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The impressive shrine for canopic vases was found in the Treasure Room of the tomb with an alabaster container inside. The shrine, fixed onto a sledge, has a canopy formed by four corner pillars that hold up a roof crowned with a frieze of uraeus serpents and the sun disk, while a second frieze is on the roof of the shrine itself. The inscriptions on the pillars give the names and titles of the pharaoh.
Wood lined with stucco and gilded, glass paste
Tomb of Tutankhamon, KV 62
Valley of the Kings
JE 60686
Egyptian Museum, Cairo
Inside the chariot on the left-hand panel, Thutmose IV as a human-headed lion is trampling down his enemies. He is attired with closed hawk's wings, the royal wig with twisted tail, and ram's horns, and the Atef-crown with two pendent uraei on either side to the is attached a false beard. In front of him are his names and titles. Over his back is a fan composed of feathers and above it is a beetle with outspread wings, holding a solar disc in its forelegs and a shen-ring in its hind legs. Underneath his paws are three overthrown Asiatic foes representing three distinct races.
Behind the king is standing a figure of the hawk-headed god Montu with arms and wings outspread. Upon his head, the god wears a wig of medium length and upon the top of it are two ostrich feathers and the sun's disc with pendent double uraei. Around his neck, he wears a necklace and a coat of mail covers the body from breast to knees. In his right hand, he holds the khepesh sword and three signs symbolising power, stability and life.
On the right-hand panel, this scene is similar to that on the left-hand panel except that the king faces left and is represented trampling on three of his Southern foes.
Beneath both panels are lists of the conquered tribes. On the left side, the Northerners bound with papyrus flowers and on the right side the Southerners bound with lotus flowers.
Following is a list of them together with their facial types.
The Chariot recovered from the tomb of Thutmose IV (KV43)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The amulets have been cut out of thin gold foil and shaped with a technique called repoussage, where patterns are hammered into the metal sheet from the backside.
Provenance unknown
Late Period
Cat. 6726 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
A gilded, wooden statuette of King Tutankhamun stands on a wooden boat that is painted to represent a papyrus boat.
Its details are picked out in gold leaf. The king, wearing the red crown of Lower Egypt, holds a harpoon poised to strike an unseen enemy.
According to the myth of Osiris and Isis, the king here represents their son, Horus, who avenged his father, Osiris.
His adversary, Seth, often portrayed as a hippopotamus or crocodile, is not depicted, as he is a potentially harmful image.
The figure of the king holds a bronze coiled chain to bind the animal, representing Seth, after spearing it. (NOTE! The bronze coiled chain seems to have fallen on the wooden boat.)
The influence of the Amarna Period is clearly seen in the positioning of the figure: the neck stretched forward, the stomach slightly swollen, and the low hips are typical features of portraiture during the reign of Akhenaten.
The statue was found wrapped in linen in a varnish-blackened chest.
JE 60710
Egyptian Museum, Cairo
Child-Horus or Harpocrates is behind the foot holding the Cornucopia (Horn of plenty).
Marble
Roman Period
Provenance Caesareum, Alexandria
S. 17137 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
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 tent was made between 1046-1037 BC for the funerary purification of Isetemkheb II who was the daughter of the army general and High priest of Amun Masaherta and the chantress of Amun Tayuheret and the granddaughter of the king Pinudjem I of the 21st dynasty.
Noteworthy, Isetemkheb II held the title of "the superior of the Harem of Min, Horus and Isis at Ipu (Akhmim)" and was one of several princesses who bore this name in the family.
Although the coffin of Isetemkheb II has not been discovered yet, the coffin of her cousin Princess Isetemkheb IV the superior of the chantresses of Amun and wife of king Pinudjem II was discovered in the Deir el-Bahri cache and displayed in the baldachin now.
Painted red, green and yellow leather
Deir el-Bahri Cache (TT 320)
21st dynasty
Reign of Pinudjem I
(JE 26276)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The face of the mummy board of Sennedjem
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This funeral statuette depicts oxen being slaughtered. At the funeral ceremony, during the ritual of opening the mouth, the deceased was offered the foreleg and heart of a bovine as a sacrifice. Through them, the deceased would gain strength for the afterlife. During the ritual of opening the mouth, the priest would touch the mouth of the deceased with various instruments. Thus restoring the senses and bodily functions of the deceased - functions they would need in the afterlife.
