LO: to Learn the Different Stages of the Mummification Process
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CLEAR II Egyptian Mythology and Religion Packet by Jeremy Hixson 1. According to Chapter 112 of the
CLEAR II Egyptian Mythology and Religion Packet by Jeremy Hixson 1. According to Chapter 112 of the Book of the Dead, two of these deities were charged with ending a storm at the city of Pe, and the next chapter assigns the other two of these deities to the city of Nekhen. The Pyramid Texts describe these gods as bearing Osiris's body to the heavens and, in the Middle Kingdom, the names of these deities were placed on the corner pillars of coffins. Maarten Raven has argued that the association of these gods with the intestines developed later from their original function, as gods of the four quarters of the world. Isis was both their mother and grandmother. For 10 points, consisting of Qebehsenuef, Imsety, Duamutef, and Hapi, the protectors of the organs stored in the canopic jars which bear their heads, these are what group of deities, the progeny of a certain falconheaded god? ANSWER: Sons of Horus [or Children of Horus; accept logical equivalents] 2. According to Plutarch, the proSpartan Kimon sent a delegation with a secret mission to this deity, though he died before its completion, prompting the priest to inform his men that Kimon was already with this deity. Pausanias says that Pindar offered a statue of this god carved by Kalamis in Thebes and Pythian IV includes Medea's prediction that "the daughter of Epaphus will one day be planted... amid the foundations" of this god in Libya. Every ten days a cult statue of this god was transported to Medinet Habu in western Thebes, where he had first created the world by fertilizing the world egg. -
LESSON PLAN Egyptian Mummies: the Myth Unwrapped
LESSON PLAN 4th – 8th Egyptian Mummies Grade Level: The Myth Unwrapped Duration: 50 minutes BACKGROUND Wisconsin Standards: 5000 years ago, Ancient Egyptians by their mummification process. Social Studies - Geography perfected the art of mummification, While learning about the gods and A.4.4; History B.4.1,3; creating not only lasting preservation goddesses of ancient Egypt, students Behavioral Sciences of their dead, but also intimate will know where in the world they E.4.8,11; snapshots of their lifestyle and can find mummies. By the end of the E.12.10; spiritual beliefs. Through a dynamic program, students will understand Language Arts - Oral 50 minute interactive program, the significance of mummification C.4-12.3 students will witness the step-by-step to ancient Egyptians as well as mummification process and find out understand the role mummies played National Standards: why, though Egyptians were not the in cultures of the past and present. Technology - Technology first to mummify, we are fascinated Communication Skills NT.K-12.4 Common Core State Standards: FOCUS QUESTION English Language Arts Standards • What is a mummy? And what can we learn from them? - Speaking & Listening: CCSS.ELA - Literacy - SL.4-8.1-3 STUDENT OBJECTIVES MATERIALS Students will be able to: • Pens/Pencils • List 3 countries in the world where • Paper for notes mummies have been found. • Learn what makes a mummy unique. TEACHER PREPARATION • Discuss why ancient Egyptians • Gather materials mummified their dead. • Name three ways mummies were used for non-scientific purposes. • Explain the step-by-step mummification process. • Identify Egyptian gods and goddesses and explain how ancient Egyptian spiritual beliefs relate to the mummification process. -
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. -
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. -
The Canopic Box of N%-Aa-Rw (BM EA 8539) *
THE CANOPIC BOX OF N%-aA-RW_ (BM EA 8539) * By AHMED M. MEKAWY OUDA Primary publication of the canopic box of Ns-aA-rwd, perhaps from Thebes dating to late Twenty- fifth/early Twenty-sixthD ynasties. No exact parallels exist for the texts on this box, which bears some unique epithets and unusual extensive formulations for the four protective goddesses, invoking a close relationship with Osiris and Horus, especially for Isis and Neith. The box’s owner, title, family, and status, as well as textual parallels for deities’ titles and epithets, are discussed. In the collections of the British Museum, there is a painted wooden canopic chest belonging to Ns-aA-rwd, in the form of a Pr-wr shrine with inclined roof (BM EA 8539; fig. 1).1 The museum acquired it as part of Henry Salt’s first collection, which arrived in London in 1821 and was accessioned in 1823. Each side displays a scene in which one of the four protective goddesses, Isis, Nephthys, Neith, and Selkis, are making a libation for one of the sons of Horus on the right, with four columns of hieroglyphic inscriptions on the left (fig. 2). The box (H. 44.5 cm, W. 45 cm, and D. 42 cm ) is in good condition apart from three fragmented lines on the sides of the box pertaining to Neith, Nephthys, and Isis, and a break in the sloping lid on the Nephthys side. Its provenance was not recorded, but the title of the owner (‘Singer in the interior (of the Temple) of Amun’) suggests it came from Thebes. -
Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood
The Proceedings of the International Conference on Creationism Volume 7 Article 36 2013 Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood Gavin M. Cox Follow this and additional works at: https://digitalcommons.cedarville.edu/icc_proceedings DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Browse the contents of this volume of The Proceedings of the International Conference on Creationism. Recommended Citation Cox, Gavin M. (2013) "Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood," The Proceedings of the International Conference on Creationism: Vol. 7 , Article 36. Available at: https://digitalcommons.cedarville.edu/icc_proceedings/vol7/iss1/36 Proceedings of the Seventh International Conference on Creationism. Pittsburgh, PA: Creation Science Fellowship EGYPT'S HIEROGLYPHS CONTAIN CULTURAL MEMORIES OF CREATION AND NOAH'S FLOOD Gavin M. Cox, BA Hons (Theology, LBC). 26 The Firs Park, Bakers Hill, Exeter, Devon, UK, EX2 9TD. KEYWORDS: Flood, onomatology, eponym, Hermopolitan Ogdoad, Edfu, Heliopolis, Memphis, Hermopolis, Ennead, determinative, ideograph, hieroglyphic, Documentary Hypothesis (DH). ABSTRACT A survey of standard Egyptian Encyclopedias and earliest mythology demonstrates Egyptian knowledge of Creation and the Flood consistent with the Genesis account. -
Ancient Egypt
Ancient Egypt Select the caption you wish to read from the index below or scroll down to read them all in turn Ancient Egypt 1-4 - Roberts pictures 5 - Carving of a bennu bird 6 - Stone sphinx 7 - Jars with faces 8 - Shabti figure 9 - Roman flagon 10 - Roman bowl 11 - Model arm and horse head 12 - Female figurines 13 - Marble bust of Jupiter Serapis 14 - Mouse figurine 15 - Silver figurine of Mercury 16 - Kohl pots 17 - An Egyptian woman 18 - Hand mirror 19 - Snake armlet 20 - Earring 21-22 - Necklaces 23 - Amulets 24-25 - Bes 26 - Ptah-Pataikos 27-28 - Isis and Horus 29 - Qebehsenuef 30 - Hawk amulet 31 - Sekhmet 32 - Taweret 33 - Nefertum 34 - Osiris 35-40 - Pottery jars 41 - Flint arrowheads 42 - Sickle 43-44 - Sickle and handaxe 45-46 - Axeheads 47 - Handaxe 48 - An Egyptian pharaoh 1-4 - Roberts pictures David Roberts (1806-1885) Hand-coloured lithographic prints. Engraved by Louis Haghe. Published by FG Moon, London, between 1842-1849 David Roberts toured Egypt and the Holy Land from September 1838 to May 1839. He produced hundreds of sketches from which finished watercolours were produced for the lithographer after his return home. The prints were published in a series of volumes between 1842 and 1849. 1 - The Great Sphinx Pyramids of Gizeh July 17 1839 French engineers, originally working for Napoleon, had uncovered the head of The Great Sphinx by 1816. By the time of Robert’s visit little further work had been done. He was nevertheless impressed: “The Sphinx pleased me even more than the Pyramids.” 2 - Temple of Esneh November 25 1838 This Ptolemaic temple, dedicated to Khnum, is now about 10 metres below street level under an accumulation of rubbish and silt. -
Hunefer, from His Tomb at Thebes, Egypt, 19Th Dynasty, C
DEATH and the AFTERLIFE: EGYPTIAN ART (Egyptian Funerary Art) EGYPTIAN FUNERARY ART Online Links: The Book of the Dead – Smarthistory The Egyptian Book of the Dead – YouTube Book of the Dead – Wikipedia Egyptian Book of the Dead Website Book of the Dead - Metropolitan Museum of Art Interactive Animation of Nebamun's Tomb - British Museum The Egyptians did not make the sharp distinction between body and soul that is basic to many religions. Rather, they believed that from birth a person possessed a kind of other self, the ka or life force, which, on the death of the body, could inhabit the corpse and live on. For the ka to live securely, however, the body had to remain nearly intact as possible. To ensure that it did, the Egyptians developed the technique of embalming (mummification) to a high art. Although they believed the god Anubis invented embalming to preserve the body of the murdered Osiris, Egyptians did not practice mummification systematically until the Fourth Dynasty. During the mummification process, the body was treated for 40 days with natron, a naturally occurring salt compound that dehydrated the body. Then the embalmers filled the corpse with resin-soaked linens, and closed and covered the incision with a representation of the wedjet eye of Horus, a powerful amulet (a device to ward off evil and promote rebirth). The Egyptians often placed other amulets within the bandages or on the corpse. The most important were heart scarabs (gems in the shape of beetles). Ti Watching a Hippopotamus hunt, relief in the mastaba of Ti (Saqqara), c. -
Prayers of Renunciation EGYPTIAN GODS
