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This sculpture of a jackal-headed deity was probably used as an amulet or a pendant. Objects of this type were usually associated with Anubis, the god of mummification but the features of the sculpture could also refer to Input, Anubis's less known female counterpart.
Wood
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
A collection of fertility figurines made of pottery representing women illustrated in a non-realistic form based on highlighting the areas related to fertility in the body. Fertility figurines were usually found in tombs dating back to the age of Badari (5500-4000 BC) to ensure the new birth of the deceased.
Antiquities Museum of Bibliotheca Alexandrina
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
The scene on the backrest depicts the king relaxing on his throne with his feet resting on a low stool with cushions. He is wearing a short wig surmounted by a composite crown and the typical pleated robe of the time, which left his prominent stomach uncovered, a feature typical of the Amarna period.
Ankhesenamun stands in front of the king, rubbing ointment on the left shoulder of her young consort. The queen is leaning slightly forward and in her left hand she holds the cup containing the unguent. She is wearing a wig cut diagonally at the back and surmounted by a crown featuring the emblem of the goddess Hathor (a diadem of uraei on which a solar disc rests, enclosed within a pair of horns, and from which two tall plumes project). The queen's pleated robe in silver features a subtle play of transparencies around her legs.
Behind the queen is a small table with long legs on which a necklace has been placed. The entire scene is enclosed within an elaborate frame of floral motifs, open in the upper centre section where the Aten solar disc is situated.
18th dynasty
Valley of the Kings, Tomb of Tutankhamun, KV62
JE 62028
Egyptian Museum, 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
Fetishes of Anubis
The peculiar image of an animal carcass hanging from a post and mounted on a plinth, known as the emblem or 'fetish' of Anubis. Its symbolism is something of a mystery.
"The Imiut was a fetish associated with embalming and the gods Anubis and Imiut (who was largely absorbed by Anubis). It represented a headless, stuffed animal skin (usually a great cat or a bull) hung on a pole planted in a pot. The tail of the animal skin has either a papyrus blossom or a lotus blossom attached to it. Although the fetish was often made with a real animal skin wrapped in bandages, stylised versions were also popular. A set of beautiful golden Imiut fetishes were discovered in Tutankhamun´s tomb and the fetish makes a few appearances in Hatshepsut´s mortuary temple.
The fetish was sometimes known as the “Son of the hesat-Cow”, referring to the cow that gave birth to the Mnevis bull which was associated with the cow goddess Hesat (one of the goddesses named as the mother of Anubis). It was clearly an ancient symbol, already in widespread use by the First Dynasty.
Its purpose and meaning of the object have not been confirmed, but it is thought that fetish was linked to the bandages used in mummification and it was apparently important in the celebrations of the “heb sed” (royal jubilee) festival."
- copyright J Hill 2010
Egyptian Museum, Cairo
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
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
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
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.
NMEC National Museum of Egyptian Civilization, Fustat 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.
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. On the sides of the coffin, is separated strips with inscriptions and Wadjet-eyes.
18th dynasty, from Valley of the Kings - KV36
CG 24003
Upper floor, room 17
Egyptian Museum, Cairo
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
Amun, the god of the air, was one of the eight primordial Egyptian deities. Amun's role evolved over the centuries; during the Middle Kingdom he became the King of the deities and in the New Kingdom he became a nationally worshipped god. He eventually merged with Ra, the ancient sun god, to become Amun-Ra.
The Karnak Temple was the main center of his worship.
Diorite statue
New Kingdom, 18th dynasty
Karnak
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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The Banco de Tamaulipas operated from 1902-15 and most of its issues are scarce except for some released in 1914. This Cinco Peso banknote was made in the USA by the American banknote company of New York. This banknote is from the J Arnold Collection.
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
The exhibition 'Nefertari and the Valley of the Queens' from the Museo Egizio, Turin' in the Hermitage Museum, St Petersburg, 2017
Canopic box of Tameket, who was the wife of Khonsu, son of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The inner cover portrays Sennedjem in his worldly attire, wearing a long white linen kilt.
Wood, pigment
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
One of the most important objects in a tomb was naturally the coffin that would protect its owner's mummy and incidentally preserve important information and research material for modern-day Egyptologists. During the New Kingdom coffins were often human-shaped. A deceased could have as many as three nested coffins.
Nakhtkhonsueru's wooden meticulously crafted coffin is representative of a typical Late Period coffin style. The maker has spread a layer of white plaster on the wooden lid and executed the paintings on the plaster. The coffin was discovered in the tomb of Prince Khaemwaset, son of Ramses III, among several other coffins. According to the inscriptions on the coffin, Nakhtkhonsueru was an important Theban person, "the Lord of the Necropolis at the temple of Amun".
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
Fragment of a stela on which are represented two scenes. The first, to the right, shows King Amenhotep I seated on his throne, wearing a blue crown and holding the symbols of power and life. Behind him, his wife is seated on her throne, holding the symbol of life in her right hand, and placing her left on her husband's shoulder. In front of her, is an offering table with representations of papyrus and lotus plants. Moreover, someone is offering her Maat, the symbol of justice.
The second scene, to the left, shows Amon the god of Thebes seated on his throne and holding the "Wass" sceptre in his right hand and the sign of life in his left. Behind him is his wife Mut, mistress of the sky, wearing the double crown of Upper and Lower Egypt. She is placing her hand on her husband's shoulder. In front of her is an offering table with representations of papyrus and lotus plants. The god and goddess are receiving offerings from King Amenhotep I.
