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All four sides of the naos are covered with a layer of plaster featuring painted coloured scenes.
On the second side, the god Anubis is represented in human form, and behind him is a representation of the serpent god Nehebu-Kau. Below them are depicted two of the mummiform sons of Horus: the falcon-headed Qebehsenuef and the baboon-headed Hapy.
All these scenes are coloured in red, yellow, green and white. The naos is covered with a lid on which Horus perches in the form of a hawk. The crown is missing.
Wood
Provenance Gamhoud, Beni Sueif
Roman era, 1st to 2nd cent. AD
BAAM 618
Antiquities Museum of Bibliotheca Alexandrina
Naos is a small religious shrine. It was used as a portable shrine to carry a god. The headless figurine lying on top of the naos model is probably shrew.
Limestone
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Nesikhonsu was the young wife of Pinedjem (Pinudjem) II. The mummy of Nesikhonsu was buried in two coffins. This one is the outer and it is intact with the gilded hands and face untouched by robbers contrary to the second coffin which has lost their hands and face.
Wood
From Deir el-Bahri
21st dynasty, reign of Pinedjem II
CG 61030
Egyptian Museum, Cairo
The cow Hathor, one of a group of statues of the protective goddesses found in the tomb of King Amenhotep II.
They were responsible for protecting the body of the king in his afterlife journey.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Serpentinite
Late Period
Cat. 945 numero doppio Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
One of the most important objects in a tomb was naturally the coffin that would protect its owner's mummy and incidentally preserve important information and research material for modern-day Egyptologists. During the New Kingdom coffins were often human-shaped. A deceased could have as many as three nested coffins.
Nakhtkhonsueru's wooden meticulously crafted coffin is representative of a typical Late Period coffin style. The maker has spread a layer of white plaster on the wooden lid and executed the paintings on the plaster. The coffin was discovered in the tomb of Prince Khaemwaset, son of Ramses III, among several other coffins. According to the inscriptions on the coffin, Nakhtkhonsueru was an important Theban person, "the Lord of the Necropolis at the temple of Amun".
25th dynasty
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
This statue represents one of the protective goddesses that were found in the tomb of king Amenhotep II. They were responsible for protecting the body of the king in his afterlife journey. It represents Meretseger in the form of the winged Cobra.
Meretseger, a Cobra goddess dwelling on the mountain overlooks the Valley of the Kings in western Thebes. During the New Kingdom Meretseger had great authority over the whole Theban necropolis area. She can appear as a coiled cobra or as a cobra with a female head and an arm projecting from the front of the snake’s hood.
Her name translated as ‘she who loves silence’, aptly descriptive of a deity protecting secluded royal tombs.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The god Nilus was a symbol of the Nile river. This statue is one of the rare pieces depicting him as a man leaning on a hippo over a rock from which the water flows. He is surrounded by a group of children symbolizing the high level of the flood.
Marble
Roman Period
From Qena
NMEC National Museum of Egyptian Civilization, Fustat Cairo
© Cat Art. www.facebook.com/carolyn.dansky?v=feed&story_fbid=268...
Megalithic Art, Knowth, Co. Meath, Ireland
Knowth contains more than a third of the total number of examples of megalithic art in all Western Europe. Over 200 decorated stones were found during excavations at Knowth. Much of the artwork is found on the kerbstones, particularly approaching the entrances to the passages. Many of the motifs found at Knowth are typical; spirals, lozenges and serpentiform. However, the megalithic art at Knowth contains a wide variety of images, such as crescent shapes. Interestingly, much of this artwork was carved on backs of the stones. This type of megalithic art is known as hidden art. This suggests all manner of theories as regards the function of megalithic art within the Neolithic community which built the monuments in the Boyne valley. It is possible that they intended the art to be hidden. It is also possible that they simply recycled stones and reused the other side.
www.megalithicireland.com/Knowth.htm
Planet Earth Daily Photo - planetearthdailyphoto.blogspot.com/2009/03/art-of-ancient...