Middle Kingdom
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
El templo de Luxor contaba inicialmente con dos obeliscos. Estos obeliscos fueron ofrecidos al rey Carlos X de Francia como tributo. Finalmente solo uno fue transportado a Francia donde preside la Plaza de la Concordia en ParĂs. El otro permanece en el templo delante del pilono izquierdo como se aprecia en la imagen
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.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The flute was one of the main musical instruments in ancient Egypt. It was played by individuals, such as shepherds and agricultural workers for pleasure or to speed up work, as well as by professional musicians. The Egyptian flute is usually characterized by five holes. The displayed flute is about 95 cm long.
Reed
New Kingdom, 19th dynasty
Provenance Luxor
The arched harp (shoulder harp) was a common musical instrument in ancient Egypt and was often decorated with colourful motifs on its outer surface. Harps, together with percussion instruments, were very popular and were used in both sacred and secular contexts.
Wood
New Kingdom, 19th dynasty
Provenance Luxor
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
Nephthys protecting the deceased on the lid of Sennedjem's inner coffin.
Wood, pigment
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Wooden cosmetic boxes
The lids of boxes attached at the back open to reveal compartments for cosmetics. The box could be secured by winding twine around the two knobs at the front.
The elaborate decorations of cosmetic boxes were intended to imitate more expensive boxes inlaid with ebony, ivory, and perhaps cedar or mahogany.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
Grinding the wheat on the plate to prepare the flour
Wood
Old Kingdom, 6th dynasty
Provenance Saqqara
NMEC National Museum of Egyptian Civilization, Cairo
A shrine made from alabaster - a stone that the Egyptians quarried in the caves at Hatnub in Middle Egypt - lay inside the monumental shrine made of gilded wood found in the Treasure Room.
The form of the alabaster shrine resembles the model of Predynastic temples on southern Egypt. It is fixed to a gilded wooden sled that was supposed to facilitate the movement of the object.
The inside of the shrine is divided into four compartments that held the solid gold sarcophaguses that contained Tutankhamun's internal organs. The compartments are closed by alabaster lids that bear the image of the king; his face is framed by the nemes headdress while vulture and a uraeus serpent, the emblems of royal power, appear on his forehead.
Relief images of Isis, Nephthys, Neith and Selket - identified by the hieroglyphic marks on their heads - appear on the corners of the shrine with their arms open to protect the body parts of the pharaoh. The inscriptions engraved on the sides of the shrine are the formulas intoned by the goddesses to further protect Tutankhamun.
The base of the shrine is covered with thin gold leaf decorated with a line of djed and tit symbols in alternating pairs; these are the emblems associated with Osiris and his consort Isis respectively.
JE 60687
Egyptian Museum, Cairo
Table games were very much appreciated in ancient Egypt with the most popular being Senet. The game was for two people and played on a rectangular board with the upper surface divided into thirty squares; probably the game consisted of moving tokens around the board following the throw of small battens that corresponded to our modern dice. The lower surface of the board was used for playing the twenty-square game.
Tutankhamun had four senet boards of which the largest was the most lavish. The squares were inlaid with ivory and the board itself rests on a small frame with supports in the form of lion' paws and fitted with runners. The drawer on the short side was found empty and removed from its housing and, as the tokens were missing, it is supposed that they were made from a valuable material and stolen by the tomb thieves. The token shown in the picture belonged to other, less magnificent, boards.
During the New Kingdom, Senet took on a magical-religious value and in the introductory formula in Chapter 17 of the Book of the Dead, it was considered essential that the deceased played a game against an invisible opponent to ensure his survival.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 62059 - SR 1/82 - 580
Egyptian Museum, Cairo
The majority of the pottery had been manufactured locally in the Fayum region, if not in the village itself.
