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Paser appears in this statue carrying an altar topped by a ram's head, the symbol of Amun-Ra, Lord of Karnak.
Paser lived during the reign of Seti I, where he held the title of the sole companion of the king and held many positions as the royal palace advisor, the governor of the city of 'Thebes', and who receives the tribute of the foreign lands for the king. Then, during the reign of Ramses II, he became a judge, a seal bearer and a deputy of the king in Nubia, where he supervised the construction works of the temple of Abu Simbel. He also assumed the position of high priest and overseer of the Karnak temple until his death in the 25th year of the reign of Ramses II.
Paser is known from many monuments and statuary.
New Kingdom, 19th dynasty
Burial TT106 Thebes
Black granite
From Karnak, great temple cachette
(CG 42156 / JE 37388)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Group of statues of the protective goddesses that were found in the tomb of Amenhotep II. They were responsible for protecting the body of the king in his afterlife journey.
They are Wadjet (depicted as a cobra),Nekhbet (vulture), Meretseger (winged Cobra) plus Hathor and Mehet-Weret (cows) the goddesses of Heaven.
New Kingdom 18th Dynasty 1550 - 1295 BC
Valley of the Kings
Thebes
Painted Wood
Appeared within the periods before the unification of Egypt, divided into:
- Naqada I, known for its red pottery with white decoration and geometric palettes for makeup
- Naqada II, pots are beige with red decoration, often featuring boats, birds, and human figures and slate palettes in animal form
- Naqada III, has plainer pottery and palettes but has a greater variety of statues and ritual objects
NMEC National Museum of Egyptian Civilization, Cairo
Akhenaten was a progressive pharaoh of the 18th Dynasty, who introduced great changes to ancient Egyptian religion and art.
In this colossal statue, king Akhenaten has depicted holding heka and nekhakha scepters, symbols of power and authority in his hands. The crook (heka) and the flail or flabellum (nekhakha), are two of the most prominent items in the royal regalia of ancient Egypt.
Akhenaten's features are presented in the typical style of the Amarna Period. The King is standing, wearing a kilt that hangs below his swollen stomach. It is tied with a belt decorated with the royal cartouche.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The lower part of the coffin is decorated with representations of the divine figures who inhabited the Egyptian Underworld. Corresponding to the position of the head of the deceased are the genii of the North, with those of the South reproduced at her feet. The two groups are separated by columns of text containing references to the Four Sons of Horus.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27309)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The ancient Egyptians made tents made of maths, leather and thick linen cloth as a temporary means of residence since the Pre-dynastic Period. The daily life scenes showed that the ancient Egyptians used tents in hunting trips and military campaigns or as a temporary residence for the statues of gods in their processions. Moreover, tents were also set up in the gardens and courtyards of houses for housewives during the last stages of pregnancy and childbirth. Occasionally, tents and pavilions were made of fine linen by the lakes and gardens of the palaces as a place for recreation and leisure on the hot summer days. Furthermore, the Nobles and wealthy people used to set up a private baldachin made of mats or leather in front of their tombs for the purification rites and it was buried with the deceased later.
When Emile Brugsch and Ahmed Kamal cleared the Deir el-Bahri cache (TT320) in 1881, Brugsch found this unique tent buried in one of its corridors and was still preserving its bright colours as it was made entirely of appliqué coloured leather and decorated with carefully cut out leather ornaments and texts fixed on a different colour piece of leather. These texts describe the pleasant companionship that joins Isetemkheb II with the god Khonsu Lord of Thebes, goddess Mut and the deities of the other world amid the scent of flowers and perfumes that came from Punt. Noteworthy, it is the only remaining tent from ancient Egypt until now.
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.
(Text: Ed. by F. Tiradritti: Egyptian Treasures from The Egyptian Museum in Cairo)
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
The ancient Egyptians sanctified the Ibis bird and associated it with the moon, possibly because of the similarity of its curved beak with the lunar crescent. The exquisite abilities of Ibis in locating earthworms had gained it a reputation for knowing hidden secrets. It was thus appropriately seen as a symbol of Thoth, the Lord of wisdom and knowledge, the god of time and the moon. He was also the patron of scribes and the creator of letters and words.
Organic material, wood, bronze
Greco-Roman Period
Tuna el-Gebel
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Due to the scarcity of wood in Egypt, the ancient Egyptians used papyrus fibres, saw grass and spiny rush plant, and the date and doum palm leaves as a cheap and available material in their environment for basketry. The fibres were twisted, woven and painted in bright colours to make sturdy boxes for keeping clothes, baskets of cereal and food and even boxes of jewellery and cosmetics.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Mersu-ankh: overseer of young men of the Residence, inspector of ka-priests, & cadet.