Marble head of Archilochus, lyric poet from the island of Paros.
100 BC- 100AC, found at Herakleia Lynkestis, now Bitola, Republic of Macedonia
Bovine-legged beds dating from the Predynastic Period onward have been found in the funerary context all over Egypt. In the Middle Kingdom coffins appear that seem to combine the rectangular coffins of that time with the lion bier. It is merely a logical development to add feline heads to the already lion-legged beds. In the Greco-Roman Period, they are no longer simple coffins or beds but combine features of both. (Ancient Egyptian Coffins, Strudwick & Dawson)
Mummy bed of Nedjemib, called Tutu
Late Ptolemaic Period
from Akhim
SR/ 11359/4
Upper floor, gallery 21
Egyptian Museum, Cairo
A collection of fertility figurines made of pottery representing women illustrated in a non-realistic form based on highlighting the areas related to fertility in the body. Fertility figurines were usually found in tombs dating back to the age of Badari (5500-4000 BC) to ensure the new birth of the deceased.
Antiquities Museum of Bibliotheca Alexandrina
Cartonnage is a type of material used in Ancient Egyptian funerary masks from the First Intermediate Period to the Roman era. It was made of layers of linen or papyrus covered with plaster.
Egyptian Museum, Cairo
Steatite, gold
New Kingdom
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Cartonnage is a type of material used in Ancient Egyptian funerary masks from the First Intermediate Period to the Roman era. It was made of layers of linen or papyrus covered with plaster.
Egyptian Museum, Cairo
This elaborate container was used to hold perfumed oils and ointments and was found in the burial chamber between the first and second shrines. The container is in the form of the hieroglyph sema meaning union. The two figures at the sides, representing the god of the Nile, knot the heraldic plants of Upper and Lower Egypt to the pot. The overall composition reproduces the emblem meaning 'the union of the Two Lands' often seen on the throne in statues of the pharaohs.
JE 62114
Egyptian Museum, Cairo
A model boat that originally carried eight sailors, four of whom are missing. The boat has no sail and the sailors were equipped with oars which were fixed in the holes made in their fists.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Some of the sacrificial rituals depicted in fragments were successfully identified, and the naos has rebuilt by placing 50 identified fragments in their original places in the reconstruction. A fully preserved naos would have depicted the succession of the god cult's daily rituals.
Red and black granite
19th dynasty
Provenance Heliopolis
S. 2676 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Akhenaten's body was probably removed after the court returned to Thebes, and reburied somewhere in the Valley of the Kings, possibly in KV 55. His sarcophagus was destroyed but has since been reconstructed from fragments and displayed outside the Cairo Museum. Its reconstruction shows that it had representations of the queen Nefertiti, sculpted in high relief and extending protective arms at each corner of the monument in the likeness of the guardian goddesses of the four corners.
Amarna Period
I’ve heard that the sarcophagus is no longer in the museum yard, but has been moved somewhere...
Egyptian Museum, Cairo
The coffin of Nedjemankh is a gilded ancient Egyptian coffin from the late Ptolemaic Period. It once encased the mummy of Nedjemankh, a priest of the ram god Heryshaf.
In Egyptian mythology, Heryshaf, or Hershef (Ancient Egyptian: ḥrj š f "He who is on His Lake"), was an ancient ram deity whose cult was centered in ancient Heracleopolis Magna. He was identified with Ra and Osiris in ancient Egyptian religion, as well as Dionysus or Heracles in the interpretatio graeca.
The identification with Heracles may be related to the fact that in later times his name was sometimes reanalysed as ḥrj-šf.t "He who is over strength". One of his titles was "Ruler of the Riverbanks". Heryshaf was a creator and fertility god who was born from the primordial waters. He was pictured as a ram or a man with a ram's head.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Discovered from the tomb of the high courtier Hemaka, these disks are thought to have been placed on top of a wooden pin and spun around.
