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Thutmose III wearing shendyt and belt with his name inscribed.
Black granite statue of Thutmose III
New Kingdom, 18th dynasty
Karnak
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Statues depicting workers in the bread industry grinding wheat on a plate to prepare flour.
Wood
Old Kingdom, 6th dynasty
Provenance Saqqara
NMEC National Museum of Egyptian Civilization, Cairo
Queen Hetepheres' tomb contained a magnificent collection of wooden furniture including this fine example of a gilded chair.
The space between the arms, the seat, and the backrest is decorated with an elegant floral design, the dominant decorative element of the armchair. The floral design is composed of three papyrus flowers whose stems are tied with a band.
Old Kingdom, 4th dynasty, reign of King Khufu
From the tomb of queen Hetepheres I, G 7000X Giza Plateau
(JE 53263)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Protective goddess Nekhbet was found in the tomb of Amenhotep II in Valley of the Kings, Western Thebes.
Vulture goddess who was the protector of Upper Egypt and especially its rulers. Nekhbet was responsible for protecting the body of the king in his afterlife journey.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Egyptian women had a significant interest in beauty since ancient times. They had black and green eyeliners that were stored in pots of different shapes and materials, and also they used the red tint as blushes. They were very familiar with oils and aromatic fats and carefully stored them in elegant bird or other animal-shaped pots. She also took care of her hair appearance and therefore used combs for styling and hair pins for fixing in front of mirrors made of metals.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The apron is formed of a belt of tiny faience beads in a geometric pattern. The two semi-oval pieces were probably the clasp and may have been covered with a plate bearing the name of Neferuptah. This apron was probably placed around the abdomen of the mummy of the princess, over the bandages.
Blue frit and faience
Middle Kingdom, 12th dynasty
Tomb of Neferuptah, Hawara
(JE 90189)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
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
Left:
Spinning Disk with two Birds
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70160)
Right:
Disk decorated with geometric motifs
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70162)
NMEC National Museum of Egyptian Civilization, Cairo
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
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
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
Niankpepy Kem was a significant individual holding many titles, including Overseer of Upper Egypt, Head of the Treasury, and Sole Counselor of the King. This rare wooden statue shows Niankhpepy Kem's elaborate clothing and accessories appropriate to his rank: a pleated kilt secured by an elaborate belt.
Painted wood, stucco
Old Kingdom, 6th dynasty
Meir, Asyut
Textile Gallery at the NMEC
The National Museum of Egyptian Civilization, Cairo
The sides of the throne are decorated with a baboon; on the left side, he is holding a special mirror, called ankhet, which was associated with the ritual of rebirth and with sun symbolism.
A detail of the group statue depicting a nurse and four princes and princesses.
Painted limestone
18th dynasty, no provenance
(JE 98831)
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
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
The ancient Egyptians called the white linen "Menkhet" which means excellent or splendid and considered it a symbol of elegance and purity. It was also the apparel of the sun god Re, which reflects his light that dazzles people with radiance and brilliance. Since the Pre-Dynastic Period, the ancient Egyptians were interested in decorating clothes, belts and headdresses made of white linen with plaits that covered the whole garment or covered the sleeves or the kilt only and were a symbol of the sun's rays that envelope humans and surround them.
Textile Gallery at the NMEC
The National Museum of Egyptian Civilization, Cairo
The ancient Egyptians made pleats in several ways. The weft threads were collected in small groups that were woven together on the edge of the cloth. Sometimes the clothes were washed in a resinous substance, and then the pleats were pressed firmly using a heavy tool. The pleats were often made by hand by washing the linen fabric and then squeezing it forcefully so that the warp threads gathered in groups to form the pleats, then this process was repeated after each washing.
In the New Kingdom, weavers invented warping threads varying together after washing in wavy groups to form the pleats that decorate clothes.
Textile Gallery at the NMEC
The National Museum of Egyptian Civilization, Cairo
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
Pen-Hery was responsible for measuring the agricultural areas and determining the state properties, temples and individuals, he appears holding a twisted rope topped by the head of the ram of the god Amun. Ropes were among the main tools for measuring and determining the borders and large areas of agricultural lands.
Granite
New Kingdom, 19th dynasty
Provenance Karnak
NMEC National Museum of Egyptian Civilization, Cairo
The ancient Egyptians believed that the other world contained a celestial river equivalent to the Nile, where the gods travelled over it in their boats and spirit crossed it on their way to resurrection. Therefore models of boats were placed within the funerary furniture to depict the deceased's journey to the cemetery and its equivalent to the other world.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Ancient Egyptian Stool
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
The figures of captives were made of different materials to be used in the ritual "Protecting the Land and the King" inside the temple. Thus, spells were recited on them and then tied with ropes and placed into the fire to destroy the enemies of Egypt. Moreover, they were buried in the corners of temples or forts to eliminate their evil as well.