Giza Mastaba #G8990
National Museum of Egyptian Civilization (NMEC), Cairo; unlabelled, Inventory #JE 66619
The ancient Egyptians made tents made of maths, leather and thick linen cloth as a temporary means of residence since the Pre-dynastic Period. The daily life scenes showed that the ancient Egyptians used tents in hunting trips and military campaigns or as a temporary residence for the statues of gods in their processions. Moreover, tents were also set up in the gardens and courtyards of houses for housewives during the last stages of pregnancy and childbirth. Occasionally, tents and pavilions were made of fine linen by the lakes and gardens of the palaces as a place for recreation and leisure on the hot summer days. Furthermore, the Nobles and wealthy people used to set up a private baldachin made of mats or leather in front of their tombs for the purification rites and it was buried with the deceased later.
When Emile Brugsch and Ahmed Kamal cleared the Deir el-Bahri cache (TT320) in 1881, Brugsch found this unique tent buried in one of its corridors and was still preserving its bright colours as it was made entirely of appliqué coloured leather and decorated with carefully cut out leather ornaments and texts fixed on a different colour piece of leather. These texts describe the pleasant companionship that joins Isetemkheb II with the god Khonsu Lord of Thebes, goddess Mut and the deities of the other world amid the scent of flowers and perfumes that came from Punt. Noteworthy, it is the only remaining tent from ancient Egypt until now.
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.
(Text: Ed. by F. Tiradritti: Egyptian Treasures from The Egyptian Museum in Cairo)
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
Sennedjem's inner coffin is anthropoid in shape. The inner cover (mummy board) portrays Sennedjem in his worldly attire, wearing a long white linen kilt.
The casket is adorned with funeral scenes of the Book of the Dead's protecting gods and goddesses and the Four Sons of Horus (Imsety, Hapi, Duamutef and Qebehsenuef).
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Sennedjem's inner coffin is anthropoid in shape.
The casket is adorned with funeral scenes of the Book of the Dead's protecting gods and goddesses.
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The sacred bull catacombs at Heliopolis, Saqqara, and Armant were among the holy sites visited by pilgrims. During festivals, visitors used to lay votive stelae to mark their visit to these locations and to show their gratitude.
Limestone
Ptolemaic Period
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.
Black granite
New Kingdom, 18th dynasty
Karnak
NMEC National Museum of Egyptian Civilization, Fustat Cairo
On the cover f the coffin Isis is depicted richly dressed and as if she were still alive.
Isis' face is framed by a heavy, braided wig. The braids of the wig partially cover a pectoral with brightly coloured and elaborate decoration. The breasts are sculpted in relief and emphasized by rosettes.
Isis is shown wearing a full-length pleated robe that reaches her ankles and has a slit at the front. It is closed with a knot that is just visible below the left arm. The sleeves leave the forearms exposed, which are encircled by two rows of beads and also bracelets at the wrists. She has a ring on the thumb of her right hand. The right arm hangs along the body while the left is filled across the lower chest, clasping a fold on her garment.
Isis is also holding garlands of flowering ivy in each hand, arranged in an elaborate composition and providing a splash of colour to enliven the whiteness of the robe. Ivy, like the lotus, was associated with the promise of an afterlife.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27309)
NMEC National Museum of Egyptian Civilization, Fustat 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
Kings Valley Tomb #43 (KV43)
The National Museum of Egyptian Civilization (NMEC), Cairo; Inventory #CG 46097.
Goddess Isis protects the deceased on the lid of Sennedjem's inner coffin.
Wood, pigment
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Queen Hetepheres' tomb contained a magnificent collection of wooden furniture including this fine example of a gilded chair. The chair is decorated with delicate gold leaf giving it an eternal lustre. The gilded frame surrounds a plain solid-wood panel.
Hetepheres I may have been the wife of King Sneferu and was the mother of King Khufu. It is possible that Hetepheres had been a minor wife of Sneferu and only rose in prominence after her son ascended the throne. She was the grandmother of two kings, Djedefre and Khafre, and of queen Hetepheres II and the figure who tied together two dynasties.
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 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
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
Sennedjem's inner coffin is anthropoid in shape.
The casket is adorned with funeral scenes of the Book of the Dead's protecting gods and goddesses.
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Sphinx statues expressed the living king sitting on the throne as the image of the god Shu, who controls the boundaries of the universe and was always depicted as a crouching lion. This statue was one of the statues of Amenemhat III which flanked the processional route in front of his great temple at Hawara. It shows Amenemhat III with a human face and a lion's body, in other words, a perfect creature, as intelligent as a human being yet as strong as a lion. The face has high cheekbones, full lips and wrinkles beside the nose. Instead of the nemes headdress are the lion's ears and mane. The anatomy of the body is faithfully represented, as are the paws and the tail of the lion.
