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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
On the outer surface at the sides is a rare portrayal is the deceased's funeral some 2900 years ago. It must be seen from the left to the right. First, comes the catafalque being drawn to the grave. Next come the weeper-women preceded by the bearers of the grave goods.
New Kingdom, 21st dynasty
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
9.10.2020-21.3.2021
From the collection of the National Museum of Finland,
14460:660 Cat 173
Los colosos de Memnón son dos gigantescas estatuas de piedra que representan al faraón Amenhotep III situadas en la ribera occidental del Nilo.
The complete type in the 'classic' iconographic scheme presents five registers with the Netherworld represented by the three reversed registers, the akhet and the day sky signified by the two uppermost registers.
In the instructions of spell 162, the vital flame of the sun is generated by the image of the Ihet-cow: either by a statuette in fine gold (rpy.t m nbw nfr) placed at the throat or by a drawing on a papyrus placed at the head.
(www.enim-egyptologie.fr/revue/2019/4/Miatello_ENiM12_p49-...)
Linen, stucco
Greek Period
Cat. 2320 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
On the short sides of the chest, Tutankhamun is portrayed as a sphinx trampling his northern and southern enemies.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61467
Egyptian Museum, Cairo
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
An unusual and appealing small head that is a masterpiece; it was found by Howard Carter at the entrance to King Tutankhamun's tomb.
Tutankhamun as Nefertem (also known as the Head from the Lotus Bloom or Tutankhamun as the Sun God).
The head is that of the boy pharaoh with very beautiful features, modelled in the Amarna style and emerging from an open lotus flower. The base is painted blue to represent the water in which the flower grows.
Chapter 81 of the Book of the Dead allows the deceased to transform itself into a lotus flower to move more easily through the world beyond the grave and the illustration that accompanies it shows the head of a man emerging from the lotus.
Lotus is a powerful symbol because the flower closes its petals at dusk and opens them again at dawn, facing east to greet the rising sun. Thus, the emerging lotus is the symbol of the sun, which is regenerated each morning after its nightly journey to the regions of the underworld.
This beautiful sculpture was placed in the tomb to wish the sovereign eternal life.
JE 60723
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.
The anthropoid coffin represents the deceased with plaited divine beard and broad collar with solar raptor terminals wearing the White crown of Upper Egypt decorated with two feathers.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This anthropomorphic coffin belonged to an unknown person, probably a woman. The coffin and the mummy wrapped in bandages of varying widths probably originate from the Late Period, when the sophistication of mummification declined remarkably compared to the preceding Third Intermediate Period, which marks the high point of mummification.
During the Late Period, a typical modest funeral complement included the following items: an anthropomorphic inner coffin, a rectangular outer qrsw coffin, a shabti box containing shabti statuettes, four canopic jars, and occasionally a box for holding them, a wooden stela, a wood sculpture of Ptah-Sokar-Osiris and possibly a number of pottery jars and other objects. However, the Late Period saw the gradual disappearance of most everyday objects from burial chambers.
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
A granite sarcophagus lid of dwarf Djeho was discovered at Saqqara by James Quibell in 1911.
The biography on the sarcophagus's lid tells us that Djeho was a dancer in burial ceremonies connected to the sacred Apis and Memphis bulls.
Djeho shared a tomb with his master Tjaiharpta, which indicates that he belonged to the household of a high official and had a favoured position with his patron.
The profile image of the dwarf depicts the owner at life size, measuring 120 cm. The naked figure of the dwarf is carved on the lid of his sarcophagus and is of superb quality.
From Saqqara
Late Period, 30th dynasty, Reign of Nectanebo II
Egyptian Museum, Cairo
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 subjects of the side and end panels pertain to the chase, their compositions being friezes of animals, and the king and queen fowling and fishing. As to the contents of the casket, when deposited in the tomb, we can only make a conjecture.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 62059 - SR 1/82 - 580
Egyptian Museum, Cairo
New illustration that took me a few days.
Hope to have this made into a 18x24 inch print.
Let me know what you think.
Upon his arrival from the other world, the sun god purifies himself in the eastern horizon before his shining in Heaven, where the four gods Horus, the Lord of the North, Seth, the Lord of the South, Dewen-anwy, the Lord of the east, and Thoth, the Lord of the West, pour the water of life and power over him from the four corners of the universe.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Senenmut served as a close advisor and architect for the ruler, Hatshepsut. He was trusted enough to be the tutor of Hatshepsut's daughter, Neferura, who is shown with Senenmut in this statue. Senenmut designed and oversaw the construction of Hatshepsut's memorial temple at Deir el-Bahri and other buildings in Karnak temple.
Granite
18th dynasty
Karnak temple
(JE 36923 & CG 42116)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The group represents King Ramesses the Third, the god Horus and the god Seth.
Ramesses III is wearing the white crown of Upper Egypt with the royal cobra on the front, a wide collar of many rows, and the royal pleated kilt, the shendyt, with a long belt hanging down to the bottom of it. He is holding the ankh sign of life in his right hand and the roll of power in his left hand. His left leg is forward.
