TT6, the tomb of Neferhotep and his son, Nebnefer .

 

 TT6, the tomb of Neferhotep and his son, Nebnefer .

Only part of the the image of the lady Iy, the wife of Nebnefer, remains and she is standing behind her husband who is actually portrayed on the south end of the west wall. "His daughter, who makes his name live, Iy, 'True of Voice' by Osiris [...]". It is also on the west wall that the explanatory text, painted in beautiful coloured hieroglyphs, which ends in front of Iy, begins: "To bring all good and pure things for your ka, the Osiris, master of the west, Un-nefer, master of the Sacred Land, the foreman of the team of the Place of Truth, Neferhotep. His son, who makes live his name, the foreman of the team of the Place of Truth, Nebnefer, 'True of Voice' by the great god. His sister, the chantress of Khnum, Satet and Anuket.".

Iy holds in her hands two instruments with Hathoric connotations: a sistrum in her right hand, a Menat necklace and its counterweight in her left hand. According to the custom of the Ramesside period, her dress is full, occupying a significant space in the composition

TT6, the tomb of Neferhotep and his son, Nebnefer .

osirisnet.net

Artist's sketch, Ostracon

MM 14008 ::

Artist's sketch, Ostracon

Ostracon, showing two human figures, the left one drawn in red ink, the other in red and black. The two men are standing on a line, drawn in red ink, with a table, resting on a pillar, in between them. The man on the left has a shaved head and is wearing a kilt. The man next to him is facing left, dressed in a short loincloth, is wearing a pectoral and bracelets, and is holding a sceptre in his right hand. His crown is of the doubled feathered type. This divine attribute helps to identify the right most man as the god Amun, while the other one is an ordinary man. Possible votive object.

SOURCE: collections.smvk.se/

Bloc inscrit aux cartouches de l'empereur Tibère

Bloc inscrit aux cartouches de l'empereur Tibère - 14 à 37 de notre ère. Temple de Montou de Medamoud.

Kneeling figure

Kneeling figure

Wooden sculpture of this type and period is extremely rare. The surviving examples probably all come from tombs. The kneeling posture might indicate the piety of the deceased; it is less easy to explain the position of the arms, tightly enclosed in a cloak, although an image of similar form, named the tekenu was included in the funeral procession at élite burials.

Present location NATIONAL MUSEUM OF IRELAND [30/002] DUBLIN

Inventory number 1954:160

Dating 26TH DYNASTY

Archaeological Site UNKNOWN

Category STATUE

Material WOOD

Technique SCULPTURED

Height 36 cm

Width 15 cm

Depth 24 cm

globalegyptianmuseum

Statue of Menkaura (Mycerinos) and Queen Khamerernebty II.

Statue of Menkaura (Mycerinos) and Queen Khamerernebty II. (Chamerernebti II.). From the Giza Valley Temple of Menkaura, made during his reign (circa 2548-2530 B.C.) Graywacke. Now residing at the Museum of Fine Arts, Boston. Museum Expedition 11.1738.

Amulet of min, the god of fertility

Amulet of min, the god of fertility

Crude moulded faience amulet showing the god Min with mummiform body, double plumed head-dress, and arm raised to support a flagellum. In place of the erect phallus, principal attribute of this god of potency, the figure has the left hand held to the waist.

Present location NATIONAL MUSEUM OF IRELAND [30/002] DUBLIN

Inventory number 1922:34

Dating LATE PERIOD

Archaeological Site UNKNOWN

Category AMULET

Material FAIENCE

Technique PRESSED IN A FORM/MODEL

Height 2.3 cm

globalegiptianmuseum

Amulet of Duamutef

Amulet of Duamutef

Faience amulet in the form of the jackal-headed Duamutef, one of the four sons of Horus, protectors of the inner organs treated separately in mummification. His role is indicated by the mummiform body and the mummy-bandages held as crossed diagonals on the chest. With his three brothers Duamutef regularly forms a set of four funerary amulets placed on the body in the 3rd Intermediate Period and later. On this example the plain tripartite wig is picked out in purple-black glaze against the turquoise-blue background.