Reused by later kings
Black granite
Middle Kingdom, 12th dynasty
One of the 7 statues found in Tanis
JE 1520-13 / CG 530
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Body of a chariot recovered from the tomb of Thutmose IV (KV43)
The sides of the body are entirely closed with panels of wood, covered with canvas, stucco and fine linen modelled with scenes in low relief.
In the centre of the chariot is the name of Thutmose IV in a cartouche surmounted by a Ra sign and double ostrich feathers. In the space above is a lion-headed bird with wings opened; and holding in its claws symbols of life; upon its head is the sun's disc, with the twp pendent uraei. Before each uraeus is a Ω sign. Below the cartouche is the Symbol of joining sign which is bound according to the ordinary Egyptian convention of papyrus plants and lotus lilies. Tied to the centre of the sign on either side is a row of kneeling Asiatic prisoners.
Eighth king of the 18th Dynasty, Thutmosis IV had a short reign, of about 9 years (approx. 1419-1410 BC). The tomb of Tuthmosis IV contained the body of a chariot and some fragments of other parts and leather trappings, but no wheels.
Description of most of the ornamentation of the panels of the body: 'The Tomb of Thoutmôsis IV' by Carter and Newberry
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The inner coffin of Sennedjem is made in the anthropoid form, where his mummy was placed inside.
The inner cover depicts Sennedjem in his worldly clothes as he wears a long kilt of white linen.
The coffin is decorated with funerary scenes of the protective goddesses from the Book of the Dead.
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
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
The position of the divine God's wife of Amun was one of the most important priestly positions in the New Kingdom, which was limited to the women of the royal house only, as they wore royal crowns and wrote their names in cartouches and performed temple rituals and offering sacrifices.
The crown and the distinctive scepter in this statue indicate that it belongs to one of the divine god's wives in the Late Period.
Granite
Third Intermediate Period
Karnak
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 TT1 Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Ships were the prime and oldest means of transportation in ancient Egypt as they were often depicted on petroglyphs and pottery since the Neolithic period. Types of ships also varied in terms of size or purpose, small boats were made of bundles of papyrus stalks while sailing ships and large boats were made of cedar wood and equipped with sails of thick cloth and side oars in addition to two oar-rudders in the stern.
From these ships appeared what was for royal voyages, the sacred barks of the gods and their processions, the metal-armoured warships and huge merchant ships to transport goods and animals and ship stones and wood.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The National Museum of Egyptian Civilization is a large museum in the ancient city of Fustat, now part of Cairo, Egypt. The museum partially opened in February 2017 and will display a collection of 50,000 artefacts, presenting Egyptian civilization from prehistoric times to the present day.
The permanent collection of NMEC is divided chronologically into areas labelled: Archaic, Pharaonic, Greco-Roman, Coptic, Medieval, Islamic, modern and contemporary.
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
Group of statues of the protective goddesses that were found in the tomb of Amenhotep II. They were responsible for protecting the body of the king in his afterlife journey.
They are Wadjet (depicted as a cobra),Nekhbet (vulture), Meretseger (winged Cobra) plus Hathor and Mehet-Weret (cows) the goddesses of Heaven.
New Kingdom 18th Dynasty 1550 - 1295 BC
Valley of the Kings
Thebes
Painted Wood
When the Ptolemaic state was established in Egypt, art that arose in Alexandria was in a purely classical style. Then it was soon mixed with ancient Egyptian art and its ancient traditions. Statues of the Ptolemaic kings appeared in Egyptian features mixed with artistic influences from ancient Greece. This statue depicts a king from the Ptolemaic Period in a mixed style that expressed the merging of these two cultures together.
Black granite
Ptolemaic Period
unknown origin
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
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
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
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Silver vases of Princess Neferwptah, Neferuptah or Ptahneferu (“Beauty of Ptah”). She was the daughter of king Amenemhat III of the 12th dynasty. Her sister was the Pharaoh Sobekneferu (“Beauty of Sobek”).
Three vases were found in the tomb of the princess. One was found beside the offering table while the other vases were beside the sarcophagus in the burial chamber. These vases were most probably water vases used for the preliminary purification. The inscriptions on the vases all alike mention the name of – Nerferwptah – in the cartouche as well as the name of her father Amenemhat III.
The tomb was found intact in 1956 and still contained her jewellery, a granite sarcophagus, three silver vases and other objects.
Neferuptah is one of the first royal women whose name was written inside a cartouche. Although she never had the title 'king's wife', she must have had a special status; it is possible she was regarded as a future ruler.
