TUTANKHAMUN: Exhibition Guide

Total Page:16

File Type:pdf, Size:1020Kb

TUTANKHAMUN: Exhibition Guide 8. Monkey Kohl Pot. Used as a container for kohl, a black cosmetic eye shadow originally worn to diminish the glare of the harsh desert sun. TUTANKHAMUN: 9. Golden Cosmetic Spoon. Fashioned in the graceful “Wonderful Things” from the Pharaoh’s Tomb form of a bathing maiden, a classic motif for 18th January 21 - May 6, 2018 Dynasty ointment containers. Exhibition Guide 10-13. Canopic Urns. Funerary jars for internal organs (named for the town of Canopus), ceremonially NOTE: This exhibition includes all items listed, though included as miniatures after the 21st Dynasty. they may be in different areas of the gallery and out of numerical order. 14. Winged Isis. The most revered of ancient Egyptian goddesses, the legendary mother of Horus and both MAIN ENTRANCE wife and twin sister of the god Osiris. 42. Selket. Goddess associated with magic and 15. Thutmose III. Egypt’s mightiest pharaoh, escorted by scorpions (whose emblem crowns portrayed in this New Kingdom masterpiece. her), the sideways turn of her head defying the fundamental tradition of frontality in ancient 16-17. Lady Depet and Imenmes. An 18th Dynasty Egyptian art. noble-woman and her husband, sculptured by the same craftsmen who decorated the pharaoh’s tombs. 1. Queen Ankhnesmerire and Pepi II. An Old Kingdom sculpture (c. 2188 B.C.) of the 6th Dynasty 18. Relief of a Noble Couple at a Banquet. From the child pharaoh who ruled for 94 years. Theban studio of the royal sculptor Djhutmose during the reign of Amenhotep IV (c. 1353 B.C.). 2-3. Shield of Narmer Ceremonial Palette. Commemorating the unification of Predynastic 19. Statue of Amenhotep IV. The heretic pharaoh, Upper and Lower Egypt by the first pharaoh (c. 3100 founder of the first monotheistic religious cult and B.C.), used for grinding cosmetics. father of Tutankhamun, depicted as a youth making an offering. 4. Triad of Mycerinus. The 4th Dynasty Pharaoh Mycerinus (c. 2532 B.C.) represented as a divine trinity 20. Statuette of Akhenaton. A radical visionary, with the goddess Hathor and a regional deity. Amenhotep IV changed his name to Akhenaton, portrayed with exaggerated, stylized features. 5. Limestone Relief of Horus. Characterizing the archaic, formal style of Old Kingdom art, the principal 21. Nefertiti. Akhenaten’s great royal wife. Found in divinity, represented as a falcon and personified as the workshop of the sculptor Djhutmose, used as an the pharaoh. instructional model (hence it’s missing eye). 6. Alabaster Slave. An exquisite example of the trend 22. Papyrus Vignette of Akhenaton, Nefertiti, and towards naturalistic expression in portraiture that Meritaton. Akhenaton and his royal family, making was to characterize New Kingdom art. offerings to the heretical sun-god Aton. 7. Bronze Hand Mirror. A graceful 19th Dynasty 23. Face of Akhenaton. Following the deaths of bronze casting from the reign of Seti I, father of Akhenaton and Nefertiti, their heretical capital of el- Ramesses the Great, around 1300 B.C. Amarna was abandoned and their names and faces were stricken from their monuments. The Pharaoh’s Curse. Undisturbed for over 3,000 years, when the silence of Tutankhamun’s tomb was broken by British archaeologist Howard Carter and his wealthy patron Lord Carnarvon, the public became enthralled overnight. Carnarvon’s sudden death following the discovery instantly gave rise to rumors of a curse. Before the excavation was completed, Carter’s chief assistant died. Ignominiously locked out of the tomb by the Egyptian government for a time, Carter spent his embittered final days in England in lonely obscurity while the long forgotten name of Tutankhamun found new life as the most celebrated of Egypt’s ancient god-kings. Tutankhamun’s Treasures. The following reproductions of the dazzling artifacts from Tutankhamun’s tomb evoke the splendor of ancient Egypt and the intimate daily life of a young pharaoh. The 9-year-old Tutankhamun ascended the throne in 1333 B.C. and reigned until his death 9 years later. Shortly after his burial in 1323 B.C. graverobbers attempted to plunder the lavish treasures, but the tomb was quickly resealed for over 3,000 years until its historic discovery in 1922. When Howard Carter cleared the entryway and first shined his light inside the dark tomb, the anxious Lord Carnarvon asked if he could see anything. “Yes,” the archaeologist is said to have replied. “Wonderful things.” 