Yuya

The mummy of Yuya was found along with that of his wife, Tuyu, in their tomb in the Valley of the Kings. (For more data about the contents of KV 46, click on The Treasures of Yuya and Tuyu on the navigation bar at left.) KV 46 was one of the few non-royal burials in the Valley, and indicates the high esteem in which Yuya and Tuyu were held by Amenhotep III, their son-in-law.
    When found, Yuya was still in his coffins, but the lids had been removed and the mummy had been rifled by thieves in search of valuables. In spite of this, Yuya's mummy was not substantially damaged, and a few objects remained on the body or in the torn bandages. Quibell and Davis both mention a gold plate, which had been used to cover the embalming incision. Davis goes on to describe "numerous valuable religious symbols, several scarabs, and various objects of interest and beauty," including "a necklace of large beads made of gold and of lapis lazuli, strung on a strong thread" which were found on the mummy. Quibell further notes that Yuya had gold finger stalls covering his fingers, and X-rays taken by Harris show finger-rings still in place on Yuya's hands. The Cairo Museum also has an amulet (CG51167) and some beads (CG51184, perhaps the ones referred  to by Davis above) deriving from Yuya's mummy.
    G. E. Smith describes the mummy of Yuya as one of the finest examples of the embalming practices of the 18'th Dynasty. The mummy is that of an old man, and Maspero stated that Yuya was probably in his sixties when he died. His thick, wavy hair is a yellowish color, and was probably bleached by the embalming materials rather than being naturally blonde. Smith says the hair was white when Yuya died. (Click here for color photo of Yuya's mummy.) His body cavity was packed with balls of linen soaked in resins, and his perineum is thickly coated with resinous material to such an extent that his genitals are completely covered. Yuya's arms were crossed over his chest, with the fingers of the hands extended. His eye sockets were packed with linen and the eyelids had been pulled closed.
    Yuya's mummy, like that of his wife, was equipped with an openwork cartonnage "cage," coated with a thin layer of plaster, inscribed and covered with gold foil (see photo above.) This device was designed to fit over the shroud of the mummy as a means of holding it in place. (Source Bibliography: DRN, 150, fig. 57, 161, no. 109 and 111; EM, 97; IT, xxi, xxix; TTAA, 39, 68; XRA, 169f.; XRP, 141-142.)


 http://anubis4_2000.tripod.com/mummypages1/18B.htm

Painted limestone statue of

Nenkheftka

From Deshasha, Egypt
5th Dynasty, around 2400 BC

A provincial official at the height of the Old Kingdom

This statue comes from Nenkheftka's tomb at Deshasha. Free-standing statues such as this were a characteristic feature of the tombs of the Old Kingdom (about 2613-2160 BC). The tombs often had a dedicated statue-chamber, usually known by the arabic term serdab. Statues such as the one shown here were intended to keep the memory and the personality of the deceased person alive, so that even if his body were destroyed his spirit would still be able to reside in the statue.
It is rare to find statues dating to the Fifth Dynasty (about 2494-2345 BC) that, like this one, come from outside the cemeteries associated with Memphis, the capital city. This example is of a far higher quality than any others known from the provinces, and has much in common stylistically with those from Memphis. The superb rendering of the facial features and detailing of the wig make this a masterpiece of Egyptian sculpture.
Only the statue chamber of Nenkheftka's tomb has survived. It also contained sculptures now in other museums, including the Cairo Museum and the Museum of Fine Arts in Boston.
W.M.F. Petrie, Deshasheh (London, 1898)
S. Quirke and A.J. Spencer, The British Museum book of anc (London, The British Museum Press, 1992)


British Museum
source: britishmuseum.org

TT296, la tombe de Nefersekherou

Les plafonds du passage d'entrée, de la salle principale, ainsi que celui au-dessus de la niche à statues ont été très soigneusement réalisés, et le hasard a fait qu'ils soient aussi très bien préservés. Chacun comporte un ou plusieurs motifs centraux, en général de style géométrique. Il en résulte cinq motifs différents, dont trois se trouvent dans la pièce principale. Les caissons ainsi réalisés sont séparés les unes des autres par des bandes de couleur et, dans le cas du plafond principal, par des bandes de texte. Chacun de ces plafonds sera décrit plus en détail dans la zone correspondante.

osirisnet.net

 TT296, la tombe de Nefersekherou

Drawing of a water colour of a wall painting,

Drawing of a water colour of a wall painting, Deir el-Medina, House S.E. VIII. Based on Vandier  D’Abbadie (1938, PL. III).

source:
https://www.academia.edu/2257428/Figured_ostraca_from_Deir_el-Medina

Three Monkeys Playing on a Chariot

This beautiful toy is made of painted sandstone. It was discovered at Tell el-Amarna.

It depicts three monkeys, two on the left side and one on the right. They are stretching a robe above the horses' heads. All the figures are resting on a chariot with four wheels.

This toy might have been used by the king's daughters to play with.

Present location	EGYPTIAN MUSEUM [01/001] CAIRO EM
Inventory number	JE 53021
Dating	18TH DYNASTY
Archaeological Site	EL-`AMARNA/AKHETATEN
Category	TOY
Material	LIMESTONE
Technique	CARVED		globalegyptiaNMUSEUMM

Kefren

Statue of Khafre in diorite. Valley Temple of Khafra, Giza. Egyptian Museum, Cairo. Main floor - room 42. Diorite: height 168 cm, width 57 cm, depth 96 cm. JE 10062 - CG 14

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LA ARQUEOLOGIA DEL EGIPTO ARCAICO: TRANSFORMACIONES SOCIALES EN E L NORESTE DE AFRICA (10000-2650 A.C.)

LA ARQUEOLOGIA DEL EGIPTO ARCAICO: TRANSFORMACIONES SOCIALES EN E L NORESTE DE AFRICA (10000-2650 A.C.)
DAVID WENGROW , BELLATERRA, 2007
ISBN 9788472903838
La historia de la arqueología se ha convertido en los últimos años en una herramienta fundamental para comprender la práctica arqueológica. Por primera vez los historiadores de la arqueología se hacen eco de los debates teóricos y metodológicos que se producen en el seno de la historia de la ciencia presentismo, inter¬n alistas versus externalistas  y defienden la impor¬tancia de esta disciplina para el progreso de la ciencia. El cambio de orientación se produjo a finales de los años ochenta y durante los años noventa, cuando algunos historiadores de la arqueología (Trigger, Richard, Christenson) asumieron la importancia de considerar el contexto social, económico, político y cultural a la hora de estudiar el desarrollo del conocimiento arqueoló¬gi¬co. La historia de la arqueología ya no es una mera crónica del progreso científico, sino una parte esencial de la teoría arqueológica. Buen conocedor de la historia de la ciencia y discípulo de Bruce G. Trigger, el autor muestra cómo la historia de la arqueología debe constituir un instrumento de reflexión fundamental a propósito de la práctica arqueológica. En su análisis crítico de la historiografía arqueológica, Oscar Moro considera que esta no ha escapado totalmente del tipo de historia tradicional que denuncia, es decir, aquella que simplifica el pasado para legitimar el presente, sirviendo a los intereses dominantes de la sociedad y a determinados discursos ideológicos.