Bronze statuette of cat headed goddess. An inscription goes around all four sides of base and in front above, where the cartouche of God's Wife of Amun, Ankhnesneferibre, appears. The statue is donated by a private person.
http://www.ucl.ac.uk/
sábado, 19 de septiembre de 2015
Thebes: bronze statue: UC 36443
Bronze statuette of cat headed goddess. An inscription goes around all four sides of base and in front above, where the cartouche of God's Wife of Amun, Ankhnesneferibre, appears. The statue is donated by a private person.
http://www.ucl.ac.uk/
TT31, the tomb of Khonsu , also called To (or Ta) .
, also called To (or Ta) 
.At the front, left, is Khonsu, who wears the panther skin (as a rule, an attribute of a sem-priest) over his tunic with sleeves. Frequently this is also described as a leopard skin, but in these pages 'panther' will be used. He has his two arms raised, palms forwards, in worship. Above, is the remains of the text of a solar hymn: "[An adoration of Re] when he arises on the eastern horizon... [by the high-]priest of the lord [of the Two Lands] Men[kheperre] (Thutmosis III), Khonsu, born of the mistress of the house, Tauseret."
• Standing behind Khonsu is "His mother, the chantress of Montu, Tauseret". She wears a long wig whose locks are fastened by a ribbon below the ear and on top of the wig is the customary Theban ointment cone, which takes here the shape of a shell. This is supposed to represent a cone of perfumed grease trickling into the hair and onto the dress, caused by the heat, its material reality is put in doubt and numerous people think than it represents a metaphor to designate perfumes in general. Two lotus flowers, one open, the other closed in button form, complete the symbolic group evoking being in the body of Nut-Hathor, the Theban mountain, at night and returning to the world in the morning. Tauseret wears a large necklace and bracelets on her forearms and also her wrists. With the left hand, she waves two stems of papyrus (?) which surround a Hathoric sistrum, supposed to attract the goddess Hathor by the noise of the rattle which it produces when it is shaken. In her other hand, she holds the counterweight of a Menat necklace, equally related to Hathor.
• The following character, of smaller waist, is "His son, head of the stable, Usermont living anew". He wears a wig which reaches his shoulders, a loincloth, but no upper garment. He holds in one hand two birds (probably ducks) by their wings. The duck was, in the Egyptian symbolism, related to sexuality and rebirth. He is followed by Mutia, the second wife of Khonsu. It can be seen that this one is represented distinctly smaller than his stepmother. Here, as elsewhere in the tomb, the deceased's mother always has precedence over the wives. If the end of the text is taken as a fact, two children had to come with their mother, but they have disappeared.
According to Davies, there was another underlying scene to this one: it is now lost completely.
osirisnet.net
The tomb of Irukaptah at Saqqara, also called Khenu
The tomb of Irukaptah 
at Saqqara, also called Khenu
The four niches have been reasonably cut into the surface, 45cm above ground level. Each measures about 1.62m in height and 0.62m in width. They are separated by 42cm wide pillars. All had meant to be completed with decoration including an Egyptian coving as well as jambs, but work had been abandoned long before it was finished. However, the outer coving and jambs are present on the first (left) and the jamb on the left side of the second.
Each niche contains a statue in human size, representing three men and a woman, supposedly these are three of Irukaptah and one of his wife. The mediocre quality of the rock required the use of filler to repair the faults. Remains of a pale pink filler shows that the statues were intended to be painted, but it is uncertain if the colours had begun to be applied.
All characters stand with their feet together. The three men have the arms hanging at the side of their body, whilst the woman has the right arm folded on her chest, with the hand at the height of the breast.
Here, more than on the opposite wall, can be seen the stages of creation of these statues, since the preparatory work was in red paint, then passing on to chisel work to create more and more detail.
The tomb of Irukaptah at Saqqara, also called Khenu
osirisnet. net
at Saqqara, also called Khenu The four niches have been reasonably cut into the surface, 45cm above ground level. Each measures about 1.62m in height and 0.62m in width. They are separated by 42cm wide pillars. All had meant to be completed with decoration including an Egyptian coving as well as jambs, but work had been abandoned long before it was finished. However, the outer coving and jambs are present on the first (left) and the jamb on the left side of the second.
Each niche contains a statue in human size, representing three men and a woman, supposedly these are three of Irukaptah and one of his wife. The mediocre quality of the rock required the use of filler to repair the faults. Remains of a pale pink filler shows that the statues were intended to be painted, but it is uncertain if the colours had begun to be applied.
All characters stand with their feet together. The three men have the arms hanging at the side of their body, whilst the woman has the right arm folded on her chest, with the hand at the height of the breast.