24-25. The Guardian Statues. Guarding 44. Ushabti Figure. A mummiform figurine, Tutankhamun’s Burial Chamber, this life-size pair of commonly buried in tombs to serve as substitutes for gilded wooden statues represented his ka, or soul. the deceased in the next world. 26. The Anubis Shrine. Majestic guardian of the royal 45. Osiris Ushabti. As the legendary first mummy, necropolis, Anubis (known as “He who belongs to Osiris, god of the afterlife, was associated with the mummy wrappings”) presided over the rites of resurrection. mummification. 46. Golden Flabellum. Originally mounted on a long 27. Ankh Candle Holder. Unusual bronze torch staff and fitted with ostrich plumes, carried by the holder in the form of an ankh (hieroglyphic symbol exalted vizier Ay (who succeeded Tutankhamun), for life) fashioned with humanlike arms. fanbearer on the pharaoh’s right. 28. Head of the Divine Cow. The goddess Hathor, 47. Golden Funerary Mask of Tutankhamun. A manifested in the form of the divine cow, with origins radiant portrait of the young pharaoh in a mask of in an ancient agrarian culture. solid gold, found resting over the head and shoulders of Tutankhamun’s linen-wrapped mummy. 29-33. Golden Shrine and Tutelary Goddesses. A spectacular, gilded Canopic shrine containing 48. Ceremonial Flabellum. A stately fan, decorated the pharaoh’s embalmed viscera, guarded by the 4 with the pharaoh’s twin cartouches bearing both tutelary goddesses: Isis, Nephthys, Neith and Selket. the prenomen (throne name) Nebkheprure and the nomen (birth name) Tutankhamun. 34. Golden Panel of Isis and Nephthys. Isis and Nephthys, sisters of Osiris, standing on hieroglyphic 49. The Golden Falcon. Image of the divine royal symbols for incorruptible gold and inscribed “Never falcon, associating Tutankhamun with the sun god. shalt thou decay.” With his accession the old polytheistic religious cult abandoned by his father was restored. Nebkheprure, 35-41. Gilt Miniature Sarcophagus and Guardians. Pharaoh of Upper and Lower Egypt, spent his life A guarded sepulcher depicting the conception of a making images of the gods, who now give him pharaoh’s tomb as a machine, a functional instrument incense, libations, and offerings every day. of magic to ensure eternal life after death. 50. Ebony Stool. An imitation of a folding camp stool 43. Netjerankh. A mysterious minor deity in serpent with a stretched leopard skin seat, presented to the form associated with the pharaoh’s nightly journey pharaoh as a tribute from Nubia. through the subterranean Netherworld. 51. Golden Bed. The pharaoh’s spectacular personal 68. Scarab Bracelet. One of the pharaoh’s personal bed, showing signs of wear resulting from use. ornaments, fastened by sophisticated interlocking hinges with gold pins. 52. Ivory Headrest. An amulet associated with resurrection, designed to support the pharaoh’s head 69. Necklace with Falcon Pendant. Representing a between the east and west horizons (symbolized by consolidation of the 2 regional sun gods Horus and lions) in the status of the sun. Re, traditionally associated with the pharaoh. 53. Dress Mannequin. Lifelike effigy with a painted 70. Winged Scarab Pectoral. Celebrating the merging linen undergarment, used for laying out the pharaoh’s of such diverse conceptions of the sun god as a falcon robes, necklaces and earrings. and a beetle. 54. Ankh Mirror Case. Amulet in the form of the 71. Prenomen Pectoral with Lunar Scarab. A sandal-shaped hieroglyphic symbol for life, which cryptographic allusion to the pharaoh’s prenomen was also the symbol for mirror. substituting a lunar emblem for the solar disc. 55. Painted Linen Chest. Among the greatest artistic 72. Necklace with Winged Scarab Pendant. treasures of the tomb, symbolically depicting the Depicting the diving solar scarab rising from a swamp pharaoh in his chariot vanquishing African and Asian represented by lotus and poppies. adversaries. 73. Pectoral with Scarab and Boat. A gold pendant, 56. Lotus Lamp. Oil burning triple lamp, carved in the symbolizing the resurrection of a god. form of a lotus from a single piece of alabaster. 74. Winged Uraeus Amulet. Depicting the sacred 57. Alabaster Perfume Vessel. Elaborate urn cobra, ancient protector of the pharaohs. representing a wish for the pharaoh’s long life and reign imparted through its fragrant contents. 