Outer coffin of the Child Myt

Outer coffin of the Child Myt

Period: Middle Kingdom

Dynasty: Dynasty 11

Reign: reign of Mentuhotep II, early

Date: ca. 2051–2030 B.C.

Geography: From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Myt, Temple of Mentuhotep II, Pit 18, outer coffin of Myt, MMA excavations, 1920–21

Medium: Wood (ficus sycomorus), paint

Dimensions: l. 195 cm (76 3/4 in)

Credit Line: Rogers Fund, 1926

Accession Number: 26.3.9a, b

 

 This is the outer coffin of the child, Myt. She was buried in a set of two wooden coffins that were laid one inside the other and placed in a limestone sarcophagus.The mummy of Myt showed that she died as a little girl, probably not more than five years old. The embalmers added substantial padding to her feet and her head, which made the mummy much longer so that it looked like that of an adult. Myt’s tomb was robbed in antiquity, but her sarcophagus was not opened, and five precious necklaces were still in among the wrappings (see the five necklaces 22.3.320–.324). Myt is the ancient Egyptian word for a female cat, and Myt’s name is therefore written with a seated cat hieroglyph (see the left end of the inscription on the front of the coffin). Her coffin also features the so called wedjat eyes that were painted on the side of the coffin and correspond to the position of the mummy’s head. In the Middle Kingdom, the mummy was usually lying on its side and facing East, the location of the sunrise, which was associated with rebirth in ancient Egypt

 

Met Museum

 

metmuseum.org

Mummy bandage inscribed with a wedjat eye

Mummy bandage inscribed with a wedjat eye
Period: Third Intermediate Period
Dynasty: late Dynasty 21
...

Date: ca. 1000–945 B.C.
Geography: From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Henettawy F (MMA 59), MMA excavations, 1923–24
Medium: Linen
Dimensions: L. 14 × W. 12 cm (5 1/2 × 4 3/4 in.)
Credit Line: Rogers Fund, 1925
Accession Number: 25.3.186
metmusuem.org
Henettawy's unembalmed body was wrapped in bandages of fine linen, inscribed in places with protective emblems. This fringed square bears a wedjat, the healed eye of Horus, roughly drawn in ink. Wounded in battle and then made whole again, this eye was a potent symbol of regeneration. In this context, it indicated that the linen was of very fine quality

Artist's Sketch of three mummies

Artist's Sketch of three mummies

Period: Middle Kingdom

Dynasty: Dynasty 12, late–early 13

Date: ca. 1850–1750 B.C.

Geography: From Egypt, Memphite Region, Lisht North, cemetery south of pyramid, below House A2.4, Pit 308, MMA excavations, 1913–14

Medium: Pottery, ink

Dimensions: h. 7.8 cm (3 1/16 in); w. 6.7 cm (2 5/8 in)

Credit Line: Rogers Fund, 1915

Accession Number: 15.3.19

 

 

metmuseum.org

Introduction to the Archaeology of Ancient Egypt

Introduction to the Archaeology of
Ancient Egypt
Kathryn A. Bard

Headdress from the Head of a Mummy of a Child

Headdress from the Head of a Mummy of a Child

Period: Roman Period

Date: 2nd–early 4th century

Geography: From Egypt; Said to be from Northern Upper Egypt, Akhmim (Khemmis, Panopolis)

Medium: Yellow linen, brown wool

Dimensions: L. 67 × W. 25 cm (26 3/8 × 9 13/16 in.)

Credit Line: Gift of George F. Baker, 1890

Accession Number: 90.5.33

metmuseum.org

Antiochus IV

Bust of Antiochus IV at the Altes Museum in Berlin.

Ancestral bust mentioning the goddes Hathor

Ancestral bust mentioning the goddes Hathor
Neues Reich, 1540´1075, Chr.
Deir el Medine
...

AM 20994

Le livre de parcourir l'éternité

Le livre de parcourir l'éternité

François René Herbin

https://books.google.es/books?id=yOBBdwHcz0IC&printsec=frontcover&hl=es&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

Wooden statuettes of guardian figures

Wooden statuettes of guardian figures EA 50699, 50702 and 50703 (left to right), courtesy of the Trustees of the British Museum.