Schist and limestone
Left:
Spinning Disk with two Birds
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70160)
Right:
Disk decorated with geometric motifs
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70162)
NMEC National Museum of Egyptian Civilization, Cairo
The figures of captives were made of different materials to be used in the ritual "Protecting the Land and the King" inside the temple. Thus, spells were recited on them and then tied with ropes and placed into the fire to destroy the enemies of Egypt. Moreover, they were buried in the corners of temples or forts to eliminate their evil as well.
New Kingdom, 19th dynasty
Tura el-Asmand/Mud
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Fine ostrich feather fan of ivory, the handle inscribed with the names of the king.
18 dynasty, tomb of Tutankhamun, KV 62
Egyptian Museum, Cairo
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The wooden anthropoid coffin of a man called "Aba son of Ankh Hor", ruler and governor of Upper Egypt and the Head of the treasury.
The coffin is fully decorated in the shape of a mummy resembling Osiris with the upturned ceremonial false beard and a wig. The eyes are inlaid with ivory and ebony. Iba wears a large multicoloured necklace, and the sky-goddess Nut appears on the chest area. The goddess Isis with wide-spread wings is portrayed on the feet, while the goddess Nephtys appears at the head. The three goddesses offer protection to the deceased. The coffin lid is also decorated with texts from the Egyptian Book of the Dead and the base shows hieroglyphic inscriptions.
Organic material, sycamore wood
Late Period, 26th Dynasty, Saite Period
Provenance Upper Egypt, Luxor (Thebes), West Bank, Qurna
BAAM 829
Antiquities Museum of Bibliotheca Alexandrina
A quartzite statue of the priest Padiamenopet shows him as a scribe seated cross-legged on the ground. His right hand is shown as if he held a reed pen (now missing) to write on the papyrus unrolled across his lap.
25th dynasty
From Karnak
Egyptian Museum, Cairo
Funerary papyrus, Book of Dead of Maiherpri
New Kingdom, 18th Dynasty, reign of Thutmose III
From Maiherpri's tomb KV36, Valley of the Kings, Thebes
CG 24095b - JE 33844
Egyptian Museum, Cairo
This was photographed from a bridge called Ponte Vittorio Emanuele II. In Rome, you can see amazing sculptures like this one throughout the city. The whole city is like a giant museum.
In the 1960s many Nubian temples were in danger of being submerged under the rising waters of the Assuan Dam that was under construction and completed in the 70s. Museo Egizio took part in an international rescue operation led by Unesco. Temples to be rescued and relocated included the temples of Derr and Gherf Hussein.
Both temples were built by Ramesses II during the 19th dynasty. The temple located in Gherf Hussein was built by the Setau, Viceroy of Nubia and was partially cut into the rock so only the freestanding parts could be relocated during the Unesco project. The temple was dedicated to Ptah, Ptah-Tenen, Hathor and above all to Pharaoh Ramses II who had elevated himself to godhood.
An avenue of ram-headed sphinxes led from the Nile to the first pylon, which like the courtyard beyond is also free-standing. The courtyard is surrounded by six columns and eight statue pillars. The entrance to a peristyle court is decorated with colossal Osiris statues. The rear portion of the building which is 43 m in depth was carved out of rock and follows the structure of Abu Simbel with a pillared hall featuring two rows of three statue pillars and, curiously, four statue recesses, each with divine triads along the sides. Beyond the hall lay the hall of the offering table and the barque chamber with four cult statues of Ptah, Ramesses, Ptah-Tatenen and Hathor carved out of the rock.
The origin of the temple models is unclear but they are believed to have been made by Jean-Jacques Rifaud, a friend of the General Consul of France in Egypt, Bernardino Drovetti. The collections of Museo Egizio are based on Drovetti's collection, which he sold to the Italian Kingdom of Savoy in 1823. The collection was brought to Turin in the same year.