75. Necklace with Udjat Eye Pendant. Sacred emblem of the solar divinity, believed to have the power of 58-62. Ebony Game Box and Casting Sticks. The resurrecting the dead. pharaoh’s board game of senet, one of the traditional pastimes in the afterlife. 76. Prenomen Pectoral with Solar Scarab. The pharaoh’s throne name celebrated in hieroglyphic 63. Magic Chalice. Enchanting alabaster oil lamp form, a symbol of the sun’s daily rebirth. concealing a painted scene of the great royal wife Ankhesenamun and the pharaoh visibly only when 77-79. Funerary Necklace and Earrings. lit. Commissioned by the 26th Dynasty pharaoh Nekhau as funerary jewelry for a noble subject. 64. Court Sandals. Made of wood with ornate marquetry veneer, the soles are decorated with 80. Mummybead Collar. Over 33 centuries old, an the traditional images of captive African and Asian 18th Dynasty funerary necklace made of faience, a enemies, symbolically trampled with the pharaoh’s fired paste of ground quartz. every step. 81-83. Funerary Collar and Earrings. A 26th Dynasty 65. Royal Broad Collar and Earrings. A splendid necklace of faience beads and gold cowrie shells, reconstruction of an openwork necklace of faience c.
Recommended publications
  • How to Make an Egyptian Diorama
    How to Make an Egyptian Diorama http://www.wikihow.com/Make‐a‐Diorama A diorama is a small model of a real‐life scene that has lifelike details and a realistic background. Since we are reading, “The Curse of the Pharaohs”, you will be creating an Egyptian themed tomb as though you were an ancient Egyptian King or Queen. Steps for creating your Egyptian Tomb 1. Choose a tomb scene to re‐create in a shoebox. 2. Make sketches of how you want your diorama to look. Plan the front, back, sides, and top. Make the inside of the diorama look as deep and 3 dimensional as you can. Make a list of the things you will need to make your diorama. Use a variety of materials. 3. Make a base for the model out of a shoebox. Make sure your box is sturdy. 4. Find small figures to go along with your scene or make them out of clay, printouts, pipe cleaners, plasticine or other materials. Use your imagination. 5. Be creative. Anything you can find (cotton balls, leaves, twigs, etc.) will work. 6. Hang flying objects with clear string such as monofilament used for fishing line, if you have it. 7. Write a caption for your diorama. In your caption include the book you read and author. 8. You will also put an Egyptian‐styled Curse to warn others not to disturb your tomb. Tips • Put bigger items in the back, leaving the scene easy to see. • The most important object of your diorama should be centered or just a bit off center to draw the viewers attention to it first.
    [Show full text]
  • Temples and Tombs Treasures of Egyptian Art from the British Museum
    Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators this is max size of image at 200 dpi; the sil is low res and for the comp only. if approved, needs to be redone carefully American Federation of Arts Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators American Federation of Arts © 2006 American Federation of Arts Temples and Tombs: Treasures of Egyptian Art from the British Museum is organized by the American Federation of Arts and The British Museum. All materials included in this resource may be reproduced for educational American Federation of Arts purposes. 212.988.7700 800.232.0270 The AFA is a nonprofit institution that organizes art exhibitions for presen- www.afaweb.org tation in museums around the world, publishes exhibition catalogues, and interim address: develops education programs. 122 East 42nd Street, Suite 1514 New York, NY 10168 after April 1, 2007: 305 East 47th Street New York, NY 10017 Please direct questions about this resource to: Suzanne Elder Burke Director of Education American Federation of Arts 212.988.7700 x26 [email protected] Exhibition Itinerary to Date Oklahoma City Museum of Art Oklahoma City, Oklahoma September 7–November 26, 2006 The Cummer Museum of Art and Gardens Jacksonville, Florida December 22, 2006–March 18, 2007 North Carolina Museum of Art Raleigh, North Carolina April 15–July 8, 2007 Albuquerque Museum of Art and History Albuquerque, New Mexico November 16, 2007–February 10, 2008 Fresno Metropolitan Museum of Art, History and Science Fresno, California March 7–June 1, 2008 Design/Production: Susan E.
