Die ägyptischen Altertümer im Roemer-Pelizaeus-Museum in Hildesheim, Hildesheim 1973, S. 68, Abb. 57.
Götter und Pharaonen, Hildesheim 1979, Kat.-Nr. 184.
Symmetrie in Kunst, Natur und Wissenschaft : Band 2; Kunst, Darmstadt 1986, Kat.-Nr. 465.
Seipel, W., Ägypten : Götter, Gräber und die Kunst; 4000 Jahre Jenseitsglaube, Linz 1989, Kat.-Nr. 100.
Eggebrecht, A. (Hrsg.), Suche nach Unsterblichkeit : Totenkult und Jenseitsglaube im Alten Ägypten, Hildesheim - Mainz 1990, Kat.-Nr. T 16.
PELIZAEUS-MUSEUM
Roeder, G., Die Denkmäler des Pelizaeus-Museums zu Hildesheim, Hildesheim 1921, S. 129.
Kayser, H., Die ägyptischen Altertümer im Roemer-Pelizaeus-Museum in Hildesheim, Hildesheim 1973, S. 68, Abb. 57.
Götter und Pharaonen, Hildesheim 1979, Kat.-Nr. 184.
Symmetrie in Kunst, Natur und Wissenschaft : Band 2; Kunst, Darmstadt 1986, Kat.-Nr. 465.
Seipel, W., Ägypten : Götter, Gräber und die Kunst; 4000 Jahre Jenseitsglaube, Linz 1989, Kat.-Nr. 100.
Eggebrecht, A. (Hrsg.), Suche nach Unsterblichkeit : Totenkult und Jenseitsglaube im Alten Ägypten, Hildesheim - Mainz 1990, Kat.-Nr. T 16.
PELIZAEUS-MUSEUM
PAPYRUS
PAPYRUS
WRITTEN WITH A REED PEN/REED WITH SPLIT NIB
ROMAN PERIOD
Pelizaeus erwarb die Objekte PM 2124 - PM 2129 im Frühjahr 1912 in Kairo; er überwies sie im Juni 1912 nach Hildesheim.
PELIZAEUS-MUSEUM
globalegyptianmuseum
jueves, 28 de enero de 2016
Relief from the White Chapel of Sesostris I
Seated statue of the Princess Shebensopdet
limestone fragment
Walters 22.98 is a painted limestone fragment of wall relief from the Temple of Hatshepsut at Deir el Bahri. Three archers are at least partially visible. Of the rear figure, only his left arm, with his hand clenched in a fist is visible crossing over the chest of the central figure. All that is visible of the rear figure is part of his right shoulder and the upper section of his bow. The figures form a line with the left arm of each man overlapping the right arm and chest of the man in front of him. The central figure stands with his face turned in profile toward the right and it may be assumed that the others are posed in a similar manner. His bow and quiver of arrows are held in his right hand and fall onto his right shoulder. He wears a short cap-like wig with rectangular plaits. His naturally shaped eye is wide open and overly large and his tear duct appears to be cutting into his nose. His lips are sharply outlined and his nose is defined by a deep crease. The flesh of the men is painted a dark reddish tone, however, a modern cleaning of this piece removed a significant portion of the pigment from the chest of the central figure.
wALTERS aRT mUSEUM
Amuletic Figure of Imsety, Son of Horus
This faience amulet represents Imsety, the human-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus protected the vital organs of the body after mummification. The figure faces proper right. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a three row broad collar, a tripartite wig and a divine beard. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces. Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been
http://art.thewalters.org/d
Detail from a sarcophagus.
detail from a sarcophagus depicting the sandy domain of Sokar,
Lid of a mummiform case containing the figure of the god of the dead Osiris.
Coffin of Nefnefret
Coffin of Nefnefret
Period: Middle Kingdom
Dynasty: Dynasty 13
...
Period: Middle Kingdom
Dynasty: Dynasty 13
...
Date: ca. 1802–1640 B.C.
Geography: From Egypt, Upper Egypt, Thebes, Asasif, East of Pabasa and north of Padiamenemopet, MMA excavations, 1919–20
Medium: Sycomore wood, paint
Dimensions: Coffin box: L. 195 cm (76 3/4 in); W. 48 cm (18 7/8 in); H. 61 cm (24 in) Lid: L. 174 cm (68 1/2 in); W. 43 cm (16 15/16 in); H. 15 cm (5 7/8 in)
Credit Line: Rogers Fund, 1932
Accession Number: 32.3.429a, b
In 1919, the Museum's Egyptian Expedition found a large deposit of coffins and objects in a fill below the causeway of Thutmose III in the central part of the Asasif Valley, in an area known as "East of Pabasa." The coffin of Nefnefret is one of the more than fifty coffins that were part of this deposit, which seems to have been made up of the contents of tombs that were destroyed by the cutting of the Dynasty 18 causeway to the royal memorial temples at Deir el-Bahri and represents a significant number of burials of the late Middle Kingdom and Second Intermediate Period in Thebes.