From the exhibition of 'Unexpected treasures - 30 years of excavations and cooperation in Tebtynis (Fayum)'
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)
Mummy bed of Nedjemib, called Tutu
Late Ptolemaic Period
from Akhim
SR/ 11359/4
Upper floor, gallery 21
Egyptian Museum, Cairo
Part of a tomb wall with high reliefs depicting the deceased lovingly embraced by his wife. The wife's skin is painted in pale yellow, while her husband is depicted in dark brown. The man wears a short white kilt and a wig, a large collar and a bracelet around each wrist. Above the figures is a hieroglyphic inscription describing the wife as beloved.
Limestone
New Kingdom
Provenance El-Asasif at El-Korna, Thebes
BAAM 831
Antiquities Museum of Bibliotheca Alexandrina
The Naophorousor or Naos (Shrine) carrier statue is one of the prominent forms of late-period sculptures that emphasized the owner’s piety and connection to the gods.
This statue depicts the priest Psamtik-Seneb kneeling while carrying the naos of the god Atum, the procreator of all the gods and Lord of Heliopolis.
Limestone
Late Period
From Tanis
NMEC National Museum of Egyptian Civilization, Fustat 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. The bow takes the shape of the head of a strange creature.
Two or more boats were usually included in the burial: at least one representing the crew sailing upstream with the prevailing winds and placed facing south, the other equipped for rowing north with the current of the river (like the one we have here) and placed with the bow facing north.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Yuya and Tuya were the parents of Tiy, the Great Royal Wife of Amenhotep III and they had the honour of being buried in the Valley of Kings. Their tomb (KV46) was opened by James E. Quibell in 1905 and found with filled sarcophaguses and grave goods up to the ceiling. The tomb was not pristine and it had been entered by tomb robbers at least two occasions, perhaps three. All small objects of value, such as jewels, metal objects, perfumes and cosmetics, were missing. The thieves, who had also stripped the jewellery from the mummies, had disturbed the eternal sleep of the tomb's owners but their bodies had not been destroyed and their internal organs were found still in the canopic vases.
The Valley of the Kings was the royal Theban necropolis of the New Kingdom (18th-20th dynasties) and it does not only contain royal remains but also those of members of the royal family and important functionaries. These are characterized by the simplicity of the architecture: they are modest in size and without decoration, in design being nothing more than shaft tombs or with one or two descending corridors with steps that lead directly to the burial chamber.
18th dynasty
From the Valley of the Kings, KV46
Tomb of Yuya and Tuya
CG51008 - JE95316-SR93 and CG51009 - JE95254
Upper floor, gallery 43
Egyptian Museum, Cairo
Akhenaten was a progressive pharaoh of the 18th Dynasty, who introduced great changes to ancient Egyptian religion and art.
In this colossal statue, king Akhenaten has depicted holding heka and nekhakha scepters, symbols of power and authority in his hands. The crook (heka) and the flail or flabellum (nekhakha), are two of the most prominent items in the royal regalia of ancient Egypt.
Akhenaten's features are presented in the typical style of the Amarna Period. The King is standing, wearing a kilt that hangs below his swollen stomach. It is tied with a belt decorated with the royal cartouche.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
These two painted cartonnage masks were found in the tomb of Sennedjem. The tomb of Sennedjem can be considered a collective because at least three generations of the same family were united in the same chamber.
The mask on the right side belongs to his wife, Iyneferti, the other one is a mask of a woman may be one of his daughters or his daughters-in-law.
The masks were placed over the mummified and wrapped face of the deceased in order to identify them and to protect the body within.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This is a 1990 sculpture of Arnaldo Pomodoro, placed in the Vatican courtyard that was built in 1506. The Sphere brings about contrasting meanings, and ideas. And adds the contrast of modern and ancient artifacts in this Vatican courtyard.
Cortile della Pigna
Apostolic Palace - Vatican Museum
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.
The sides of the throne are decorated with a baboon; on the right side, he is holding a cosmetic pot of kohl eyeliner, while on the left he is holding a special mirror, called ankhet, which was associated with the ritual of rebirth and with sun symbolism.
Painted limestone
18th dynasty, no provenance
(JE 98831)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Khonsu was the god of the moon and a member of the Theban Triad during the New Kingdom. He was depicted in the form of a young man carrying a moon disk over his head and a characteristic braid of youth. He was a symbol of the youth, vitality and vigor of the reigning king.