Here, more than on the opposite wall, can be seen the stages of creation of these statues, since the preparatory work was in red paint, then passing on to chisel work to create more and more detail.
The tomb of Irukaptah at Saqqara, also called Khenu
osirisnet. net
ostracon grec
Edfou
J. Gascou, “Ostraca byzantins d’Edfou et autres provenances”, Travaux et mémoires 16, Mélanges Cécile Morrisson, 2010, p. 363-364.
IFAO.egnet.net
viernes, 18 de septiembre de 2015
Niankhkhnum and Khnumhotep
The doors, together with the central field, form a single unit, since both appearance doors are interconnected by one upper horizontal lintel
osirisnet.net
Statue of Ukh-hotep and His Family
Material : Granite
Width : 30 CM Height : 37 CM
Found in : Meir () ...
Period : The Middle Kingdom
Reign of : Senusert III
Dynasty: XII
Belonged_to: Ukh-hotep
Statuary group for family members is a type of sculpture that appeared in the Middle Kingdom as a deviation from the typical form of the Old Kingdom style . It is a kind of private sculpture where statues for all the members of the family are carved rather rough-hewn in hard stone such as granite .
This funeral group depicts the family of Ukh-hotep , One of the monarchs of Middle Egypt , that was found in the tomb of Ukh-hotep tomb in the area of the necropolis of the 14th nome of Upper Egypt .
In the center of the stela appears the head of the family , Ukhhotep , standing with his hands by his sides , wearing a black wig and a long skirt adorned with some of the titles such as head of the priests of Hathor . On the right hand of the man stands one of his wife with her hands by her side too and wearing Hathor wig on her head . In the other side of the stela stands the second wife of Ukh-hotep in the same position . The daughter of Ukh-hotep stands directly beneath her father with beautiful hairstyle that was usually used for depicting children in that period but dressed in the same way of adult woman . The name and function of each member of the family is carved on his cloths . Behind the family members appear two Udjat eyes as a symbol for magical power , while the either sides of the stela are decorated with lotus and Papyrus flowers .
egyptopia.com/Statue+of+Ukh-hotep+and+His+Family+The+Egypti…
This funeral group depicts the family of Ukh-hotep , One of the monarchs of Middle Egypt , that was found in the tomb of Ukh-hotep tomb in the area of the necropolis of the 14th nome of Upper Egypt .
In the center of the stela appears the head of the family , Ukhhotep , standing with his hands by his sides , wearing a black wig and a long skirt adorned with some of the titles such as head of the priests of Hathor . On the right hand of the man stands one of his wife with her hands by her side too and wearing Hathor wig on her head . In the other side of the stela stands the second wife of Ukh-hotep in the same position . The daughter of Ukh-hotep stands directly beneath her father with beautiful hairstyle that was usually used for depicting children in that period but dressed in the same way of adult woman . The name and function of each member of the family is carved on his cloths . Behind the family members appear two Udjat eyes as a symbol for magical power , while the either sides of the stela are decorated with lotus and Papyrus flowers .
egyptopia.com/Statue+of+Ukh-hotep+and+His+Family+The+Egypti…
Statue of a Family Group
Family statues from the Old Kingdom often depict the adult male as the largest figure, indicating his position as head of the household. Here, the much smaller figure of the woman is shown kneeling and embracing her husband's leg in a conventional Egyptian gesture of love and support. The couple's son is depicted naked with his hair in a sidelock and a finger to his mouth—a standard way of indicating that he is a young child.
MEDIUM Limestone
DATES ca. 2371-2298 B.C.E.
DYNASTY late V Dynasty-early VI Dynasty
PERIOD Old Kingdom
DIMENSIONS 28 15/16 x 9 1/16 x 9 13/16 in. (73.5 x 23 x 25 cm)
Brooklyn Museum
brooklynmuseum.org
TT51, the tomb of Userhat or , also called Neferhabef .
or 
, also called Neferhabef 
.Here, receiving gifts is the seated hawk-headed god, Montu, accompanied, standing behind him, by Meretseger, "Mistress of the West and ..... of the embalmer's house (?)", portrayed on the right-hand end of the register, under a pavilion structure. (a special article exists on Osirisnet about the god Montu.) The names of both deities were written in the usual column fashion, but they are now scarcely legible. Note that originally there was another column of text behind Meretseger's crown,
domingo, 6 de septiembre de 2015
Kheruef
Continuing from the left-hand side, towards the right, more kneeling dancers can be found, in sometimes strange ritual stances (view tb_01915). Then there are more standing dancers, all leaning forwards, some with their hands raised, some with them placed on their hips, some even touching the ground (view c2_30); their heads can be seen turned upwards or downwards (view cb_64).
