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The husband Weha and his wife Izuw are equal in size and their two children, Khufu-seneb and Ity are close to them showing respect.
Painted Limestone
From the Old Kingdom period
Egyptian Museum, Cairo
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Wood, stucco
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The jackal-headed deity Anubis is represented with the serpent-god Nehebu-Kau and below them are depicted two of the mummiform sons of Horus: the human-headed Imsety and the jackal-haded Duamutef.
The naos is covered with a flat lid guarded by a figurine of a mummified falcon.
Wood
From wooden naos of the god Horus
Provenance Gamhoud, Beni Sueif
Roman era, 1st to 2nd cent. AD
BAAM 618
Antiquities Museum of Bibliotheca Alexandrina
Upon his arrival from the other world, the sun god purifies himself in the eastern horizon before his shining in Heaven, where the four gods Horus, the Lord of the North, Seth, the Lord of the South, Dewen-anwy, the Lord of the east, and Thoth, the Lord of the West, pour the water of life and power over him from the four corners of the universe.
This rare statue depicts king Amenhotep II, assimilated with the sun god in his shining in the moment of his purification on the horizon.
Alabaster
New Kingdom, 18th dynasty
Valley of the Kings, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Estela originalmente clavada decorada con una escena que se puede interpretar en relación con el culto a los muertos. En la escena de comedor se cierne el disco solar alado, el difunto se sienta en un trono frente a una mesa y enfrente hay una figura de sirvienta, representada mucho mas pequeña.
Wooden statue of Akhtihotep, wearing a ceremonial kilt and a circular wig. On the base is inscribed his names and titles.
4th dynasty
From Saqqara
JE 93167
Ground floor, gallery 36
Egyptian Museum, Cairo
A man in his 50's working a loom near Aswan, Egypt.
Click twice to enlarge.
Pentax 645Nii, Pentax-A SMC 55mm f/2.8
Fuji Pro400h (frozen expired)
Cinestill CS41 @ 39C, Filmomat 2.0
Nikon Coolscan 9000 ED
Limestone stela of the sole companion and Mayor, Meni. Note that in all the figures of him the head has been damaged, probably as an act of vengeance.
Dendera
End of the First Intermediate Period
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 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
Fragmentary colossal marble head of a youth; Greek. Hellenistic period. 2nd century B.C. Discovered at Pergamon, on upper terrace of gymnasium. Metropolitan Museum of Art, lent by Antikensammlung, Staatliche Museen zu Berlin.
Ostracon shows a man playing the double flute (aulos)
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. On both sides of the coffin, there is a representation of Agathodaimon, the benevolent and good-hearted spirit, who takes the shape of a snake and whose head is surmounted by the Double Crown of Upper and Lower Egypt.
Wooden coffin from the Ptolemaic Period
Provenance Minya, Sharuna (El-Kom El-Ahmar)
BAAM 608
Antiquities Museum of Bibliotheca Alexandrina
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...
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 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
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
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
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!
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
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.
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
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
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
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
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
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.
Statues depict women grinding wheat on a plate to prepare flour.
NMEC National Museum of Egyptian Civilization, Cairo
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
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