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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.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Fine ostrich feather fan of ivory, the handle inscribed with the names of the king.
18 dynasty, tomb of Tutankhamun, KV 62
Egyptian Museum, Cairo
Cartonnage is a type of material used in Ancient Egyptian funerary masks from the First Intermediate Period to the Roman era. It was made of layers of linen or papyrus covered with plaster.
Egyptian Museum, 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
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
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
In the 1960s many Nubian temples were in danger of being submerged under the rising waters of the Assuan Dam that was under construction and completed in the 70s. Museo Egizio took part in an international rescue operation led by Unesco. Temples to be rescued and relocated included the temples of Derr and Gherf Hussein.
Both temples were built by Ramesses II during the 19th dynasty. The temple located in Gherf Hussein was built by the Setau, Viceroy of Nubia and was partially cut into the rock so only the freestanding parts could be relocated during the Unesco project. The temple was dedicated to Ptah, Ptah-Tenen, Hathor and above all to Pharaoh Ramses II who had elevated himself to godhood.
An avenue of ram-headed sphinxes led from the Nile to the first pylon, which like the courtyard beyond is also free-standing. The courtyard is surrounded by six columns and eight statue pillars. The entrance to a peristyle court is decorated with colossal Osiris statues. The rear portion of the building which is 43 m in depth was carved out of rock and follows the structure of Abu Simbel with a pillared hall featuring two rows of three statue pillars and, curiously, four statue recesses, each with divine triads along the sides. Beyond the hall lay the hall of the offering table and the barque chamber with four cult statues of Ptah, Ramesses, Ptah-Tatenen and Hathor carved out of the rock.
The origin of the temple models is unclear but they are believed to have been made by Jean-Jacques Rifaud, a friend of the General Consul of France in Egypt, Bernardino Drovetti. The collections of Museo Egizio are based on Drovetti's collection, which he sold to the Italian Kingdom of Savoy in 1823. The collection was brought to Turin in the same year.
Wood, plaster
19th century
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia
This elaborate container was used to hold perfumed oils and ointments and was found in the burial chamber between the first and second shrines. The container is in the form of the hieroglyph sema meaning union. The two figures at the sides, representing the god of the Nile, knot the heraldic plants of Upper and Lower Egypt to the pot. The overall composition reproduces the emblem meaning 'the union of the Two Lands' often seen on the throne in statues of the pharaohs.
JE 62114
Egyptian Museum, Cairo
A statue depicting a man grinding grain that would be used to make bread that was a mainstay of the Egyptian diet.
Wood
Old Kingdom, 6th dynasty
Provenance Saqqara
NMEC National Museum of Egyptian Civilization, Cairo
One thing that I was dying to see in the Valley of Fire was the petroglyphs. There's just something about viewing ancient art that makes me giddy inside. I guess I'm just a hopeless geek. Plus I love thinking about the lives of the people who made them. Most of the petroglyphs I saw were much higher than I could climb but these particular ones were within a fairly easy amble up some red rocks. It was difficult to get a good angle on them so this was the best I could do. I loved how they all are holding hands. The placards in the Valley of Fire said that there was no interpretation of the symbols available.
P.S. That blurry bit on the last figure on the left is not due to my lens, it's how it appears on the rock.
At first, I thought coming into the Vatican Museum -- there would only be works of art that has something to do with Christianity. It wasn't. The museum is a treasure of sculptures, artworks and paintings that dates back to the ancient world. This particular hall is a collection of several marble statues and sculptures.
The Hall of Statues
Vatican Museum
Vatican City
Rome, Italy
The statue rests on tall and solid bases decorated with a group of cartouches, such as the Hyksos king, Nehesy, King Ramses II and Merenptah of the 19th dynasty, and King Pseusennes I of the 21st dynasty, but through the features, they were attributed to King Amenemhat III of the 12th dynasty.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The coffin has been decorated in the typical Late Period style where the space is divided into horizontal scenes and vertical text columns. The decorations are intricate for example, below the usekh necklace painted under the face, one can find the Sky goddess Nut, and below her a depiction of a sacrificial ceremony. In the ceremony, the deceased sits to the right, accompanied by a group of gods: Osiris, Isis, Nephthys, the four sons of Horus, and probably Thoth to the left.
