DOCSLIB.ORG

15. Outer Case

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

15. Outer Case Museum inventory number: 8523 Length: 218cm; Width (max): 71cm; Depth: 43cm Wood, plaster, paint and varnish. Decorated with multicoloured paintwork. The object shows several cracks along the whole surface. The exterior decora- tion of the side walls is badly damaged, especially on the headboard and the upper section. Several cracks can be detected on the whole interior surface, but the interior decoration is preserved in good condition. Iconography (Exterior) The upper edge is decorated with a frieze of alternating cobras (multicoloured) and feathers (green). Below, a band of hieroglyphic inscriptions (Inscriptions 1–2) runs from the headboard to the footboard. This inscription is bordered by block-friezes. The vignettes are bounded by a thick monochromatic band (above), a thin line (below) and columns of texts (Inscriptions 3–17). Along the lower edge runs a block frieze and a thick monochromatic band. Headboard The headboard is composed of a tripartite panel, with the sides (Vignettes 2–3) centripetally oriented. The Vignette 1 (centre) shows a symmetrical composition with a large tjet- sign (outlined in red and blue) flanked by the poles of the West (centripetally oriented). The Vignette 2 (left side) is badly damaged, but a ritual lustration scene can be detected showing the deceased pouring water over a god (Fig. 155). The title ‘Osiris, lord of the burial’ is written at the back of the god. A couched jackal rests between the two figures. The Vignette 3 (right side) depicts an unusual scene (Fig. 159). The deceased wears tight garments (shirt and kilt) and turns backwards while moving away from the Ta-wer totem. The deceased holds up a vessel before an offering stand. The Ta-wer-totem is crowned with a double-feathered solar headdress and it is adorned with the menat-counterpoise. The totem is flanked by the imi-wt and the pole of the West. Above, figure the udjat-eye, the nefer-sign and short labels, such as ‘Anubis, foremost of the West’ and ‘Giving praises to Osiris lord of the burial’. © koninklijke brill nv, leiden, 2019 | doi:10.1163/9789004386501_023 254 part 1—catalogue Left Side The left side is decorated with two vignettes (Vignettes 4–5). TheVignette4 shows a symmetrical composition on the upper section (Fig. 155). The nuclear block features the Ta-wer-totem crowned with the double-feath- ered solar headdress and adorned with the menat-counterpoise. The totem is flanked by centrifugal blocks depicting a god crowned with the sun disk with a pending cobra wearing the hedjet-crown. The god has curled beard and wears a tight garment (shirt and kilt) with the usekh-collar. He grasps the nekhakha- scepter in one hand and a tall heqa-scepter with the other. The imi-wt-totem stands at his feet. The composition is completed with centripetal blocks fea- turing the deceased wearing tight garments, short beard and the usekh-collar. His head is adorned with an unguent cone and a lotus bud. He raises his arms in adoration towards the solar god. Short labels refer to ‘Giving life to Osiris, lord of the burial’ (next to the totem), ‘the great god, lord of the Duat’ (next to the god) and ‘Giving praises’ (next to the deceased). The Vignette 5 is displayed along the lower section featuring several scenes. In the first scene the god ‘Osiris, lord of the burial’ is depicted facing the headboard, wearing braces (red) and a long garment (black) typically used in the Heb Sed (cf. footboard of the outer lid). He has a curled beard, wears the atef-crown and grasps a long heqa-scepter (Fig. 156). At his feet figures the imi- wt-totem and the pole of the West surmounted by the sacred falcon. The sacred animal wears the hedjet-crown and it is adorned with the menat-counterpoise. The formula ‘Giving life and strength’ is written at the back of the god. The second scene depicts an offering ritual (Fig. 156). The deceased holds up a vessel before the green-skinned god. The deity wears a tight garment (kilt and shirt) and his head is adorned with a red scarf. An offering table stands at his feet. Short labels refer to ‘Giving praises to Osiris, the lord’, ‘great god, lord of the burial, the ruler of the Duat, so that Re may grant the going forth [---]’. The third scene depicts the deceased performing a libation before Osiris and Isis (Fig. 156). The deceased pours water over a pile of offerings. The mummi- form Osiris wears braces (red) and the hedjet-crown. Isis wears the modium with her monogram and holds a menat-counterpoise. An offering mat figures at her feet. Short labels refer to ‘Giving libations’, ‘Osiris, lord of the eternity, fore- mostof theWest’,‘IamIsis,motherof thegod,mistressof theHouseof Embalming. That she may give (offerings)’. The fourth scene shows the deceased performing a lustration ritual towards a falcon-headed god (Fig. 157). The deceased holds up a vessel with outflowing liquid. The green-skinned god grasps the ankh-sign. An offering table stands at.
Recommended publications
  • How to Make an Egyptian Diorama

