Mastaba Tomb of Perneb

Mastaba Tomb of Perneb

Old Kingdom

Late in Dynasty 5, the palace administrator Perneb built a tomb at Saqqara, twenty miles south of Giza. The tomb included an underground burial chamber and a limestone building called a mastaba. This contained a decorated offering chapel and a statue chamber, usually called a serdab. The mastaba facade and chapel were purchased from the Egyptian government in 1913 and, together with a replica of the statue chamber, were reconstructed at the entrance to the Museum's Egyptian galleries. Inside the chapel, the painted reliefs depict Perneb seated before an offering table receiving food and other goods from relatives and retainers. Actual offerings were placed on the slab set before the false door, through which Perneb's spirit could pass in order to receive sustenance.

Met Museum

https://www.metmuseum.org/art/collection/search/543937

 

 

 

Tumba de Pabasa

 

Tumba de Pabasa

TT279

Situada en la necrópolis de el-Asasif

Puerta de granito rosa n.º 2

Fotografía de 1854 de la denominada Puerta de granito rosa n.º 2, John Beasley Greene.

 

El Asssif

 

Imagen de dominio público-wiki

 

 

 

A Neolithic Egyptian textile

A Neolithic Egyptian textile excavated in Egypt © UCL Petrie Museum of Egyptian Archaeology

https://museumcrush.org/object-of-the-week-the-worlds.../

 

 

 

dress

Originally excavated by Egyptologist Flinders Petrie in 1913 from a First Dynasty tomb at Tarkhan (an Egyptian cemetery located 50km south of Cairo) this dress lay undiscovered with various other textiles until 1977, when the bundle was sent to London’s Victoria and Albert Museum for conservation work.

https://museumcrush.org/object-of-the-week-the-worlds.../

 

 

 

Linen ball

Linen ball from Grave 518 at Tarkhan, Egypt. Courtesy Bristol City Museum and Art Gallery.

https://museumcrush.org/ancient-egyptian-parents-put.../

 

 

 

Egyptian statue of Idet e Ruiu

 

Egyptian statue of Idet e Ruiu Limeston, new kingdom, 18th dinasty, 1480-1390 BC, Theban necropolis (?) Egyptian museum of Turin, Italy Old fund (1824-1888). C.3056

public domain

 

 

Statuette of nursing woman.

 

Statuette of nursing woman.

XII Dynasty. Ancient Egypt. Brooklyn Museum

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

https://www.brooklynmuseum.org/opencollection/objects/3565

Valle de los Reyes

 

Sarenput I

Sarenput I

Forecourt, with a 6 pillared portico; the roof has collapsed.

qh36

Qubbet el-Hawa

https://www.osirisnet.net/.../sarenpout1_slideshow.php...

Osirisnet Slideshow ©

 

 

 

excavations at Meydûm

 The Museum’s excavations at Meydûm, showing workmen clearing the causeway east of the pyramid
Image Number: 32749

 https://www.penn.museum/sites/bulletin/3289/

 

 

 

 

 

G7530-40, the double-mastaba of Meresankh III 

 

 

 

TT255 tumba de Roy

TT255 tumba de Roy

escena de ofrendas ante la pareja, Roy y Netawy

Dinastía XIX, reinado de Horemheb

https://www.osirisnet.net/tombes/nobles/roy/e_roy_01.htm

 

G7530-40, the double-mastaba of Meresankh III

The tomb was discovered on 23 April 1927. In October 1927 Reisner wrote in the "Bulletin of the Museum of Fine Craftsmanships":

""On the very last day of the season, the gangs were clearing the eastern face of the third mastaba in the fifth row from the west, when a doorway was unexpectedly revealed in the rock under the eastern wall of this mastaba. Later we found that two stairways led down from the floor of the street to the level of the doorway, which was about two meters below. Above the doorway were inscribed the titles of a princess and queen named Meresankh. As soon as the debris in the doorway was photographed we cleared away enough of the sand at the top to crawl in; and getting our heads, one at a time, just inside the doorway, we saw a rock-cut offering chapel consisting of three rooms. The entrance to the main room was blocked by a cone of sand and stone, on the top of which we were lying . Our eyes were first startled by the vivid colours of the reliefs and inscriptions around the northern part of this large chamber. None of us had ever seen anything like i"