    [Show full text]
  • Was the Function of the Earliest Writing in Egypt Utilitarian Or Ceremonial? Does the Surviving Evidence Reflect the Reality?”
    “Was the function of the earliest writing in Egypt utilitarian or ceremonial? Does the surviving evidence reflect the reality?” Article written by Marsia Sfakianou Chronology of Predynastic period, Thinite period and Old Kingdom..........................2 How writing began.........................................................................................................4 Scopes of early Egyptian writing...................................................................................6 Ceremonial or utilitarian? ..............................................................................................7 The surviving evidence of early Egyptian writing.........................................................9 Bibliography/ references..............................................................................................23 Links ............................................................................................................................23 Album of web illustrations...........................................................................................24 1 Map of Egypt. Late Predynastic Period-Early Dynastic (Grimal, 1994) Chronology of Predynastic period, Thinite period and Old Kingdom (from the appendix of Grimal’s book, 1994, p 389) 4500-3150 BC Predynastic period. 4500-4000 BC Badarian period 4000-3500 BC Naqada I (Amratian) 3500-3300 BC Naqada II (Gerzean A) 3300-3150 BC Naqada III (Gerzean B) 3150-2700 BC Thinite period 3150-2925 BC Dynasty 1 3150-2925 BC Narmer, Menes 3125-3100 BC Aha 3100-3055 BC
    [Show full text]
  • The Iconography of the Princess in the Old Kingdom 119 Vivienne G
    THE OLD KINGDOM ART AND ARCHAEOLOGY PROCEEDINGS OF THE CONFERENCE HELD IN PRAGUE, MAY 31 – JUNE 4, 2004 Miroslav Bárta editor Czech Institute of Egyptology Faculty of Arts, Charles University in Prague Academia Publishing House of the Academy of Sciences of the Czech Republic Prague 2006 OOKAApodruhéKAApodruhé sstrtr ii–xii.indd–xii.indd 3 99.3.2007.3.2007 117:18:217:18:21 Contributors Nicole Alexanian, James P. Allen, Susan Allen, Hartwig Altenmüller, Tarek El Awady, Miroslav Bárta, Edith Bernhauer, Edward Brovarski, Vivienne G. Callender, Vassil Dobrev, Laurel Flentye, Rita Freed, Julia Harvey, Salima Ikram, Peter Jánosi, Nozomu Kawai, Jaromír Krejčí, Kamil O. Kuraszkiewicz, Renata Landgráfová, Serena Love, Dušan Magdolen, Peter Der Manuelian, Ian Mathieson, Karol Myśliwiec, Stephen R. Phillips, Gabriele Pieke, Ann Macy Roth, Joanne M. Rowland, Regine Schulz, Yayoi Shirai, Nigel Strudwick, Miroslav Verner, Hana Vymazalová, Sakuji Yoshimura, Christiane Ziegler © Czech Institute of Egyptology, Faculty of Arts, Charles University in Prague, 2006 ISBN 80-200-1465-9 OOKAApodruhéKAApodruhé sstrtr ii–xii.indd–xii.indd 4 99.3.2007.3.2007 117:18:217:18:21 Contents Foreword ix Bibliography xi Tomb and social status. The textual evidence 1 Nicole Alexanian Some aspects of the non-royal afterlife in the Old Kingdom 9 James P. Allen Miniature and model vessels in Ancient Egypt 19 Susan Allen Presenting the nDt-Hr-offerings to the tomb owner 25 Hartwig Altenmüller King Sahura with the precious trees from Punt in a unique scene! 37 Tarek El Awady The Sixth Dynasty tombs in Abusir. Tomb complex of the vizier Qar and his family 45 Miroslav Bárta Die Statuen mit Papyrusrolle im Alten Reich 63 Edith Bernhauer False doors & history: the Sixth Dynasty 71 Edward Brovarski The iconography of the princess in the Old Kingdom 119 Vivienne G.