The statues of the gods, Horus and Seth, are in the same posture with the left leg forward; they are each holding the ankh, and wearing the Egyptian pectoral and the shendyt kilt. Each god has placed one hand on the crown of the king, performing the Coronation of Ramesses III.
20th dynasty
Pink granite
From Medinet Habu
JE 31628
Ground floor, room 14
Egyptian Museum, Cairo
This wood coffin belonging to King Seti I was among the cachette of mummies at Deir el-Bahri. It shows the king in the Osirian position, his arms placed over his chest. A hole in the forehead suggests the former presence of another cobra, probably made of gold. The hole in the chin also indicates that a false beard had most likely been attached, also, likely to have been gold. Several lines of the cursive hieratic script on the lid reveals that the tomb of Seti I was restored during the sixth year of the reign of King Herihor, in the 21st dynasty. In the 16th regnal year of the same king, the mummy of Seti I was first moved to the tomb of a princess, before being transported by king Panedem I to the tomb of Amenhotep II. Finally, it became part of the cachette of Deir el-Bahri.
Wood, Western Thebes
19th dynasty, reign of Seti I
Upper floor, gallery 46
Egyptian Museum, Cairo
A woman's death mask made in the Greco-Roman period. The decorations show both traditional Egyptian and northern influences.
Linen, plaster
Greco-Roman Period
Provenance Asyut
S. 14723/1 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
The group represents King Ramesses the Third, the god Horus and the god Seth.
Ramesses III is wearing the white crown of Upper Egypt with the royal cobra on the front, a wide collar of many rows, and the royal pleated kilt, the shendyt, with a long belt hanging down to the bottom of it. He is holding the ankh sign of life in his right hand and the roll of power in his left hand. His left leg is forward.
The statues of the gods, Horus and Seth, are in the same posture with the left leg forward; they are each holding the ankh, and wearing the Egyptian pectoral and the shendyt kilt. Each god has placed one hand on the crown of the king, performing the Coronation of Ramesses III.
20th dynasty
Pink granite
From Medinet Habu
JE 31628
Ground floor, room 14
Egyptian Museum, Cairo
Standard of Wepwawet
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Winged scarab holding a sun disc and below it, the goddess Nekhbet is represented as a vulture with her wings fully outstretched, with her head and legs in profile wearing the White Crown of Upper Egypt.
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.
The coffin combines cartonnage (linen, glue, and gesso), paint, gold, silver, resin, glass, wood, and leaded bronze. The lid is covered with vignettes illustrating funerary spells and has an inscription invoking gold and silver.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The priests were expected to be completely clean as they served in the temples. In the visual arts, they are often identified from the bald head.
Granodiorite
Late Period
Provenance unknown
Cat. 3139 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
Canopic box of Tameket, who was the wife of Khonsu, son of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The inner cover portrays Sennedjem in his worldly attire, wearing a long white linen kilt.
Wood, pigment
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Fragment of an anthropomorphic coffin
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
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
The bow takes the shape of the head of a strange creature.
Among the most important categories were model boats, as they were believed to provide transport along the River Nile, Egypt's main transportation route. They were found in tombs primarily in the First Intermediate Period and the Middle Kingdom, although examples are known both earlier and later.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
One of the apotropaic lion heads at the front of the golden throne
18th dynasty
Valley of the Kings, Tomb of Tutankhamun, KV62
JE 62028
Egyptian Museum, Cairo
High relief sculpted statues of Ramses II-Amon between anthropomorphic Atoum and Khepri at the bottom of a monolith naos sitting side by side, hands on knees, common bench seat as a throne.
Provenance: Tanis, Large Temple, North naos, between the third and fourth pairs of obelisks
Red sandstone
JE 37475 = CG 70003
(Catalogue de la statuaire royale de la XIXe dynastie,
Hourig Sourouzian)
Egyptian Museum, Cairo
Tutankhamun's tomb contained 413 shabti figures, only relatively few of which were inscribed. Of the total number, 236 were found in the Annexe, 176 in the Treasury and just one in the Antechamber. They had originally been kept in wooden caskets with inlays of beaten gold or bronze. The shabtis were made from a variety of materials, including wood that was gessoed and painted, and stone.
The larger shabti figures varied in form, size and attributes. They were differentiated above all by their headdresses (the Red Crown of the North, the White Crown of the South, the nemes, the afnet headcloth and a type of cylindrical helmet) and inscriptions. The statuettes portray a figure with youthful features.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
Who says history has to be dry? This marble marvel—on bold, gluteal display in Palermo’s Antonino Salinas Regional Archaeological Museum—reminds us that the ancients knew a thing or two about form, tension… and turning heads. Whether it’s a god, a hero, or just a man wrangling his daily sea monster, the sculptor left no curve to the imagination. Tucked within the Olivella complex, this backside belongs to one of Italy’s finest collections of Punic and Ancient Greek art—though let’s be honest, this is the piece that stays with you.
