HYPOCEPHALUS

Inventory number: AMS 62

LINEN

PTOLEMAIC PERIOD

FUNERARY TEXT:  BOOK OF THE DEAD

Raven, M. J., De Dodencultus van het Oude Egypte, Amsterdam 1992, 71, nr. 28.
Schneider, H. D., Life and Death under the Pharaohs, Perth 1997, nr. 229b.

RIJKSMUSEUM VAN OUDHEDEN

globalegyptianmuseum

Tomb TT175

Then follows a man, armed with a pitchfork, who sends corn onto a pile lying on the threshing floor. Here again are the oxen who, by their trampling, ensure the threshing. To the right of this scene, the reapers cut the ears (a very damaged scene). Finally, on the far left of the register there are three baskets of red fruit that resembles bundles of leaves . Two men approach: one holding two birds by their wings, the second carries elongated vases.

osirisnet.net

Ahmose ans Ipy, his wife

The present el-Kab corresponds to the ancient city of Nekhen, once very important city, the powerful capital of the 3rd nome of Upper Egypt.

To the north-east of the city is a sandstone hill filled with tombs which essentially date from the beginning of the XVIIIth Dynasty All these tombs are fronted by a common terrace .

Chapel N°5 of Ahmose - Son of Ibana is famous for its autobiographic text which tells the military campaigns in which the deceased participated, but the monument was never the object of a complete publication.

The chapel was created, according to its texts, by the deceased's grandson, Paheri, to celebrate this famous ancestor - and the lineage from which he was himself the descendant.

Ahmose has not been buried here: there is only one funeral shaft, dug in an annexe, and it was created after his death. Paheri, himself, has his own burial close by.

Ahmose ans Ipy, his wife

http://www.osirisnet.net/tombes/el_kab/ahmes/e_ahmes_01.htm

clth

CLOTH/SHROUD

LINEN

WOVEN

PTOLEMAIC PERIOD

't Hooft, Ph. P. M., Raven, M. J., Rooij, E. H. C. van, en G. M. Vogelsang-Eastwood, Pharaonic and Early Medieval Egyptian textiles, in: Collections of the National Museum of Antiquities at Leiden 8, Leiden 1994, nr. 150.

Raven, M. J., Mummies onder het mes, Amsterdam 1993, 40-41, 60-61.

Schneider, H. D., Life and Death under the Pharaohs, Perth 1997, nr. 204.

RIJKSMUSEUM VAN OUDHEDEN

globalegyptianmuseum

 

 

ANIMAL/HYBRID FIGURINE

ANIMAL/HYBRID FIGURINE

International inventory number 06/001/13916

FAIENCE

12TH DYNASTY

Leemans, C., Aegyptische Monumenten van het Nederlandse Museum van Oudheden te Leiden I.6, Leiden 1844, pl. XX, 75.

Schneider, H. D., Life and Death under the Pharaohs, Perth 1997, nr. 168.

globalegyptianmuseum


 RIJKSMUSEUM VAN OUDHEDEN

Seated female

Seated female

Period:HalafDate:ca. 5600–5000 B.C.Geography:Mesopotamia or SyriaCulture:HalafMedium:Ceramic, paintDimensions:H. 5.1 cm, W. 4.5 cmClassification:Ceramics-SculptureCredit Line:Purchase, Leon Levy and Shelby White Gift, 1985Accession Number:1985.84

Distinctive clay female figures like this one were produced at sites belonging to the Halaf culture. This example displays a strong stylization with an emphasis on the sexual features. She sits with her large thighs extended, supporting her breasts with her arms; neither hands nor feet are shown. Her head is missing; in other figures of this type when the head is intact, it is elongated into a large noselike projection but otherwise is featureless. Remains of paint may represent jewelry. The meaning of such representations is unknown but may be connected with fertility. The stylized depiction of the nude female form remained an artistic convention in northern Syria, Anatolia, and the Aegean for several millennia.

http://metmuseum.org/art/collection/search/327066

Two Vases in the Shape of a Mother Monkey with her Young

Two Vases in the Shape of a Mother Monkey with her Young

Period:Old KingdomDynasty:Dynasty 6Reign:reigns of Pepi I and MerenreDate:ca. 2289–2246 BCGeography:From EgyptMedium:Travertine (Egyptian alabaster), paint, resin and pigmentDimensions:30.8.134: h. 18.6 cm (7 5/16 in.) 1992.338: h. 13.7 cm (5 3/8 in.)Credit Line:Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 (30.8.134); Purchase, Joseph Pulitzer Bequest, Fletcher Fund, and Lila Acheson Wallace, Russell and Judy Carson, William Kelly Simpson, and Vaughn Foundation Gifts, in honor of Henry George Fischer, 1992 (1992.338)

http://metmuseum.org/art/collection/search/590943

 These charming vases are carved in the shape of mother monkeys each holding a baby clinging tightly to her chest. Alluding to motherhood and fertility, and also to the exotic lands that provided rare ingredients for the rejuvenating oils and unguents stored inside, they are inscribed wtih references to the kings' jubilee. It is likely that the vessels were given by Sixth Dynasty kings to favored courtiers, particularly women.