Then the composition changes by the placement of a shrine (or a chest?), which extends to the column of text which introduced the two sub-registers. The content of this small rectangular area is certainly different in appearance (view tb_01923). It actually contains a monkey, a bounding calf and a duck (or a goose) in flight. These are three symbols indicating the rising sun: the monkeys receive it with their scream; the birds fly off and the calf (equating to the deceased or the regenerated sun) rises every morning from the mountains of the west, to where Hathor carried it during the night. These animals greet, each in their own manner, Amenhotep III, who, like the rising sun, rises regenerated for the sed-festival. This is another example of the king's solarisation at the end of his life.
osirisnet.net
, whose birth name was Naa 
.The gigantic funerary complex, TT192, of Kheruef (a more suitable term than that of simply 'tomb') has been considered as imposing, which indicates the power and the wealth of the person who was for a time the steward of queen Tiy, the Great Royal Wife of Amenhotep III (view CD_04), at a time when Egypt was at the summit of its glory and its prosperity. The monument was very far from being finished when, for an unknown reason, the site was abandoned.
What is nowadays designated as "the tomb of Kheruef", only includes the entry and the west portico at the far end of the open courtyard, an all small portion of the monument itself.
osirisnet,net
kreruef
, accompanied by the goddess Hathor, are under a richly decorated marquee, surmounted of a frieze of uraei (view tb_3334). The structure is supported by delicately slim lotusform and papyriform columns. It should be noted that the queen stands behind the seated king and Hathor.
Kheruef
, whose birth name was Naa .The gigantic funerary complex, TT192, of Kheruef (a more suitable term than that of simply 'tomb') has been considered as imposing, which indicates the power and the wealth of the person who was for a time the steward of queen Tiy, the Great Royal Wife of Amenhotep III (view CD_04), at a time when Egypt was at the summit of its glory and its prosperity. The monument was very far from being finished when, for an unknown reason, the site was abandoned.
What is nowadays designated as "the tomb of Kheruef", only includes the entry and the west portico at the far end of the open courtyard, an all small portion of the monument itself.
jueves, 3 de septiembre de 2015
Statue of Hermes.
Statue of Hermes. Marble, Roman copy after a Greek original of the early 4th century BC.
miércoles, 2 de septiembre de 2015
Herd of donkeys in ivory
Herd of donkeys in ivory
This group of figurines in ivory, which was part of the von Bissing collection and then of the Lunsingh Scheuleer collection, is composed of a herd of seven donkeys. Of miniscule dimensions, they vary from three to four centimetres. The legs of the animals are badly damaged. The figurine depicting the donkey-driver of the herd doesn't exist anymore. It is possible that the objects come from a tomb of the Predynastic Period.
KMKG - MRAH
Ivory
PREDYNASTIC PERIOD
gloalegyptianmuseum
This group of figurines in ivory, which was part of the von Bissing collection and then of the Lunsingh Scheuleer collection, is composed of a herd of seven donkeys. Of miniscule dimensions, they vary from three to four centimetres. The legs of the animals are badly damaged. The figurine depicting the donkey-driver of the herd doesn't exist anymore. It is possible that the objects come from a tomb of the Predynastic Period.
KMKG - MRAH
Ivory
PREDYNASTIC PERIOD
gloalegyptianmuseum
stela
The Vienna piece has a lunette with a winged sun disc and the usual adoration scene of the Late Period: the deceased is standing in front of an offering table, Osiris, <A HREF=Horus>Harendotes</A> and Isis. The vertical lines of inscription mention the three gods and Tany. She is pouring liquid from a hes-vase over an offering table with loaves. Osiris is standing on a low pedestal, Harendotes and Isis are standing behind him, each holding a was-sceptre in their left hand. Only traces of the first line of the inscription are left on this piece in Vienna.
ABYDOS
25TH DYNASTY AND CONTEMPORARIES
(3) <A HREF=Horus>Harendotes</A>.
(4) Isis, the Great one, the Divine Mother.
(5) Words to be spoken by Osiris, the Great God, (6) Lord of Abydos, so that he may give a funerary offering of beer and bread (7) for the revered one with Osiris (8) Tany, true of voice, lady of reverence.
KUNSTHISTORISCHES MUSEUM
Bergmann, E. von, Übersicht der ägyptischen Alterthümer (1876) 38, Nr. 130; (21878) 36, Nr. 130; (61886) 38, Nr. 130.
Hamernik, G., Anton Ritter von Laurin. Diplomat, Sammler und Ausgräber. (Dissertation Wien 1985) 178.
De Meulenaere, H., Retrouvaille de la dame Taniy, in: Pyramid Studies and other Essays, Festschrift I. E. S. Edwards (1988) 68-72.
