Relieve de una mujer con una flor de loto.

Relieve de una mujer con una flor de loto.

Piedra.

Reino Antiguo.

La flor de loto está asociada al renacimiento y a la nueva vida ya que se cierra al anochecer y se abre al amanecer.

Roemer-und Pelizaeus Museum, Hildesheim.

Exposición "HIJAS DEL NILO"

Palacio de las Alhajas, Madrid.

 

 

 

Relieve con una imagen de plañideras.

Relieve con una imagen de plañideras.

Piedra caliza.

Reino Nuevo (1570-1070 a C)

Las plañideras eran mujeres a las que se pagaba para que lloraran y mostraran un profundo dolor durante los sepelios.

La presencia de estas mujeres realzaba la posición social de los difuntos.

Allard Pierson, collections of the University, Amsterdam

Exposición "HIJAS DEL NILO"

Palacio de las Alhajas, Madrid.

Relief with an image of paid mourners.

Limestone.

New Kingdom (1570-1070 BC)

Professiomal mourners were women who where paid to grieve and display great sorrow during burals. The presence of such women was a sign of the deceased´s elevated social status.

 

 

 

Merneptah

Merneptah

Exhibit in the antiquity collection of Thorvaldsens Museum, Copenhagen, Denmark. Photography was permitted in the museum without restriction. This artwork is now in the public domain 

 

 

 

a pair of leather sandal soles.

 

This is a pair of leather sandal soles. Each sole consists of a single piece of cut leather. There are fine cracks and some areas of discoloration on the reddish-brown leather, but generally it is in a good state of preservation. The sandals appear to have been worn during life because there are signs of wear on the bottoms and there are molded impressions of the heal, toes and the ball of the foot on the upper surface. There is a round hole punched into each sole for the attachment of a thong between the first and second toes. Leather ankle straps secured the back of the sandal. Complete examples in the Museum of Fine Arts have a strap that completely encircles the ankle heel. On the right sole only an indentation on each side marks the location of the sandal strap. On the left sole a small section of the original strap remains on the right edge and this strap was part of the same piece of leather as the sole. On the left edge we have evidence of a repair, which is also an indication of daily life use. Two holes were punched into the edge of the sole and a new strap was fixed into place by leather thongs. Only a short length of this new strap remains in place. There is a rectangular area of discoloration on the upper surface of the left sole near the toe area.

Thorvaldsens Museum

public domain

 

 

Statuette of Senetmut

Statuette of Senetmut

This statuette in basalt was found in a tomb of the necropolis at Abydos. Dated to the Middle Kingdom, it depicts a woman sitting on a cubic seat. The hieroglyphic inscriptions engraved on the lower part of the long dress of the woman and on the flanks and back side of the seat indicate that the person was called Senetmut.

UPPER EGYPT: GOVERNORATE OF SOHAG: ABYDOS

FORMULA Htp-di-nsw.t

J. Garstang, El Arábah, Londres 1901, pl. III

L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 33 nº 109

Porter and Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings V 66

J. Vandier, Manuel d'archéologie égyptienne, Paris 1958, III 239 n. 9, 271 n. 5

Inventory number E.4252

KMKG - MRAH

http://www.globalegyptianmuseum.org/record.aspx?id=642

 

 

 

 

Mastaba of Unas Ankh

Mastaba of Unas Ankh

V dinastia,

originales y reconstrucciones

wiki/public domain

 

 

 

Family Group of Four.

Family Group of Four.

 

 

This statue is carved in very high relief. It depicts two males and two female figures with their hands at their sides. There may be traces of inscriptions on their dresses. The corner of the base is broken off.

Walters Art Museum

public domain/wiki

 

 

HUMAN MUMMY

HUMAN MUMMY

The mummy is completely enveloped in cloth on which a pattern of pearls has been sewn in the form of lozanges. Over the head a relatively flat mask has been placed on which a face, a wig and a part of a necklace have been painted. The chest is covered by a large pectoral with clasps in the form of a falcon's head. The lower part of the body is adorned by the image of a winged <A HREF="God">goddess</A> which represents Nephthys. The motif of the fourth scene is composed of a djed-pillar which is adored by Isis and Nephthys and the four Sons of Horus. The feet are concealed in a sheath on which the god Anubis, perched on his shrine, has been drawn. The bottom presents two simple soles.

