jueves, 29 de diciembre de 2016

Nursing woman

Nursing woman

Period:
Old Kingdom
Dynasty:
Dynasty 5
Reign:
reign of Niuserre or later
Date:
ca. 2420–2389 B.C. or later
Geography:
From Egypt; Probably from Memphite Region, Giza, Tomb of Nikauinpu
Medium:
Limestone, paint traces
Dimensions:
h. 10.5 cm (4 1/8 in)
 
 
 
 http://www.metmuseum.org/art/collection/search/543905
 
 
 
 This woman sits on the ground with one knee raised. Against the hammock of cloth formed by her skirt stretched over her knee she holds a child whose yellow skin indicates she is a girl. With one hand the woman holds the child's head, while with the other she offers her breast to the child. The child's head is tilted back, either to gaze at the woman as nursing children may do, or perhaps in frustration as she cannot reach the breast. Behind the woman a red-painted and therefore male child kneels and pulls her second breast beneath her arm so that he can nurse, too.

Among Old Kingdom serving statuettes, women with chldren are a non-standard subject; indeed this is the only example depicting nursing. Serving women with children are seen more often in reliefs: in one tomb a child clings to his mother's back while she grinds grain, and nearby another woman nurses a chlld while she tends baking bread. The fact that the woman in the statuette here wears a white kerchief as do so many of the women in food preparation tasks, presumably to keep flour and such from their hair, may imply that this woman was involved in such tasks when she takes a moment to care for the children.

miércoles, 28 de diciembre de 2016

Statuette of nursing woman.




Statuette of nursing woman.

 XII Dynasty. Ancient Egypt. Brooklyn Museum

Brooklynmuseum.org 



The pose of the nursing woman—a standard one in Egyptian art—was also the hieroglyph meaning “nurse.” Because its subjects are not identified, this little figure probably did not represent real individuals but rather served as a votive gift requesting a goddess’s protection.
MEDIUM Limestone, paint
  • Place Made: Egypt
  • DATES ca. 1938-after 1630 B.C.E.
    DYNASTY XII Dynasty-XIII Dynasty

    martes, 6 de diciembre de 2016

    The Tomb of Prince Montuherkhepeshef - KV19

    the prince in front of Duamutef
    This represents the fourth and final son of Horus, recognisable by his black canine head which is a reminder of that of Anubis. Unlike the other three, who wear golden knee-length tunics, this one is sheathed in a gilt shroud. From the front of the shroud emerge two black hands with a gold bracelet on each wrist, clutching a was-sceptre. Despite having the canine head, he still wears human hair on his head, trimmed with gold.
    Again, Montuherkhepeshef has empty hands raised in homage in front of the image of the divinity.

    The Tomb of Prince Montuherkhepeshef - KV19

    osirisnet.net

    domingo, 20 de noviembre de 2016

    EXTENDED MASK




    EXTENDED MASK
    ROMAN PERIOD
    Roeder, G., Die Denkmäler des Pelizaeus-Museums zu Hildesheim, Hildesheim 1921, S. 104.
    Götter und Pharaonen, Hildesheim 1979, Kat.-Nr. 198.
    Eggebrecht, A. (Hrsg.), Pelizaeus-Museum Hildesheim : Die ägyptische Sammlung, Hildesheim - Mainz 1993, Abb. 111.
    Eggebrecht, A. (Hrsg.), Ägypten : Geheimnis der Grabkammern; Suche nach Unsterblichkeit, Hildesheim - Hamm - Mainz 1993, Kat.-Nr. T 45.
    Inventory number 1581
    PELIZAEUS-MUSEUM
    globalegyptianmuseum

    miércoles, 9 de noviembre de 2016

    Oil in Hittite Texts

    Oil in Hittite Texts
    Harry Hoffner
    http://www.academia.edu/3375341/Oil_in_Hittite_Texts

    Prince Kawab

    Prince Kawab
    As already stated, Kawab the son of Kheops, who should have inherited the throne, was the father of Meresankh.
    He is depicted as a portly man striding towards the chamber of ten statues, and done so in a manner unrelated to the rest of the scenes on the wall behind him. The representation of him may be realistic: his face, well portrayed, indicates a figure of authority, with a high forehead, fleshy lips and an aquiline nose. It is difficult to decide whether ...his hair is natural or a wig.
    He is shown clad in a large non-pleated kilt descending to below his knees, and wearing a necklace made from rows (blue, white then blue again) of pearls. Draped over this he has a chain of different-sized pearls, terminating in a heart-shaped amulet. In addition he has bracelets on his wrists. According to Dunham: "Across his chest and under the beads and pendant are traces of the broad diagonal white band of a lector priest". Even with a close-up photograph it is not now possible to identify the band Dunham describes.
    In his right hand Kawab is holding a long yellow staff and his left there is a piece of folded cloth.
    Above his head is an inscription in six columns: "Her father, the prince, the king’s eldest son of his body, chief lector priest, director of the divine office, in the service of Duwa, Kawab".