    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.
  • 13. Palette of King Narmer Predynatic Egypt. C. 3000 – 2920 B. C. E

    13. Palette of King Narmer Predynatic Egypt. C. 3000 – 2920 B. C. E

    13. Palette of King Narmer Predynatic Egypt. C. 3000 – 2920 B. C. E. Greywacke (2 images) Video at YouTube Article at Khan Academy Discovered (1898) among a group of sacred implements ritually buried in a deposit within an early temple of the falcon god Horus at the site of Hierakonpolis (the capital of Egypt during the pre-dynastic period), this large ceremonial object is one of the most important artifacts from the dawn of Egyptian civilization o Temple caches of this type are not uncommon. There was a great deal of focus on ritual and votive objects (offerings to the God) in temples. Every ruler, elite individual, and anyone else who could afford it, donated items to the temple to show their piety and increase their connection to the deity. After a period of time, the temple would be full of these objects and space would need to be cleared for new votive donations. However, since they had been dedicated to a temple and sanctified, the old items that needed to be cleared out could not simply be thrown away or sold. Instead, the general practice was to bury them in a pit under the temple floor o The "Main Deposit" at Hierakonpolis, where the Narmer Palette was discovered, contained many hundreds of objects, including a number of large relief-covered ceremonial mace-heads, ivory statuettes, carved knife handles, figurines of scorpions and other animals, stone vessels, and a second elaborately decorated palette 63.5 cm (more than 2 feet) in height and made of smooth greyish-green siltstone, is decorated on both faces with detailed low relief.
  • Temples and Tombs Treasures of Egyptian Art from the British Museum

    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.
  • A Lion in a Lettuce? Some Ideas on a Group of Late Old Kingdom Maceheads*

    A Lion in a Lettuce? Some Ideas on a Group of Late Old Kingdom Maceheads*

    A lion in a lettuce? Some ideas on a group of late Old Kingdom maceheads* Andrés Diego Espinel Instituto de Lenguas y Culturas del Mediterráneo y Oriente Próximo – CSIC, Madrid [email protected] th URING THE FIRST DECADES of the 20 century several piriform or ḥḏ-maceheads carved with a hard-tipped leaf scale motif were retrieved around the mortuary D complex of king Teti (6th dynasty) at Saqqara [fig. 1]. In 1906-1907, Quibell discovered “parts of two of them made of reddish limestone” probably at the east of the king’s pyramid1. At least three other limestone maceheads “were found in the offering room or in the rubbish near it” by Firth and Gunn while digging in the Teti pyramid temple in the early 1920s2. Two of the former were given by the Egyptian Antiquities Service to the Museum of Fine Arts of Boston in 19243. The rest, along with other ones probably discovered about the same time, went to the Cairo Museum. Five of them are currently on display in the Imhotep Museum at Saqqara4. Almost all of the published examples are made of limestone, but, at least, there is a wooden example at Boston5. According to the images at hand of the four published limestone examples, all of them were inscribed with the Horus name of Teti (s.ḥtp tȝ.wy (rḏỉ ʿnḫ)) and a brief phrase connected to the practical use of these weapons: “subduing the znṯy.w-rebels (dȝ znṯ(y.)w)”6. Moreover, two of them contain a cartouche with the name of * I thank Francisco Borrego Gallardo (Universidad Autónoma de Madrid) for the critical reading of a preliminary draft of this article and for his comments that have enriched significantly this paper.
  • Raising of the Djed-Pillar