Wood, plaster
19th century
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The statue rests on tall and solid bases decorated with a group of cartouches, such as the Hyksos king, Nehesy, King Ramses II and Merenptah of the 19th dynasty, and King Pseusennes I of the 21st dynasty, but through the features, they were attributed to King Amenemhat III of the 12th dynasty.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia
Statue of Kaemked, the funerary priest of the noble Urirni, who was overseer of the Treasury and Prophet of the sun temples of Userkaf and Neferirkare. This statue was discovered in the tomb of Urirni with other servant statues accompanying their master in the Afterlife.
Painted limestone
From Saqqara
5th dynasty
CG 119
Egyptian Museum, Cairo
Bovine-legged beds dating from the Predynastic Period onward have been found in the funerary context all over Egypt. In the Middle Kingdom coffins appear that seem to combine the rectangular coffins of that time with the lion bier. It is merely a logical development to add feline heads to the already lion-legged beds. In the Greco-Roman Period, they are no longer simple coffins or beds but combine features of both. (Ancient Egyptian Coffins, Strudwick & Dawson)
Upper floor, gallery 21
Unfortunately, I have no information whatsoever of this bed or the coffin.
Egyptian Museum, Cairo
This elaborate container was used to hold perfumed oils and ointments and was found in the burial chamber between the first and second shrines. The container is in the form of the hieroglyph sema meaning union. The two figures at the sides, representing the god of the Nile, knot the heraldic plants of Upper and Lower Egypt to the pot. The overall composition reproduces the emblem meaning 'the union of the Two Lands' often seen on the throne in statues of the pharaohs.
JE 62114
Egyptian Museum, Cairo
(meglio in grande - best on large)
La Piazzetta Reale vista dalla Torre del Tesoro di Palazzo Madama.
Essa si affaccia sulla più grande Piazza Castello, ed è parte della maestosa scenografia disegnata dall'architetto Vittozzi.
La piazzetta fornisce la necessaria profondità di campo per rendere solenne al visitatore la facciata del Palazzo Reale.
A questo contribuisce anche la grande cancellata, eretta in loco di un grande porticato poi distrutto, dal Palagi, ultimata con le pregevoli statuee dei due Dioscuri, fuse da Abbondio Sangiorgio.
The Royal Square wiew from the Treasure Tower of Madama Palace.
It overlooks the largest Castle Square, and is part of the majestic scenery designed by Vittozzi.
(fonte: Wikipedia)
The square provides the necessary depth of wiew to give the visitor the solemn facade of the Royal Palace.
To this also contributes to the huge gate, built on site of a large porch and then destroyed by Palagi, completed with the valuable statues of the two Dioscuri, cast by Abbondio Sangiorgio.
(source: Wikipedia)
A statue depicting a man grinding grain that would be used to make bread that was a mainstay of the Egyptian diet.
Wood
Old Kingdom, 6th dynasty
Provenance Saqqara
NMEC National Museum of Egyptian Civilization, Cairo
One thing that I was dying to see in the Valley of Fire was the petroglyphs. There's just something about viewing ancient art that makes me giddy inside. I guess I'm just a hopeless geek. Plus I love thinking about the lives of the people who made them. Most of the petroglyphs I saw were much higher than I could climb but these particular ones were within a fairly easy amble up some red rocks. It was difficult to get a good angle on them so this was the best I could do. I loved how they all are holding hands. The placards in the Valley of Fire said that there was no interpretation of the symbols available.
P.S. That blurry bit on the last figure on the left is not due to my lens, it's how it appears on the rock.
A mummy of a woman wrapped in linen bandages and covered with five pieces of cartonnage. The first piece is a mask that covers the face, on which are represented the facial features: the eyes, nose, mouth and ears. Two curls of hair flank the mask and the face is gilded.
The second piece is a pectoral, decorated with a scarab spreading its wings. Each wing terminates with the hawk head and above it the solar disc.