Her titles included a member of the elite, great of favour, great of praise and beloved king's daughter of his body.
A burial for her was prepared in the tomb of her father at Hawara. However, she was not buried there, but in a small pyramid at Hawara. Her tomb was found intact in 1956 and still contained her jewellery, a granite sarcophagus, three silver vases and other objects.
The granite sarcophagus was inscribed with a short offering formula. Inside the sarcophagus were found the decayed remains of two wooden coffins. The outer one was decorated with inscribed gold foil. Identical inscriptions were found on the sarcophagus of Queen Hatshepsut, who lived about 300 years later. Her tomb is mentioned on a papyrus found at Lahun. She is depicted next to her father in the temple at Medinet Madi. Objects belonging to her include a sphinx of black granite and the fragment of a statue found on Elephantine.
Silver
Burial of Neferuptah in Hawara
Middle Kingdom, 12 dynasty
Hawara
(JE 90152, JE 90153, JE 90154)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Wooden tomb models were deposited as grave goods in the tombs and burial shafts. They included a wide variety of wooden figurines and scenes, such as boats, granaries, baking and brewing beer scenes and butchery scenes.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Isis was the wife of a craftsman from Deir el-Medina called Kabekhnet and the daughter-in-law of Sennedjem. This is the second coffin in which the mummy of Isis was enclosed. She also had a mummiform external coffin, as well as a pectoral placed directly over the bandages of her mummy. This pectoral was identical to the cover of the internal coffin and provided further protection against damage to the body.
On the cover, Isis is depicted richly dressed and as if she were still alive.
Isis' face is framed by a heavy, braided wig held by an elaborate multicoloured band decorated with geometric and floral motifs. Lotus blossoms, open and in the bud, are represented in low relief on the forehead of the figure. The lotus flower was a symbol of rebirth. The eyes are narrow while the mouth and the face itself are treated simply. The ears are not shown but are marked by the presence of large earrings consisting of a ring and a hemisphere of bone or ivory. The braids of the wig partially cover a pectoral with brightly coloured and elaborate decoration. The breasts are sculpted in relief and emphasized by rosettes.
Isis is shown wearing a full-length pleated robe that reaches her ankles and has a slit at the front. It is closed with a knot that is just visible below the left arm. The sleeves leave the forearms exposed, which are encircled by two rows of beads and also bracelets at the wrists. She has a ring on the thumb of her right hand. The right arm hangs along the body while the left is filled across the lower chest, clasping a fold on her garment.
Isis is also holding garlands of flowering ivy in each hand, arranged in an elaborate composition and providing a splash of colour to enliven the whiteness of the robe. Ivy, like the lotus, was associated with the promise of an afterlife.
Although Isis is represented as if still alive, the coffin is mummiform in shape. The lower part of the coffin is decorated with representations of the divine figures who inhabited the Egyptian Underworld. Corresponding to the position of the head of the deceased are the genii of the North, with those of the South reproduced at her feet. The two groups are separated by columns of text containing references to the Four Sons of Horus.
(Text: Tiradritti ed. Egyptian Treasures from the Egyptian Museum in Cairo)
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27309)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Princess Neferwptah, Neferuptah or Ptahneferu (“Beauty of Ptah”) was the daughter of king Amenemhat III of the 12th dynasty. A burial for her was prepared in the tomb of her father at Hawara. However, she was not buried there, but in a small pyramid at Hawara. Her tomb was found intact in 1956 and still contained her jewellery, a granite sarcophagus, three silver vases and other objects. Objects belonging to her include a sphinx of black granite and the fragment of a statue found on Elephantine.
Neferuptah is one of the first royal women whose name was written inside a cartouche. Although she never had the title 'king's wife', she must have had a special status; it is possible she was regarded as a future ruler.
Her titles included a member of the elite, great of favour, great of praise and beloved king's daughter of his body.
The elements of Jewellery which were found and could be restored most probably to their original state consisted of :
1.-a necklace of gold, carnelian and beads
2.-a broad collar
3.-a pair of bracelets and a pair of anklets
4.-a girdle of disc beads with a hawk-pendant
5.-A funerary apron of faience and blue frit beads
(Princess Neferuptah's beautiful Collar was taken to join the Exhibition of "Ramses and the Gold of the Pharaohs" in the American City of Houston from 20.11.2021 to 22.01.2023.)
Burial of Neferuptah in Hawara
Middle Kingdom, 12 dynasty
Hawara
NMEC National Museum of Egyptian Civilization, Fustat Cairo
A chair named for Sennedjem's son, Khabekhnet.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27256)
NMEC National Museum of Egyptian Civilization, Fustat Cairo