G7530-40, the double-mastaba of Meresankh III

https://www.osirisnet.net/.../meresankh3/e_meresankh3_01.htm

 

 

 

 

Deir el Medina

 

Pirámide de Userkhaf y la de Necherjet Dyeser

 

Pirámide de Userkhaf y la de Necherjet Dyeser

Saqqara

tomb of Antefoqer

TT60

tomb of Antefoqer

https://www.osirisnet.net/.../antefoqer/e_antefoqer_04.htm

 

 

 

piramidión de la pirámide de Jendyer,

Cara este del piramidión de la pirámide de Jendyer, que representa al rey con Atum y Ra. Museo Egipcio, El Cairo, JE 53045

East face of the pyramidion of the pyramid of Khendjer, depicting the king with Atum and Re. Egyptian Museum, Cairo, JE 53045

public domain-wiki

 

 

 

Relief of Mourning Women

Relief of Mourning Women

New Kingdom funerals often featured female mourners wailing and gesturing dramatically. Although sometimes called “professional mourners,” more likely these local women joined the funeral procession to express solidarity and sorrow, and also to participate in a public event.

The sloppy carving and indistinct lines show that the sculptor of this tomb relief was relatively unskilled, but he did successfully convey how ancient women demonstrated grief by throwing dust on their heads and even falling to the ground. The different shapes of the figures indicate different ages.

DYNASTY late Dynasty 18 to early Dynasty 19

PERIOD New Kingdom

Brooklyn Museum

https://www.brooklynmuseum.org/opencollection/objects/3942

 

 

 

Panehsi (TA 6)

Panehsi (TA 6)

Tell el-Amarna

public domain

 

 

 

The royal family grieve over the death of Meketaten.

The royal family grieve over the death of Meketaten. The princess stands within a festive pavilion, her name clearly written above. Her family express their anguish in front of her (left to right): Akhenaten, Nefertiti, Meritaten, Ankhsenpa-aten. Scene in room gamma of tomb 26B. Photo B. Kemp, 2007.

https://amarnaproject.com/documents/pdf/Amarna-Royal-Tombs.pdf

 

 

 

Statue d'homme debout

Statue d'homme debout

Cette statue montre

un homme debout dans l’attitude de la marche, jambe gauche avancée. Les bras étaient rapportés, fixés au torse par de petits tenons. Le bras gauche pend le long du corps, et la main gauche, fermée devait tenir un objet, pièce de tissu ou sceptre. Le bras droit est perdu et la forme de son attache au torse ne permet pas de déterminer s’il pendait verticalement ou était porté vers l’avant, tenant une canne. Cependant, dans la majorité des cas, celle-ci est tenue dans la main gauche, du côté de la jambe avancée. Le personnage de Mariemont devait donc avoir le bras droit le long du corps, la main simplement fermée ou, éventuellement, tenant un sceptre sekhem. Le vêtement est un simple pagne uni, à petit devanteau trapézoïdal. Les retombées latérales du tissu descendent sur les côtés des cuisses, jusqu’à la limite inférieure du devanteau. Le pagne est retenu par une ceinture étroite et dépourvue de décor, qui souligne l’abdomen d’une légère courbe. Le personnage a le crâne rasé et ses oreilles sont grandes et décollées. Le visage est un ovale très régulier dont la largeur culmine au niveau des pommettes. Les yeux sont grands, très légèrement inclinés, avec une paupière inférieure sinueuse qui prolonge en pointe la zone lacrymale vers l’attache du nez. La paupière supérieure, doucement renflée, dessine un arc très régulier qui plonge rapidement vers le coin intérieur de l’œil où elle se redresse pour rejoindre le tracé de la paupière inférieure. Les sourcils sont sculptés de manière naturelle, et sont à peine saillants par rapport au plan du front. Le nez est brisé, mais ses narines semblent relativement larges. La bouche est horizontale et sa largeur dépasse légèrement celle des ailes du nez; les lèvres sont d’une épaisseur semblable. Le menton, dont la courbe prolonge celle des joues, est petit et arrondi, peu saillant par rapport aux plans du visage. La taille est étroite, mettant en valeur le renflement des pectoraux. La musculature des jambes est soigneusement indiquée, notamment celle des genoux et de l’avant des cuisses. Les pieds, aujourd’hui disparus, étaient fixés aux chevilles par de petits tenons. La base de la statue est perdue et, dans son état actuel, l’objet ne porte aucune inscription.

