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This is one of two statues that stood guarding the entrance of the burial chamber.
The king is wearing the khat headdress and is shown with black skin, the colour of Nile mud that flooded and gave it fertility every year. Black signified resurrection and the continuity of life.
18th dynasty, from the tomb of Tutankhamun - KV62
JE 60708 = SR 1/2 = Carter 029
Upper floor, gallery 45
Egyptian Museum, Cairo
Two views of the painted terracotta head of a goddess, usually identified as Thesan/Leucothea,* but Nancy de Grummond has suggested it represents Catha, a lunar deity.** From Temple A at Pyrgi, c. 340-330 BC.
Photographed in the Villa Giulia (Rome) in 1998 with a Ricoh R1. Scanned from the prints and edited with Photoscape.
* www.museoetru.it/works/head-of-leucotea
** www.academia.edu/59263172/Moon_Over_Pyrgi_Catha_an_Etrusc...
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
During the 3rd Intermediary and Late Periods, the practice of furnishing mummies with a plethora of amulets and other symbols reached its high point. These were meant to protect the deceased from various dangers and aid them in the afterlife with magical and religious powers. The most common motif was the four sons of Horus, who also appear on canopic jars, tasked with protecting the visceral organs of the deceased. These characters, also depicted as mummies are painted on a plastered linen base that has probably acted as a cover for the mummy.
Plastered and painted linen
Late Period
Cat. 2289 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 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
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
This statue is a standard depiction of the god Osiris. The god's body is covered by a tight-fitting garment which was, most probably, painted in white. The garment allows only the god's hands and head to be seen. Apparently, Osiris grasped in his hands a crook and a flail which are now lost. His head was surmounted by the Atef crown composed of the White crown flanked by two ostrich plumes which were presumably fixed in the lateral holes made on both sides of the existing headdress. On the front part of the crown, there are two cavities in which was fixed the uraeus, the cobra which protects the king. In the cavity below the chin was once fixed the ritual false beard that was worn by kings throughout the Dynastic Period. It was regarded as an emblem of the supernatural thanks to its association with Osiris.
Wood
From Minya
Late Period
BAAM 633
Antiquities Museum of Bibliotheca Alexandrina
Statue of Administrator of Amun temple, Hapi, reading from a papyrus roll.
Sandstone
New Kingdom, 19th dynasty, reigns of Seti I and Ramses II
Karnak temple
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This funerary boat and some smaller items were found in the tomb of Amenhotep II.
Tomb of Amenhotep II, KV35
18th dynasty
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The headrest is composed of three parts: a curved top, a fluted stem decorated with incised hieroglyphs, and a rectangular pedestal inscribed with an offering formula. This form, with its fluted stem, is characteristic of the Old Kingdom.
Headrests, usually of wood, ivory or alabaster were an essential part of an Egyptian household's sleeping arrangements. The Egyptians normally slept on their sides, and the headrest's curved upper part section raised the head above the bed. Headrests were frequently buried with the dead, notably in the Old and Middle Kingdoms, and are often found inside the coffin under the mummy's head.
The magical function of the headrest is explained in chapter 166 of the Book of the Dead: it was essentially intended to magically raise the head of the deceased in the resurrection, just as the sun god was raised above the eastern horizon each morning. More importantly, it would prevent the cutting off and the loss of the head of the deceased, one of the numerous unpleasant fates that might befall and hinder resurrection.
The importance of the headrest is emphasised by the fact that even the poorest burials at Giza usually had brick or rough stone blocks beneath the head of the deceased.
Alabaster
El-Kom el-Ahmar, Minya
6th dynasty
BAAM 603
Antiquities Museum of Bibliotheca Alexandrina
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
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.
Below the large multicoloured necklace, the sky-goddess Nut appears on the chest area protecting the deceased.
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
(meglio in grande - best on large)
Il Duomo di Amalfi è il protagonista e la Costiera Amalfitana è l'ineffabile scenografia.
Un meraviglioso mix di Arte e Natura!
The Amalfi Dome is the star and the Amalfi Coast is the scene.
A wonderful mix of Art and Nature!
