Glazed steatite rosette

Glazed steatite rosette with six curving petals and a central crossed circle motif.

E72:38

FAIENCE

18TH DYNASTY

NATIONAL MUSEUM OF IRELAND

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Geto-Dacian apotropaic eyes motif

Geto-Dacian apotropaic eyes motif on the Helmet of Iron Gates (4th century BC)

Wooden figure of a human-headed protective deity

Wooden figure of a human-headed protective deity
From a royal tomb in the Valley of the Kings, Thebes, Egypt
Possibly 20th Dynasty, around 1225 BC

Originally covered in black resin: symbolic

The long beard that the figure grasps resembles the mane of a lion and is similar to representations of the beard of the god Bes, whose frightening appearance was intended to scare demons away. The significance of the beard here is not clear, though long beards were associated with kings and gods. In reality, Egyptian beards were often false, held onto the chin with a strap passing along the jawline. The lower part of the body is in a crouching position: this was used in hieroglyphs to indicate divinity.

It seems to have been the prerogative of the king to include such figures of protective deities in his burial, as no comparable figures have been found in private tombs. These were sent by Osiris to aid and protect the king on his journey to the Afterlife.

The figure was originally covered in black resin, part of a complex symbolism in ancient Egypt. Black was associated with the god Osiris (known as the 'Black One' in the Coffin Texts). It is also the colour of mud, from which plants grow, and it is also the colour of the Underworld before being illuminated by the sun god, Re. Hence the imagery is strongly associated with the cycle of rebirth and new life. Images of such figures, also coloured black, can be seen on tomb walls in the royal tombs.

The figure was placed on a base dating to the Late Period (661-332 BC) by its discoverer Henry Salt (1780-1827

British museum
britishmuseum.org

Chalcidian black-figured eye-cup

Chalcidian black-figured eye-cup, circa 530 BC. Staatliche Antikensammlungen.

Wooden figure of a hippopotamus-headed figure

From a royal tomb in the Valley of the Kings, Thebes, Egypt
End of the 18th Dynasty, around 1325 BC

Sent by Osiris to assist the king on his journey to the Afterlife

Ancient Egyptians saw the hippopotamus as a dangerous creature. It is often depicted in marshland scenes, lurking below the water, or capsizing a boat. The male was associated with chaos, often in the form of the god Seth, who murdered Osiris in an attempt to seize the throne of Egypt; scenes of hippo hunting are occasionally found in tombs and temples and relate to this myth. The fierceness of the female in protecting her young was reflected in the goddess Taweret.
Turning the potential malevolence of the hippo around, its fearsome power could be used to the benefit of the deceased. This figure was among those provided for the king in his tomb, sent by the god Osiris to assist him in his journey to the Afterlife. Such figures were also believed to witness the transformation of the king into the sun-god during his travel through the realm of the dead.
The figure is shown with its mouth gaping open to reveal peg-like teeth. The lower part of its body is human, shown crouching and mummified. This is the typical form that the demon guardians of the gates to the Underworld take, as well as characterizing the hieroglyphic symbols for deities.

britishmuseum.org

Faience throwstick of Akhenaten

Faience throwstick of Akhenaten
From Tell el-Amarna, Egypt
18th Dynasty, around 1330 BC

To ensure the king's regeneration

Wooden examples of throwsticks that were meant to be used have been found in the burials of Amenhotep II and Tutankhamun in the Valley of the Kings, while model ones made of faience are known for most of the New Kingdom (1550-1070 BC) kings until the early Twentieth Dynasty (about 1186-1069 BC).

While the wooden examples might actually have been used for hunting game birds, the faience ones could not be thrown without being broken. So what was their purpose? As is often the case in ancient Egypt, the explanation lies in the symbolism of rebirth and new life. Scenes of hunting game birds with throwsticks are common in New Kingdom private tombs. The Egyptian words for 'throwstick' and 'beget' (procreate) are very similar. Scenes of hunting game birds may therefore be an allusion to the creation of new life. The shiny and brilliant nature of faience suggests an association with the sun-god, Re; the blue-green colour is also associated with rebirth and new life.

This model, placed in the burial of Akhenaten (Amenhotep IV, 1352-1336 BC), would thus be a ritual object designed to ensure the king's regeneration after death.

British Museum
britishmuseum.org

The Gorgon, flanked by lionesses

The Gorgon, flanked by lionesses and showing her belt clasp of serpents, as depicted at the west pediment of the 580 B.C. temple of Artemis in Corfu on display at the Archaeological Museum of Corfu.