    http://www.osirisnet.net/mas…/meresankh3/e_meresankh3_01.htm
    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



    Prince Kawab

    Prince Kawab
    As already stated, Kawab the son of Kheops, who should have inherited the throne, was the father of Meresankh.
    He is depicted as a portly man striding towards the chamber of ten statues, and done so in a manner unrelated to the rest of the scenes on the wall behind him. The representation of him may be realistic: his face, well portrayed, indicates a figure of authority, with a high forehead, fleshy lips and an aquiline nose. It is difficult to decide whether ...his hair is natural or a wig.
    He is shown clad in a large non-pleated kilt descending to below his knees, and wearing a necklace made from rows (blue, white then blue again) of pearls. Draped over this he has a chain of different-sized pearls, terminating in a heart-shaped amulet. In addition he has bracelets on his wrists. According to Dunham: "Across his chest and under the beads and pendant are traces of the broad diagonal white band of a lector priest". Even with a close-up photograph it is not now possible to identify the band Dunham describes.
    In his right hand Kawab is holding a long yellow staff and his left there is a piece of folded cloth.
    Above his head is an inscription in six columns: "Her father, the prince, the king’s eldest son of his body, chief lector priest, director of the divine office, in the service of Duwa, Kawab".

    http://www.osirisnet.net/mas…/meresankh3/e_meresankh3_01.htm
    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



    lunes, 7 de noviembre de 2016

    Renni tomb

    The seated couple are "Hereditary prince Sobekhotep, Justified" and "his wife, mistress of the house, Ahmose, Justified", which identifies them as the parents of Renni,
    The couple are represented in a design similar enough to their counterparts on the west wall, but here the woman doesn't hold a flower and she holds her husband in both arms. Under the chair only a fan is represented (handle at the top). In front of them is an offering table over-laden with meats, breads, vegetables, etc. In front of this, represented much smaller, one register high, is a son by the name of Djehutymes, "His son, scribe and butcher in the temple", who presents them with a choice cut of meat : the right foreleg of an ox, the Khepesh . Below him, again one register high, is probably another son of whom very little survives. This whole scene is the height of two registers, separated from the following funerary scenes by a vertical line.
    The tomb of Renni, numbered EK 7, is of great interest, not only in the setting of the site at El Kab, but more extensively because it is one of the rare Egyptian tombs which dates from the reign of Amenhotep I. From a decorative view point, one feels here the influence of the end of the Middle Kingdom, the cannon of the New Kingdom not yet being completely in place.
    http://www.osirisnet.net/tombes/el_kab/renni/e_renni_01.htm

    viernes, 4 de noviembre de 2016

    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

    Bruyère’s notebook f

    Page 8b of Bruyère’s notebook for the year 1928 showing the content of the inviolate tomb of Sennefer discovered in 1928, hand-drawn by Bruyère.
    Archives department of the French Institute of Archaeology in Cairo. Photo: © IFAO, B. Bruyère
    http://www.oxfordhandbooks.com/

    jueves, 3 de noviembre de 2016

    TT100, the tomb of REKHMIRE at Thebes

    The sem-priest and imi-khent priests ("Chamberlain") are between the conception and creation of the statue. The three men behind the statue are "sculptors"
    TT100, the tomb of REKHMIRE at Thebes
    http://www.osirisnet.net/tombes/nobles/rekhmire100/e_rekhmire100_01.htm
     
     
     TT100, the tomb of REKHMIRE at Thebes

    The tomb of Pennut

    The tomb of Pennut  
    A procession enters the chapel from the outside. It consists of three men and six women, who, in making mourning gestures, all turn to the west. There, at the foot of the Western mountain, the mummy in its sarcophagus was stood upright at the entrance of the tomb, with a mourner at his feet (probably his wife) in the act of lamenting. Three priests officiate: a sem-priest makes a libation, the second officiant holds lotus flowers and a jar, the third is a lector priest who recites the formulas of the ritual of opening the mouth . Some of these formulas are given in the text above the scenes, which also includes the names and/or functions of the participants.
    The tomb of Pennut
    osirisnet.net

    miércoles, 2 de noviembre de 2016

    A picture of part of the content of the inviolate tomb of Sennefer

    A picture of part of the content of the inviolate tomb of Sennefer found in 1928.
    Archives department of the French Institute of Archaeology in Cairo. Photo: © IFAO

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

    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

    lunes, 31 de octubre de 2016

    Amuleto-Toeris


    Amuleto-Toeris
    Inventory number 4439
    FAIENCE
    E. Schiaparelli, Museo Archeologico di Firenze, Antichità egizie, Roma, 1887, pg 117, n. 958
    MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO [
    globalegyptianmuseum