miércoles, 7 de diciembre de 2016
Coperchio di sepolcro muliebre
Maenad
Iphigeneia
Iphigeneia carried to the sacrifice (centre) while the seer Calchas (on the right) watches on and Agamemnon (on the left) covers his head in sign of deploration. In the sky, Artemis appears with a hind which will be substituted to the young girl.
CLOTH/SHROUD ?
CLOTH/SHROUD
This piece of painted material, which dates from the Graeco-Roman Period, depicts two divinities in the form of a serpent. They are without any doubt Agathos Daimon, the good genie protector of the town of Alexandria, and Isis-Uraeus. They are respectively wearing pshent head-dresses, the pharaonic double crown of Upper Egypt and Lower Egypt, and a crown composed of a solar disk and cow's horns. The bodies are marked with black and reddish colours. The two divine serpents, creations of religious syncretism of the Graeco-Roman Period, often decorate stelae, coins and the walls of tombs.
FLAX
vowed
GRAECO-ROMAN PERIOD
GREEK GOD: AGATHOS DAIMON
Van dieren en mensen. Getuigenissen uit Prehistorie en Oudheid - Des animaux et des hommes. Témoignages de la Préhistoire et de l'Antiquité (Exposition), Bruxelles 1988, 179 nº 179
KMKG - MRAH
globalegyptianmuseum
domingo, 13 de noviembre de 2016
carved plaque of a supine bull
An exquisitely carved plaque of a supine bull. Note the black burn mark. Probably this was part of a group which once supported an ivory tray. Neo-Assyrian period, 9th-7th centuries BCE. From Nimrud, Mesopotamia, Iraq. The Sulaymaniyah Museum, Iraq.
ivory plaque
Ivory Plaque from Nimrud (ancient Kalhu; Biblical Calah). It depicts a standing/striding bull. From Nimrud, Mesopotamia, Iraq. It was excavated by Sir Max Mallowan between 1949-1963. Neo-Assyrian Period, 911-612 BCE. Erbil Civilization Museum, Kurdistan, Iraq.
“Woman at the window” or “the lady of the window”
“Woman at the window” or “the lady of the window” is one of the most
famous scenes in Phoenician ivory carving. The plaque shows a woman who
looks out of a window, thought to be a sacred prostitute linked to the
goddess Astarte or Ishtar. However, the exact significance of the scene
is still unknown. Neo-Assyrian period, 9th-7th centuries BCE. From
Nimrud, Mesopotamia, Iraq. The Sulaimaniyah Museum, Iraq.
Ídolo guanche
Ídolo guanche conocido como "Guatimac" (Museo Arqueológico del Puerto de la Cruz, Tenerife).
lunes, 7 de noviembre de 2016
Renni
osirisnet.net
Varna
La tumba de la necrópolis de Varna (Bulgaria), que data de 4600 aC con la joyería de oro más antiguo del mundo A tomb from the Varna necropolis (Bulgaria), circa 4600 BC, with the world's oldest gold jewellery yet discovered.
Pièces d'orfèvrerie présentées au musée archéologique de Varna (Bulgarie) et qui seraient parmi les objets en or les plus anciens connus à ce jour (- 6000 ans avant JC)
Varna
La tumba de la necrópolis de Varna (Bulgaria), que data de 4600 aC con la joyería de oro más antiguo del mundo A tomb from the Varna necropolis (Bulgaria), circa 4600 BC, with the world's oldest gold jewellery yet discovered.
Pièces d'orfèvrerie présentées au musée archéologique de Varna (Bulgarie) et qui seraient parmi les objets en or les plus anciens connus à ce jour (- 6000 ans avant JC)
sábado, 5 de noviembre de 2016
TOMB 340
The reading of the scene must in fact be made from the left, since the lower register where a woman, turned facing the cortege, seems to welcome it while offering a vase of ointment. The funeral procession heads toward the west, while going from Anubis toward Osiris (and therefore the mummy's preparation toward rebirth).
At the head one finds four porters with chests whose carrying straps have not been represented. Each man carries in principle two chests, in fact only six i...nstead of eight are represented, due to lack of space, in a rather ungainly manner (at less at this stage).
- Behind the porters of chests, is a group of mourners (which is difficult to identify) in sheath dresses with straps and tripartite wigs, turned around toward the continuation of the cortege while raising their arms at right-angles
At the head one finds four porters with chests whose carrying straps have not been represented. Each man carries in principle two chests, in fact only six i...nstead of eight are represented, due to lack of space, in a rather ungainly manner (at less at this stage).
- Behind the porters of chests, is a group of mourners (which is difficult to identify) in sheath dresses with straps and tripartite wigs, turned around toward the continuation of the cortege while raising their arms at right-angles
Facing the mourners, advance six porters with offerings. The first holds in his hands a nu-vase and a bes-vase; the next two each carry a casket, the fourth and the fifth, a pedestal or a stool with struts. the last, whose silhouette is fairly damaged, a bag or a fan. All porters with funeral furniture in this register are clothed in the same way: very simple short loincloths and short wigs covering the ears.
