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Even undecorated palettes were often given pleasing shapes, such as the zoomorphic palettes, which included turtles and, very commonly, fish. The fish zoomorphic palette often had an upper-centrally formed hole, presumably for suspension, and thus display.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The cow Mehet-Weret (Ancient Egyptian: mḥt-wrt), is one of a group of statues of the protective goddesses found in the tomb of King Amenhotep II.
Mehet-Weret is primarily known as the "Celestial Cow" or "Cow Goddess" because of her physical characteristics, but she contributes to the world in more ways than that. She is also the Goddess of Water, Creation, and Rebirth; in Egyptian mythology, Mehet-Weret is one of the main components in the making and survival of life. Her name means "Great Flood".
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This casket is made of coniferous wood and ornamented with broad rails and styles of veneered ivory. Its panels formed by the rails and styles are decorated with an applied fretwork of gilt wood symbols - ankh, was and neb signs - a formula meaning 'All life and good fortune'. The gilding of these open-work symbols in contrast to the dark brown colour of the basic wood and the white ivory rails and styles gives a very rich and elegant effect.
Each rail and style is engraved with a bold hieroglyphic script, filled in with black pigment, which gives the titulary consisting of the five 'Great names' assumed by the king on his accession; namely 'the Horus name', 'the Nebty-name', 'the Golden Horus-name', the Prenomen and Nomen. The Queen's cartouche and her titles are also included on one of the rails.
The four square feet upon which the casket stands are shod with silver caps. The interior of this casket is divided into sixteen rectangular compartments evidently made to receive a similar number of gold or silver vessels for cosmetics. These were all missing - pilfered - and in their places were cast a small rush basket, a stained ivory bowl, two palettes, and ivory and gold burnisher, an ornamental case for writing-reeds, and an empty mirror-case, all of which obviously came from some other box or casket.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61476
Egyptian Museum, Cairo
This headrest of King Tutankhamun is similar in shape to a folding stool.
The pillow holder of the headrest is made of strands of ivory beads stained dark green, red-brown, and black.
The two sides are decorated with the face of the god, Bes of Joy, on their outer surface and a lotus flower on the inner surface. The legs end in ducks' heads.
JE 62023
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 lid is covered with vignettes illustrating funerary spells and has inscriptions in gold and silver.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Ajanta and Ellora Caves trace their origin between the 2nd century BC and 6th century AD. Ajanta Cave Temples are dedicated to Lord Buddha. Location: Near Aurangabad, Maharashtra Built in: During 2nd century BC – 6th century AD Dedicated to: Lord Buddha Significance: Listed as a World Heritage Site Attraction.
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
There is a protective usekh necklace on the Ibi's chest and two wedjat-eyes under the collar on both sides.
Greywacke
26th dynasty
From TT36, Cemetery of El-Assasif, Thebes
Cat. 2202/1 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 Battle of Milvian Bridge
Raphael/Romano, 1524
This life size painting is a battle scene in the year 312 AD. About two centuries since Rome built the great colosseum and about three centuries since Julius Caesar was murdered. The empire has had different leaders at this time. Maxentius, was an one of them -- an emperor based in Northern Italy. Constantine, shortly before this battle, had a premonition that he would be victorious, if he substituted the imperial eagles(the Roman Empire's symbol) on the soldier's insignia, with the cross -- officially acknowledging Christianity. He would. And in the battle of Milvian he defeated Maxentius and his forces. Maxentius was a pagan. This battle marks the victory of Christianity over the pagan world.
The painting is by Raphael, and would later be finished by one of his followers -- Giulio Romano. The painting is a scene of the battle, north of Rome in a place called Monte Mario and Villa Madama. The bridge is partly shown on the right. This is one of the frescoes inside the Hall of Constantine, the largest hall in this part of the Apostolic Palace(part of the Vatican Museum). The hall is built around year 1280. The paintings were finished in the year 1524.
Sorry for the poor lighting in these series of paintings. Flash photography is not allowed, tripods are not allowed -- and to add to that, I only got a point and shoot camera.
By the way, if you've been following the series closely, there was an Arc I posted earlier, the Arc of Constantine. Well, that's the same person depicted in this painting. And by the way, you are looking at the photo of the original painting.