Limestone
18th dynasty, reign of Amenhotep I
BAAM 832
Antiquities Museum of Bibliotheca Alexandrina
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 anthropoid coffin represents the deceased with plaited divine beard and broad collar with solar raptor terminals wearing the White crown of Upper Egypt decorated with two feathers.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This painted wooden door is decorated on both sides. It sealed the innermost chamber of Sennedjem's tomb.
On the external face on a yellow background is a scene in two registers, with a hieroglyph representing the sky at the top.
In the upper register, Sennedjem, his wife Iyneferty and his daughter Irunefer are standing before Osiris and the goddess of justice Maat, to whom they are paying respectful homage.
In the lower register, the sons of Sennedjem are portrayed in the same pose before Ptah-Sokar-Osiris and Isis. Sennedjem and his eldest son have their hands raised in an act of adoration. The two women hold a vase with a long neck while the other six sons each hold a lotus flower with a long stem.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat 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
In each scene, the person conducting the rituals is portrayed as Pharaoh Sety I.
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
Bull's feet were often used as bases for wooden chairs and beds. These examples were attached to the legs by tenons at the tops.
Early dynastic period
Ivory
Provenance not known
JE 57177 to JE 57180
Egyptian Museum, Cairo
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)
Mummy bed of Nedjemib, called Tutu
Late Ptolemaic Period
from Akhim
SR/ 11359/4
Upper floor, gallery 21
Egyptian Museum, Cairo
On the outer surface at the sides is a rare portrayal is the deceased's funeral some 2900 years ago. It must be seen from the left to the right. First, comes the catafalque being drawn to the grave. Next come the weeper-women preceded by the bearers of the grave goods.
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
Los colosos de Memnón son dos gigantescas estatuas de piedra que representan al faraón Amenhotep III situadas en la ribera occidental del Nilo.
The complete type in the 'classic' iconographic scheme presents five registers with the Netherworld represented by the three reversed registers, the akhet and the day sky signified by the two uppermost registers.
In the instructions of spell 162, the vital flame of the sun is generated by the image of the Ihet-cow: either by a statuette in fine gold (rpy.t m nbw nfr) placed at the throat or by a drawing on a papyrus placed at the head.
(www.enim-egyptologie.fr/revue/2019/4/Miatello_ENiM12_p49-...)
Linen, stucco
Greek Period
Cat. 2320 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
On the short sides of the chest, Tutankhamun is portrayed as a sphinx trampling his northern and southern enemies.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61467
Egyptian Museum, 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
An unusual and appealing small head that is a masterpiece; it was found by Howard Carter at the entrance to King Tutankhamun's tomb.
Tutankhamun as Nefertem (also known as the Head from the Lotus Bloom or Tutankhamun as the Sun God).
The head is that of the boy pharaoh with very beautiful features, modelled in the Amarna style and emerging from an open lotus flower. The base is painted blue to represent the water in which the flower grows.
Chapter 81 of the Book of the Dead allows the deceased to transform itself into a lotus flower to move more easily through the world beyond the grave and the illustration that accompanies it shows the head of a man emerging from the lotus.
Lotus is a powerful symbol because the flower closes its petals at dusk and opens them again at dawn, facing east to greet the rising sun. Thus, the emerging lotus is the symbol of the sun, which is regenerated each morning after its nightly journey to the regions of the underworld.
This beautiful sculpture was placed in the tomb to wish the sovereign eternal life.
JE 60723
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
New illustration that took me a few days.
Hope to have this made into a 18x24 inch print.
Let me know what you think.
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
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
The subjects of the side and end panels pertain to the chase, their compositions being friezes of animals, and the king and queen fowling and fishing. As to the contents of the casket, when deposited in the tomb, we can only make a conjecture.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 62059 - SR 1/82 - 580
Egyptian Museum, Cairo
Senenmut served as a close advisor and architect for the ruler, Hatshepsut. He was trusted enough to be the tutor of Hatshepsut's daughter, Neferura, who is shown with Senenmut in this statue. Senenmut designed and oversaw the construction of Hatshepsut's memorial temple at Deir el-Bahri and other buildings in Karnak temple.
Granite
18th dynasty
Karnak temple
(JE 36923 & CG 42116)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
One of the apotropaic lion heads at the front of the golden throne
18th dynasty
Valley of the Kings, Tomb of Tutankhamun, KV62
JE 62028
Egyptian Museum, Cairo
The group represents King Ramesses the Third, the god Horus and the god Seth.
Ramesses III is wearing the white crown of Upper Egypt with the royal cobra on the front, a wide collar of many rows, and the royal pleated kilt, the shendyt, with a long belt hanging down to the bottom of it. He is holding the ankh sign of life in his right hand and the roll of power in his left hand. His left leg is forward.
The statues of the gods, Horus and Seth, are in the same posture with the left leg forward; they are each holding the ankh, and wearing the Egyptian pectoral and the shendyt kilt. Each god has placed one hand on the crown of the king, performing the Coronation of Ramesses III.
20th dynasty
Pink granite
From Medinet Habu
JE 31628
Ground floor, room 14
Egyptian Museum, Cairo
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