vaso

Vasetto in "marmo blu" del Medio Regno

Inv. number 10201

MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO

Florence

globalegyptianmuseum

Stele for Djehutira and his mother Takemet

Stele for Djehutira and his

mother Takemet

A round-top stele divided in two sections. In the upper one there is a hieroglyphic inscription of four horizontal lines also occupying the round-top part. In the lower section, a woman is shown at the center and two men at her sides. They are all standing and facing right. The men wear a plain wig, a necklace, the shendit, and bracelets; the man on the left holds a ribbon. The woman wears a plain wig and a long and clinging dress.

Present location	MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO [05/027] FLORENCE
Inventory number	2547
Dating	MIDDLE KINGDOM (not before); MIDDLE KINGDOM; 2ND INTERMEDIATE PERIOD (not after)
Archaeological Site	UNSPECIFIED
Category	STELA
Material	LIMESTONE
Technique	INCISION; PAINTED
Height	20 cm
Width	11 cm

Translation

An offering that the king gives to Osiris, lord of Abydos, to the gods and goddesses, that they may grant an offering consisting of bread, beer, oxen, fowls, for the ka of Djehutira and the ka of his mother Takemet. Inenu causes their names to live.

Bibliography

• S.Bosticco, Le stele egiziane dall'Antico al Nuovo Regno, I, Roma, 1959, pgg.51-52, n. 49.

globalegyptianmuseum

inlay

INLAY

GLASS

GRAECO-ROMAN PERIOD

AA.VV., Le vie del vetro. Egitto e Sudan, Pisa, 1998, pg. 103, n. 25.

Inventori number 10351

MUSEO ARCHEOLOGICO NAZIONALE

Florence

globalegyptianmuseum

Entrada de la tumba del rey Hetepsekhemuy

Entrada de la tumba del rey Hetepsekhemuy
II dinastía
Saqqara

The Funerary mask of king Amenemope

The Funerary mask of king Amenemope of the 21st dynasty of Egypt in the Cairo Museum. He was the successor of Psusennes I.

THE ROYAL TOMS OF THE EARLIEST DYNASTIES

THE ROYAL TOMS

OF

THE EARLIEST DYNASTIES

W. M. FLINDERS

https://ia800200.us.archive.org/33/items/cu31924020551267/cu31924020551267.pdf

Cross section of the tomb of queen Persenet. (Lepsius)

Cross section of the tomb of queen Persenet. (Lepsius)

Cross section of the tomb of queen Persenet. (Lepsius)

Cross section of the tomb of queen Persenet. (Lepsius)

Bunefer

EA1274

Description

Full: Front
Rectangular limestone stela(?) of Prince Bunefer; central column of Hieroglyphic text.

Statuette

Statuette
La statuette représente une jeune femme debout, le pied gauche avancé. Le pied droit est pourvu d'un tenon. Les deux bras sont le long du corps, les mains ouvertes sur les cuisses. Elle est vêtue d'une robe longue fourreau qui tombe jusqu'aux chevilles et dont les bretelles sont à peine visibles. A la base de son cou est gravé un large collier, tandis que des bracelets ornent chacun de ses poignets. Elle porte une perruque enveloppante large et épaisse, surmontée d...e la dépouille de vautour. Sur le front, deux étroits bourrelets marquent la limite de la perruque. Les cheveux sont représentés par de fins traits verticaux incisés. Les oreilles, soigneusement modelées, sont dégagées. Elle porte deux uraei au front, à moins qu'il ne s'agisse d'un uraeus et de la tête de la dépouille de vautour couvrant le haut de la perruque. La tête de la jeune femme est couronnée d'un modius orné d'une frise d'uraei, surmonté des cornes de vache et du disque solaire. Le modelé du corps est accentué sur le ventre, les cuisses et les fesses. Le nombril est indiqué. Les seins sont représentés de manière réaliste. Les sourcils forment un bourrelet en léger relief. Les traits du visage, yeux en amande, nez épaté, bouche étroite, épaisse et ourlée, joues légèremenr rebondies, trahissent un type nubien.
L'objet est couvert d'une patine vert-de-gris et rouille.
Le style est caractéristique de la XXVe dynastie égyptienne, d'origine nubienne.
Aucun texte n'identifie la jeune femme.