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 god Horus in the form of a hawk spreading its wings. A solar disk surmounts his head. Both wings bear the sign of the goddess Maat. Horus is standing on the symbol of the sky.
Detail from the wooden naos of the god Horus
Provenance Gamhoud, Beni Sueif
Roman era, 1st to 2nd cent. AD
BAAM 618
Antiquities Museum of Bibliotheca Alexandrina
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.
Scenes depicted here are, for example, Osiris with Isis and Nephthys behind him and mummified Osiris lying between Isis and Nephthys depicted as birds.
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.
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
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
The ibis bird was one of the most widely worshipped animals in Ancient Egypt. A huge number of ibis mummies dating from the Late and Greco-Roman Period bear witness to the great devotion to the god Thoth, usually depicted as an ibis-headed man and worshipped as the god of writing and knowledge.
Organic material, linen
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 piece of the mosaic was discovered in the al-Shatby quarter in 1892 and was used as a floor in the banqueting room (Triclinium) of a rich man's house in ancient Alexandria. This floor was decorated with floral motifs made of large pieces of coloured marble. It is one of the oldest known mosaic pieces in Egypt.
Marble
Ptolemaic Period
2nd century BC
Alexandria
NMEC National Museum of Egyptian Civilization, Fustat Cairo
A mummy of a woman wrapped in linen bandages and covered with five pieces of cartonnage. The first piece is a mask that covers the face, on which are represented the facial features: the eyes, nose, mouth and ears. Two curls of hair flank the mask and the face is gilded.
The second piece is a pectoral, decorated with a scarab spreading its wings. Each wing terminates with the hawk head and above it the solar disc.
The third piece covers the abdomen and bears a representation of the goddess Nut sitting and spreading her arms, which take the form of a bird's wing. Each wing terminates in a hand holding the plume of justice of the goddess Maat.
The fourth piece is rectangular in shape, framed with a band of geometrical decorations, which encloses a vertical line of hieroglyphic inscriptions.
The fifth piece covers the feet. Its top is painted with a drawing of the feet, and its bottom with the soles of sandals in colour.
Mummy
Cartonnage and linen bandages
From Roman Period
Provenance Deir el-Bersha, Minya
BAAM 615
Antiquities Museum of Bibliotheca Alexandrina
This piece of the mosaic was discovered in the al-Shatby quarter in 1892 and was used as a floor in the banqueting room (Triclinium) of a rich man's house in ancient Alexandria. This floor was decorated with floral motifs made of large pieces of coloured marble. It is one of the oldest known mosaic pieces in Egypt.
Marble
Ptolemaic Period
2nd century BC
Alexandria
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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.
Painted limestone
18th dynasty, no provenance
(JE 98831)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Fine ostrich feather fan of ivory, the handle inscribed with the names of the king. The peculiar shape minimizes the motion of the hand.
18 dynasty, tomb of Tutankhamun, KV 62
Egyptian Museum, Cairo
Artists who have made black paintings include Paul Bilhand, Kasimir Malevich, Barnet Newman, Ad Reinhardt, Josef Albers, Robert Rauschenberg, Alan McCollum, Anish Kapoor, me...and, eventually no doubt, Damien Hirst.
uk.pinterest.com/pin/401805597987485550/
In other news :
Anish Kapoor provoked the fury of fellow artists by acquiring the exclusive rights to the blackest black in the world.
Known as Vantablack, the pigment is so dark that it absorbs 99.96 percent of light. The color is produced by the UK firm Surrey NanoSystems and was developed for military purposes such as the painting of stealth jets.
The Indian-born British artist has been working and experimenting with the “super black” paint since 2014 and has recently acquired exclusive rights to the pigment according to reports by the Daily Mail.
The material is so dark it makes crinkled aluminum foil appear flat.
“It’s blacker than anything you can imagine,” Kapoor told BBC radio 4 in September 2014. “It’s so black you almost can’t see it. It has a kind of unreal quality.”
