The Coffins of Pa-Debehu-Aset
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Ancient Egyptian Religion I: General Concepts and the Heliopolitan Gods
Ancient Egyptian Religion I: General Concepts and the Heliopolitan Gods Shawn C. Knight Spring 2009 (This document last revised March 18, 2009) 1 The nature of Egyptian religion (intro) The Egyptian idea of \deity" is a difficult one to pin down. The most frequently used word for deity, ' 4 ntr (or nTr), resembles the English word god in that it can be used as either a common noun, referring to one of numerous divine beings, or as a proper noun, referring to the Supreme Being. Much more problematic than the word used, however, are the details of what the gods do and even who they are. Gods become conflated with one another; most notably, there are (at least) two gods named Horus, designated \Elder" and \Younger", and they share a number of traits, often being confused (deliberately or mistakenly). The gods usurp one another's roles, or delegate their roles to others, with astounding frequency. It is Set's role to protect the sun god from the serpent of chaos|except when Horus has that function. The Supreme Being is Re-Atum, except when he is Amun-Re, except when he is simply Re or simply Atum or . Adding still further to the complication is the local character of Egyptian religion. Every nome had a patron god, and while some of the gods patronized more than one nome, there was plenty of variety. We have already considered this to some degree: we have noted Thebes, for example, as having Amun for a patron, and observed that the military rise of the Thebans in the Middle and New Kingdoms were responsible for the enrichment and empowerment of Amun's cult. -
Sarapis, Isis, and the Ptolemies in Private Dedications the Hyper-Style and the Double Dedications
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 28 | 2015 Varia Sarapis, Isis, and the Ptolemies in Private Dedications The Hyper-style and the Double Dedications Eleni Fassa Electronic version URL: http://journals.openedition.org/kernos/2333 DOI: 10.4000/kernos.2333 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 October 2015 Number of pages: 133-153 ISBN: 978-2-87562-055-2 ISSN: 0776-3824 Electronic reference Eleni Fassa, « Sarapis, Isis, and the Ptolemies in Private Dedications », Kernos [Online], 28 | 2015, Online since 01 October 2017, connection on 21 December 2020. URL : http://journals.openedition.org/ kernos/2333 ; DOI : https://doi.org/10.4000/kernos.2333 This text was automatically generated on 21 December 2020. Kernos Sarapis, Isis, and the Ptolemies in Private Dedications 1 Sarapis, Isis, and the Ptolemies in Private Dedications The Hyper-style and the Double Dedications Eleni Fassa An extended version of this paper forms part of my PhD dissertation, cited here as FASSA (2011). My warmest thanks to Sophia Aneziri for her always insightful comments. This paper has benefited much from the constructive criticism of the anonymous referees of Kernos. 1 In Ptolemaic Egypt, two types of private dedications evolved, relating rulers, subjects and gods, most frequently, Sarapis and Isis.1 They were formed in two ways: the offering was made either to Sarapis and Isis (dative) for the Ptolemaic kings (ὑπέρ +genitive) — hereafter, these will be called the hyper-formula dedications2 — or to Sarapis, Isis (dative) and the Ptolemaic kings (dative), the so-called ‘double dedications’. -
Egyptian Interest in the Oases in the New Kingdom and a New Stela for Seth from Mut El-Kharab
Egyptian Interest in the Oases in the New Kingdom and a New Stela for Seth from Mut el-Kharab Colin Hope and Olaf Kaper The study of ancient interaction between Egypt and the occupants of regions to the west has focused, quite understandably, upon the major confrontations with the groups now regularly referred to as Liby- ans from the time of Seti I to Ramesses III, and the impact these had upon Egyptian society.1 The situ- ation in the oases of the Western Desert and the role they might have played during these conflicts has not received, until recently, much attention, largely because of the paucity of information either from the Nile Valley or the oases themselves. Yet, given their strategic location, it is not unrealistic to imagine that their control would have been of importance to Egypt both during the confrontations and in the period thereafter. In this short study we present a summary of recently discovered material that contributes sig- nificantly to this question, with a focus upon discoveries made at Mut el-Kharab since excavations com- menced there in 001,3 and a more detailed discussion of one object, a new stela with a hymn dedicated to Seth, which is the earliest attestation of his veneration at the site. We hope that the comments will be of interest to the scholar to whom this volume is dedicated; they are offered with respect, in light of the major contribution he has made to Ramesside studies, and with thanks for his dedication as a teacher and generosity as a colleague. -