Present location MUSÉE ROYAL DE MARIEMONT [07/009] MARIEMONT
Inventory number Ac.99/82
Dating 25TH DYNASTY AND CONTEMPORARIES
Archaeological Site UNKNOWN
Category HUMAN FIGURINE
Material BRONZE
Technique CASTING BY WAXWORK; FULL CAST
Height 21.5 cm
Bibliography•Cl. DERRIKS, «Acquisition. Une statuette portant la couronne hathorique», in Bulletin trimestriel du Musée royal de Mariemont, 89, 1999, p. 13; «Choix d’acquisition 1998-2001. Antiquités d’Égypte et du Proche-Orient», in Cahiers de Mariemont, 32-33, 2005, p. 120;
•Cl. DERRIKS et L. DELVAUX, Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 1489-151.
globalegyptianmuseum

Two ceramic figurines in the form of mourning women

Two ceramic figurines in the form of mourning women. Unknown provenance, 11th Dynasty. Birmingham Museum and Art Gallery, left, 1969W2132; right, 1969W2131. Photographs courtesy of Carl Graves.
http://birminghamegyptology.co.uk/

Qasr (or Kasr) el-Aguz

  Qasr (or Kasr) el-Aguz



This room is in the same size as the previous one: 7.45m north-south, 3.55m east-west and 3.6m high. Its significance as the sanctuary of the temple is no longer questionable following the work of Youri Volokhine.
The Djhwty-stm epithet , found throughout, must be understood as "Thoth, the setem priest" and not "Thoth, the one who listens".

There are two additional doorways in the room, both at the western (far) end, on the south and north walls. These were cut through after their decoration was complete, as will be seen from the evidence when these walls are examined below. The room was originally enclosed, with the exception of the entry from room 2. Oracular communications could not have been held here because it was not accessible to the public.

This room is distinctly better preserved than the previous one: reliefs and figures were, for the most part, finished. As always, the craftsmen and their privileged employers constructed and decorated this most sacred part of the temple first

osirisnet.net

Bowl with hippopotami

Bowl with hippopotami
Egyptian
Predynastic Period
Naqada ...
Tomb 26

The scene on this early bowl already displays many of the qualities that would become canonical in Egyptian art. Stylized hippopotami are depicted in profile, with their essential features - mouths, eyes, ears, legs, and tails - shown as discrete symbols rather than realistically; yet combined they form a visually coherent and aesthetically pleasing whole. A landscape setting is indicated both by the wavy, concentric lines of the central rosette representing a pool of water or perhaps the Nile, and by the zigzag lines around the border of the bowl that suggest cliffs on the horizon. The three hippopotami wade peacefully in the intervening space.
This bowl is one of the finest examples of what is known as “cross-lined ware.” It was handmade of reddish Nile silt clay, burnished, coated with a thin red slip, and then decorated with linear patterns in thick, creamy white paint. The cross-hatching for which the ware is named may initially have imitated basketry. The best artisans, however, added figures and created unique narrative scenes, many of which portray animals, such as the hippopotami seen here. The hippopotamus motif was destined to recur throughout Egyptian art, serving both as a symbol of the destructive god of chaos, Seth, and as a protective amulet to ward off danger. Other dangerous animals also occur on cross-lined pottery, particularly crocodiles, which are sometimes shown being hunted with nets. It is possible that these vessels were intended to impart the creatures’ power to the vessels’ owners, granting them success in the hunt and safety from danger. Most of the best examples come from tombs, and may have been made specifically as funerary offerings.
The scene on this bowl shows stylized hippopotami in a landscape setting. The animals are shown in profile, with clearly articulated eyes, ears, legs and tails. The wavy concentric lines of the central rosette are meant to represent water, while the zigzag lines around the border suggest cliffs on the horizon. Scenes of wild creatures may have been intended to impart their powers on the vessels’ owners, granting them success in the hunt and protection from danger in the afterlife.
Provenance
From Mesaid (Mesa'eed) tomb 26, no. 6 [M/26/6]. 1910: excavated by the Harvard University-Museum of Fine Arts Expedition; March 2, 1911: assigned to the MFA by the government of Egypt.
Credit Line
Harvard University—Boston Museum of Fine Arts Expedition
http://www.mfa.org/node/9457

ear-stela’ of Amenmose (Acc. no. 4906)

‘

ear-stela’ of Amenmose (Acc. no. 4906)

On Saturday, I met up with the Young Archaeologists Club (YAC) to do a spot of hieroglyph translation. For the session, I chose this short text on an object currently displayed in the Museum’s Discovery Centre. The members of YAC, mostly aged around 10, were incredibly knowledgable and – with only a little help – cracked the code presented by this small stela. Rather than simply ‘make up’ hieroglyphic words using a phonetic alphabet, the chance to read a real text from ancient Egypt – and work out what the object was used for – was one the group really enjoyed.

This small limestone stela is one of a class of objects called ‘ear stelae’, common in the New Kingdom (c. 1550-1069 BC), and records the name of a deity to whom it is dedicated as well as the man who made or comissioned it. It shows a pair of ears, between which reads: “Ptah-hearer-of-prayers (ptH sDm-nH)”. Beneath is the donor’s name: “Made by Amenmose (ir n imn-ms)”.

The stela was found in Memphis, whose patron god was Ptah. Ptah is the deity most often invoked in these objects, regardless of provenance, so was perhaps considered particularly attentive to prayers. The ears enabled the deity to hear people’s petitions or prayers. Some stelae have dozens of ears carved on them – presumably to aid their effectiveness. Given the size of this small stela (10.2cm high), I think a good analogy for its function is that of a mobile phone – with a direct line to the gods.

https://egyptmanchester.wordpress.com