Polemaios X

Head of a statue of king

Prolemaios X

AM 14079

Altes Museum

Berlin

Museo de Pergamo

mask

The oval face represents a man or perhaps a deity. The face has holes of various shapes and sizes representing the eyes, nostrils and mouth; the nose is a gentle protrusion. There are small holes all around the skull, presumably to hold tufts of real hair. The entire face was apparently painted ochre, or orange-yellow, and still bears visible traces of that color. There is a deep hole under the neck, which suggests that the face was once fixed to a post and was probably used in cult ceremonias
Egyptian museum

globalegyptianmuseum

A collection of stucco masks

A collection of stucco masks, some with the eyes empty while others have them painted. The masks show the head and the neck only. They were usually put on the recumbent mummy.

They were made by casting the stucco in molds. Coal was used to color the hair black, while gold was used to paint jewelry such as earrings, necklaces and head bindings.

There are numerous examples in which the mask is completely painted with gold. It is obvious that these masks have been refurbished.

PTOLEMAIC PERIOD

BIBLIOTHECA ALEXANDRINA ANTIQUETIES MUSEUM

globalegyptianmuseum

Bowl with running spiral decoration

Bowl with running spiral decoration

Nubian

Classic Kerma

about 1700–1550 B.C.

Findspot: Kerma, Nubia (Sudan)

blossoms, with a rosette on the base. Inscription on the base has been translated by G. Posener as “To Humbaba.” Mended and restored in 1941.

Provenance

From Kerma, K I (Lower Deffufa), Room L, west side, hard debris. 1913: excavated by the Harvard University-Museum of Fine Arts Expedition; assigned to the MFA by the government of Sudan.

http://www.mfa.org/

Hammamat expedition: first wonder

https://mjn.host.cs.st-andrews.ac.uk/egyptian/texts/corpus/pdf/Hammamat110.pdf



Hammamat expedition: first wonder

Las seis tablillas de Amarna

Las seis tablillas de Amarna

Sarcophagus with Separate Cover

Sarcophagus with Separate Cover

Found in a royal tomb, this sarcophagus, or monumental coffin, housed the mummy of a prince or his wife. A pattern of niches imitating the designs on palace walls decorates its surface, alluding to the sarcophagus's function as the deceased's final home. Holes drilled in each end of the lid allowed poles or ropes to be inserted in order to carry it and position to be inserted in order to carry it and position it on the box.

•Place Excavated: Giza, Egypt

granite

DIMENSIONS 51 1/4 x 93 1/4 x 41 in. (130.2 x 236.9 x 104.1 cm)

Red granite sarcophagus with separate cover. No inscription. Facade panelling around all exterior surfaces of box. Upright, running full width at each end of cover, each with two drill holes. Cover undecorated and perhaps unfinished. Rebate on under-side of cover. Probably belonging to prince Akhet-hotep. Condition: Three corners of box chipped. Scattered chips along base. Lower edge of cover chipped. General condition excellent. Very slight remains of paint along upper borders of box.

Brooklyn Museum

brooklymuseum.org

Maru-Aten

Object 22/273: fragment of red granite stela showing Akhenaten adoring the Aten. The hieroglyphic text records the name of the place ‘the Sunshade of the King’s daughter Meritaten in Maru-Aten in Akhetaten’. Meritaten’s name replaces another name.

Maru-Aten is the ancient name for a building that stood in the desert to the south of the main city, near the modern village of El-Hawata. It was briefly explored by the Egypt Exploration Society in 1922.

http://amarnaproject.com/pages/amarna_the_place/maru_aten/index.shtml

G7530 - 40, the double-mastaba of Meresankh III . and its rock-cut chapel, G7530sub

G7530 - 40, the double-mastaba of Meresankh III .
and its rock-cut chapel, G7530sub

The first boat is of yellow painted wood. On the deck is a wooden frame with, at the centre, a cloth canopy draped over it which reaches down to the deck, for protection against the sun (see cm-097-02). A man appears to be seated on top of the canopy, perhaps a flattened section which could be the bridge. It is quite possible that the framework stretched across the deck, from side to side, and that a blanket covering stretches along the top. The boat is propelled (on the port side) by eleven rowers. At the front, the pilot holds in one hand a long probe, with which he would test the depth of the water, whilst his other arm is folded across his chest. At the centre, very damaged, stands a woman. At the stern, three men hold the oar-shaped rudders.

The second boat is almost identical to the first, but this one has a rear-facing animal head on the prow (see cm-097-01). Only eight men operate the oars of this boat, and at the rear two operate the rudder oars. The pilot again holds his probe in one hand, but he holds the other to his head, in order to protect his eyes from the sun. In the middle of the craft, a character holds on to one the beams which support the canopy.