Chapter5 the Divine Family: Osiris, Isis and Horus
Chapter5 The Divine Family: Osiris, Isis and Horus Objectives To familiarize your students with the myth of the divine family and to understand the role these gods played in the Egyptian religion. Mystery The Egyptian pharaohs believed they were descended from the gods. Where did this idea come from? Discussion and Research Projects 1. What are the names of the three members of the divine Egyptian family? 2. What was the parents’ mission on earth? 3. What did they teach humanity? 4. How did Seth murder his brother Osiris? 5. Where did Isis find her husband’s coffin and how did she bring it back? 6. What form did Isis take when she magically conceived her son Horus? 7. What did Seth do when he found Osiris’s coffin after it was returned to Egypt? 8. What did Isis do to restore Osiris to eternal life? 9. Where did Isis go to protect her child? What powers did she have to protect him from danger? 10. What did Seth do to try to kill the infant Horus? Mysteries of Egypt — Teacher’s Guide 11. How did the god Thoth cure Horus? What happened to the sun when Horus was bitten by a poisonous snake? 12. Horus became the first pharaoh god of the Egyptian people. What would happen to the earth if the people did not continue to love and care for Horus? 13. What did Isis do to gain the power of the sun god, Re? What secrets do you think she got from him? 14. How did Horus learn the secret name of the sun god? 15. -
Ancient Egyptian Dieties
Ancient Egyptian Dieties Amun: When Amun’s city, Thebes, rose to power in the New Kingdom (1539-1070 B.C.), Amun became known as the “King of the Gods.” He was worshipped as the high god throughout Egypt. Able to take many shapes, Amun was sometimes shown as a ram or goose, but was usually shown in human form. He is fundamentally a Creator God and his name, Amun, means “The Hidden One.” Amun-Re: Originating in the Middle Kingdom, (2055 - 1650 B.C.), Amun-Re is a fusion of the Gods Amun and Re. He combined the invisible power of creation and the power visible in heat and light. Anubis: Usually represented as a black jackal, or as a human with a canine head, Anubis was a guardian of mummies, tombs, and cemeteries, as well as an escort of the deceased to the afterlife. Atum: According to the most ancient Egyptian creation myths, Atum is the creator of the world. He also brought the first gods Shu (air), Tefnut (water), Geb (earth), and Nut (sky) to Egypt. He is also god of the setting sun. Atum was represented in many forms such as a human, a human with the head of a ram, and a combination of an eel and a cobra. Bastet: Originating as early as Dynasty II (2820-2670 B.C.), Bastet was represented as a cat or a woman with a lioness’s head. She eventually became Egypt’s most important “cat goddess.” If Bastet took the form of a cat she was considered content, but if Bastet was a lioness she was considered an angry goddess. -
LO to Be Able to Discuss the Ancient Egyptian Gods and Goddesses
L.O. to be able to discuss the Ancient Egyptian gods and goddesses NAME: Ra GOD OF: the sun Ra was the most important god to all the Egyptians. It was believed that he was swallowed by Nut the sky goddess every night and born again in the morning. The Egyptians also believed that Ra travelled through the underworld at night, where he appeared as a man with the head of a ram! NAME: Anubis GOD OF: the dead and the process of embalming It was thought that jackals watched over the dead as they were seen in cemeteries a lot. Anubis helped to embalm Osiris when he was killed by Seth. Egyptian priests would wear a mask of Anubis during mummification ceremonies. NAME: Osiris GOD OF: the dead and the underworld. Osiris was also a god of resurrection and fertility. The Egyptians believed that he gave them the gift of their most important crop, barley. Osiris was the husband of Isis and the father of Horus. NAME: Nut and Geb GOD/GODDESS OF: Nut – the sky, Geb – the earth Nut’s body is stretched across the sky and covered in stars. She and Geb are the parents of Isis and Osiris. Nut is the sister/wife of Geb and it is believed that Nut swallowed Ra, the sun god at the end of every day and gave birth to him again in the morning. It was believed that earthquakes are caused by Geb’s laughing. NAME: Sekhmet GODDESS OF: war Sekhmet means ‘the powerful one’! She is sometimes called the daughter of the sun god Ra. -