offering table

Offering table

Period:Old KingdomDynasty:Dynasty 6Date:ca. 2323–2150 B.C.Geography:From Egypt, Memphite Region, Lisht North, Old Kingdom Cemetery, Tomb I, Pit B, MMA Excavations 1932Medium:Travertine (Egyptian alabaster)Dimensions:h. 8.5 cm (3 3/8 in); diam. 37.5 cm (14 3/4 in)

http://metmuseum.org/art/collection/search/575731

Meryra

There is no architectural representation in this panel, not even an altar. Only three tables of offerings are illustrated resting on the floor.

The conventions of Egyptian drawing are perfectly respected. The scene shows the king and the queen one behind the other, but who were actually side by side (view 48), who throw a fragrant resin into the two braziers which surmount the offerings on the table. These braziers were in fact in front of the table on which one had stacked the usual animal and plant products. Akhenaten is crowned with the khepresh, and is clothed only with of a loincloth resting on his hips. The whole of his body is represented particularly gynoid (pear-shaped), very similar to that of Nefertiti. [NB: The possible significance of the sovereign's physical representation is discussed in the article Akhenaten and the religion of the Aten]. Behind the couple are two of their daughters who wear the hanging side lock of childhood - Merytaten and Maketaten (who shake sistra).

Meryra is accompanied by another priest, both are much smaller than Akhenaten. He holds out to the king the products destined for the offering, probably a cone of incense.

Seen here is the position which Akhenaten assigned to the above dignitary of his clergy : the one of an underling, with no theological role since the king and the queen, and them only, could address Aten and provide worship of the cult in its fullness. However, he probably had the power to assist in worship, probably simplified, when the sovereigns were indisposed.

The representation of the disk which surmounts the scene is extraordinary and has never been found elsewhere

. It was the subject of numerous speculations which deserve a special chapter.

TOMB N°4, North Group

Meryra

http://www.osirisnet.net/tombes/amarna/meryra/e_meryra_01.htm

The tomb of Pennut

 

South wall

In the register underneath is found beneath the divine triad, Pennut and the "Supervisor of the granaries, Penre"; the latter is responsible for ensuring the proper implementation of the statue’s maintenance.

Under Ptah and Thoth, two women are visible, which belong to a scene located on the east wall.

The gift of the statue and the management of its worship reflect the privileged status of Pennut and are a source of prestige, like the authorization to represent his sovereign in his tomb.

Pennut plans to continue to benefit from this status in the afterlife, since the legal deed of gift, engraved on the walls remain visible to all visitors of the chapel and to the gods named in the tomb.

The tomb of Pennut

http://www.osirisnet.net/tombes/amada/pennout/e_pennout_01.htm

The tomb of Pennut

Head from an Osiride Statue of Hatshepsut

Head from an Osiride Statue of Hatshepsut

Period:New KingdomDynasty:Dynasty 18Reign:Joint reign of Hatshepsut and Thutmose IIIDate:ca. 1479–1458 B.C.Geography:From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Jaw from "Hatshepsut Hole"/rest from Senenmut Quarry, MMA excavations, 1922–23/1926–28

This head originally belonged to one of the Osiride statues that were carved in high relief in niches along the rear wall of the upper terrace of Hatshepsut's temple at Deir el Bahri. Hatshepsut wears the Double Crown of Upper and Lower Egypt suggesting that the head was from a figure in one of the niches on the northern side of the terrace. Another head, 31.3.163, wears the White Crown of Upper Egypt and came from a niche on the southern side.

These Osiride figures were architectural accents rather than freestanding statues and were carved from the same limestone blocks that were used to construct the temple itself. Four Osiride statues decorated the corners of the temple's shrine of Amun (31.3.153–.155), and a series of much larger statues were attached to the pillars at the front of the upper terrace (31.3.156, 31.3.158, 31.3.159).