GOVERNORATE OF SOHAG: ABYDOS 

 

 GRAECO-ROMAN PERIOD

Inventory number E.3974

KMKG - MRAH

M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 24-25

F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 243, 250

M. Raven, Mummies onder het mes, Amsterdam 1993, 112

http://www.globalegyptianmuseum.org/record.aspx?id=601

 

Statue of a Man and Latus The Sacred Fish.

Statue of a Man and Latus The Sacred Fish.

This statue shows a man sitting in a high-backed chair with his left leg forward in a position similar to those of seated gods in low-reliefs. He is wearing the Nemes headdress and the Shendyt kilt, and holds a long snake in both hands.

On a high base to the right, the fins and the tail remain of what was once Latus, the sacred fish. A column of hieroglyphics is inscribed between these two figures the man and the fish.

THEBES: WEST BANK: MEDINET HABU (EXCEPT TEMPLE OF RAMESSES III)

25TH DYNASTY AND CONTEMPORARIES

Inventory number CG 39273

EGYPTIAN MUSEUM

http://www.globalegyptianmuseum.org/record.aspx?id=15418

 

 

 

 

 

Granite sarcophagus lid of Ramesses III

Granite sarcophagus lid of Ramesses III

Red granite sarcophagus lid of Ramesses III in the shape of a cartouche. In the centre of the lid is the king depicted as the god Osiris in mummy form. On his head he wears the Atef crown composed of ostrich feathers, a sun disk and a pair of ram's horns. Emerging from his forehead is a uraeus, the royal symbol of protection. The king also wears a long plaited beard, another divine symbol associated with the god Osiris, and a long wig with lappets. The king's arms are crossed over his chest and in his hands he holds the crook and flail. On either side are the standing figures of the goddesses Isis (Proper Left - PL) and Nephthys (Proper Right - PR). Much of Isis's figure is missing owing to a large break in the lid which extends from the back part of her head to the base (the break was probably caused by tomb robbers in antiquity). Nephthys stands on the hieroglyphic sign for gold 'nbw'. In between the depiction of Ramesses III and Isis and Nephthys are probably four snakes, two of which have female bodies and heads. These snake-women, who probably represent the goddesses Nekhbet and Wadjet, raise their hands in adoration of the dead king. Hieroglyphic text is inscribed around the lid's outer edge.

Notes

History note: July 1816 – Bernardino Drovetti meets Giovanni Belzoni and gives him the granite sarcophagus lid 12 August 1816 – Belzoni attempts to remove it March or April 1817 – Belzoni successfully removes it c. November 1817 – finds are shipped to Cairo 20 April 1818 – Henry Salt concedes a sarcophagus lid from the Valley of the Kings to Belzoni 27 January 1819 – Another shipment of finds from Luxor to Cairo and then Rosetta, including a sarcophagus lid May 1821 – shipped from Alexandria on the 'Dispatch' (Seti I’s alabaster coffin also on this ship) August 1821 – 'Dispatch' arrived in London Autumn 1821 – all objects moved into the courtyard of the British Museum March 1823 – Ramesses III's sarcophagus lid sent to Cambridge 31 March 1823 – lid arrives in Cambridge The link between Giovanni Belzoni and Cambridge is most probably The Reverend George Adam Browne who was associated with Trinity College. He was also a Freemason, like Belzoni.

https://data.fitzmuseum.cam.ac.uk/id/object/49037

 

 

 

Abu Roach

 Abu Roach

 

 

Head of Augustus

Head of Augustus

27 B.C.–A.D. 14

Roman Period, Augustus

This small head is thought to depict the Roman Emperor Augustus. It follows a Roman prototype for his portrait that was developed in the earlier part of his long reign, but continued in use. Paul Zanker has suggested it might have been created late in Augustus' reign or even in that of Tiberius. Egyptian influence may be present in the suggestion of loose flesh beneath the prominent cheekbones.