    Raising of the Djed-Pillar

    RAISING THE DJED PILLAR, THE RAMESSEUM DRAMATIC PAPYRUS Adapted by Stuart Tyson Smith from the translation & commentary of Kurt Sethe (1964, German translation by Jessika Akmenkalns), Henri Frankfort (1948), & Edward Wente (1980). Amenhotep III raises the Djed during his Heb-Sed in the tomb of Kheruef at Thebes. The annual ritual of “Raising the Djed” was the culmination of the larger “Mysteries of Osiris,” which commemorated the resurrection of Osiris after his murder by Seth and the restoration of the throne to Osiris’s son Horus. During the Coronation and Heb-Sed festival, Pharaoh took the place of Horus in the ritual, emphasizing the stability of his rule and his connection with the Osiris myth. Its phallic overtones alluded to the renewal of Pharaoh’s potency as ruler like Osiris in the myth. The Djed appears already in Predynastic art and was probably originally a fetish consisting of a pole with sheaves of grain attached. The Djed is described later on as the “Backbone of Osiris” in the Book of the Dead, but the original harvest and renewal symbolism was retained in the ritual. Although probably originally part of Ptah’s cult, the two gods were associated through a syncretism with Sokar, and the ceremony resonated with Osiris’s role as a god of the agricultural cycle. Cast: Lector Priest, Thoth, Geb, Horus/the King, Children of Horus, Osiris (as the Djed), Seth, Isis, Nephthys, Descendants of the King/Followers of Horus/Great Ones of Lower Egypt (royal princes and princesses), Musicians, Dancers and Singers, Followers of Seth/Great Ones of Upper Egypt, Spirit Seekers and the Keeper of the Two Feathers.
  • The Inventory Stele: More Fact Than Fiction

    The Inventory Stele: More Fact Than Fiction

    Archaeological Discovery, 2018, 6, 103-161 http://www.scirp.org/journal/ad ISSN Online: 2331-1967 ISSN Print: 2331-1959 The Inventory Stele: More Fact than Fiction Manu Seyfzadeh1, Robert M. Schoch2 1Independent Researcher, Lake Forest, CA, USA 2Institute for the Study of the Origins of Civilization, College of General Studies, Boston University, Boston, MA, USA How to cite this paper: Seyfzadeh, M., & Abstract Schoch, R. M. (2018). The Inventory Stele: More Fact than Fiction. Archaeological The Inventory Stele tells a story about Khufu and the Great Sphinx which Discovery, 6, 103-161. contradicts the current mainstream narrative of when the Sphinx was carved. https://doi.org/10.4236/ad.2018.62007 The story’s historical relevance has long been challenged based on its mention of names and certain details which are believed to be anachronistic to the time Received: March 6, 2018 Accepted: April 16, 2018 of Khufu. Here, we address the elements commonly cited by the critics one by Published: April 19, 2018 one and find that they are largely based on misconceptions in part due to er- rors and oversights contained in the two commonly referenced translations Copyright © 2018 by authors and and based on a missing context which relates to the economics and symbolism Scientific Research Publishing Inc. of supplying provisions to the royal house. We reconstruct a more plausible This work is licensed under the Creative Commons Attribution International scenario of why and when the text may have been originally composed and License (CC BY 4.0). who its target audience was. From our analysis we conclude that while we http://creativecommons.org/licenses/by/4.0/ cannot rule out a couple of minor modifications of names from the original Open Access th written version we date to the 5 Dynasty, there is no plausible reason to dis- miss the entire account recorded in this Late Period version on those grounds alone and that the events it describes appear more factual than fictitious.
  • The Routledge Dictionary of Egyptian Gods and Goddesses

    The Routledge Dictionary of Egyptian Gods and Goddesses

    The Routledge Dictionary of Egyptian Gods and Goddesses The Routledge Dictionary of Egyptian Gods and Goddesses provides one of the most comprehensive listings and descriptions of Egyptian deities. Now in its second edition, it contains: ● A new introduction ● Updated entries and four new entries on deities ● Names of the deities as hieroglyphs ● A survey of gods and goddesses as they appear in Classical literature ● An expanded chronology and updated bibliography ● Illustrations of the gods and emblems of each district ● A map of ancient Egypt and a Time Chart. Presenting a vivid picture of the complexity and richness of imagery of Egyptian mythology, students studying Ancient Egypt, travellers, visitors to museums and all those interested in mythology will find this an invaluable resource. George Hart was staff lecturer and educator on the Ancient Egyptian collections in the Education Department of the British Museum. He is now a freelance lecturer and writer. You may also be interested in the following Routledge Student Reference titles: Archaeology: The Key Concepts Edited by Colin Renfrew and Paul Bahn Ancient History: Key Themes and Approaches Neville Morley Fifty Key Classical Authors Alison Sharrock and Rhiannon Ash Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Allen Kendall Who’s Who in the Greek World John Hazel Who’s Who in the Roman World John Hazel The Routledge Dictionary of Egyptian Gods and Goddesses George Hart Second edition First published 2005 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005.
  • Early Hydraulic Civilization in Egypt Oi.Uchicago.Edu