Met Museum

SPINDLE WHORL

SPINDLE WHORL

WOOD

This wooden spindle was found, together with three similar objects, in the tomb of the 'embroideress' at Antinoopolis during the excavations led by A. Gayet. The instrument served to spin linen or wool. The bottom of the disk has been flattened, while the top shows a curve. It is possible that the disk once held a hook which guided the thread.

EL-SHEIKH `ABADA/ANTINOOPOLIS

ROMAN PERIOD

KMKG - MRAH

Inventory number E.1031A

globalegyptianmuseum

BAKERY (MODEL)

BAKERY (MODEL)

This model of wood, which was found during the excavations of A. Gayet at Antinoopolis, depicts a standing man, a woman sitting before a chopping-block and a loaf which is found on the floor. It was probably part of a baking scene. The piece, which carries traces of stucco and paint, dates from the Middle Kingdom.

EL-SHEIKH `ABADA/ANTINOOPOLIS

1ST INTERMEDIATE PERIOD >

J. Breasted, Egyptian Servant Statues, Washington 1948, 30 nº 6

Génie des hommes, âme de l'homme (Exposition), Huy 1998, 14, 41 nº 28

KMKG - MRAH

globalegyptianmuseum

Model of a funerary boat

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

Bibliography• ALMAGRO BASCH, M; ALMAGRO GORBEA, M, J; PEREZ - DIE, Mª C, Arte Faraónico. Exposición,1975, P. 103 Nº 43,

•PEREZ- DIE, Mª C., Egipto. Guía didáctica del Museo Arqueológico Nacional. I, 1985, P.32.

•Guía Histórica y Descriptiva del Museo Arqueológico Nacional, 1917, P.96.

•ALVAREZ- OSSORIO, F., Una visita al Museo Arqueológico Nacional, 1925, P.35.

•PEREZ DIE, Mª C., La Collection Egyptienne du Musée Archéologique National de Madrid (Espagne). Acts. First International Congress of Egyptology. October 1976, Berlín, 1979, lám. LXXII.

•PEREZ DIE, M.C. La Tumba de Tutmosis III. Las horas oscuras del sol. Catálogo de la Exposición, Madrid 2004, p.110

globalegyptianmuseum

facsimile ocas

Facsimile Painting of Geese, Tomb of Nefermaat and Itet

Artist:Charles K. Wilkinson [painted 1920-21]

Period:Original: Old KingdomDynasty:Dynasty 4Reign:reign of SnefruDate:ca. 2575–2551 B.C.Geography:Original from Egypt, Memphite Region, Meidum, Tomb of Nefermaat and Itet, outer chapel of ItetMedium:Tempera on paperDimensions:facsimile: h. 24.5 cm (9 5/8 in); w. 161.5 cm (63 9/16 in) scale:1:1 framed: h. 30.5 cm (12 in); w. 167 cm (65 3/4 in)

This facsimile copies a painting from the early Dynasty 4 tomb of Nefermaat and Itet at Meidum, the original of which is now in the Egyptian Museum, Cairo (Cairo CG 1742). The geese were once part of a larger scene found on the north wall in the tomb chapel of Itet, the wife of the vizier Nefermaat, and likely the daughter-in-law of King Snefru. As members of the royal family, the pair was granted a large mastaba tomb close to the pyramid of the king and could employ the most sought-after artists of the day to help in its decoration. The geese were depicted below a scene showing men trapping birds in a clap net and offering them to the tomb’s owner. While it is not uncommon to find scenes of fowling in the marshes in Old Kingdom tombs, this example is one of the earliest and is notable for the extraordinary quality of the painting. The artist took great care in rendering the colors and textures of the birds’ feathers and even included serrated bills on the two geese bending to graze.

Met Museum

metmuseum.org

 

 

 

Slab stela of Nefertiabet.

Slab stela of Nefertiabet.

Amenenhat

The stools of the sons are painted white; the disposition of the struts of these seats form an on-going motif in Egyptian furniture and the links which tie the different elements are minutely detailed.

Before the first character, one reads "his son Amen-iunu(...), before the third "his son Nebma'at, just of voice", before the last "his son Ay, j(ust of voice)". The effigies of the first and second son are mutilated very severely. Their representation is based on the one of their father. All have a naked torso and wear a short loincloth with a triangular front-piece, a green collar and a short round wig. In their left hand closed on the chest, a piece of bent material.