The features of the statue indicate that it dates back to the reign of Tutankhamun, as it bears the personal features of the king.
Granite
New Kingdom, 18th dynasty
From the Temple of Khonsu at Karnak
(CG 38488)
NMEC 838
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Numerous boxes and caskets were found piled haphazardly in the western corner of the Antechamber, just as they had been left after the tomb had been ransacked by robbers in antiquity.
The containers were almost all rectangular in shape, with lids that were either flat or vaulted, or had triangular pediments.
With the exception of examples in calcite and reed, the majority were made of wood, inlaid with ivory, gold leaf, turquoise or glass paste. In many cases, a hieratic or hieroglyphic inscription indicated function and contents, followed by the name of the king and the ritual verse which wished for 'life, strength and health' for the king.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
This is a miniature reproduction of the original Etruscan horse, housed in the Metropolitan Museum of Art. I bought this for my sister years ago.
I find him so regal, detailed, and simply beautiful.
For my Flickr groups…
Fragment of a stela shows King Amenhotep I seated on his throne, wearing a blue crown and holding the symbols of power and life. Behind him, his wife is seated on her throne, holding the symbol of life in her right hand, and placing her left on her husband's shoulder. In front of her, is an offering table with representations of papyrus and lotus plants.
Limestone
18th dynasty, reign of Amenhotep I
BAAM 832
Antiquities Museum of Bibliotheca Alexandrina
The tomb of Prince Khaemwaset, son of Ramses III, who ruled during the 20th dynasty, was discovered in 1903 when Museo Egizio's archaeological expedition was excavating in the Valley of Queens. Grave robbers had been using the tomb as storage. The floor was strewn with mummies and coffins, including this coffin of Nesimendjem. The coffin has been decorated in the typical Late Period style.
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 Nubians living in the south were under Egypt for a long time, but during the 25th dynasty, they conquered almost all of Egypt. The Nubians embraced the worship of Ammon and described themselves in the traditional style as pharaohs. Nubian kings are distinguished from others by the fact that they were portrayed by the stereotypical facial features of the Nubians of the ancient Egyptians.
Bronze
25th dynasty
Provenance unknown
Cat. 1394 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
This bust model of Tutankhamun is a unique artefact carved in wood, smoothed with gesso and painted. Gesso is a preparation of plaster and glue used as a surface for painting.
Although the body has minimal details and is without arms, the face is an accurate portrait of the young king who wears a flat crown with a uraeus or cobra.
JE 60722
Egyptian Museum, Cairo
Sennedjem was an ancient Egyptian artisan who lived in Set Maat (Place of Truth) and worked in the tombs of the Valley of the Kings during the reigns of Seti I and Ramses II of the New Kingdom. Workmen who lived there were called "Servants in the Place of Truth".
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
In the upper part of the statue one can see the name of Pharaoh Psamtik I inscribed inside a cartouche or an oval line that encloses a hieroglyph. Writing the royal name inside a cartouche served to protect the bearer of the name from evil forces. The spelling on the statue is the most legible: "Son of Ra, Psamtik, may he live forever".
Psamtik I ruled during the 26th dynasty from 664 to 6610 BC. During his long reign, he expelled the Nubians, who had conquered Egypt, reunited the divided country and heralded Pharaonic Egypt into its last golden age.
Greywacke
26th 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 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.
The sides of the throne are decorated with a baboon; on the right side, he is holding a cosmetic pot of kohl eyeliner, while on the left he is holding a special mirror, called ankhet, which was associated with the ritual of rebirth and with sun symbolism.
Painted limestone
18th dynasty, no provenance
(JE 98831)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
God Khonsu's name is written in hieroglyphics on the statue of Khonsu.
Granite
New Kingdom, 18th dynasty
From the Temple of Khonsu at Karnak
(CG 38488)
NMEC 838
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The ancient Egyptians believed that the other world contained a celestial river equivalent to the Nile, where the gods travelled over it in their boats and spirit crossed it on their way to resurrection. Therefore models of boats were placed within the funerary furniture to depict the deceased's journey to the cemetery and its equivalent to the other world.
NMEC National Museum of Egyptian Civilization, Fustat Cairo