    [Show full text]
  • ROYAL STATUES Including Sphinxes
    ROYAL STATUES Including sphinxes EARLY DYNASTIC PERIOD Dynasties I-II Including later commemorative statues Ninutjer 800-150-900 Statuette of Ninuter seated wearing heb-sed cloak, calcite(?), formerly in G. Michaelidis colln., then in J. L. Boele van Hensbroek colln. in 1962. Simpson, W. K. in JEA 42 (1956), 45-9 figs. 1, 2 pl. iv. Send 800-160-900 Statuette of Send kneeling with vases, bronze, probably made during Dyn. XXVI, formerly in G. Posno colln. and in Paris, Hôtel Drouot, in 1883, now in Berlin, Ägyptisches Museum, 8433. Abubakr, Abd el Monem J. Untersuchungen über die ägyptischen Kronen (1937), 27 Taf. 7; Roeder, Äg. Bronzefiguren 292 [355, e] Abb. 373 Taf. 44 [f]; Wildung, Die Rolle ägyptischer Könige im Bewußtsein ihrer Nachwelt i, 51 [Dok. xiii. 60] Abb. iv [1]. Name, Gauthier, Livre des Rois i, 22 [vi]. See Antiquités égyptiennes ... Collection de M. Gustave Posno (1874), No. 53; Hôtel Drouot Sale Cat. May 22-6, 1883, No. 53; Stern in Zeitschrift für die gebildete Welt 3 (1883), 287; Ausf. Verz. 303; von Bissing in 2 Mitteilungen des Kaiserlich Deutschen Archäologischen Instituts, Athenische Abteilung xxxviii (1913), 259 n. 2 (suggests from Memphis). Not identified by texts 800-195-000 Head of royal statue, perhaps early Dyn. I, in London, Petrie Museum, 15989. Petrie in Journal of the Anthropological Institute of Great Britain and Ireland xxxvi (1906), 200 pl. xix; id. Arts and Crafts 31 figs. 19, 20; id. The Revolutions of Civilisation 15 fig. 7; id. in Anc. Eg. (1915), 168 view 4; id. in Hammerton, J. A.
    [Show full text]
  • Specular Reflection from the Great Pyramid at Giza
    Specular Reflection from the Great Pyramid at Giza Donald E. Jennings Goddard Space Flight Center, Greenbelt, Maryland, USA (retired) email: [email protected] Posted to arXiv: physics.hist-ph April 6, 2021 Abstract The pyramids of ancient Egypt are said to have shone brilliantly in the sun. Surfaces of polished limestone would not only have reflected diffusely in all directions, but would also likely have produced specular reflections in particular directions. Reflections toward points on the horizon would have been visible from large distances. On a particular day and time when the sun was properly situated, an observer stationed at a distant site would have seen a momentary flash as the sun’s reflection moved across the face of the pyramid. The positions of the sun that are reflected to the horizon are confined to narrow arcs in the sky, one arc for each side of the pyramid. We model specular reflections from the pyramid of Khufu and derive the annual dates and times when they would have been visible at important ancient sites. Certain of these events might have coincided with significant dates on the Egyptian calendar, as well as with solar equinoxes, solstices and cross-quarter days. The celebration of Wepet-Renpet, which at the time of the pyramid’s construction occurred near the spring cross-quarter day, would have been marked by a specular sweep of sites on the southern horizon. On the autumn and winter cross-quarter days reflections would have been directed to Heliopolis. We suggest that on those days the pyramidion of Khafre might have been visible in specular reflection over the truncated top of Khufu’s pyramid.
    [Show full text]
  • Death in the City of Light
    DEATH IN THE CITY OF LIGHT The Conception of the Netherworld during the Amarna Period Master Thesis Classics and Ancient Civilizations Faculty of Humanities, Leiden University Name: Aikaterini Sofianou Email: [email protected] Student Number: s2573903 Supervisor: Prof. Olaf Kaper Second Reader: Dr. Miriam Müller Date: 14/08/2020 Table of contents Introduction .................................................................................................................. 3 Chapter 1: Historical Context..................................................................................... 6 1.1 Chronology of the Amarna Period. ...................................................................... 6 1.2 Amenhotep IV: The Innovative Early Years of His Reign. ................................. 7 1.3 Akhenaten: The Radical Changes After the Fifth Year of His Reign and the End of the Amarna Period. .............................................................................................. 10 Chapter 2: Religion and Funerary Ideology ........................................................... 14 2.1 Traditional Religion and the Afterlife................................................................ 14 2.2 Atenism: Its Roots and Development. ............................................................... 17 Chapter 3: Tombs and Non-elite Burials of the Amarna Period .......................... 22 3.1 Tombs: Their Significance and Characteristics. ................................................ 22 3.2 The Royal Tomb of Amarna .............................................................................