The artist clearly knows the value of this innovation for his work. “I’ve been working in this area for the last 30 years or so with all kinds of materials but conventional materials, and here’s one that does something completely different,” he said, adding “I’ve always been drawn to rather exotic materials.”
However, Kapoor’s decision to withhold the material from fellow artists has sparked outrage across the international artists community.
The BA Antiquities Museum is the first among all archaeological Museums in the world that is located within a library.
The Museum's collection documents various epochs of Egyptian civilization dating from the Pharaonic era up to the Islamic period, including the Greek civilization that came to Egypt with the conquest of Alexander the Great. It was followed by the Roman and Coptic civilizations before Islam established itself in Egypt.
The collection comprises about 1322 artefacts.
Bibliotheca Alexandrina
Cartonnage is a type of material used in Ancient Egyptian funerary masks from the First Intermediate Period to the Roman era. It was made of layers of linen or papyrus covered with plaster.
Egyptian Museum, Cairo
Mummy of a woman with a portrait
2nd century AD
Fayum mummy portraits showed the deceased as in life. The details of hairstyle, jewellery and clothing help to date these portraits and provide information about their rank and status.
This woman has beautiful golden earrings and several necklaces.
Egyptian Museum, Cairo
With the right set up and software, a shot like this can take less than 5 minutes to complete, which makes our quality numismatic photography affordable. This F-15 grade uncertified British Crown sells for a little more than $200.
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1845 Great Britain Crown
SPECIFICATIONS
Composition: Silver
Fineness: 0.9250
Weight: 28.2760g
ASW: 0.8409oz
Melt Value: $13.76 (5/15/2020)
DESIGN
Obverse: Head left
Obverse Legend: VICTORIA DEI GRATIA
Reverse: Crowned arms within branches
Reverse Legend: BRITANNIARUM REGIBA FID: DEF:
NOTES
Ruler: Victoria
This statue represents one of the protective goddesses that were found in the tomb of king Amenhotep II. They were responsible for protecting the body of the king in his afterlife journey. It represents Meretseger in the form of the winged Cobra.
Meretseger, a Cobra goddess dwelling on the mountain overlooks the Valley of the Kings in western Thebes. During the New Kingdom Meretseger had great authority over the whole Theban necropolis area. She can appear as a coiled cobra or as a cobra with a female head and an arm projecting from the front of the snake’s hood.
Her name translated as ‘she who loves silence’, aptly descriptive of a deity protecting secluded royal tombs.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Group in limestone with two representations of Ramses II, kneeling face to face and holding what appears to be a kind of altar.
The summit of this one presents a cavity or was fixed some object of worship, probably an image of the solar boat with the god Khepri, perhaps in gold or in silver. The altar, whose sides carry the cartouches of Ramses II, rests on the head of a character with high arms. The king's two kneeling representations bore scarabs on their heads, indicating that Ramses II was identified with the god Khepri.
The motif of the scarab, either large or small, carved in high relief on the head of the pharaoh is found on a small number of royal statues. All of these statues are attributed to kings of the Ramesside Period, with only one exception, a statue from the late phase of the Eighteenth Dynasty.
The inscriptions on a group statue of Ramesses II with a scarab on the head of the king contain mainly the names and epithets of Ramesses II associated with Atum, Re-Horakhty, Khepri and Geb, without any clarification of the role or the religious symbolism of the scarab.
The religious symbolism of a scarab sculpted on the top of a royal head was new in royal statuary of the New Kingdom, especially in the Ramesside Period. It signified the wish to
be reborn after death, a renewal. The power of Khepri was transferred to the pharaoh as a guarantee of a prosperous and renewed Egypt. The king was identified with the sun god and as such, he was regenerated overnight, just like the daily rising of the morning sun. It is noticeable that the kings of the New Kingdom, especially of the 19th and 20th dynasties, preferred this concept endowing the kings with the role of the Creator God, and therefore also with that of the god Khepri, and used it in their iconography.