G7530 - 40, the double-mastaba of Meresankh III .

and its rock-cut chapel, G7530sub

http://www.osirisnet.net/mastabas/meresankh3/e_meresankh3_01.htm

A fragment of a wall painting from the tomb of Userhet,

A fragment of a wall painting from the tomb of Userhet, first prophet of the royal ka of Tuthmosis I, showing the gift of the tree goddess: loaves, figs, a pomegranate, grapes and a honeycomb. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: 18th Dynasty, c. 1500 BC. Place of Origin: Thebes, tomb TT51. Credit Line: Werner Forman Archive/ . Location: 127.

Cosmetic spoon in the form of a hand holding a shell

Cosmetic spoon in the form of a hand holding a shell. Country of Origin: Egypt. Culture: Ancient Egyptian. Date/Period: 18th Dynasty, c 1600 - 1295 BC. Place of Origin: New Kingdom. Material Size: glazed frit, l = 15 cm. Credit Line: Werner Forman Archive/Christie's, London . Location: 38.

relief. hands

Relief from the White Chapel of Sesostris I. The chapel was built to celebrate the 'sed festival', the festival connected with the royal jubilee during which rituals of renewal and regeneration took place. Entwined hands. Country of Origin: Egypt. Culture: Ancient Egypt. Date/Period: 12th Dynasty 1971-1926 BC. Place of Origin: Karnak. Material Size: Limestone. Credit Line: Werner Forman Archive/ . Location: 76.

STATUE

STATUE

 GRANITE

PTOLEMAIC PERIOD

MUSÉE ROYAL DE MARIEMONT


B. VAN DE WALLE, Antiquités égyptiennes, in Les antiquités égyptiennes, grecques, étrusques, romaines et gallo-romaines du Musée de Mariemont, Bruxelles, 1952, p. 29-31; ID., «La “Cléopâtre” de Mariemont», in CdE, 47, 1949, p. 19-32; ID., «Un nouveau document concernant le prétendu groupe d’Antoine et de Cléopâtre», in CdE, 49, 1950, p. 34-35; M.-C. BRUWIER, «Les fragments d’une statue colossale de reine ptolémaïque à Mariemont», in Amosiadès. Hommages au Professeur Cl. Vandersleyen, Bruxelles, 1989, p. 45-58; ID., «Deux fragments d’une statue colossale de reine ptolémaïque à Mariemont», in CdE, 64, 1989, p. 25-43; Chr. ZIEGLER (éd.), Reines d’Égypte. D’Hétephérès à Cléopâtre (catalogue d’exposition. Monaco, Grimaldi Forum, 2008), p. 290; Cl. DERRIKS et L. DELVAUX (éds.), Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 90-91.

globalegyptianmuseum

'The lady of Brussels'

'The lady of Brussels'
3RD DYNASTY
'The lady of Brussels', from the Hagemans collection, is one of the oldest known examples of large-scale statuary in stone. Its archaic style allows it to be dated to the beginning of the 3rd Dynasty. The standard conventions of Egyptian statuary are already clearly in use here. The symmetry of the face and the wig is perfect. The left arm is folded across the chest, the right arm is stretched out close to the body and the legs are close to...gether. The 'lady' is dressed in a long robe which hugs her figure.

KMKG - MRAH
globalegyptianmuseum

The tomb TT45

The tomb TT45 was carved during the period of Amenhotep II (c. 1427 – 1400 B.C) for Djehuty, an official of modest rank
This central part is bordered on each side by a thick line constituted of a floral motif, of two Egyptian ladders and of blue stripes. There prevails a section of the face, as well as the name of Djehutyemheb (view yr-71)....
The main part of the following motif is formed by an image of the hieroglyph denominating the west, which appears to come out from the Theban Mountain; it is crowned by a falcon that carries on his head the solar disk surrounded by a uraeus. On either side one can find several individuals in the position of adoration.
• At the bottom, the two goddesses Isis and Nephtys, accompanied by the Ba bird, salute the deceased that is reborn from the mountain of the west alike a new sun (view yr-69).
• In the middle, one can distinguish two divine winged characters with, in front of them, the hieroglyph of the star, the verb “to adore” (view yr-68).
• At the top one can find some baboons, who are always associated with the rising sun, which they greet through their wails. For the ancient Egyptians, certain animals, such as the baboon, posses a hidden knowledge, and even the correct words, in order to converse with the gods. Thus, they appear as the ideal worshipers of the sun god.
We also find the “souls” (Bau) of Pe and of Nekhen (view yr-70). These “souls”, or preferably these forces, are gods representing the Predynastic kings that managed the south and the north of the country, which are considered as the protectors of the living monarch – the defenders of royalty. They equally appear during the religious processions. Their presence in a funerary context, as is the case here, is quite rare. The Bau of Pe (or Buto, town formed by the association of Pe with Dep), capital of the Delta, have falcon heads; however, the Bau of Nekhen (or Hierakonpolis), ancient capital of Upper Egypt, have jackal heads. They are represented here in a characteristic attitude, with a knee on the ground, an arm raised, and the other bent over the chest (henu gesture).