In the upper register, where the second part of the procession is represented, one first sees eight women, feet together and in a tight sheath dress of archaic style, of which the gestures of the arms are quite varied: hands crossed on the chest; arms down the body; both arms raised.
Next comes the catafalque. It is carried by five men and is preceded by two cattle and a drover, which means that at certain times of the journey the catafalque was hauled, but that here the cortege crosses a rocky or more difficult passage, probably in the mountain.
The red catafalque, in the shape of an Egyptian shrine, is placed on a barque of which the prow and the stern are constituted of umbels of papyrus. Inside the catafalque, the anthropoid coffin is decorated of yellow bands intended to receive some inscriptions and the mask is framed by a green wig. On a line of soil, that has not yet been drawn above the cattle and their drover, three mourners constitute a small sub-register. Kneeling, the bust tilted forwards, they carry both hands to their faces.
TOMB 340 was discovered by Bernard Bruyère in 1925. It is a tiny vault located below a courtyard and which one reaches by some steps.
http://www.osirisnet.net/…/…/amenemhat340/e_amenemhat340.htm
In the upper register, where the second part of the procession is represented, one first sees eight women, feet together and in a tight sheath dress of archaic style, of which the gestures of the arms are quite varied: hands crossed on the chest; arms down the body; both arms raised.
Next comes the catafalque. It is carried by five men and is preceded by two cattle and a drover, which means that at certain times of the journey the catafalque was hauled, but that here the cortege crosses a rocky or more difficult passage, probably in the mountain.
The red catafalque, in the shape of an Egyptian shrine, is placed on a barque of which the prow and the stern are constituted of umbels of papyrus. Inside the catafalque, the anthropoid coffin is decorated of yellow bands intended to receive some inscriptions and the mask is framed by a green wig. On a line of soil, that has not yet been drawn above the cattle and their drover, three mourners constitute a small sub-register. Kneeling, the bust tilted forwards, they carry both hands to their faces.
TOMB 340 was discovered by Bernard Bruyère in 1925. It is a tiny vault located below a courtyard and which one reaches by some steps.
http://www.osirisnet.net/…/…/amenemhat340/e_amenemhat340.htm
Zenobia
En 269, Zenobia, su ejército, y el general Zabdas conquistaron violentamente Egipto con la ayuda de su aliado egipcio, Timágenes, y su ejército. El prefecto romano de Egipto, Probus Tenagino y sus fuerzas, trataron de expulsarles de Egipto, pero el ejército de Zenobia capturó y decapitó a Probus. Zenobia se proclamó reina de Egipto y acuñó monedas con su nombre. En ese momento su reino se extendía desde el Nilo hasta el Éufrates.
Caracalla
Caracalla (211-217) otorgó la ciudadanía romana a todos los egipcios, en común con otras provincias, pero esto debía arrastrar principalmente más impuestos, que crecieron cada vez más, como las onerosas necesidades de los emperadores. Hubo una serie de rebeliones, militares y civiles, en el siglo III.
Portrait of the emperor Caracalla from a statue reworked as a bust
Portrait of the emperor Caracalla from a statue reworked as a bust
Termas de Caracalla
Roma
Wall painting fragment
Wall painting fragment
Period:Early ImperialDate:1st century A.D.Culture:RomanMedium:FrescoDimensions:Overall: 5 11/16 in. (14.5 cm)
This fresco fragment preserves the head of a woman wearing an Egyptian headdress. The Romans had an enduring fascination with the ancient cults and arts of Egypt, as attested by depictions on wall paintings, mosaics, and other media.
Met Museum
metmuseum.org
viernes, 28 de octubre de 2016
miércoles, 26 de octubre de 2016
Restos de la basílica de Baelo Claudia
cabeza. estatua romana
lunes, 24 de octubre de 2016
Señor de los caballos
Ancient silver vessel
Plaster mask of a young man
Plaster mask of a young man
Plaster head piece from the mummy covering of a young man. The steeply raised-up head, which is complete, has short cropped hair and plastically modelled pupils, the gaze aimed slightly to the right. The right hand is placed on the chest, with a wreath of flowers depicted underneath. The neck is extended in an unnatural manner owing to the steep angle of the raised head. A garment is pulled up high around the neck.
Present location PELIZAEUS-MUSEUM [04/030] HILDESHEIM
Inventory number 0386
Dating SEVERUS ALEXANDER
Archaeological Site TUNA EL-GABAL ?
Category EXTENDED MASK
Material PLASTER; UNSPECIFIED
Technique PRESSED IN A FORM/MODEL; SCULPTURED; PAINTED
Height 35.2 cm
Width 23 cm
Depth 45 cm
Bibliography•Roeder, G., Die Denkmäler des Pelizaeus-Museums zu Hildesheim, Hildesheim 1921, S. 105.