Present location NATIONAL MUSEUM OF IRELAND [30/002] DUBLIN

Inventory number 1920:392

Dating 3RD INTERMEDIATE PERIOD

Archaeological Site UNKNOWN

Category AMULET

Material FAIENCE

Technique PRESSED IN A FORM/MODEL

globalegyptianmuseum

Shabti of king Sethos I

Shabti of king Sethos I

Shabtis are already found in funerary equipment of the Middle Kingdom. From the New Kingdom, they theoretically numbered 365 workers and 37 overseers, one for each team of 10 workers. It is thought that they were expected to undertake forced labour in the next world on behalf of the deceased, and thus they were often provided with small model tools. This superb shabti in blue faience was one of the large collection of funerary figurines made for Sethos I. The wig, eyebrows, collar, as well as the agricultural instruments which the shabti holds in its hands, are painted in black. The text is taken from chapter 6 of the Book of the Dead.

Present location KMKG - MRAH [07/003] BRUSSELS

Inventory number E.8386

Dating SETHOS I/MENMAATRE

Archaeological Site VALLEY OF THE KINGS

Category SHABTI

Material POTTERY

Technique FORMED BY HAND; PAINTED; FAYENCE; WRITTEN WITH A REED PEN/REED WITH SPLIT NIB

Height 10.2 cm

Width 4.9 cm

Depth 3 cm

Bibliography•W. Seipel, Ägypten. Götter, Gräber und die Kunst. 4000 Jahre Jenseitsglaube (Exposition), Linz 1989, I 210 n° 168

•Le Roman de la momie. Les amours d'une princesse égyptienne (Exposition Saint-Gérard de Brogne), Namur 1997, 139 n° 168

globalegyptianmuseum

The funeral procession on water

This fragment shows two scenes of funerary boats travelling to the right towards a booth under which are jars and a conical loaf. The boat in the upper register is propelled by four oarsmen; in the cabin at the front two persons are seen talking to each other. On top of the catafalque (?) five mourners are sitting, dressed in large white robes. In the lower register a person on the right takes hold of the prow of a boat rowed by four oarsmen. The boat is carrying several standing individuals: one man carrying papyrus bouquets, another holding a large stick, another with a fan, and two men carrying ritual vessels, a funerary figurine, and a shabti box. At the extreme right, beneath the upper booth, a servant is holding two jars on the ground.

Present location	KMKG - MRAH [07/003] BRUSSELS
Inventory number	E.2380
Dating	18TH DYNASTY
Archaeological Site	UNKNOWN
Category	WALL PAINTING
Material	UNSPECIFIED MINERAL; PLASTER
Technique	PAINTED
Height	74.5 cm
Width	38 cm

Bibliography

• L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 40 nº 154
• A. Mekhitarian, Fragments de peintures thébaines, Serapis 6 (1980) 88
• L. Manniche, Lost Tombs, Londres-New York 1988, 192-193
• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 26-28

globalegyptianmuseum

Magic brick

Magic brick
OIM 6401 (Tafell0 Nr. 3-5)
Front
...

source: Magical Bricks in the Oriental Institute Museum of the University of Chicago.pdf

Scene from a Magical Papyrus

Scene from a Magical Papyrus

The standing winged creature seen here is known as the nineheaded Bes figure, a divine protector of the birth of the king and of the sun. This form of Bes was closely associated with the evening and the night part of the solar cycle. He thus also played an important role as guardian of sleeping women and children, particularly against the dangers of the night, represented here by the noxious creatures contained in the oval upon which he stands. The firebrands that surround him represent destructive forces directed at anyone who approaches.

DATES 7th-4th century B.C.E.

PERIOD Late Period

Brooklyn Museum

brooklynmuseum.org

Detail of Stela A

Detail of Stela A

Tunha el gebel

Beni Hassan

Fragment of a figurine of Tchembou in writing

Fragment of a figurine of Tchembou in writing

This fragment of a figurine in limestone, which comes from the excavations of W. F. Petrie at Abydos, represents the scribe Tchembou who is seated on a socle, his legs crossed. He holds in each hand the rolled up edge of a papyrus, which contains, in four columns, an offering formula addressed to "Osiris, Lord of Abydos", in favour of the "scribe Tchembou". The piece dates from the beginning of the 18th Dynasty.

