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The inner coffin of Sennedjem is made in the anthropoid form, where his mummy was placed inside.
The inner cover depicts Sennedjem in his worldly clothes as he wears a long kilt of white linen.
The coffin is decorated with funerary scenes of the protective goddesses from the Book of the Dead.
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Faience
3rd Intermediate Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Sennedjem's inner coffin is anthropoid in shape.
The casket is adorned with funeral scenes of the Book of the Dead's protecting gods and goddesses.
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Thoth was worshipped in Egypt from the Early Dynastic Period until Roman times. He was the patron of the scribes and was venerated as the god of the moon, wisdom, science and medicine. He also had a significant role in the afterlife.
Thoth takes two iconographic forms: he was sometimes depicted as a squatting dog-headed baboon and sometimes as an ibis or ibis-headed human, often carrying the palette and the pen of the scribe. His headdresses include the crescent moon and disk, the Atef Crown, and the crowns of Upper and Lower Egypt.
The principal cult center of Thoth was at Hermopolis, ancient Egyptian Khemenu, near the modern town of El-Ashmunein in Minya.
As the moon god, Thoth regulated the seasons and counted the stars. Thus he was associated with astronomy, mathematics and accounting.
Thoth's medical reputation is attested in mythology: in the Osiris legend, he assists Horus and Anubis in reconstructing the body of Osiris and teaches Isis the spells necessary to revive him. In one version, he heals the infant Horus after Isis finds him dead of a scorpion bite. He is also said to have healed Horus's right eye, damaged by Seth, and to have replaced the head of Isis with the one of a cow after Horus cut it off in a rage.
Thoth was said to have intended the art of writing and as the god of the scribes, he bears the title of the "Lord of the Sacred Word". He also personified divine speech. In both baboon and ibis forms, he is portrayed overseeing and protecting the scribes. Hymns and prayers to Thoth, focusing on his role as patron of the scribes, were used as school texts and appear on statues of scribes.
In scenes of divine judgment, such as the vignettes accompanying the Book of the Dead, Thoth records the results of weighing the heart against Maat and announces the verdict typically appearing as an ibis-headed man, and sometimes as a baboon seated atop the scales of justice.
Bronze and wood
Late Period
Provenance Tuna el-Gebel, Minya
BAAM 636
Antiquities Museum of Bibliotheca Alexandrina
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
The inner cover portrays Sennedjem in his worldly attire, wearing a long white linen kilt.
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
(JE 27308)
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
Bronze, lapis lazuli, gold
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
Goddess Nephthys wearing a headdress in the shape of a house and basket watches over the lungs with Hapi.
Four goddesses with open arms watch over the organs of the sovereign. They are identified by the hieroglyphs on their heads and on the low reliefs of the sanctuary walls. Each goddess faces and is associated with one of the four children of Horus whose duty was to preserve the king's organs: the goddess Isis watches over the liver with Imset, Nephthys the lungs with Hapi, Neith the stomach with Duamutef and Selket the intestines with Qebehsenuf.
Characteristics typical of the art of Amarna can be seen in the slight rotation of the statues' heads (compared to the frontal tradition of Egyptian statuary), the long neck stretching forwards and the naturalistic modelling of the bodies.
Detail of Canopic Shrine of Tutankhamon
Wood lined with stucco and gilded, glass paste
Tomb of Tutankhamon, KV 62
Valley of the Kings
JE 60686
Egyptian Museum, Cairo
In Maiherpri's tomb, a papyrus was found depicting him with literally "blackish" skin, leading scholars to believe he was, in fact, Nubian or of Nubian descent. The papyrus in question was the Book of the Dead.
The mummy was unwrapped by Georges Daressy in March 1901, revealing a mummy whose dark skin matched that depicted on his copy of the Book of the Dead, and thought that this was likely Maiherpri's natural colour, unchanged by the mummification process. He also had tightly curled, woolly hair, which turned out to be a wig that had been glued to his scalp.
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
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.
The democratization of funerary beliefs and customs in the First Intermediate Period inspired many less well off Egyptians to create representations of their own daily environment which they believed would continue in the afterlife. Unable to afford the scenes carved and painted on the tomb walls of wealthier Egyptians, poorer individuals purchased models representing various aspects of daily life and placed them in the tomb. The models included figures of household servants performing cooking tasks, farm labourers tending to animals and crops, and men involved in manufacturing processes. These models were believed, just like wall scenes, to magically sustain the dead in their afterlife within the tomb, providing the food, drink, clothing, and shelter which would be needed for continued existence.
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. 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 and placed with the bow facing north. The largest collection of boat models was found in the tomb of Djehuty-Nakht at Bersha which comprised fifty-five boats.