•Kayser, H., Die ägyptischen Altertümer im Roemer-Pelizaeus-Museum in Hildesheim, Hildesheim 1973, S. 118, Abb. 96.
•Eggebrecht, A. (Hrsg.), Pelizaeus-Museum Hildesheim : Die ägyptische Sammlung, Hildesheim - Mainz 1993, Abb. 112.
globalegyptianmuseum
domingo, 23 de octubre de 2016
Marco Junio Bruto
Marco Junio Bruto
Sobrino de Catón el jover, participó en las Idus de Marzo.
En la batalla de Filipos fue derrotado y huye con el resto de su ejercito.... pero después se suicida arrojándose sobre su espada.
...
Sobrino de Catón el jover, participó en las Idus de Marzo.
En la batalla de Filipos fue derrotado y huye con el resto de su ejercito.... pero después se suicida arrojándose sobre su espada.
...
23 de octubre del 42 a.
sábado, 22 de octubre de 2016
Coffin Lid of Ankhesenaset
Coffin Lid of Ankhesenaset
Lid of a wooden mummiform coffin, painted black with details in yellow that is now very faint. The coffin contains an inner cartonnage mummy case with a female mummy (M14000). The pectoral is of lotus flowers and pomegranates and below is a winged disc and a now indecipherable scene which, according to an earlier description, was a vignette from Chapter 125 of the Book of the Dead. Down the centre is a single column of inscription with an offering request for a woman described as a ‘Chantress of Amun’ but only the beginning of her name (Ankhesen…) can be seen as the last few hieroglyphs have not survived. Her name would have ended with the name of a god and in 1877 her name was recorded as Ankhesenhesi. Dr van Walsem of Leiden University studied the coffin on 15 December 1981 and recommneded the name be read as Ankhesenaset.
http://www.liverpoolmuseums.org.uk/wml/collections/antiquities/ancient-egypt/item-299424.aspx
A 5th-century mosaic
Frontón con escena de gladiadores
Zliten mosaic
jueves, 20 de octubre de 2016
MUMMY TRAPPINGS
Present location PELIZAEUS-MUSEUM [04/030] HILDESHEIM
Inventory number L/SN 1
Dating ROMAN PERIOD
Provenance EL-FAIYUM ?
Category MUMMY TRAPPINGS
Material WOOD; PLASTER; GOLD; LINEN
Technique TEXTILE TECHNIQUE; PAINTED ON STUCCO; GILDED
Width 41 cm
Bibliography•Eggebrecht, A. (Hrsg.), Pelizaeus-Museum Hildesheim : Die ägyptische Sammlung, Hildesheim - Mainz 1993, Abb. 101.
globalegyptianmuseum.org
Model of a sailing ship
Model of a sailing ship
The type of sailing ship represented here has a flat bow and stern. The ship has a simple yard with a square sail, as well as a huge double steering oar. The helmsman stands out from among the crew members. Several of the other crew members are shown bringing offerings. The cabin of the ship resembles a round hut.
Present location PELIZAEUS-MUSEUM [04/030] HILDESHEIM
Inventory number 1697
Dating 11TH DYNASTY
Archaeological Site MIR
Category SAILING BOAT (MODEL)
Material SYCAMORE; TAMARISK; PLASTER; LINEN; UNSPECIFIED
Technique SCULPTURED; STUCCO; PAINTED
Height 69 cm
Width 32 cm
Bibliography•Roeder, G., Die Denkmäler des Pelizaeus-Museums zu Hildesheim, Hildesheim 1921, S. 75.
•Kayser, H., Die ägyptischen Altertümer im Roemer-Pelizaeus-Museum in Hildesheim, Hildesheim 1973, S. 55.
•Götter und Pharaonen, Hildesheim 1979, Kat.-Nr. 181A.
•Martin-Pardey, E., Grabbeigaben, Nachträge und Ergänzungen (Corpus Antiquitatum Aegyptiacarum: Pelizaeus-Museum Hildesheim, Lieferung 6), Mainz 1991, S. 93-101.
globalegyptianmuseum.org
/SARCOPHAGUS OF FISH
Present location RIJKSMUSEUM VAN OUDHEDEN [06/001] LEIDEN
Inventory number L.XII.6
Dating ROMAN PERIOD
Archaeological Site UNKNOWN
Category COFFIN/SARCOPHAGUS OF FISH
Material WOOD
Technique SCULPTURED; WRITTEN WITH A REED PEN/REED WITH SPLIT NIB
Bibliography•Raven, M. J., Mummies onder het mes, Amsterdam 1993, 40, afb. 57.
globalegyptianmuseum.org
domingo, 25 de septiembre de 2016
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