    [Show full text]
  • Pharaohs in Egypt Fathi Habashi
    Laval University From the SelectedWorks of Fathi Habashi July, 2019 Pharaohs in Egypt Fathi Habashi Available at: https://works.bepress.com/fathi_habashi/416/ Pharaohs of Egypt Introduction Pharaohs were the mighty political and religious leaders who reigned over ancient Egypt for more than 3,000 years. Also known as the god-kings of ancient Egypt, made the laws, and owned all the land. Warfare was an important part of their rule. In accordance to their status as gods on earth, the Pharaohs built monuments and temples in honor of themselves and the gods of the land. Egypt was conquered by the Kingdom of Kush in 656 BC, whose rulers adopted the pharaonic titles. Following the Kushite conquest, Egypt would first see another period of independent native rule before being conquered by the Persian Empire, whose rulers also adopted the title of Pharaoh. Persian rule over Egypt came to an end through the conquests of Alexander the Great in 332 BC, after which it was ruled by the Hellenic Pharaohs of the Ptolemaic Dynasty. They also built temples such as the one at Edfu and Dendara. Their rule, and the independence of Egypt, came to an end when Egypt became a province of Rome in 30 BC. The Pharaohs who ruled Egypt are large in number - - here is a selection. Narmer King Narmer is believed to be the same person as Menes around 3100 BC. He unified Upper and Lower Egypt and combined the crown of Lower Egypt with that of Upper Egypt. Narmer or Mena with the crown of Lower Egypt The crown of Lower Egypt Narmer combined crown of Upper and Lower Egypt Djeser Djeser of the third dynasty around 2670 BC commissioned the first Step Pyramid in Saqqara created by chief architect and scribe Imhotep.
    [Show full text]
  • Howard Carter and the Tomb of Tutankhamun
    History International presents Howard Carter and The Tomb of Tutankhamun Classroom Premiere: April 11 at 6am ET/PT Classroom Encore: July 11 at 6am ET/PT EGYPT - 1922: Archaeologist Howard Carter removing oils from the coffin of Tutankhamun (lived around 1350 BC), ancient Egyptian pharoah, which he discovered in 1922. (Photo by Mansell/Mansell/Time & Life Pictures/Getty Images) n November 26, 1922, Howard Carter first peered into the treasure-filled tomb of OEgypt’s famous King Tutankhamun. What he found in Egypt’s Valley of the Kings would make headlines around the globe. In this nearly untouched tomb, Carter uncovered room upon room of stunning Egyptian artifacts – and meticulously recorded each object with the help of his fastidious team of excavators. HistoryInternational.com The Idea Book for Educators 5 This nearly intact tomb was a remarkable discovery; it had been nearly unscathed for over 3,000 years. Carter’s contribution to the world of archaeology is profound – the riches of Tutankhamun’s tomb are virtually priceless, offering tremendous insights into ancient Egyptian society and culture. Howard Carter and the Tomb of Tutankhamun narrates Carter’s tumultuous path to this archaeological breakthrough, from his boyhood in England and his penchant for drawing to his bitter conflicts with Egyptian officials and his friendship with the eccentric Lord Carnarvon. This short documentary would be a great addition to a lesson on Egyptian history and archaeology. Curriculum links Howard Carter and the Tomb of Tutankhamun fulfills several standards as outlined by the National Council for History Education including: (1) Patterns of Social and Political Interaction; and (2) Civilization, Cultural Diffusion, and Innovation.