(A Fragmentary Statue of Ramesses II with a Scarab on the Head, Mahmoud Kassem, Institute of Archaeology, University of Warsaw, 2006)
Karnak, 19th dynasty
Egyptian Museum, Cairo
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
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
Cow represented standing in a thicket of papyrus, alternating umbels and buds engraved in hollow on both sides of the plinth, which connects it to the base.
Provenance: excavations of the temple of Ramesses II at El-Sheikh Ibada
19th dynasty
JE 89613
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
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
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Commemorative Issue Coin
Reverse
Eagle with snake in talons, denomination below
Lettering:
DEUTSCHES REICH 1913
* DREI MARK *
Obverse
Figure on horseback surrounded by people
Lettering:
DER KÖNIG RIEF UND ALLE ALLE KAMEN ·
MIT GOTT·FÜR KÖNIG UND VATERLAND
17-3-1813
Edge
Lettering: GOTT MIT UNS
Translation: GOD WITH US
The decorated hieroglyphs of the coffin list, among other things, sacrifices to Osiris and many other gods: 'Let them accept a funeral sacrifice of thousands of gifts, thousands of bulls, thousands of geese, thousands of incense holders, thousands of fabrics, and all the good and pure objects that were made for Ankhefenamun, the construction master of the house of Osiris and Amun.'
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
This painted wooden door sealed the innermost chamber of Sennedjem's tomb. Its decoration shows Sennedjem and his wife sitting inside a pavilion in front of a senet board on which a number of red and white pieces are set. To the right is a table crowded with offerings, and a number of jars and plants are arranged underneath.
Below this scene is eleven columns of hieroglyphic text recording Chapters 72 and 17 of the Book of the dead.
These two chapters deal with the freedom of movement permitted to the dead. The first records a magic formula that allows the deceased to pass through the door of the tomb, and to leave or enter without encountering any danger. The second describes a series of actions that the deceased is permitted to perform, including the possibility of playing senet. The game was indeed associated with the promise of eternal life.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27303)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
(meglio in grande - best on large)
La Piazzetta Reale vista dalla Torre del Tesoro di Palazzo Madama.
Essa si affaccia sulla più grande Piazza Castello, ed è parte della maestosa scenografia disegnata dall'architetto Vittozzi.
La piazzetta fornisce la necessaria profondità di campo per rendere solenne al visitatore la facciata del Palazzo Reale.
A questo contribuisce anche la grande cancellata, eretta in loco di un grande porticato poi distrutto, dal Palagi, ultimata con le pregevoli statuee dei due Dioscuri, fuse da Abbondio Sangiorgio.
The Royal Square wiew from the Treasure Tower of Madama Palace.
It overlooks the largest Castle Square, and is part of the majestic scenery designed by Vittozzi.
(fonte: Wikipedia)
The square provides the necessary depth of wiew to give the visitor the solemn facade of the Royal Palace.
To this also contributes to the huge gate, built on site of a large porch and then destroyed by Palagi, completed with the valuable statues of the two Dioscuri, cast by Abbondio Sangiorgio.
(source: Wikipedia)
Despite condemning the old ways used in preserving the bodies of martyrs by Saint Athanasius in his letters between 379-380 AD mummification or rather desiccation continued during the Byzantine period. Until the 7th century, mummies were found in many Egyptian sites including Fayum. The technique was based on adding large quantities of Natron salt around the body (Salt Bath) and within the layers of shrouds before placing the body in the tomb. Instead of extracting the viscera and preserving them in the Canopic Jars of earlier times, Natron salt was also deposited inside the bodies. The style of the lozenge-shaped bandage of the mummy pinpoints a period of transition from pagan to Christian traditions, in addition to the painted cross in black ink on the chest.
Organic material and textile
Byzantine Period, 4th-6th centuries
Provenance Fayum
Coptic Art in the Graeco-Roman Museum
Alexandria Egypt
Another version of the triumphal theme is found on the lid of the chest which is decorated with two hunting scenes in the desert: the sovereign on his moving chariot shoots arrows into wild animals typically hunted in the desert: lions, antelopes, gazelles, hyaenas, wild monkeys and ostriches symbolizing Egypt's enemies.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61467
Egyptian Museum, Cairo