    Early Hydraulic Civilization in Egypt Oi.Uchicago.Edu

    oi.uchicago.edu Early Hydraulic Civilization in Egypt oi.uchicago.edu PREHISTORIC ARCHEOLOGY AND ECOLOGY A Series Edited by Karl W. Butzer and Leslie G. Freeman oi.uchicago.edu Karl W.Butzer Early Hydraulic Civilization in Egypt A Study in Cultural Ecology Internet publication of this work was made possible with the generous support of Misty and Lewis Gruber The University of Chicago Press Chicago and London oi.uchicago.edu Karl Butzer is professor of anthropology and geography at the University of Chicago. He is a member of Chicago's Committee on African Studies and Committee on Evolutionary Biology. He also is editor of the Prehistoric Archeology and Ecology series and the author of numerous publications, including Environment and Archeology, Quaternary Stratigraphy and Climate in the Near East, Desert and River in Nubia, and Geomorphology from the Earth. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London ® 1976 by The University of Chicago All rights reserved. Published 1976 Printed in the United States of America 80 79 78 77 76 987654321 Library of Congress Cataloging in Publication Data Butzer, Karl W. Early hydraulic civilization in Egypt. (Prehistoric archeology and ecology) Bibliography: p. 1. Egypt--Civilization--To 332 B. C. 2. Human ecology--Egypt. 3. Irrigation=-Egypt--History. I. Title. II. Series. DT61.B97 333.9'13'0932 75-36398 ISBN 0-226-08634-8 ISBN 0-226-08635-6 pbk. iv oi.uchicago.edu For INA oi.uchicago.edu oi.uchicago.edu CONTENTS List of Illustrations Viii List of Tables ix Foreword xi Preface xiii 1.
  • Glossary Ancient Egyptian Art and Culture

    Glossary Ancient Egyptian Art and Culture

    Ancient Egyptian Art and Culture Glossary Africa Africa is the world's second-largest and second most-populous continent, after Asia. At about 12 million square miles it covers 20% of the Earth's total land area. Egypt is located on the Northeast corner of the African continent. Amphora A large pottery or stone vessel, usually with one or more handles and used as storage or transport container for liquids or solids. Amulet A small token, such as a hieroglyphic symbol or figurine of a god, believed to provide magical protection or other benefits to its wearer. Ankh The ankh is a hieroglyphic symbol meaning “life” and “to live.” lt was worn by many ancient Egyptians as an amulet, and is frequently depicted in art being extended by the gods. Apis Bull The Apis bull was a sacred oracle housed in the temple of Ptah at Memphis. The bulls were well treated throughout their lifetimes, given divine status as the embodiment of the god Ptah, and were mummified upon death. The Apis bulls, and later the mothers of the Apis bulls (sacred to Isis) were buried at Saqqara. Artistic perspective Egyptians used variations in size to indicate importance in their art. Viewpoints also changed within images to show the strongest characteristics of objects and people. Faces were always shown in profile, eyes were large, and legs were often shown in exaggerated poses. Artifact An artifact is something that was made by a person in the distant past. Clothing, pottery, furniture, tools, and art are all artifacts. Atef The atef is a crown with an ostrich plume on each side and horizontal ram’s horns underneath.
  • UCLA Encyclopedia of Egyptology