Hall of Constantine
Raphael Rooms
Apostolic Palace-Vatican Museum
Rome, Italy
Coffin of isis
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27309)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
À Djebel Silsileh, dans l’un des cénotaphes taillés à même la falaise, ce groupe sculpté représente probablement un homme et deux femmes, peut-être accompagné d’un enfant.
Lieu de culte, de mémoire et de passage, ces figures silencieuses traversent les millénaires, témoins de l’ingéniosité des artistes de l'Égypte antique.
Cette photo a été prise fin décembre 2024 lors d’une escale sur le Nil, entre Esna et Kom Ombo.
Merci à notre guide Ahmed, dont l’accent inimitable sur « la Sainte Trinité » restera gravé dans nos souvenirs.
At Djebel Silsileh, carved directly into the cliffside, this group likely represents a man and two women—perhaps with a child.
Part shrine, part memorial, part passageway, these silent figures have stood the test of time, showcasing the craftsmanship of Ancient Egyptian artists.
This photo was taken in late December 2024 during a Nile cruise stop between Esna and Kom Ombo.
A warm memory of our guide Ahmed, whose unique pronunciation of “Holy Trinity” still makes us smile.
Tombs were equipped with objects used in this life and the next such as the chair seen here. Other things were meant to assist the deceased in the afterlife, such as the shabtis in their coffins and boxes. Shabtis served the deceased in the afterlife and often stood in for him when he was called to work for the gods.
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Bas-relief depicting the Greek Dioscuri.
1st AD
In Greek mythology, the Dioscuri were the twin brothers Castor and Pollux (also called Polydeuces). Their mother was Leda, but they had different fathers. Tyndareus, the king of Sparta, was the father of Castor (hence a mortal), while Zeus was the father of Pollux (a demigod). Some sources say that they were born from an egg, along with their twin sisters Helen and Clytemnestra.
The myth has it that Leda was seduced by Zeus, who had taken the form of a swan. However, there are different versions as to whether the twins were both mortals, both immortals, or Castor was mortal and Pollux was a demigod.
The twins participated in the Argonautic Expedition, helping Jason retrieve the Golden Fleece. Upon their return to Greece, they also aided Jason in taking revenge for the treachery of Pelias, king of Iolcus, by destroying the city. They also took part in the hunt of the Calydonian Boar. Later, when their sister Helen was abducted by Theseus, king of Attica, they attacked his kingdom. They freed their sister and abducted Theseus' mother Aethra in revenge, who served as a slave for Helen.
www.greekmythology.com/Myths/Mortals/Dioscuri/dioscuri.html
From the exhibition of 'Unexpected treasures - 30 years of excavations and cooperation in Tebtynis (Fayum)'
Egyptian Museum, Cairo
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.
The inside of the coffin is intricately decorated, featuring among other things the picture of the goddess Imentet, the personification of the west.
Wood, stucco
21. dynasty
From Western Thebes
Cat. 2217 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 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
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
See, this is why Rupert Wace Ancient Art won for best exhibition lighting at last month's @winterantiquesshow. 😎 Shout-out to my awesome cousin @alex.sorgo who works for their London office! #rupertwace #ancientart #greekart #romanart #ancientgreece #ancientrome #hellenistic #marble #sculpture #statue #nude #athlete #gayartist #body #gayart #antiquity #antiquities #ArtWatchers_united #rupertwaceancientart #arthistory #artnerd #exhibition #winterantiquesshow #masterpiece #chubbwas #parkavenuearmory
I was talking with this man while getting his first tattoo. He has been in the Army for four months. He comes from Western Kentucky. He was very polite, lots of "Yes Sir" and "No Sir", all with a heavy southern accent.
This painted limestone statue is considered one of the oldest statues made in the form of the sphinx for one of the ancient Egyptian queens.
It is attributed to queen Hetepheres II, a daughter of King Khufu or the wife of King Djedefre, a royal princess of Egypt during the fourth dynasty, who became the queen of Egypt.
The statue was found at the site of the pyramid of Djedefre at Abu Rawash. He was a half-brother of hers who married her to become pharaoh after her earlier husband, Kawab, died.
This rare form statue of the queen may indicate her assumption of the throne, which indeed expressed the Egyptians, appreciation for women, and their reverence for her as a mother, a sister, a wife, a ruler and a goddess as well.