    [Show full text]
  • The Allure of Ancient Egyptian Jewelry
    Aegyptiaca. Journal of the History of Reception of Ancient Egypt The Allure of Ancient Egyptian Jewelry Yvonne J. Markowitz Rita J. Kaplan and Susan B. Kaplan Curator Emerita of Jewelry, Museum of Fine Arts, Boston For centuries, the West has been attracted to the exotic lands of the East and the cultures of the ancient world. One of the most intriguing is ancient Egypt, an African civilization that flourished during the third through the first millennium BC. In its prime, it was respected, revered, and sometimes feared. Neighboring lands were in awe of its powerful leadership, majestic architectural wonders, imposing statuary, and sophisticated decorative arts with its curious iconography and even stranger hieroglyphics. For many, Egypt held the key to understanding the world’s deepest mysteries. It was the Phoenicians (ca. 1500-300 BC), a seafaring people who lived along the Mediterranean coast in city-states now part of Lebanon, Syria, and northern Israel, who first capitalized on the fascination with all things Egyptian, especially those small objects that were easily shipped and traded. Early entrepreneurs, they served as middlemen stopping at ports in North Africa, Cyprus, Crete, the Cyclades, mainland Greece, and parts of Mesopotamia. Among the goods they bartered were raw materials, Phoenician-made glass, and an array of Egyptian adornments composed of beads and amulets fabricated from metal, stone, faience, and glass. Amuletic forms that especially resonated with Phoenician trading partners were representations of household gods, the healing (sacred) eye of Horus, and the scarab. The latter was a potent symbol of rebirth and rejuvenation based on the life-cycle of the dung beetle (scarabaeus sacer) whose activities the Egyptians associated with the life-giving sun.
    [Show full text]
  • Ancient Egypt: Symbols of the Pharaoh
    Ancient Egypt: Symbols of the pharaoh Colossal bust of Ramesses II Thebes, Egypt 1250 BC Visit resource for teachers Key Stage 2 Ancient Egypt: Symbols of the pharaoh Contents Before your visit Background information Resources Gallery information Preliminary activities During your visit Gallery activities: introduction for teachers Gallery activities: briefings for adult helpers Gallery activity: Symbol detective Gallery activity: Sculpture study Gallery activity: Mighty Ramesses After your visit Follow-up activities Ancient Egypt: Symbols of the pharaoh Before your visit Ancient Egypt: Symbols of the pharaoh Before your visit Background information The ancient Egyptians used writing to communicate information about a person shown on a sculpture or relief. They called their writing ‘divine word’ because they believed that Thoth, god of wisdom, had taught them how to write. Our word hieroglyphs derives from a phrase meaning ‘sacred carvings’ used by the ancient Greek visitors to Egypt to describe the symbols that they saw on tomb and temple walls. The number of hieroglyphic signs gradually grew to over 7000 in total, though not all of them were used on a regular basis. The hieroglyphs were chosen from a wide variety of observed images, for example, people, birds, trees, or buildings. Some represent the sounds of the ancient Egyptian language, but consonants only. No vowels were written out. Also, it was not an alphabetic system, since one sign could represent a combination of two or more consonants like the gaming-board hieroglyph which stands for the consonants mn. Egyptologists make the sounds pronounceable by putting an e between the consonants, so mn is read as men.
    [Show full text]
  • Statuette of a Snake-Legged Anubis in the National Museum, Warsaw 214 ALEKSANDRA MAJEWSKA
    INSTITUT DES CULTURES MÉDITERRANÉENNES ET ORIENTALES DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXV 2012 ALEKSANDRA MAJEWSKA Statuette of a Snake-legged Anubis in the National Museum, Warsaw 214 ALEKSANDRA MAJEWSKA Among the images of Egyptian gods on display in the gallery of Ancient Egyptian Art at the National Museum in Warsaw there is an exceptional fi gurine of bronze with a jackal’s head, torso of a man and serpentine coils instead of legs. It is undoubtedly a representa- tion of Anubis, but suffi ciently unique to merit a broader commentary than the brief notes published on its subject so far.1 The iconographic and stylistic distinctness with regard to canonical representations of Anubis in Egyptian art indicate a background in the artistic production of an age in which a native tradition coexisted with Graeco-Roman culture. The Anubis statuette from the Warsaw National Museum is of composite form.2 It is made up of three independent elements: jackal’s head, male upper body and serpentine coils (Figs 1–4). The relatively small head features a long narrow snout. Set in deep sockets, the large slanting eyes with marked pupils look attentively to the front. Curly wisps of fur encircle the snout and neck, joining the tripartite wig to form a hairdo that skillfully softens the animality of the head. Preserved between the fl eshy ears of natural shape is the base of the broken crown. The harmoniously built male torso is characterized by ample pectoral muscles passing into a narrowed waist and softly modeled, slightly rounded abdominal muscles with a distinctly sunk navel.
    [Show full text]