Bronze
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 group representing Thoth as an ibis standing before the goddess Maat who is squatting on a chair, flanked by two other small ibises. The upper part of the tripartite headdress of the goddess has a hole in which was probably fixed the ostrich feather, her symbol.
By the Middle Kingdom, Thoth was connected with Maat, the personification of rightness and world order. Coffin texts, dating back to the same period, associate him with divine justice. Instructions and other tales regularly use Thoth as a metaphor for justice and, in funerary autobiographies, officials demonstrate their impartiality by claiming to be "truly precise as Thoth". Furthermore, New Kingdom didactic literature, such as the Instructions of Amenemope, also refers to Thoth as a symbol of justice.
Bronze
Late Period
Provenance Minya
BAAM 622
Antiquities Museum of Bibliotheca Alexandrina
Pio Clementino Museum is a part of Vatican Museums. It exhibits classical sculptures of ancient Greek and Roman Empire, including legendary Laocoon and Apollo. Four photos were used to stitch together to create this panoramic image.
Ra-Horakhty represented a doctrinal union between the heavenly kingship represented by the god Ra and the earthly kingship represented by the god Horus as an expression of the authority of the sun god when he dominated the two horizons and was manifested on the earth.
Granodiorite
New Kingdom, 19th dynasty
San al Hagar
NMEC National Museum of Egyptian Civilization, Fustat Cairo
In the upper part of the coffin of Ankhefenamun is the sun-god Ra-Horakhte (Ra-Her-akhutij) in the shape of a falcon with his wings extended to protect the head of the mummy. On this side there is Isis and on the other side Nephthys.
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
Ancient Persian Art: Sassanian period. Horse head. Silver. 4th century AD. Iran. Louvre Museum. Paris. France.
In ancient Egypt, the main function of a coffin was to protect the body of the deceased. Coffins were also meant to act as a physical portal for the transmission of the spirit between the worlds of the living and the dead. Towards the end of the 12th dynasty, Egyptians developed the anthropoid coffin; a wooden case that replicates a form of the human body and the deceased's face with open eyes, nose and mouth were carved on wood. This depiction was understood to be the means of access between the worlds of the living and the dead. The painting of the facial features onto the coffin surface allowed the deceased to "magically" see, smell and taste their surroundings in the living world.
Wood
Antiquities Museum of Bibliotheca Alexandrina
This statue is one of three statues of king Merenptah which were recently found south of Mit Rahina the site of the ancient city of Memphis. The statue depicts the king standing in the company of Mut, the goddess of Thebes, the patron of kingship and the consort of the god Amun-Ra, the king of the gods.
Red granite
New Kingdom, 19th dynasty
Mit Rahina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Statues depict women grinding wheat on a plate to prepare flour.
NMEC National Museum of Egyptian Civilization, Cairo
Akhenaten's body was probably removed after the court returned to Thebes, and reburied somewhere in the Valley of the Kings, possibly in KV 55. His sarcophagus was destroyed but has since been reconstructed from fragments and displayed outside the Cairo Museum.
Amarna Period
Egyptian Museum, Cairo
Akhenaten's body was probably removed after the court returned to Thebes, and reburied somewhere in the Valley of the Kings, possibly in KV 55. His sarcophagus was destroyed but has since been reconstructed from fragments and displayed outside the Cairo Museum.
Amarna Period
Egyptian Museum, Cairo
This statue is one of three statues of king Merenptah which were recently found south of Mit Rahina the site of the ancient city of Memphis. The statue depicts the king standing in the company of Mut, the goddess of Thebes, the patron of kingship and the consort of the god Amun-Ra, the king of the gods.
Red granite
New Kingdom, 19th dynasty
Mit Rahina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The upper part of the coffin is decorated with a funerary mask. The chest area is adorned with a seven-row pectoral composed of floral and geometrical motifs. Beneath it, is a figure of the goddess spreading her wings.