Domestic Religious Practices
UCLA UCLA Encyclopedia of Egyptology Title Domestic religious practices Permalink https://escholarship.org/uc/item/7s07628w Journal UCLA Encyclopedia of Egyptology, 1(1) Author Stevens, Anna Publication Date 2009-12-21 Peer reviewed eScholarship.org Powered by the California Digital Library University of California DOMESTIC RELIGIOUS PRACTICES الممارسات الدينية المنزلية Anna Stevens EDITORS WILLEKE WENDRICH Editor-in-Chief University of California, Los Angeles JACCO DIELEMAN Editor Area Editor Religion University of California, Los Angeles ELIZABETH FROOD Editor University of Oxford JOHN BAINES Senior Editorial Consultant University of Oxford Short Citation: Stevens 2009, Domestic Religious Practices. UEE. Full Citation: Stevens, Anna, 2009, Domestic Religious Practices. In Willeke Wendrich and Jacco Dieleman (eds.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz001nf63v 1010 Version 1, December 2009 http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz001nf63v DOMESTIC RELIGIOUS PRACTICES الممارسات الدينية المنزلية Anna Stevens Religion im Alltag Pratiques religieuses privées Domestic religious practices—that is, religious conduct within a household setting—provided an outlet especially for expressing and addressing the concerns of everyday life. They can be traced throughout Egyptian dynastic history, in textual sources such as spells of healing and protection, offering and dedicatory texts, and private letters, and in cult emplacements and objects from settlement sites. Protective divinities such as Bes, Taweret, and Hathor were favored, along with ancestors who could be deceased kin, local elite, or royalty. State-level deities were also supplicated. Central practices were offering and libation, and conducting rites of protection and healing, while there was also strong recourse to protective imagery. -
Egyptian Temples
Originalveröffentlichung in: Christina Riggs (Hrsg.), The Oxford Handbook of Roman Egypt, Oxford 2012, S. 362-382 CHAPTER 22 EGYPTIAN TEMPLES MARTINA MINAS-NERPEL From the beginning of their rule in Egypt, the Ptolemies initiated a gigantic temple con struction and decoration programme, which the Roman emperors continued well into the second century ce. Temples were still decorated on a much smaller scale into the third and the beginning of the fourth centuries. The last known cartouche of a Roman emperor in a temple was inscribed under Maximinus Daia (305-13 ce) on blocks belonging to the temple of Horus at Tahta (Holbl 2000: 45 n. 177; 114, fig. 157). Otherwise, the latest evidence comes from Esna (Sauneron 1975:65-6, no. 495; 84-7, no. 503), where the temple of Khnum was still being decorated under Decius (249-51 ce). Stelae inscribed in hieroglyphs continued to be set up in Egyptian temples, for example in the Bucheum at Armant, of which the latest is dated to 340, the fifty-seventh year of the era of Diocletian (Holbl 2000:45 n. 178; Goldbrun- ner 2004:78-9,302). The temple of Isis at Philae, where hieroglyphs were carved in the tem ple of Harendotes as late as 394 (Winter 1982:1023), was the last to be kept open, being closed down under Justinian between 535 and 537 (Winter 1982:1026), when it was converted to a church (Dijkstra 2008). The Hellenistic and Roman periods of Egypt are often subsumed under the term ‘Graeco- Roman Egypt’. In his examination of Egyptian society under Ptolemaic and Roman rule, Naphtali Lewis (1970) correctly pointed out that this phrase should not be used to imply con tinuity between the two eras, since the changes in the governmental structure, social pat terns and politics, administration, and the economy were so fundamental in Roman times as to render the term misleading. -
24 Last Judgment of Hu-Nefer, from His Tomb (Page from the Book of the Dead) New Kingdom, 19 Dynasty 1275 BCE Painted Payrus