Qui a dit que l’archéologie manquait de sensualité ? Ce fessier de marbre, capturé dans toute sa splendeur au Musée Archéologique Régional Antonino Salinas de Palerme, prouve que les Anciens sculptaient avec passion… et précision. Qu’il s’agisse d’un dieu, d’un héros ou d’un dompteur de créature marine, les courbes parlent d’elles-mêmes. Situé dans le complexe monumental de l’Olivella, le musée abrite des trésors gréco-puniques inestimables—mais avouons-le : c’est ce postérieur qui vole la vedette.
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
The group represents King Ramesses the Third, the god Horus and the god Seth.
Ramesses III is wearing the white crown of Upper Egypt with the royal cobra on the front, a wide collar of many rows, and the royal pleated kilt, the shendyt, with a long belt hanging down to the bottom of it. He is holding the ankh sign of life in his right hand and the roll of power in his left hand. His left leg is forward.
The statues of the gods, Horus and Seth, are in the same posture with the left leg forward; they are each holding the ankh, and wearing the Egyptian pectoral and the shendyt kilt. Each god has placed one hand on the crown of the king, performing the Coronation of Ramesses III.
20th dynasty
Pink granite
From Medinet Habu
JE 31628
Ground floor, room 14
Egyptian Museum, Cairo
This flint knife is among the finest examples of the worker's skill. Copper knives of a similar shape were also found. The hole is for the attachment of a wooden handle.
1st dynasty
Flint one: Hemaka, Saqqara
Copper: Abydos
Egyptian Museum, Cairo
This stela depicts King Ramses I offering to the god Seth, the god of Avaris, which was the capital of Egypt under the Hyksos. It was located at modern Tell el-Dab'a in the northeastern region of the Nile Delta.
Limestone
19th dynasty
Tharu, Heboua 2. No 927
Egyptian Museum, Cairo
Black African warrior depicted on an Athenian alabastron (500-450BC). The Manchester Museum, University of Manchester, UK. For better images, see www.beazley.ox.ac.uk/record/491F80CB-5E7A-45B3-8906-A1105... and www.flickr.com/photos/themanchestermuseum/7980091695/
All three cat mummies are from the Late Period - Greek Period.
Cats were probably originally honoured for their mouse-hunting skills, but their popularity grew due to their association with the goddess Bastet. Bastet was usually depicted as a cat or a cat-headed woman. The centre of her worship was the city of Bubastis (Bast in the Egyptian language). On this site, archaeologists have found the huge necropolis for cats associated with the temple of the goddess.
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Bronze
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of The National Museum of Finland
9.10.2020-21.3.2021
The god Thoth was worshipped in several regions in Ancient Egypt, and the center of his cult was the city of Hermopolis (el-Ashmunein). A monkey was combined with the ibis to represent the incarnation of Thoth's soul. The qualities of the new god became important and dominated all aspects of culture such as the invention of writing and recording laws and historical events. Thoth was the patron of scribes and supervisor of the calendar and temporal divisions. The sanctity of this bird in Ancient Egypt was such that anyone who deliberately, or unintentionally killed it was condemned to capital punishment.
During the "Weighing of the Heart" ritual, the ibis and the baboon stood on either side of the scales to represent the god Thoth. The Greeks compared Thoth to their god Hermes and he was named the Thrice Great One.
Bronze and alabaster
New Kingdom
Provenance Minya
BAAM 644
Antiquities Museum of Bibliotheca Alexandrina
Natural mummies came to exist in Egypt as early as the pre-dynastic period when the dead were buried in earth pits without a coffin. Dry and hot climates and sandy soils provided favourable conditions for mummification. The Egyptians began to mummify their deceased themselves at the stage when a coffin burial was introduced, i.e., the deceased was separated from the sand to be dried.
During the dynastic period, it was thought that the preservation of the body of the deceased was a precondition for entering life after death. Mummification techniques were developed and attention was also paid to aesthetic aspects such as decoration.
This mummy is probably an adult man. The mummy's head is missing, it may have been stolen from the grave in later times. Although the mummy is carefully wrapped in linen, the mummification technique itself is quite poor.
Organic material, linen
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
The deceased stands at the head of the scene that stretches along the side of the coffin's bottom.
Sarcophagus of Ahmose
Limestone
Provenance: Tuna el-Gebel
26th Dynasty
JE 51945, SR 5 12059
Egyptian Museum, Cairo
The breast area of the sarcophagus of Nestefnut is decorated with a detailed wsh-collar. Each ends rest on the shoulders on the mummy and shows the head of a falcon with a sun-disk and uraeus. The eleven rows of a collar consist of flower and leaf ornaments: tear-shaped beads, leaves, lotus/lilies/papyrus blossoms, sometimes with buds or only buds, rosettes. The sixth and the tenth rows are engraved with geometric ornaments: rhomboids which are possibly stylized leaves and tube-shaped inlays. Some paint remains within the collar: black, red and blue.
Black paint is preserved around the eyes, in the pupils and at the eyebrows.
Below the collar, four columns in small signs can be read, giving us the end of chapter 99B of the Book of the Dead, including the name and titles of Nestefnut and her parents.
Sarcophagus of Nestefnut
Limestone
Ptolemaic period
Provenance: Abydos
JE 6291
Egyptian Museum, Cairo