    UCLA Encyclopedia of Egyptology

    UCLA UCLA Encyclopedia of Egyptology Title Feathers Permalink https://escholarship.org/uc/item/4737m1mb Journal UCLA Encyclopedia of Egyptology, 1(1) Author Teeter, Emily Publication Date 2010-09-25 Peer reviewed eScholarship.org Powered by the California Digital Library University of California FEATHERS الريش Emily Teeter EDITORS WILLEKE WENDRICH Editor-in-Chief Area Editor Material Culture University of California, Los Angeles JACCO DIELEMAN Editor University of California, Los Angeles ELIZABETH FROOD Editor University of Oxford JOHN BAINES Senior Editorial Consultant University of Oxford Short Citation: Teeter, 2010, Feathers. UEE. Full Citation: Teeter, Emily, 2010, Feathers. In Willeke Wendrich (ed.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz00256swd 1054 Version 1, September 2010 http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz00256swd FEATHERS الريش Emily Teeter Federn Plumes Throughout Egyptian history, feathers appear in purely utilitarian settings and also in ritual contexts where they ornament crowns and personify deities. Feathered fans were used to signal the presence of royal or divine beings, and feathers identified certain ethnic types. Feathers are known from representations and also actual examples recovered primarily from tombs. ظھر الريش عبر تاريخ مصر القديمة في سياقات نفعية بحتة، باﻹضافة إلى بعض السياقات الطقسية حيث استخدم الريش لتزيين التيجان ولتمثيل اﻵلھة؛ واستخدمت المراوح الريشية لﻹشارة إلى وجود كائنات ملكية او إلھية، كما ميز الريش بعض اﻹنتماءات العرقية. يعرف الريش من خﻻل ظھوره ممثﻻً بمناظر بالمقابر والمعابد وأيضاً من خﻻل العثور على أمثلة حقيقية لريش تأتي أغلبھا من المقابر. eathers appear frequently in ancient Egyptian iconography, F they are referred to in texts, and they are incorporated into hieroglyphic writing.
  • Ancient Egyptian Religion La

    Ancient Egyptian Religion La

    Running Head: ANCIENT EGYPTIAN RELIGION 1 Eight Lessons in World History to the Sixteenth Century: Ancient Egyptian Religion Lauren Galloway and Eleni Koliviras Queen’s Faculty of Education CURR335—03 Dr. Christou November 15, 2013 ANCIENT EGYPTIAN RELIGION 2 Author Note: Prior to beginning the following 8 lessons, any instructor that is not familiar with Ancient Egyptian Religion is advised to read Douglas J. Brewer and Emily Teeter’s Egypt and the Egyptians (specifically chapters 6 and 10) to expand knowledge of content beyond what is given in class textbook. Textbooks may vary according to teacher resources and are thus not necessary for this unit, but can be used as a source of supplementary reading for students. ANCIENT EGYPTIAN RELIGION 3 Lesson 1: Introduction to Ancient Egyptian Religion (75 minutes) Overview: Introductory lesson where students will explore the Historical Significance of Ancient Egyptian Religion and be introduced to some of the prevalent Gods and Goddesses using the Creation Myth. They will also make connections to contemporary society and create their own deity. Learning Goal: Students should be exposed to an introduction of the Ancient Egyptian religion and its primary focus: the myths and gods. The goal of this introductory lesson is to engage the students in critical thinking practices, give them knowledge about the creation myth and the prevalent gods/goddesses, and support their thinking and inquiry when examining history. Students should understand the Ancient Egyptian religion from a modern perspective, but should be inquiring about the practices of this religion through an ancient perspective as well. They will be encouraged to try and think like an Ancient Egyptian.
  • 19 Sloan-Hubert

    19 Sloan-Hubert

    Egypt in Antiquity: Music and Mythological Deities April Sloan–Hubert Jack Yates High School INTRODUCTION Jack Yates High School in Houston, Texas, is the alma mater of choreographer, producer and actress Debbie Allen and her Tony-award winning sister, Philicia Rashad. The Allen sisters discovered and began to develop their talents and skills at the historic Jack Yates High School. The great jazz vocalist, the late Anita Moore, developed her vocal pipes too at Jack Yates. Anita’s voice although silenced is still remembered for being hand picked by the one and only Duke Ellington to lead his orchestra. Jack Yates High School is also the alma mater of the now retired Lavonia Pope Bassett, the first African American music supervisor for the Houston Independent School District. As the present Choir Director and Fine Arts Department Chair at this talent-rich institution, I am charged with the phenomenal task to lead, mold, develop and return our department to its traditional glory. I am also cognizant of the fact that those were the days before state- mandated tests, budget cuts, site-based management and weaponless wars of destruction. In America’s not-so-long ago past, people from all walks of life were considered culturally refined and upstanding citizens by attending the opera, going to the museum, knowing what dinner fork to use at a well set table, and by the art work in their homes. At the heart of my motivation lie two exceptionally large music history classes with forty plus students each. The students enrolled in these classes are lovingly called “the music historians.” These semi-non musically inclined historians are void of vocal and instrumental skills, but they possess a great love and appreciation for music.