osirienet.net

Cleopatra VII

Cleopatra VII

Neues Museum
Berlin

Necklaces of faience beads and pendants

Necklaces of faience beads and pendants
Canaanite, about 1500-1200 BC
From Lachish (modern Tell ed-Duweir), Israel

Egyptian fashions in the southern Levant

These fine necklaces from the Fosse Temple at Lachish illustrates the strongly Egyptianizing style of Cannanite art of the Late Bronze Age. During this period the southern Levant was under Egyptian domination. Lachish is referred to in the Amarna letters - a group of clay tablets written in Babylonian cuneiform found at Tell el-Amarna in Egypt and preserving diplomatic correspondence to Egyptian pharaohs from vassal kings. The ruler of Lachish was Shipti-ba’al, a vassal king, subject to the firm control of Egypt, and enjoying the wealth and security that such political domination provided.

The so-called Fosse Temple was a small sanctuary first built around 1550 BC in the disused moat (fosse) that had formed part of the fortifications of Lachish in the early second millennium. A sudden destruction in about 1200 BC left remarkable contents in position in the building. These included many vessels containing the bones of animal offerings, and also rich finds of glass, faience and alabaster, imported pottery, ivories and jewellery in many materials, including gold and silver.

British Museum
britishmuseum.org

Letter from Tushrata to Amenhotep III

Letter from Tushrata to Amenhotep III
Mitannian, about 1370-1350 BC
From Tell el-Amarna, Egypt
...

Diplomatic links between Mesopotamia and Egypt
This clay tablet is part of a collection of 382 cuneiform documents discovered in 1887 in Egypt, at the site of Tell el-Amarna. They are mainly letters spanning a fifteen- to thirty-year period. The first dates to around year 30 of the reign of Amenhotep III (1390-1352 BC), and the last to no later than the first year of the reign of Tutankhamun (1336-1327 BC). The majority date to the reign of Amenhotep IV (Akhenaten) (1352-1336 BC), the heretic pharaoh who founded a new capital at Tell el-Amarna.
This letter is written in Akkadian, the diplomatic language of Mesopotamia at the time. It is addressed to Amenhotep III from Tushratta, king of Mitanni (centred in modern Syria). Tushratta calls the pharaoh his 'brother', with the suggestion that they are of equal rank. The letter starts with greetings to various members of the royal house including Tushratta's daughter Tadu-Heba, who had become one of Amenhotep's many brides. Diplomatic marriages were the standard way in which countries formed alliances with Egypt.
Tushratta goes on to inform Amenhotep that, with the consent of the goddess Ishtar, he has sent a statue of her to Egypt. He hopes that the goddess will be held in great honour in Egypt and that the statue may be sent back safely to Mitanni.
Three lines of Egyptian, written in black ink, have been added, presumably when the letter arrived in Egypt. The addition includes the date 'Year 36' of the king.
W.L. Moran, The Amarna letters (John Hopkins University Press, Baltimore, 1992)
http://www.britishmuseum.org/

Mastabet el-Fara'un

 

Isometric views of the mastaba of Shepseskaf taken from a 3d model

Mastabet el-Fara'un

Saqqara
The structure is located close to the pyramid of Pepi II

Khnumhotep and Niankhkhnum . mural drawing

An Egyptian burial chamber mural, from the tomb of Khnumhotep and Niankhkhnum dating to around 2400 BC, showing wrestlers in action

plaque

Ivory plaque with the name of Nebty Djeserty (ie. Sekhemkhet) and a list of linen fabrics. The inscription in the lower section of the plaque describes several different types of clothes such as bed sheets, shirts, nightgowns, vestments and even underwear. The central section names them or describes their size and colour. The upper section bears the reading "the king lives!", at the right several Horus falcons are depicted, the line on which they sit ends in an ostrich feather (a symbol of light and harmony) Provenance: Saqqara. Step Pyramid of Horus Sekhemkhet. Found in 1955, by Z. Goneim, the floor of the main hall of the pyramid. Cairo, Egyptian Museum, JE 92679 Goneim, Z. 1957. "Horus Sekhem-Khet". Pl LXV b.