24 Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead) New Kingdom, 19th Dynasty 1275 BCE Painted payrus scroll Video at Khan Academy: https://www.khanacademy.org/humanities/ancient-art- civilizations/egypt-art/new-kingdom/v/judgement-in-the-presence-of-osiris-hunefer-s-book-of- the-dead Hunefer was a scribe during the 19th Dynasty (fl. c. 1300 BCE) . He was the owner of the Papyrus of Hunefer, a copy of the funerary Egyptian Book of the Dead, which represents one of the classic examples of these texts, along with others such as the Papyrus of Ani. Hunefer was "Scribe of Divine Offerings", "Overseer of Royal Cattle", and steward of Pharaoh Seti I.[1] Judgment scene from the Book of the Dead. o In the three scenes from the Book of the Dead (version from ~1300 BCE) the dead man (Hunefer) is taken into the judgment hall by the jackal-headed Anubis. o The next scene is the weighing of his heart, with Ammut awaiting the result and Thoth recording. o Next, the triumphant Hunefer, having passed the test, is presented by the falcon- headed Horus to Osiris, seated in his shrine with Isis and Nephthys. (British Museum) (from Khan Academy); The scene reads from left to right. o To the left, Anubis brings Hunefer into the judgement area. Anubis is also shown supervizing the judgement scales. Hunefer's heart, represented as a pot, is being weighed against a feather, the symbol of Maat, the established order of things, in this context meaning 'what is right'. -
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. -
The Eye of Horus: the Connection Between Art, Medicine, and Mythology in Ancient Egypt
Open Access Review Article DOI: 10.7759/cureus.4731 The Eye of Horus: The Connection Between Art, Medicine, and Mythology in Ancient Egypt Karim ReFaey 1 , Gabriella C. Quinones 2 , William Clifton 1 , Shashwat Tripathi 3 , Alfredo Quiñones- Hinojosa 1 1. Neurosurgery, Mayo Clinic, Jacksonville, USA 2. Art, University of Miami, Miami, USA 3. Neurosurgery, University of Texas at Austin, Austin, USA Corresponding author: Karim ReFaey, [email protected] Abstract Ancient Egyptian civilization is one of the oldest cultures in human history. Ancient Egyptians are well- known for pioneering the fields of art, medicine, and the documentation of discoveries as mythological tales. The Egyptians mastered the integration of anatomy and mythology into artistic symbols and figures. The mythology of Isis, Osiris, and Horus is arguably one of the most recognized mythologies in ancient Egypt. The Eye of Horus was used as a sign of prosperity and protection, derived from the myth of Isis and Osiris. This symbol has an astonishing connection between neuroanatomical structure and function. Artistically, the Eye is comprised of six different parts. From the mythological standpoint, each part of the Eye is considered to be an individual symbol. Additionally, parts of the Eye represent terms in the series 1/2, 1/4, 1/8, 1/16, and 1/32; when this image is superimposed upon a sagittal image of the human brain, it appears that each part corresponds to the anatomic location of a particular human sensorium. In this manuscript, we highlight the possible scientific speculation of the ingenuity of ancient Egyptians’ remarkable insight into human anatomy and physiology. -
Nubia: Treasures of Ancient Africa
Audio Guide Transcript Nubia: Treasures of Ancient Africa April 18–August 22, 2021 Main Exhibition Galleries STOP 1 Introduction Gallery: Director’s Welcome Speaker: Brent Benjamin Barbara B. Taylor Director Saint Louis Art Museum Hello, I’m Brent Benjamin, Barbara B. Taylor Director of the Saint Louis Art Museum. It is my pleasure to welcome you to the audio guide for Nubia: Treasures of Ancient Africa. The exhibition presents the history and artistic achievements of ancient Nubia and showcases the collection of the Museum of Fine Arts, Boston, through magnificent jewelry, pottery, sculpture, metalwork, and more. For nearly 3,000 years a series of Nubian kingdoms flourished in the Nile River valley in what is today Sudan. The ancient Nubians controlled vast empires and trade networks and left behind the remains of cities, temples, palaces, and pyramids but few written records. As a result, until recently their story has been told in large part by others—in antiquity by their more famous Egyptian neighbors and rivals, and in the early 20th century by American and European scholars and archaeologists. Through art, this exhibition addresses past misunderstandings and misinterpretations and offers new ways of understanding Nubia’s dynamic history and relevance, which raises issues of power, representation, and cultural bias that were as relevant in past centuries as they are today. This exhibition audio guide offers expert commentaries from Denise Doxey, guest curator of this exhibition and curator of ancient Egyptian, Nubian, and Near Eastern art at the Museum of Fine Arts, Boston. The guide features a selection of objects from various ancient Nubian kingdoms and shares insights into the daily life of the Nubians, their aesthetic preferences, religious beliefs, technological inventiveness, and relations with other ancient civilizations.