The Museum has four black-painted coffins from this find including the coffin of Nefnefret, all on display in gallery 109. These include the coffin of a wab-priest named Entemaemsaf (32.3.428a, b); the coffin of a wab-priest named Ikhet (32.3.430a, b); and the coffin of an un-named owner (32.3.431a, b).
Mat Museum
metmuseum.org
Geography: From Egypt, Upper Egypt, Thebes, Asasif, East of Pabasa and north of Padiamenemopet, MMA excavations, 1919–20
Medium: Sycomore wood, paint
Dimensions: Coffin box: L. 195 cm (76 3/4 in); W. 48 cm (18 7/8 in); H. 61 cm (24 in) Lid: L. 174 cm (68 1/2 in); W. 43 cm (16 15/16 in); H. 15 cm (5 7/8 in)
Credit Line: Rogers Fund, 1932
Accession Number: 32.3.429a, b
In 1919, the Museum's Egyptian Expedition found a large deposit of coffins and objects in a fill below the causeway of Thutmose III in the central part of the Asasif Valley, in an area known as "East of Pabasa." The coffin of Nefnefret is one of the more than fifty coffins that were part of this deposit, which seems to have been made up of the contents of tombs that were destroyed by the cutting of the Dynasty 18 causeway to the royal memorial temples at Deir el-Bahri and represents a significant number of burials of the late Middle Kingdom and Second Intermediate Period in Thebes.
The Museum has four black-painted coffins from this find including the coffin of Nefnefret, all on display in gallery 109. These include the coffin of a wab-priest named Entemaemsaf (32.3.428a, b); the coffin of a wab-priest named Ikhet (32.3.430a, b); and the coffin of an un-named owner (32.3.431a, b).
Mat Museum
metmuseum.org
Shabti and Shabti Coffin
Shabti and Shabti Coffin
Period: Second Intermediate Period–early New Kingdom
Dynasty: Dynasty 17–18
...
Period: Second Intermediate Period–early New Kingdom
Dynasty: Dynasty 17–18
...
Date: ca. 1580–1479 B.C.
Geography: From Egypt, Upper Egypt, Thebes, Asasif, Tomb CC 43, Carnarvon Excavations 1907–1914
Medium: Mud, wood
Dimensions: L. of coffin 6.3 cm (2 1/2 in)
Credit Line: Gift of the Earl of Carnarvon, 1914
Accession Number: 14.10.10a–c
Met Museum
Metmuseum.org
Geography: From Egypt, Upper Egypt, Thebes, Asasif, Tomb CC 43, Carnarvon Excavations 1907–1914
Medium: Mud, wood
Dimensions: L. of coffin 6.3 cm (2 1/2 in)
Credit Line: Gift of the Earl of Carnarvon, 1914
Accession Number: 14.10.10a–c
Met Museum
Metmuseum.org
Coffin
Coffin
Date: 4th century
Geography: Made in Kharga Oasis, Byzantine Egypt
...
Date: 4th century
Geography: Made in Kharga Oasis, Byzantine Egypt
...
Culture: Coptic
Medium: Wood, paint
Dimensions: Overall: 16 1/2 x 70 1/4 x 20 3/4 in. (41.9 x 178.4 x 52.7 cm) Base: 8 x 72 x 21 1/2 in. (20.3 x 182.9 x 54.6 cm)
Classification: Woodwork-Miscellany
Credit Line: Rogers Fund, 1931
Accession Number: 31.8.1
Met museum
metmuseum.org
Medium: Wood, paint
Dimensions: Overall: 16 1/2 x 70 1/4 x 20 3/4 in. (41.9 x 178.4 x 52.7 cm) Base: 8 x 72 x 21 1/2 in. (20.3 x 182.9 x 54.6 cm)
Classification: Woodwork-Miscellany
Credit Line: Rogers Fund, 1931
Accession Number: 31.8.1
Met museum
metmuseum.org
Coffin
Coffin
Period: Middle Kingdom
Dynasty: Dynasty 13
...
Period: Middle Kingdom
Dynasty: Dynasty 13
...
Date: ca. 1802–1640 B.C.