Limestone and plaster
Old Kingdom, 4th dynasty
Abu Rawash
(JE35137)
NMEC National Museum of Egyptian Civilization, Fustat 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
Lightbox here : www.flickr.com/photos/brancusi/8381278321/in/photostream/...
but if you still seek the invisible then reach further and click Fullscreen at top right.
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
Egyptian Museum, Cairo
Detail of a Roman general riding down a pleading Germanic warrior on the Portonaccio Battle Sarcophagus, AD 180-190. Note the unfinished face of the general.
"Clearly the sarcophagus was cut and remained near-completed in the sculptor's workshop until its eventual patron should purchase it, even perhaps before his family chose it. The fact that the features of the protagonist were never cut may imply that - despite all the indications of the iconography - someone quite different from a distinguished soldier was ultimately buried there." Jas Elsner, Imperial Rome and Christian Triumph (Oxford 1998), p. 146.
Palazzo Massimo, Rome. Photographed in 1998 with a Ricoh R1.
La cattedrale di San Zeno si trova in piazza del Duomo a Pistoia.
Dedicata a San Zeno, presenta una facciata in stile romanico sul modello di altre chiese presenti nella città costruite alla stessa epoca (San Bartolomeo e Sant'Andrea). Sulle due estremità della cuspide della facciata sono poste le due statue marmoree dei santi patroni, San Zeno e San Jacopo.
L'edificio, con campanile e battistero ha interno a tre navate con presbiterio rialzato e cripta, ed è stato costruito probabilmente nel X secolo. Nel corso del tempo ha subìto diversi rimaneggiamenti ed è stato riportato alle forme primitive da un restauro avvenuto tra il 1952 e il 1966, completato nel 1999.
Fonte: Wikipedia.
The Cathedral of Pistoia (also Duomo di Pistoia' or Cattedrale di San Zeno) is the main religious building of Pistoia, Tuscany, central Italy, located in the Piazza del Duomo in the city's centre.
Built most likely in the 10th century, it has a façade in Romanesque style, inspired by other churces in Pistoia (San Bartolomeo and San Jacopo). The interior has a nave and two aisles, with a presbytery and crypt. A restoration held in 1952-1999 brought the church to its original lines.
From Wikipedia.
This statuette is one of a pair featuring King Tutankhamun on the back of a leopard. The king is shown standing with his left leg forward on a rectangular pedestal fixed to the back of the leopard.
He holds a long staff in one hand and the flail in the other. The king is wearing the White Crown of Upper Egypt with a cobra on his forehead and a large collar that covers his chest and shoulders and terminates with a row of drop beads.
A tight-fitting loincloth tied at the front and incised with fine lines covers his lower body. He is wearing sandals.
The exaggeration of the king's features shows the influence of the Amarna style of art.
JE 60715
Egyptian Museum, Cairo
The third of Tutankhamun's shrines is of similar design to the second, with a sloping roof and somewhat smaller dimensions. It is gilded over its entire surface and decorated in sunk relief with vignettes and extracts from Egyptian religious texts. The sides of the shrine are inscribed with abridged versions of the second and sixth divisions of the Book of What Is in the Underworld (the Amduat).
The outer faces of the doors and back panel of the shrine are inscribed with extracts from spell 148 of the Book of the Dead, and carry representations of four ram-headed guardian figures and four heralds, each grasping one or two knives and variously represented as human-headed, antelope-headed of crocodile-headed.
Egyptian Museum, Ciro
The footrest of the throne of Tutankhamun is constructed of heavy wood, gessoed, gilded and inlaid with blue faience and yellow stone. The top surface carries a design consisting of three Nubians and three Asiatics, the chieftains of 'all foreign lands (who) are under his (the king's) feet'.
Egyptian Museum, Cairo
The Cairo Museum, Egypt
During ancient Egypt the golden throne was a symbol of power and a show of social status. This amazing piece of furniture is the most prestigest of all the thrones discovered from the ancient society. It was found in the Annexe area of Tutankhaman's tomb. It was constructed with the most finest materials such as gold to create this amazing art.
It was gold and silver in colour with an image in the centre of the throne showing Tutankhamun and his wife connected with the arms of Aten in and Amarna art style. The golden throne displays both the Aten and Amun names of Tutankhamun and his wife. There are also two traditional lions places at the front of the arm rests as well as lion like feet for the legs of the chair. On either side of the chair was a winged cobra who wears a crown. As well as hieroglyphics and cartouches are also places of the pharaoh on the golden throne.