New Kingdom, 19th dynasty
Tura el-Asmand/Mud
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Deeply reminded and blessed by the faithfulness and magnificence of God through the wonderful hymns and testimonies as the UNOFFICIAL photographer at the 2017 NMEC Hymn Festival - Here I Stand. Soli Deo Gloria!
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
Maat was the daughter of the sun god Atum whom he created to set order in the universe, therefore ancient Egyptians believed that Maat is the symbol of justice and the cosmic order that controls all creatures as a symbol of absolute perfection.
When the king presents the statuette of Maat as an offering to the gods, it means that he is the one who establishes justice and the divine order to preserve the universe's stability.
New Kingdom, 20th dynasty
Reign of Ramesses III
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The arched harp (shoulder harp) was a common musical instrument in ancient Egypt and was often decorated with colourful motifs on its outer surface. Here you can distinguish the figures of the animals despite the bad picture.
Harps, together with percussion instruments, were very popular and were used in both sacred and secular contexts.
Wood
New Kingdom, 19th dynasty
Provenance Luxor
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Second Wind 2007-2009, de James Turrell, en el Museo de arte contemporáneo de la Fundación NMEC, Vejer de la Frontera, Cádiz
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
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
Because of their love for makeup, mirrors were very popular in ancient Egypt. The Egyptian mirrors were made by beating a lump of bronze until it was as thin as a sheet of cardboard. Then it was polished to make it shiny enough to reflect the light from your face. Sometimes these mirrors had handles made out of bone or ivory.
The woman's face with cow's ears represents the goddess Bat and is also an emblem of the goddess Hathor.
Besides being functional, mirrors developed religious and funerary uses. Their circular shape, brightness, and reflective quality suggested to the Egyptians the face of the sun and its life-giving powers and thus the mirror became a symbol of regeneration and vitality.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Statue of the sphinx, which has no history clearly. In the Ptolemaic period, it was common to place small sphinx statues in front of the temples to be used for protection and guarding.
Limestone
Ptolemaic Period
Kom Ombo
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Kings Valley Tomb #43 (KV43)
The National Museum of Egyptian Civilization (NMEC), Cairo; Inventory #CG 46097.
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
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
The god Nilus was a symbol of the Nile river. This statue is one of the rare pieces depicting him as a man leaning on a hippo over a rock from which the water flows. He is surrounded by a group of children symbolizing the high level of the flood.
Marble
Roman Period
From Qena
NMEC National Museum of Egyptian Civilization, Fustat 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.
In Egyptian mythology, Heryshaf, or Hershef (Ancient Egyptian: ḥrj š f "He who is on His Lake"), was an ancient ram deity whose cult was centered in ancient Heracleopolis Magna. He was identified with Ra and Osiris in ancient Egyptian religion, as well as Dionysus or Heracles in the interpretatio graeca.
The identification with Heracles may be related to the fact that in later times his name was sometimes reanalysed as ḥrj-šf.t "He who is over strength". One of his titles was "Ruler of the Riverbanks". Heryshaf was a creator and fertility god who was born from the primordial waters. He was pictured as a ram or a man with a ram's head.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Sennedjem: son of Khabekhnet & Tahennu, Servant in the Place of Truth (Valley of the Kings).
Theban Tomb #TT1
National Museum of Egyptian Civilization (NMEC), Cairo; unlabelled, Inventory #JE 4184
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
Thutmose III was one of the greatest warrior kings in ancient Egypt and the leader of a unique military genius in planning battles and war operations that made Egypt a great power in the ancient world. He succeeded in establishing a great empire that extended from the Euphrates in the worth and the 5th cataract to the south. Moreover, he commissioned many architectural projects and erected temples in the Delta, Memphis, Karnak and Aswan.
The Sema-tawy sign, one of the ancient Egyptian symbols, which means the unification of the two lands is carved on the side of his seat.
Black granite
New Kingdom, 18th dynasty
Karnak
NMEC National Museum of Egyptian Civilization, Fustat 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 seat and the backrest of the armchair Armchair of Queen Hetepheres I are made of natural wood. They are surrounded by a simple wooden frame covered with gold leaf with high arms in gilded wood. The backrest of the chair is reinforced at the rear by a central support.
The space between the arms, the seat, and the backrest is decorated with an elegant floral design, the dominant decorative element of the armchair. The floral design is composed of three papyrus flowers whose stems are tied with a band.
The front legs are shaped like lions’ paws, based on the ancient concept of protection given by lions. The front pair is taller than the rear pair so that the seat inclines slightly toward the rear.
Old Kingdom, 4th dynasty, reign of King Khufu
From the tomb of queen Hetepheres I, G 7000X Giza Plateau
(JE 53263)
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
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 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 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.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
Pen-Hery was responsible for measuring the agricultural areas and determining the state properties, temples and individuals, he appears holding a twisted rope topped by the head of the ram of the god Amun. Ropes were among the main tools for measuring and determining the borders and large areas of agricultural lands.
Granite
New Kingdom, 19th dynasty
Provenance Karnak
NMEC National Museum of Egyptian Civilization, 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