A servant, clothed only in a simple loincloth and a short wig, stretches out to the first son (the eldest) possibly a cup. Behind him four tall, very round, earthenware jars of a lilac hue and with red and black decor, closed by an upturned white cup, as well as a smaller rose coloured vase with a flat-bottom from which he draws the drink that he offers

Notice that, for lack of place, these jars are not on the same level as the characters and that they rest on a papyrus mat

TOMB 340 was discovered by Bernard Bruyère in 1925. It is a tiny vault located below a courtyard and which one reaches by some steps.

http://www.osirisnet.net/tombes/artisans/amenemhat340/e_amenemhat340.htm

Tutankhamun: Anatomy of an Excavation

The Griffith Institute
Tutankhamun: Anatomy of an Excavation
The Howard Carter Archives
Photographs by Harry Burton
http://www.griffith.ox.ac.uk

ostracon

MM 14005 :: Artist's sketch, Ostracon

Ostracon, once broken in half, repaired. Sketch on one side, in black. It shows a seated woman, facing right. She is sitting on a bed, its legs supported by Bes-like creatures,which stands on a baseline. The bed has four parallel lines of various ornamental patterns. The woman is wearing a semi-transparent, wide garment, a collar and a large wig with a headband tied in a bow. She is wearing an ointment cone, which is also decorated with a band, on her head. Her earrings are disc-shaped. On her lap is a child which the woman is breast feeding, the child is also wearing a collar. To the left is a mirror with a long handle and a vessel for cosmetics. In the upper right hand corner is a garland, very similar in design to a collar. From it (?) hangs heart-shaped leafs. Mounted with metal pins on fabric.

Inventory numberMM 14005Old numbersE4005ObjectArtist's sketch; OstraconObject, SwedishOstrakon; Konstnärs-skissCountry - OriginEgypt : AfricaCountry, Swedish - OriginEgyptenGeographic name, alternativeDeir el-MedinaGeographic name, alternative - SwedishDeir el-MedinaProvenance - OriginDeir el-MedinaMaterialLimestone; Ochre; StoneMaterial, SwedishSten; Kalksten; OckraExhibitionsPermanent exhibition, Egyptian galleries, MedelhavsmuseetAcquisitionGift from R.G. Gayer-Anderson 1935.Acquisition, SwedishGåva från R.G. Gayer-Anderson 1935.Description, SwedishOstrakon, ursprungligen bruten itu, reparerad. Skiss på ena sidan i svart. Den visar en sittande kvinna som är vänd mot höger. Hon sitter på en säng, vars ben är stödda av Bes-liknande figurer vilka i sin tur står på en baslinje. Sängen har fyra parallella linjer med olika mönster. Kvinnan bär ett halvgenomskinligt, vitt plagg, en krage och en stor peruk med ett huvudband knutet i en rosett. Hon bär en parfymkon, som också är dekorerad med ett band, på huvudet. Hennes örhängen är skivformade. I hennes knä sitter ett barn som kvinnan ammar, barnet bär också en krage. Till vänster finns en spegel med ett långt handtag och ett kosmetikkärl. I det övre högra hörnet finns en girland som är mycket lika kragen i sin utformning. Från den (?) hänger hjärtformade löv. Monterad med metallnålar på tyg.

http://collections.smvk.se/carlotta-mhm/web/object/3006018

ostracon

Ostracon, irregularly shaped. Sketches on both sides, one in black, the other in red. On one side, there are two male heads on the left hand side of the piece, with two hieroglyphs in the top left hand corner. In the middle is an ear with a pierced earlobe. To the right is a falcon head with a hieroglyph underneath it. On the reverse of the piece, outlined in black and red, is a jackal, lying down. The head is no longer visible. Limestone.

Inventory numberMM 14139ObjectArtist's sketch; OstraconObject, SwedishOstrakon; Konstnärs-skissCountry - OriginEgypt : AfricaCountry, Swedish - OriginEgyptenProvenance - OriginDeir el MedinehMaterialStoneMaterial, SwedishStenAcquisitionGift from R.G. Gayer-Anderson 1935Acquisition, SwedishFrån R. G. Gayer-Andersons samling.DescriptionOstracon, irregularly shaped. Sketches on both sides, one in black, the other in red. On one side, there are two male heads on the left hand side of the piece, with two hieroglyphs in the top left hand corner. In the middle is an ear with a pierced earlobe. To the right is a falcon head with a hieroglyph underneath it. On the reverse of the piece, outlined in black and red, is a jackal, lying down. The head is no longer visible. Limestone.ConditionFragmentaryPeriod19-20th Dynasty (1315-1081 BC), New Kingdom

http://collections.smvk.se/carlotta-mhm/web/object/3005994

painting dancer

http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199935413.001.0001/oxfordhb-9780199935413-e-32

Decorative element on the front panel of a so-called lit-clos picturing a young female dancing and playing flute. Painting on mouna coating; located in the first room of the house SE VIII.
Photo: C. Gobeil