The original context of the head is unknown, but it was said to be from Memphis, which is reasonable. A Memphite provenance would reflect the importance of the traditional religious capital in Augustus's political domination of the country. A cult of Augustus existed there, and the High Priest of Ptah of Memphis, the most important official in the country's traditional religious structure, was chosen as its chief officiant, the "prophet of Caesar." This appointment was surely intended to encourage the cooperation of the country.

Medium: Faience

Dimensions: H. 7.7 × W. 6 × D. 6.5 cm (3 1/16 × 2 3/8 × 2 9/16 in.)

Met Museum

https://www.metmuseum.org/art/collection/search/547804

 

 

 

 

The Autobiography of Admiral Ahmose

The Autobiography of Admiral Ahmose

Part I

http://egypt-grammar.rutgers.edu/TextPDF/admiralahmose1.pdf

 

Part II

 

 http://egypt-grammar.rutgers.edu/TextPDF/admiralahmose2.pdf

Part III

http://egypt-grammar.rutgers.edu/TextPDF/admiralahmose3.pdf

 

 

Sarcophagus and Lid of Seshem-Nefer

Sarcophagus and Lid of Seshem-Nefer

The sarcophagus of Seshem-Nefer and its lid are rectangular. The lid has a handle on each side for carrying it.

Unlike the sarcophagi of the Old Kingdom, which were decorated with false doors and windows, this sarcophagus has no decoration except for a hieroglyphic text on its left side. The band of text is not finely carved. The false door or window was made to facilitate the entrance and the exit of the Ba, or spirit of the deceased, as the sarcophagus was thought to be the house of the mummy according to Ancient Egyptian beliefs.

GIZA NECROPOLIS

OLD KINGDOM: 4TH DYNASTY

Inventory number JE 60541

EGYPTIAN MUSEUM

http://www.globalegyptianmuseum.org/record.aspx?id=15569

 

 

 

FIGURINE/STATUETTE

FIGURINE/STATUETTE

limestone.

5TH DYNASTY

Inventory number 3812

MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO

E. Schiaparelli, Museo Archeologico di Firenze-Antichità Egizie, Roma, 1887, pgg. 189-90, n. .1495.

J.H. Breasted, Egyptian Servant Statues, Washington, 1948, pg. 31, tav. 30b..

http://www.globalegyptianmuseum.org/record.aspx?id=9697

 

 

 

Mastaba de Iymery (G 6020)

Mastaba de Iymery (G 6020)

Excavada por:

(Karl) Richard Lepsius, German, 1810–1884

George Andrew Reisner, American, 1867–1942

Dinastía V

fuente: http://giza.fas.harvard.edu/sites/1369/full/

 

 

 

Coffin of Teremetchenbastet,

Coffin of Teremetchenbastet,

daughter of Ptahirdis.

polychrome wood

Late peiod

664-525 BC

Saqqara.

Coffin with face coated in gold leaf. A long tripartite wig and the false beard. tall over the usekh collar.

Underneath is a winged goddess, and below her 10 columns of inscription with meticouslously detailed symbols that cover the entire lid and relate chapter 172 of the Book of the Dead and the offering formula. Chapters 640-643 of the Piramids texts were copied onto the black pillar. These words helped the deceased to "sit up" and be stable enough the stand.

MAM Madrid.

Ataúd de Teremetchenbastet, hija de Ptahierdis.

Madera policromada.

Baja epoca

dinastía XXVI

664-525 a C

Saqqara.

Ataúd con el rostro cubierto por una lámina dorada, una larga peluca tripartita y la barba.postiza caen sobre el collar usekh, debajo, una diosa alada da paso a diez columnas de inscripciones con signos muy cuidados, que cubren por completo la tapadera relatando el capítulo 172 del LIbro de los Muertos y la fórmula de ofrendas. En el pilar dorsal se han copiado los patítulos 640-643 de los textos de las Pirámides:

Estas oraciones ayudaban al difunto a "poder incorporarse", asegurando su estabilidad para mantenerse en pie.

Museo arqueológico nacional. Madrid.