Some of the boat models had a religious significance. According to ancient Egyptian religious beliefs, Osiris's body was taken by a boat for burial at Abydos, his chief cult place. In their lifetime, many Egyptians either made a pilgrimage to Abydos or sent a votive stela or both. In death, they also wished to be buried there, or at least that their mummy should visit this sacred town. Usually, of course, not even this was possible, so a wooden model of the deceased's mummy on a boat or a representation of this journey on the tomb wall had to serve instead.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Bust of the Roman emperor Carinus (AD 283-285) in Centrale Montemartini, Rome. Used as an illustration in Roman Legionary AD 284-337: The Age of Diocletian and Constantine.
Photographed in 1998 with a Ricoh R1 and, IIRC, some variety of Agfa Iso 400 film. Old scan from the print
Maiherpri was noble of Nubian origin. He probably lived during the rule of Thutmose IV. Amongst his titles were Child of the Nursery and fan-bearer on the right side of the king.
Maiherpri was placed in two anthropoid coffins and an outer wooden shrine of rectangular form. All three are painted black with gilded decorations.
A third anthropoid coffin was found next to this coffin ensemble with its lid placed next to the box. It seems that the 'extra' coffin was intended as the innermost one, but was too big to fit into the set and was, therefore, left unused next to it.
18th dynasty, from Valley of the Kings - KV36
CG 24004
Upper floor, room 17
Egyptian Museum, Cairo
Egyptian Museum, Cairo
Canopic jars could be stored in boxes built separately for them. The guardian gods of canopic jars were often painted on the sides of the caskets. On one side of this viscera box of Tasheritnetkhonsu is a false door, above which the scarabaeus rotates the reborn sun.
Wooden viscera box of Tasheritnetkhonsu
Late Period-Greek Period
Provenance unknown
Cat. 2425 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 flint knife with a gold handle was not intended for everyday use. Given its fine craftsmanship, it would probably have been used exclusively in religious ceremonies and rituals.
The flint blade, with its carefully polished surface, has a forked tip and tapers slightly towards the handle in which it is inserted. The edges are minutely serrated to facilitate cutting.
The handle is made of two gold plates fixed together by three rivets, with a coating of plaster over the final part of the blade. In the centre of each side of the handle where it joins the blade a small semicircular notch is cut out, while the pommel is in the form of a crescent moon.
On the pommel of the gold is incised with stylized motifs drawn from the classic iconography of the Nagada Period, as seen above all on pottery vessels. On one side are three stylized female figures, perhaps dancers, holding hands. The one on the left is holding a kind of fan. Next to the right-hand figure are four incised undulating lines, representing water. On the other side of the pommel a boat is depicted, the hull of which follows the curve of the handle. Two tall central cabins are shown on the boat and a number of banners. Next to the boat is a small, stylized aloe plant filling the available space. Not surprisingly in a country where all life depended on the Nile, boating scenes were frequently used as decorative elements from the Predynastic Period onwards.
Flint and gold leaf
Gebelein, acquired at Qena in 1900
Predynastic Period, Nagada II
JE 34210, CG 64868
Egyptian Museum, 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
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
'The Persian Warrior,' Vatican Museums cat. 2794.
I believe the 'ice cream cone' is actually a representation of a sword's hilt. Photographed at the Vatican Museums, Tuesday, 21 May 2019.
Obsidian
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
This is one of 28 gilded wooden statuettes of deities wrapped in shrouds to look like mummies.
They were kept in shrines placed in the tomb to protect King Tutankhamun during his journey in the underworld. This statuette represents Sopdu the falcon god.
JE 60747, Carter 283b
Egyptian Museum, Cairo
This gilded cartonnage mask shows Yuya wearing a long wig. He wears an elaborate collar that goes beneath his wig. The inside of the mask is covered in bitumen.
18th dynasty
From the Valley of the Kings, KV46
Tomb of Yuya and Tuya
CG51008 - JE 95316-SR93
Upper floor, gallery 43
Egyptian Museum, Cairo
This sarcophagus is one of the three sarcophagi of Queen Hatshepsut. One of them was used for the burial of Thutmosis I and is now displayed in Boston.
The sarcophagus is perfectly polished on all sides and decorated with finely carved scenes in one of the hardest stones used by Egyptian artists, the red quartzite associated with the solar cult.
At the foot end of the sarcophagus is Isis, kneeling on the nub hieroglyph (a necklace with pendants symbolizing 'gold'). The goddess's hands rest on the shen hieroglyph (symbolizing protection). On her forehead is the cobra. The hieroglyph meaning 'throne', inscribed with her name, rests on her head. Her body is draped in a long, tight tunic with a broad strap partially covering her breast.