Abydos

XVIII dynasty

KMKG - MRAH

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MINOAN DEITIES IN AN EGYPTIAN MEDICAL TEXT

MINOAN DEITIES IN AN EGYPTIAN MEDICAL TEXT


http://www2.ulg.ac.be/archgrec/IMG/aegeum/aegaeum22(pdf)/56%20HAIDER.pdf

The London Medical Papyrus

The London Medical Papyrus

London Medical Papyrus; sheet 3; group of small fragments with traces of hieratic medical text recto and verso.

A-Skin Complaints, Incantations 1-21

B-Eye Complaints, Incantations 22-24

C-Bleeding, Incantations 25-33 (principally incantations against miscarriage)

Length: 18 centimetres (frame)

Width: 16.5 centimetres (frame

Published:

Bardinet, RdE 39, p. 24-25.

Leitz C, 1999, Magical and Medical Papyri of NK, BMP 1999.

See Redford, Rivisto del instituo de historia antigua oriental 12/13 2005-6 – 149f

British Museum

britishmuseum.org

Escenas de la tumba tebana de Najt, TT52, donde arriba, se representa a Najt cazando en la marisma

Escenas de la tumba tebana de Najt, TT52, donde arriba, se representa a Najt cazando en la marisma

 Norman de Garis Davies, Nina Davies (2-dimensional 1 to 1 Copy of an 15th century BC Picture) - Matthias Seidel, Abdel Ghaffar Shedid: Das Grab des Nacht. Kunst und Geschichte eines Beamtengrabes der 18. Dynastie in Theben-West, von Zabern

Book of the Dead of Sesostris

The Weighing of the Heart ritual, shown in the Book of the Dead of Sesostris
Vienna M.

pirámide de Mencaure

pirámide de Mencaure

 

 

Cleopatra y Cesarion

The Greek Ptolemaic queen Cleopatra VII and her son by Julius Caesar, Caesarion at the Temple of Dendera.

Pregnant Hippopotamus with Crocodiles

Pregnant Hippopotamus with Crocodiles

 The subject of this relief is uncertain. The image of a pregnant hippopotamus with a lion’s mane is similar to the goddess Taweret. This goddess, with the addition of a crocodile on her back and another nipping her paw, is often found in Egyptian astronomical texts in connection with the northern constellations.

However, the inscription at the left names Hapi, the god of the Nile’s inundation, who has nothing to do with the stars. Perhaps the strong denotations of fertility of both Taweret and Hapi hold a clue to the meaning of the scene.

MEDIUM Limestone

Place Made: Egypt

DATES ca. 664-30 B.C.E.

PERIOD Late Period to Ptolemaic Period (possibly)

DIMENSIONS 14 5/16 x 13 1/2 x 2 3/4 in., 23 lb. (36.4 x 34.3 x 7 cm, 23 lb.) 

 

 

Brooklyn museum

 

brooklynmuseum.org

Figured Ostracon with Head of Akhenaten

 Figured Ostracon with Head of Akhenaten


ca. 1352–1336 B.C.E. Limestone, pigment, 4 11/16 x 5 5/8 x 1 in. (11.9 x 14.3 x 2.5 cm). Brooklyn Museum, Gift of the Egypt Exploration Society, 36.876

 Limestone trial piece with ink sketch of the head of Akhenaten and to the right a clenched hand. The king wears the elongated crown with royal uraeus. His features include the usual long skull, very full lips and receding forehead. . Condition: A large fragment has been glued in place at the top of the piece. A small chip is missing at the thumb. The upper part of the drawing of the crown is very faint.

Brooklyn Museum

brooklynmuseum.org

Four Model Vessels on Common Base

Four Model Vessels on Common Base

Model Food Offerings

Over time, new subjects came to be depicted within the tradition of displaying models of food offerings.

New Kingdom Egyptians continued the Middle Kingdom tradition of leaving smallscale replicas of food as funerary offerings in tombs. Although some types were known earlier—such as the trussed duck and miniature vessels—a new subject was the gazelle. As desert dwellers, gazelles symbolized the chaos that existed in the sterile lands flanking the Nile Valley. Bound gazelles therefore represented the desire for eternal control over chaos.