Geography: From Egypt, Upper Egypt, Thebes, Asasif, East of Pabasa and north of Padiamenemopet, MMA excavations, 1919–20
Medium: Sycomore wood, paint
Dimensions: Coffin box: L. 196 cm (77 3/16 in); W. 48 cm (18 7/8 in); H. 60 cm (23 5/8 in) Lid: L. 177 cm (69 11/16 in); W. 45 cm (17 11/16 in); H. 15 cm (5 7/8 in)
Credit Line: Rogers Fund, 1932
Accession Number: 32.3.431a, b
Like the other black-painted coffins in gallery 109, this one has bands of inscription containing spells from the Coffin texts. In the texts, a word meaning "whoever" appears in place of the coffin's eventual owner. The Horus eyes at the head end of the left side are enclosed in a panel with a cavetto cornice on top and a false door appears in the decorative polychrome dado along the bottom of the coffin box. A woman with upraised arms appears at the head and the foot of the coffin. These probably represent the goddesses Isis and Nephthys.
Met Museum
metmuseum.org
Geography: From Egypt, Upper Egypt, Thebes, Asasif, East of Pabasa and north of Padiamenemopet, MMA excavations, 1919–20
Medium: Sycomore wood, paint
Dimensions: Coffin box: L. 196 cm (77 3/16 in); W. 48 cm (18 7/8 in); H. 60 cm (23 5/8 in) Lid: L. 177 cm (69 11/16 in); W. 45 cm (17 11/16 in); H. 15 cm (5 7/8 in)
Credit Line: Rogers Fund, 1932
Accession Number: 32.3.431a, b
Like the other black-painted coffins in gallery 109, this one has bands of inscription containing spells from the Coffin texts. In the texts, a word meaning "whoever" appears in place of the coffin's eventual owner. The Horus eyes at the head end of the left side are enclosed in a panel with a cavetto cornice on top and a false door appears in the decorative polychrome dado along the bottom of the coffin box. A woman with upraised arms appears at the head and the foot of the coffin. These probably represent the goddesses Isis and Nephthys.
Met Museum
metmuseum.org
martes, 26 de enero de 2016
domingo, 24 de enero de 2016
ragment of mummy cartonnage
This fragment of mummy cartonnage, which dates from the New Kingdom, depicts a goddess adorned with a sun disk. Her arms, which have wings, are raised in the gesture of protection. The identity of the goddess is unknown; her name, which should have appeared between the two lines in front of her face, was never filled in. The piece was once in the Lambruschini collection.
COFFIN/SARCOPHAGUS/CARTONNAGE
L. Limme, La collection égyptienne des M.R.A.H. Notes additionelles sur les étapes marquantes de son développement, Cd'É 64 (1989) 102
KMKG - MRAH
globalegyptianmuseum
Fragment of mummy cartonnage
Fragment of mummy cartonnage
COFFIN/SARCOPHAGUS/CARTONNAGE
NEW KINGDOM
This fragment of mummy cartonnage, which dates from the New Kingdom, depicts the upper part of a standard on which a ram crowned with two feathers and a sun disk is standing. The sacred animal of the god Amun and the god Khnum formed part of the iconography of funerary equipment from the New Kingdom on.
L. Limme, La collection égyptienne des M.R.A.H. Notes additionelles sur les étapes marquantes de son développement, Cd'É 64 (1989) 102
KMKG - MRAH
globalegyptianmuseum
viernes, 22 de enero de 2016
Stela Depicting King Amenhotep the First
Stela Depicting King Amenhotep the First
The stela, an upright stone with a sculpted surface, depicting King Amenhotep the First with his royal symbols is from the later Ramesside period.
Amenhotep the First played an important role in popular religion by the end of the New Kingdom, especially in the Deir el-Medina village, where the workmen worshiped him.
...
The stela, an upright stone with a sculpted surface, depicting King Amenhotep the First with his royal symbols is from the later Ramesside period.
Amenhotep the First played an important role in popular religion by the end of the New Kingdom, especially in the Deir el-Medina village, where the workmen worshiped him.
...
This stela is one of many that were dedicated to him as a god. The stela depicts a standing Amenhotep the First in painted high relief. He wears sandals and a wig decorated with a uraeus, or royal cobra. He holds the "Was" scepter of prosperity and well being in one hand and the crook and the flail in the other. His pleated kilt has a frontal tab and streamers.
The border of the stela bears the name and titles of King Ramesses the Second.
Present location EGYPTIAN MUSEUM [01/001] CAIRO EM
Inventory number JE 43568
Dating AMENHOTEP I/AMENOPHIS I/DJESERKARE
Archaeological Site DEIR EL-MEDINAH
Category STELA
Material LIMESTONE
Technique CARVED; LOW RELIEF
Height 29 cm
Width 19 cm
globalegyptianmuseum
The border of the stela bears the name and titles of King Ramesses the Second.
Present location EGYPTIAN MUSEUM [01/001] CAIRO EM
Inventory number JE 43568
Dating AMENHOTEP I/AMENOPHIS I/DJESERKARE
Archaeological Site DEIR EL-MEDINAH
Category STELA
Material LIMESTONE
Technique CARVED; LOW RELIEF
Height 29 cm
Width 19 cm
globalegyptianmuseum
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