Première Période Intermédiaire-début du Moyen Empire

Bulletin des Musées de Belgique, 1967, p. 66, ill.; Œuvres d’art acquises par l’État en 1967, n° 401; «Chronique des Arts», in Supplément à la Gazette des Beaux-Arts, 1189, février 1968, p. 35, fig. 142; Cl. EVRARD-DERRIKS, «Une statuette égyptienne du Moyen Empire», in Cahiers de Mariemont, 1, 1971, p. 7-13; ID., «Mariemont. Les sculpteurs de l’Égypte ancienne», in Hainaut Tourisme, n° 186, mars 1978, p. 31, fig. 8; Cl. DERRIKS, «Activités de la sous-section Égypte et Proche-Orient de 1975 à 1985», in Cahiers de Mariemont, 18-19, 1987-1988, p. 81; Cl. DERRIKS et L. DELVAUX (éds.), Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 54-55.

MUSÉE ROYAL DE MARIEMONT

Inventory number Ac.67/44

http://www.globalegyptianmuseum.org/record.aspx?id=16077

 

Karnak en el año 1875

Karnak en el año 1875

Necklace

 

Necklace

Necklace composed of blue faience bugle beads and of disc-shaped and round beads in the same material and colour. Two of the bugle beads show a decoration consisting of black oblique lines. At one end a clay bead, trapezoidal in shape, is preserved.

faience

Corresponde a la colección de D. Víctor Abargues, comprada por el M.A.N. en Septiembre de 1879.

MUSEO ARQUEOLÓGICO NACIONAL

inventory number 15106

http://www.globalegyptianmuseum.org/record.aspx?id=7441

Amulet of a cat

Amulet of a cat

Rare 18th Dynasty amulet in the form of a crouching cat, carved from steatite and glazed in green-blue, with the name of the god Amun-Re incised crudely in hieroglyphs on the underside. The piece was found among the votive offerings to the goddess Hathor at Deir el-Bahari, her principal sanctuary in Thebes. Although the cat first becomes a common motif of Egyptian art only centuries later (after about 900 BC), it already figures in New Kingdom depictions of the sun-god Re and in association with Hathor, goddess of beauty, on cosmetic objects.

DEIR EL-BAHARI

NEW KINGDOM: 18TH DYNASTY

From the division of finds excavated at Deir el-Bahari by Dr. Naville in 1903-1904. Given to the museum by the Egypt Exploration Fund.

NATIONAL MUSEUM OF IRELAND

Inventory number 1904:530

http://www.globalegyptianmuseum.org/record.aspx?id=2211

 

Karnak. The Santuary

 

Karnak. The Santuary 

1875

Iamunedyeh

 

Estatua bloque de Iamunedyeh. Fue encontrada en la entrada del templo de Tutmosis III en el año 1933.

El texto es una ofrenda a Amon y Osiris.

Museo e El cairo

Wadi es Sewa, 1963

Wadi es Sewa, 1963

 

 

Deir el Bahari

Progress of the Work, January 1929

Harry Burton (English, 1879–1940)

The Egyptian Expedition of The Metropolitan Museum of Art

 

tumba de Hetepheres G7000 X

Arthur Merton del London Times esta tomando notas de lo que habian encontrado en la tumba de Hetepheres G7000 X. El que está en el centro esta en el centro es George Reisner y el señor de la izquierda es Noel Wheeler

abril 1927

 

 

 

Medinet Habu

 

Medinet Habu

fecha: años 30

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