DATES ca. 1539-1075 B.C.E.

DYNASTY XVIII Dynasty-XX Dynasty

PERIOD New Kingdom

DIMENSIONS 1 9/16 x 3 1/4 x 3 1/8 in. (4 x 8.3 x 8 cm)

Brooklyn Museum

brooklynmuseum.org

pottery

A pottery stand made from a thick red ware, with traces of red paint. On the side is the figure of a young woman in relief, she is naked and stands with her left arm raised to the basket she carries on her head.

BENI HASSAN

MIDDLE KINGDOM

Discovered by Garstang during his excavations at Beni Hassan in the early 1900's, the stand was later part of the private MacGregor collection sold at Sotheby's in 1923. The stand came to Liverpool as part of a gift from the Trustees of the Wellcome Foundation for the History of Medicine.

J. Garstang; " The Burial Customs of Ancient Egypt, as illustrated by Tombs of the Middle Kingdom", (1907) pl. XI, fig. 205.

LIVERPOOL MUSEUM

globalegyptianmuseum

Ball Containing Pellets

Ball Containing Pellets

Faience

An Egyptian invention, faience first appeared about 3500 B.C.E. and was used for a range of objects, including jewelry, amulets, bowls, pots, statuettes, inlays, and gaming pieces.

To make faience, ancient artisans first molded or shaped the raw material—a glassy paste of crushed quartz or sand —and then fired it. Craftsmen glazed faience pieces in three different ways. The simplest and oldest method involved brushing the object with, or immersing it in, liquid glaze before firing. Alternatively, workers mixed a crystalline mineral salt with the faience and allowed it to evaporate to the surface while the object dried. This mineral salt then melted and fused into a glaze during firing. In the third technique, an artisan buried the object in a glazing powder that fused with the core during firing. To decorate faience objects, craftsmen painted on designs before firing or mixed the moist faience paste with mineral colorants.

Unlike faience, glass was a foreign import that arrived in Egypt from western Asia shortly before 1500 B.C.E. The first Egyptian glassmakers relied on molds, limiting production to small objects such as beads and amulets. Later craftsmen perfected techniques that allowed for large, complex pieces.

Recreational Objects

The Egyptians were fascinated by faience’s bright colors and lustrous finish, and fashioned a wide variety of recreational objects in the material.

The hollow faience ball in this case—too fragile to have been tossed—probably served as a rattle during musical performances or religious rituals. The charming object in the form of an ape was a playing piece in one of the many Egyptian board games.

This text refers to these objects: 09.879; 36.125

MEDIUM Faience, painted

Place Made: Egypt

DATES ca. 1539-1292 B.C.E.

DYNASTY XVIII Dynasty

PERIOD New Kingdom

DIMENSIONS 1 1/4 x Diam. 1 1/4 in. (3.2 x 3.1 cm)

 

Brooklyn Museum

 

brooklynmuseum.org

Vase stand in cane

Vase stand in cane
This ring comes from the excavations of E. Naville and H. Hall at Deir el-Bahari in 1905-1906. It served as a receptacle support. The piece, which dates from the New Kingdom, is slightly damaged.
DEIR EL-BAHARI
...

NEW KINGDOM
KMKG - MRAH
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Koptos: UC 56020

Copper alloy ornament in the shape of a donkey; the flanks are decorated with incised impression of baskets.

Late Roman Period (?)

Petrie

http://www.ucl.ac.uk/

Blue lotus chalice

Blue lotus chalice in blue glazed faience (Ancient Egypt's alternative to plastic). It is decorated with sepals and petals of a blue lotus flower and is moulded in relief. Dating to the 19th Dynasty and from the town of Abydos

Bolton Museum

http://www.ancient-egypt.co.uk

 

Wooden anthropoid coffin and cartonnage mummy case of the Divine father Duaneteref,

Wooden anthropoid coffin and cartonnage mummy case of the Divine father Duaneteref, a priest whose name is partly preserved at the end of the funerary prayer on his mummy case.

The case is from Illahun, Dyke Ridge cemetery and dates to the 22nd Dynasty.

Bolton Museum

http://www.ancient-egypt.co.uk