The tomb of Nyankhnefertem also known as Temi

On entering the chamber, immediately in front of the visitor, can be seen the double vertical column of hieroglyphs. These are the result of the fact that the four figures of each side are preceded by the title text and this is the junction of the two groups. Thus the two leading images of the deceased, accompanied by his eldest son (right) and his wife (left), face each other. These images of the deceased are based on those found at the tomb of Merefnebef, but the other representations vary slightly in visual design.

Nyankhnefertem is represented in a stereotypical manner except in scene 4, where he appears with a few different personal features. Apart from this scene, only the hair changes, sometimes he has a small curly wig (accompanied with more juvenile facial features) and sometimes a wig which extends down to his shoulders. He wears a short beard, a blue painted broad necklace and a relatively short kilt, not even reaching down to his knees. This kilt has the usual front section which projects forward, associated with higher ranking men. The only exception is scene 4, where he wears a tight fitting kilt. In one hand he holds a long staff of office, in the other hand he grasps a folded piece of cloth. Here again, scene 4 is the exception, where he holds a sceptre not a folded piece of cloth

osirisnet.net


 The tomb of Nyankhnefertem also known as Temi

MORE REMARKS ON LATE OLD KINGDOM MASTABAS WEST OF THE STEP PYRAMID

MORE REMARKS

ON LATE OLD KINGDOM MASTABAS

WEST OF THE STEP PYRAMID

Kamil O. Kuraszkiewicz

http://www.centrumarcheologii.uw.edu.pl/fileadmin/pam/PAM_2006_XVIII/512.pdf

TT 266 : Amennakht

TT 266 : Amennakht PM (8) , photo NB_1974_00697
J.-Fr. Gout © IFAO, URL : http://www.ifao.egnet.net

pergamo 3

pergamo museum 2

Museo de Pérgamo

Puerta de Isthar.

Fragment of an Amarna palace floor. Neues Museum, Berlin.

New Kingdom, Dynasty XVIII

Mastaba de Irukaptah

Mastaba de Irukaptah en Saqqara, también se llamaba este personaje Khenu.

Molde de escultor

Molde de escultor

Amarna

Neues Museum

Berlín

Nespakashuty's tomb,

View onto
the courtyard of
Nespakashuty's tomb,
1922-23 (photo:
Egyptian Expedition,
neg. no. M4C 205)

Kurkh stela of Shalmaneser

Kurkh stela of Shalmaneser that reports battle of Karkar, of en:853 BC.

Scene Traité de paix égypto-hittite de l’an 21

Scene Traité de paix égypto-hittite de l’an 21 - (KIU 32)
http://www.cfeetk.cnrs.fr/karnak/?iu=32

The El Amarna Boundary

The El Amarna Boundary
Stelae Project
William J. Murnane
...

oi.uchicago.edu
https://oi.uchicago.edu/…/d…/ar/81-90/83-84/83-84_Amarna.pdf

Amphora (Jar) with Lid,

Amphora (Jar) with Lid, 3rd quarter of the 6th century b.c.
Etruscan, black-figure, Pontic ware
Terracotta
h. 14 3/8 in. (36.5 cm)
The Bothmer Purchase Fund, 2012 (2012.26a,b)

The thousands of Greek vases imported into Etruria beginning about 600 B.C. significantly influenced local pottery production. This colorful and unusual work represents one enterprising Etruscan artist's response to an originally Greek shape and type of decoration. The form of the amphora, the inclusion of a lid, the two-part handles, the pendant lotus buds in the shoulder panels, the rays at the base of the body, and the echinus foot derive from Athenian prototypes of the mid-sixth century B.C. These imports also introduced the black-figure technique, with the use of incision and added color for details. The local admixture is most evident in the subject matter and its placement. The Etruscans were partial to sea creatures and birds. On one side the shoulder panel shows two mermen, on the other two belligerent dogs. Below, six metopes deployed fairly regularly around the circumference contain water birds, each somewhat different. The artist was not bound by the conventions that governed the decoration of Athenian pottery. He subdivided the available space and placed and executed the decoration according to his, or his patron's, specifications.

Met Museum

metmuseum.org

Un fragmento de la carta que le escribe a su hermano muestra sus primeras impresiones:

Un fragmento de la carta que le escribe a su hermano muestra sus primeras impresiones:


«Aunque sólo fuera por el gran templo de Abu Simbel, valdría la pena el viaje a Nubia: es una maravilla que hasta en Tebas considerarían algo bellísimo. El trabajo que costó esta excavación desafía la imaginación. La fachada está decorada con cuatro estatuas sedentes colosales, de altura no inferior a los dieciocho metros. Las cuatro, obras de soberbia artesanía, representan a Ramsés el Grande: sus caras son retratos y guardan un parecido perfecto con las imágenes de este rey que hay en Menfis, en Tebas y en cualquier otro lugar. También lo es la entrada; el interior es totalmente digno de visitarse, pero hacerlo supone una ardua tarea. A nuestra llegada la arena y los nubios encargados de trasladarla habían bloqueado la entrada. Hicimos que la despejaran de manera que abrieran un pequeño hueco y tomamos entonces todas las precauciones que pudimos contra la arena que caía, que en Egipto, así como en Nubia, amenaza con sepultarlo todo. Yo iba casi completamente desnudo; sólo llevaba mi camisa árabe y los calzones de algodón, y avancé reptando sobre el estómago hacia el pequeño umbral de una puerta, que, de haber estado despejada, habría medido por lo menos siete metros y medio de alto. Pensé que avanzaba hacia la boca de un horno y, deslizándome hacia el interior del templo, me encontré en una atmósfera a 52ºC de temperatura... Tras pasarme dos horas y media admirándolo todo y haber visto todos los relieves, se impuso la necesidad de respirar un poco de aire puro y me fue necesario volver a la entrada del horno..»


Champollion, 1828