Three columns of hieroglyphs are incised in front of Isis, in which the goddess is defined as the daughter of Geb and which record her words: 'Your arms surround the king Maatkare, right of voice, you have illuminated his face and opened his eyes'. The whole scene is framed by three long cartouches, two vertical and a higher horizontal one in which the queen associates herself with Isis, declaring their sisterhood. A similar scene is found on the opposite short end of the sarcophagus, where the goddess Nephthys is represented. She too has her name written above her head.
Along the right-hand side of the sarcophagus are depicted two of the sons of Horus (Imseti and Duamutef), between whom is placed Anubis Khentisehnetjer ('he who stands before the tent of the god') while the other two sons of Horus (Hapy and Qebehsenuef) are represented on the left-hand side with Anubis Imyut ('the embalmer') between them.
On both sides of the sarcophagus, the texts are composed of tutelary verses for the body of the queen. On the left-hand side, there is also a pair of wedjat eyes that allowed the deceased to look out of the sarcophagus. In the interior of the sarcophagus are further representations of Isis and Nephthys.
18th dynasty, from the Valley of the Kings, KV20
JE 37678 - JE 52459
Ground floor, grand hall
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
Silver vases of Princess Neferwptah, Neferuptah or Ptahneferu (“Beauty of Ptah”). She was the daughter of king Amenemhat III of the 12th dynasty. Her sister was the Pharaoh Sobekneferu (“Beauty of Sobek”).
Three vases were found in the tomb of the princess. One was found beside the offering table while the other vases were beside the sarcophagus in the burial chamber. These vases were most probably water vases used for the preliminary purification. The inscriptions on the vases all alike mention the name of – Nerferwptah – in the cartouche as well as the name of her father Amenemhat III.
The tomb was found intact in 1956 and still contained her jewellery, a granite sarcophagus, three silver vases and other objects.
Neferuptah is one of the first royal women whose name was written inside a cartouche. Although she never had the title 'king's wife', she must have had a special status; it is possible she was regarded as a future ruler.
Her titles included a member of the elite, great of favour, great of praise and beloved king's daughter of his body.
A burial for her was prepared in the tomb of her father at Hawara. However, she was not buried there, but in a small pyramid at Hawara. Her tomb was found intact in 1956 and still contained her jewellery, a granite sarcophagus, three silver vases and other objects.
The granite sarcophagus was inscribed with a short offering formula. Inside the sarcophagus were found the decayed remains of two wooden coffins. The outer one was decorated with inscribed gold foil. Identical inscriptions were found on the sarcophagus of Queen Hatshepsut, who lived about 300 years later. Her tomb is mentioned on a papyrus found at Lahun. She is depicted next to her father in the temple at Medinet Madi. Objects belonging to her include a sphinx of black granite and the fragment of a statue found on Elephantine.
Silver
Burial of Neferuptah in Hawara
Middle Kingdom, 12 dynasty
Hawara
(JE 90152, JE 90153, JE 90154)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This young man (US Air Force) was getting prepared for his first tattoo. Matt at Ancient Art in Hampton will be doing the art.
Ceramic
New Kingdom
Theban necropolis
The exhibition 'Nefertari and the Valley of the Queens' from the Museo Egizio, Turin' in the Hermitage Museum, St Petersburg, 2017
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
Maiherpri was noble of Nubian origin. He probably lived during the rule of Thutmose IV. Amongst his titles were Child of the Nursery and fan-bearer on the right side of the king.
Face from one of Maiherpri's anthropoid coffins - made too large to fit within his second coffin and discarded, unused, in the centre of the burial chamber.
The golden face of the coffin has inlaid eyes with black and white jasper. The wig is adorned alternately with blue and gold stripes. The multicoloured necklace has five rows of pearls.
18th dynasty, from Valley of the Kings - KV36
CG 24003
Upper floor, room 17
Egyptian Museum, 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
Statue of Gemehsu as a falcon.
This is one of 28 gilded wooden statuettes of deities wrapped in shrouds to look like mummies.
They were kept in shrines placed in the tomb to protect King Tutankhamun during his journey in the underworld. This statuette represents Gemehsu as a falcon sitting on an insignia, or symbol of rank. His back is adorned with the flail and the Neheh sign.
Gesso-gilt wood, inlaid glass eyes, copper
18th dynasty, from the Tomb of Tutankhamun, KV62
JE 60748, Carter 283c
Egyptian Museum, Cairo
This cave has the most beautiful façade of the all of Ajanta caves. This chaityagriha (16.05 X 7.09 m) was excavated in 5th century A.D of the Mahayana phase. The stupa is carved with a standing image of Buddha.
The façade has a portico standing on two pillars, above this is a horse-shoe shaped chaitya arch-window. On either side of the chaitya window are the imposing sculptures of Yakshas which are notable for their ornate jewelry and interesting hair styles. There is Buddha images on either sides of the entrance and the whole façade is ornate with sculptures. This cave is one of the best specimens of Buddhist rock cut architecture. The entire cave was once painted including the pillars, walls and the vaulted ceiling. Traces of paintings can be see even today. The space between the vaulted ceiling and the pillars, is filled with beautiful sculptures.