Ptolemaic Period
Provenance Minya, Sharuna (El-Kom El-Ahmar)
BAAM 608
Antiquities Museum of Bibliotheca Alexandrina
Limestone
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
A coffin lid, or alternatively a mummy board, has been found in the vicinity of Theba with nine small shabti statues. The mummy boards were corpse-shaped wooden boards evolved from the lids of the coffins, placed on top of the mummy.
The objects were part of the Egyptian Khedive ruler's donation to the Russian emperor in the 1890s, 10 of which were further donated to the Helsinki Historical Museum in 1895. The cover of the anthropomorphic or human-shaped coffin has a deceased resting with its arms crossed next to it, as well as the sacred ibis, scarabs, priests, and nine rows of hieroglyphs.
Wood
21st dynasty
From the collection of the National Museum of Finland
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
9.10.2020-21.3.2021
Flat pottery fertility figurine. The face is not carefully modelled as the artist's main concern was to emphasize the sexual parts of the body: the slight breasts and the large and heavily marked pubic area.
From at least the Badarian Period onwards, figurines of women, made of clay, wood, ivory, or stone were included among the funerary equipment. These were often highly stylized and generally emphasized one or more of the sexual characteristics. Until recently these figures were called erroneously "concubine figures" as they were thought to magically act as a sexual partner for the dead man. However, female fertility figures occur in burials of women as well as men. Accordingly, most Egyptologists believe now that the function of the female figurines within the tomb was to guarantee rebirth in the afterlife.
Terracotta
Luxor
New Kingdom
BAAM 1056
Antiquities Museum of Bibliotheca Alexandrina
La fachada de la tumba presenta un tablero remetido con la representación en estuco del Señor 1 Terremoto y la Señora 10 Caña. Se encontraron los restos de seis individuos acompañados de 186 objetos.
Apulian red figure kantharos, 325-315 BC, depicting a seated woman holding a mirror and Eros, also holding mirror and a situla. Formerly on display in Kelvingrove Art Gallery and Museum, Glasgow, UK. For more info: www.beazley.ox.ac.uk/record/51CD63E5-81B4-4808-A9E7-45B37...
Photographed with a Nikon F65, 50mm lens and Kodak Gold 200.
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.
Wooden viscera box of Tabes
Late Period-Greek 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 Architectural Art from An Archaeological City of The Silent Makli ‘World’s Largest Necropolis.
The monuments and mausoleums in it are built from high quality stone, brick, which are lavishly decorated with glazed tiles, representing the rich civilization of sindh.
This makli’s mausoleums, the most significant remains of sind's greatness, are presenting their deep belonging to king, queen and saint of the time.
Makli, Thatta, Sindh, Pakistan (14Th Century to 18Th) as the Historical Monuments Was Added to the World Heritage List in 1981 under the Name Historical Monuments of Thatta.
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Statue of Administrator of Amun temple, Hapi, reading from a papyrus roll.
The scribe's job was one of the most important in ancient Egypt, for he was the representative of culture, science, knowledge, and literature. In this regard, scribes are considered the main founders of its civilization.
The scribe's role was largely administrative, but also preserved Egypt's stories and oral traditions, just like writers today continue to fulfil the same role. The priesthood scribes in temples thus played a great part in the preservation of ancient texts through editing and revising religious, theological, ritual, medical, and magical texts.
God Thoth - represented as ibis-bird - was a patron of scribes in ancient Egypt.
Sandstone
New Kingdom, 19th dynasty, reigns of Seti I and Ramses II
Karnak temple
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Sennedjem and his wife are sitting inside a pavilion in front of a senet board on which several red and white pieces are set. To the right is a table crowded with offerings, and several jars and plants are arranged underneath.
This painted wooden door, decorated on both sides, sealed the innermost chamber of Sennedjem's tomb.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The following spell is inscribed in the lower part of the headrest of Nestanetjeretten, a sistrum player for the god Amun-Ra:
"Oh Osiris, protect the head of Nestanetjeretten (who is) true of voice, protect the head of this Theban woman."
Leinen, stucco
Greek 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 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
Neferkare Shabaka or Shabako was the third Kushite pharaoh of the Twenty-fifth Dynasty of Egypt, who reigned from 705 to 690 BC. 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.
Steatite
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