The third piece covers the abdomen and bears a representation of the goddess Nut sitting and spreading her arms, which take the form of a bird's wing. Each wing terminates in a hand holding the plume of justice of the goddess Maat.
The fourth piece is rectangular in shape, framed with a band of geometrical decorations, which encloses a vertical line of hieroglyphic inscriptions.
The fifth piece covers the feet. Its top is painted with a drawing of the feet, and its bottom with the soles of sandals in colour.
Mummy
Cartonnage and linen bandages
From Roman Period
Provenance Deir el-Bersha, Minya
BAAM 615
Antiquities Museum of Bibliotheca Alexandrina
At first, I thought coming into the Vatican Museum -- there would only be works of art that has something to do with Christianity. It wasn't. The museum is a treasure of sculptures, artworks and paintings that dates back to the ancient world. This particular hall is a collection of several marble statues and sculptures.
The Hall of Statues
Vatican Museum
Vatican City
Rome, Italy
This group statue shows a seated woman holding four children, three standing and the fourth sitting on a cushion on her lap. The posture of a nurse and child, or children, was a popular one in private sculpture, although it also appeared in royal statuary. The standing prince and two princesses are naked and have only a lock of hair on their heads, which shows that they are younger than the prince who is sitting on her lap. He is wearing a kilt and holding a royal handkerchief. All four are wearing the heart amulet as well as bracelets inlaid with cornelian.
Painted limestone
18th dynasty, no provenance
(JE 98831)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This statue represents one of the protective goddesses that were found in the tomb of king Amenhotep II. They were responsible for protecting the body of the king in his afterlife journey. It represents Meretseger in the form of the winged Cobra.
Meretseger, a Cobra goddess dwelling on the mountain overlooks the Valley of the Kings in western Thebes. During the New Kingdom Meretseger had great authority over the whole Theban necropolis area. She can appear as a coiled cobra or as a cobra with a female head and an arm projecting from the front of the snake’s hood.
Her name translated as ‘she who loves silence’, aptly descriptive of a deity protecting secluded royal tombs.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The coffin has been decorated in the typical Late Period style where the space is divided into horizontal scenes and vertical text columns. The decorations are intricate for example, below the usekh necklace painted under the face, one can find the Sky goddess Nut, and below her a depiction of a sacrificial ceremony. In the ceremony, the deceased sits to the right, accompanied by a group of gods: Osiris, Isis, Nephthys, the four sons of Horus, and probably Thoth to the left.
Late Period
Valley of the Queens, tomb of Prince Khaemwaset QV 44
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The god Horus in the form of a hawk spreading its wings. A solar disk surmounts his head. Both wings bear the sign of the goddess Maat. Horus is standing on the symbol of the sky.
Detail from the wooden naos of the god Horus
Provenance Gamhoud, Beni Sueif
Roman era, 1st to 2nd cent. AD
BAAM 618
Antiquities Museum of Bibliotheca Alexandrina
The bottom of this anthropomorphic coffin, a so-called "yellow coffin" belonged to Nesikhonsu, a singer of Amun-Ra and the mother goddess Mut in Karnak.
The yellow colour of the coffin comes from the lacquering which is typical for this era. On each of the four sides of the coffin, the deceased is depicted presenting sacrifices to the four sons of Horus. Other gods such as Isis, Neith, Ptah-Sokar and Thoth are also present.
Scenes depicted here are, for example, Osiris with Isis and Nephthys behind him and mummified Osiris lying between Isis and Nephthys depicted as birds.
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The apron is formed of a belt of tiny faience beads in a geometric pattern. The two semi-oval pieces were probably the clasp and may have been covered with a plate bearing the name of Neferuptah. This apron was probably placed around the abdomen of the mummy of the princess, over the bandages.
Blue frit and faience
Middle Kingdom, 12th dynasty
Tomb of Neferuptah, Hawara
(JE 90189)
NMEC National Museum of Egyptian Civilization, Fustat Cairo