The golden throne of Tutankhamun was predominantly made out of wood and it is entirely covered in a layer of pure gold as well as partical areas of silver included in the throne. Features of the throne included tiles of coloured semi-precious stones, coloured glass in addition faience.
It is used to highlight Tutankhamun's power and authority as he was the pharaoh during the time and held the most power. It was possibly also used to show Tutankhamun's love and connection for his wife Ankhesnamun as well his strong religious beliefs.
The golden throne was a symbol of status and authority as well as power. It enforces the fact that Tutankhamun was high in power , wealthy and also that he was an important part in the ancient Egyptian society. The golden throne shows Tutankhamun and his wife Ankhesnamun pouring perfume, show depicts the relationships and connections he had to his wife and how she was respected to Tutankhamun. Under the rays Aten the sun god showing their religious beliefs. It also shows the gods that they believed in and how they paid respect and worshiped their gods. As well as representing the art forms used during the periods which is Amarna art from his father Akhenaten.
Text: Tutankhamun's World
Outside on the door panels, infernal spirits grasping knives stand guard. They are evocations of the 147th chapter of The Book of the Dead describing the gates of the other world. The inside door panels are again decorated with Isis and Nephthys.
Egyptian Museum, Cairo
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.
Organic material, linen
Late Period - Greek Period
Provenance unknown
Cat. 2349/5 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
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
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
NMEC National Museum of Egyptian Civilization, Cairo
The Cairo Museum, Egypt
During ancient Egypt the golden throne was a symbol of power and a show of social status. This amazing piece of furniture is the most prestigest of all the thrones discovered from the ancient society. It was found in the Annexe area of Tutankhaman's tomb. It was constructed with the most finest materials such as gold to create this amazing art.
It was gold and silver in colour with an image in the centre of the throne showing Tutankhamun and his wife connected with the arms of Aten in and Amarna art style. The golden throne displays both the Aten and Amun names of Tutankhamun and his wife. There are also two traditional lions places at the front of the arm rests as well as lion like feet for the legs of the chair. On either side of the chair was a winged cobra who wears a crown. As well as hieroglyphics and cartouches are also places of the pharaoh on the golden throne.
The golden throne of Tutankhamun was predominantly made out of wood and it is entirely covered in a layer of pure gold as well as partical areas of silver included in the throne. Features of the throne included tiles of coloured semi-precious stones, coloured glass in addition faience.
It is used to highlight Tutankhamun's power and authority as he was the pharaoh during the time and held the most power. It was possibly also used to show Tutankhamun's love and connection for his wife Ankhesnamun as well his strong religious beliefs.
The golden throne was a symbol of status and authority as well as power. It enforces the fact that Tutankhamun was high in power , wealthy and also that he was an important part in the ancient Egyptian society. The golden throne shows Tutankhamun and his wife Ankhesnamun pouring perfume, show depicts the relationships and connections he had to his wife and how she was respected to Tutankhamun. Under the rays Aten the sun god showing their religious beliefs. It also shows the gods that they believed in and how they paid respect and worshiped their gods. As well as representing the art forms used during the periods which is Amarna art from his father Akhenaten.
Text: Tutankhamun's World
Combs were used for multiple purposes. This includes combs being used as status symbols, as decoration for the hair, and as tools.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Two "Shabti" statues, which are small funerary statues usually found in cemeteries, also known as the "Shawabti" meaning "Respondents". The purpose of these statues in the tomb is to work in the afterlife rather than the owner of the tomb.
Hieroglyphic texts are usually carved on the statues bearing the name of the owner of the tomb or excerpts from the Book of the Dead.
Antiquities Museum of Bibliotheca Alexandrina
Nakht was an Ancient Egyptian official who held the position of a scribe and astronomer of Amun, probably during the reign of Thutmose IV in the Eighteenth Dynasty. He is buried in the Theban Necropolis in tomb TT52. WIKIPEDIA
Image scene: Female guests at the funural banquet of Nakht, a scribe and astronomer ("hour priest") of the Amun temple at Karnak, in a painted scene from his tomb at Abd el-Qurna in western Thebes. The women's clothes and jewelry are similar to those portrayed in the tomb of Ramose. In his role, Nakht, who lived during the reigns of Thutmose IV and Amenhotep III, was responsible for examining the stars and fixing the most favorable times for important rituals. /The civilization of Ancient Egypt