The Ajanta Caves are approximately 30 rock-cut Buddhist cave monuments dating from the 2nd century BCE to about 480 CE in the Aurangabad district of Maharashtra state in India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotions through gesture, pose and form.
They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the 2nd century BCE and the second occurring from 400 to 650 CE, according to older accounts, or in a brief period of 460–480 CE according to later scholarship. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The gilded footstool of Tutankhamun made out of heavy wood covered with gold leaves and decorated on its top with the nine traditional enemies: the Nubians, the Libyans, the Asiatic, the Sea People, the Assyrians, the Hittites, the people of Kush, the Babylonians, and the Palestinians.
Wood, gesso, faience
New Kingdom, 18th dynasty
Valley of the Kings, Tomb of Tutankhamun KV62, Antechamber
JE 62046=SR1/881=Carter 90
Egyptian Museum, Cairo
The legs of the chair end in the form of ducks heads, made out of ebony inlaid with ivory. The sema-tawy motif of intertwined lotus and papyrus stalks representing a unified Upper and Lower Egypt once stood between them.
Ebony, gold, ivory, glass
New Kingdom, 18th dynasty
Valley of the Kings, Tomb of Tutankhamun KV62
JE 62030=SR1/1067=Carter 351
Egyptian Museum, Cairo
The feline with the curved back is portrayed realistically in its furtive pacing. According to an archaic belief, the panther represented the night sky and consequently the underworld that the Texts of the Pyramids state was originally located among the stars. The king assimilated to the sun by the golden tan of his skin, looms above the panther to symbolize triumph over death.
JE 60715
Egyptian Museum, Cairo
"In Greek mythology, maenads were the female followers of Dionysus (Bacchus in the Roman pantheon) the most significant members of the Thiasus, the god's retinue. Maenads travel alone usually through locations, seeking tribute to their god, Dionysus. If tribute is not given, they will leave the location in utter chaos by leaving all inhabitants under their influence which consists of uncontrolled sexual behavior, loss of senses and complete intoxication. They own a set of talons when they are in their "frenzy" state, where the talons possess a special poison which kills anything if clawed. Their name literally translates as "raving ones". Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy, through a combination of dancing and drunken intoxication. In this state, they would have complete control over the human species where they would make them lose all self-control, begin shouting excitedly, engage in uncontrolled sexual behavior, and ritualistically hunt down and tear to pieces animals—and, at least in myth, sometimes men and children—devouring the raw flesh or heart."
Wikipedia
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 goddess Nephtys appears at the head of the coffin offering 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
Take a walk around to the other side and what looks to be a naked woman reclining on a very soft cushion, is actually a depiction (a Roman copy of a Hellenistic bronze) of the god Hermaphroditus who sported both male and female sexual organs.
Hermaphroditus was actually a popular subject of paintings and statuary, even if modern audiences are less comfortable with the topic than the ancient Greeks and Romans were.
Originally unearthed in Rome and displayed in the Borghese Gallery, it was sold to the occupying French, and now sits in the Louvre.
Cosmetics were used by the ancient Egyptians for adornment as well as for ritual purposes. Shown here are spoons used for holding minerals used in make-up and a group of hairpins
Early dynastic period
Ivory and bone
From Helwan and Saqqara
JE 87485, JE 87520 (spoons)
JE 87486, JE 87522, JE 69905a-c (hairpins)
Egyptian Museum, Cairo
Es parte de los registros judiciales originales que tratan sobre los robos de tumbas bajo Ramsés IX. Contiene las confesiones de ocho hombres que irrumpieron en la tumba de Sobekemsaf II y una descripción de la reconstrucción del crimen.
Neith bearing her war goddess symbols, the crossed arrows on her head watches over the stomach with Duamutef.
Four goddesses with open arms watch over the organs of the sovereign. They are identified by the hieroglyphs on their heads and on the low reliefs of the sanctuary walls. Each goddess faces and is associated with one of the four children of Horus whose duty was to preserve the king's organs: the goddess Isis watches over the liver with Imset, Nephthys the lungs with Hapi, Neith the stomach with Duamutef and Selket the intestines with Qebehsenuf.
Characteristics typical of the art of Amarna can be seen in the slight rotation of the statues' heads (compared to the frontal tradition of Egyptian statuary), the long neck stretching forwards and the naturalistic modelling of the bodies.
Detail of Canopic Shrine of Tutankhamon
Wood lined with stucco and gilded, glass paste
Tomb of Tutankhamon, KV 62
Valley of the Kings
JE 60686
Egyptian Museum, Cairo