Lichtheim, M., The stela of Taniy, CG 20564, its date and its character, (Studien zur Altägyptischen Kultur (SAK) 16, 1989) 203 ff.
Leahy, A., Taniy: A Seventh Century Lady (Cairo CG 20564 and Vienna 192, in: Göttinger Miszellen (GM) 108 (1989) 45.
globalegyptianmuseum
martes, 1 de septiembre de 2015
Part of the base of a statue of Djesernetjeru
Inscribed portion of the pedestal from a statue of a deity. This inscription has been cut at an unknown date from the corner of a statue of a god, one in a series created for the jubilee of king Amenhotep III in c.1360 BC. The god is named in the hieroglyphic inscription as Djesernetjeru, lord of the jubilee, an obscure deity whose principal role may have been only to protect one part of the jubilee rites.
Present location NATIONAL MUSEUM OF IRELAND [30/002] DUBLIN
Inventory number 1896:19
Dating AMENHOTEP III/AMENOPHIS III/NEBMAATRE
Archaeological Site THEBES: EAST BANK ?
Category PEDESTAL
Material GRANITE
Technique CARVED; INCISED
Height 31.5 cm
Width 16.5 cm
Depth 14 cm
Translation
Dual king Nebmaatra given life, beloved of Djesernetjeru lord of the sed-festival
globalegyptianmuseum
Paheri
 | |
 | |
The scene concludes, after a break (west view 96), with the two supervisors, the overseer of the farm land and the overseer of the farmers, who are prostrated "nose to the ground" in front of the master (whose representation has disappeared) and exclaiming : "Let's praise him ! May Ra give him a long life, our master". In front of him is his dog, a sort of greyhound, which turns its head toward him .
The long inscription above, ends with the name (missing) of "... the mistress of the house of Ahmose".
The tomb of Renni, numbered EK 7, is of great interest, not only in the setting of the site at El Kab, but more extensively because it is one of the rare Egyptian tombs which dates from the reign of Amenhotep I. From a decorative view point, one feels here the influence of the end of the Middle Kingdom, the cannon of the New Kingdom not yet being completely in place
osirisnet.net
Small face of Akhenaten
This small face of Akhenaten is made of lapis lazuli. It is smoothed down at the back. The forehead has broken off at an oblique angle. The transition from the face to the crown is preserved only on the right side of the forehead. The tip of the nose is damaged. The beardless face is elongated with a narrow jaw and a rounded pointed chin. The cheeks appear hollow because of the high oblique cheekbones. The narrow oblique eyes are indicated only by the upper lids framed by the rounded eyebrows. No contours or pupils have been marked on them. The slender nose has wide wings and drilled nostrils. The mouth has full protruding lips, and downwards from the corners of the mouth runs a curved slight swelling. These are the characteristic features of the portraiture of Pharaoh Akhenaten, despite the horizontal line of the chin in this portrait, which in Akhenaten's reign would have been represented drooping, and the absence of the typically sharp jaw line. The eyes, albeit narrower, resemble those of the king's parents, Amenhotep III and Tiy. This fragmentary face, which preserves only the front part, has the appearance of a mask. The use of lapis lazuli is noteworthy, because blue was the colour associated with the god Amun.
Present location KUNSTHISTORISCHES MUSEUM [09/001] VIENNA
Inventory number 9964
Dating AMENHOTEP IV/AMENOPHIS IV/NEFERKHEPERURE/AKHENATEN
Archaeological Site UNKNOWN
Category HUMAN FIGURINE
Material LAPIS LAZULI
Technique SCULPTURED
Height 5.4 cm
Width 3.9 cm
Depth 2.5 cm
Bibliography•Katalog "Land der Bibel", Wien (1997), Nr. 57
globalegyptianmuseum
Lapis Lazuli Scarab
This small scarab is made from the blue stone, lapis lazuli. This was very precious to the ancient Egyptians because they prized its blue colour and because it had to be imported into Egypt. Scarabs were sacred to the Egyptians, who believed that they pushed the sun across the sky in the same way that they pushed balls of dung along the ground. Because the sun was reborn each day the scarab is associated with rebirth. It is quite unusual to find a scarab like this one, which has a human head. The carving is very detailed, making this a fine quality piece. It has been pierced to be used in a piece of jewellery. Scarabs of this type should really be called scaraboids because they have the oval scarab shape but are not actually carved with the back of a beetle. Date uncertain, but probably New Kingdom, 1550-1295 BC.
NWHCM : 1921.37.165.2 : A
Length: 24mm
Width: 15mm
Depth: 10mm
Gift from Helen Caroline Colman and Ethel Mary Colman
Suscribirse a:
Entradas (Atom)