Prayers of Renunciation: EGYPTIAN GODS Ephesians 6:10-12 “10 Finally, my brethren, be strong in the Lord, and in the power of his might. 11 Put on the whole armour of GOD, that ye may be able to stand against the wiles of the devil. 12 For we wrestle not against lesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.” Amanda Buys’ Spiritual Covering This is a product of Kanaan Ministries, a non-profit ministry under the covering of: • Roly, Amanda’s husband for more than thirty-five years. • River of Life Family Church Pastor Edward Gibbens Vanderbijlpark South Africa Tel: +27 (0) 16 982 3022 Fax: +27 (0) 16 982 2566 Email: [email protected] There is no copyright on this material. However, no part may be reproduced and/or presented for personal gain. All rights to this material are reserved to further the Kingdom of our Lord Jesus Christ ONLY. For further information or to place an order, please contact us at: P.O. Box 15253 27 John Vorster Avenue Panorama Plattekloof Ext. 1 7506 Panorama 7500 Cape Town Cape Town South Africa South Africa Tel: +27 (0) 21 930 7577 Fax: 086 681 9458 E-mail: [email protected] Website: www.kanaanministries.org Office hours: Monday to Friday, 9 AM to 3 PM Kanaan International Website Website: www.eu.kanaanministries.org 2 contents Preface ... 5 Declaration of confidence in GOD’s Protection ... 8 Sealing-off prayer before deliverance ... 9 1) Egyptian deities .. -
Sekhmet's Ancient Egyptian Quest! Notes for Teachers
Sekhmet’s Ancient Egyptian Quest! Notes for Teachers These teacher’s notes give you extra information about each of the objects featured in our ancient Egyptian trail. We have also suggested follow-up activities for pupils back in class. Practical points: • This trail is for pupils in Primary 3–5 (age 7–9) who have some prior knowledge of the ancient Egyptians. • The trail will take approximately 50 minutes. • The trail will involve moving between levels 0,1,3 and 5. You can access all these areas using the lifts and stairs. Each group should take a map with them to help them find the galleries and directions can be found on the trail sheet. • The trail contains 8 challenges for pupils to do. • Start the trail with your whole class together at the mummy in Discoveries on Level 1. After this, you can split up into smaller groups to complete the challenges. • Enjoy looking at all the objects up close, but please remind pupils not to touch them. If objects have numbers next to them, look at the numbered text nearby to tell you more about the object. • This trail is available in black and white or colour. Introduction to Sekhmet – the narrator of the trail • The goddess Sekhmet was believed to have been the daughter of the sun god Ra and is often seen with a sun disc on top of her head. • Sekhmet was worshipped as a warrior goddess. She helped the pharaoh win battles against his enemies, but if angered, she could bring war and disease upon Egypt. -
Ancient Egyptian Canopic Jars
Ancient Egyptian Canopic Jars You will need: Empty cardboard tubes with lids Air-drying clay Black felt-tip pens Beige paper to cover the bottom of the jars White glue (such as PVA) Paint Varnish and gold paint (optional) Instructions 1. Use air-drying clay to create the head of one of the four ancient Egyptian gods. Use the lid of one of the jars as a base to stick it on. The following page will give you more information about canopic jars. 2. Leave the head to dry. 3. While the head of the jar is drying, cover the bottom of the jar in paper. This can be done using pieces of torn paper, glued and layered with white glue, such as PVA. (For a really strong finish, use papier-mache.) Leave to dry. 4. When the head is dry, paint the canopic jars using the following page to help you with colours and facial features. 5. When the bottom of the jar is dry, use a black felt-tip pen or paint to decorate it with hieroglyphics. You might want to spell out some words linked to ancient Egypt. 6. For an attractive finish, give the jar a final coat of white glue (such as PVA) or varnish to make the canopic jar shine. Extension Task You could even make the organs to go inside the jars out of clay or papier mache. visit twinkl.com Ancient Egyptian Canopic Jars Duamutef The god Duamutef with the head of a jackal protects the stomach. Qebhsenuef The god Qebhsenuef with the head of a falcon protects the intestines. -
The Egyptian Collection of the Museum of the City of Varaždin, Croatia
The Egyptian Collection of the Museum of the City of Varaždin, Croatia Mladen Tomorad Igor Uranić One of the smallest and most interesting Egyptian collections in Croatia is housed in Varaždin. Since the 19th century, its artefacts were in the possession of the noble family of Pasthory-Varady and in the 1920s, they were given to the Museum of the City of Varaždin. It contains seven objects: a clay cup from the late Badari or Naqada I Period, a limestone funeral stela of Mery-Mery, a military scribe of Sitamun, the daughter of Amenhotep III, a whole set of four canopic jars from the 26th Dynasty and a Late Period Scarab. The paper will discuss the history of Egyptian antiquities in Croatia and give descriptions and translations of six of the items in the Museum of the City of Varaždin. Una de las más pequeñas e interesantes colecciones egipcias en Croacia se conserva en Varazdin. Desde el s.XIX, sus piezas se encontraban en posesión de la familia aristocrática de los Pasthory-Varady y en la década de 1920 fueron donados al Museo Municipal de Varazdin. Está formada por siete objetos: un recipiente de cerámica badariense final o Naqada I, una estela de caliza de Mery-Mery, un escriba militar de Sitamun, hija de Amenhotep III, una serie completa de cuatro vasos canopos de la Dinastía XXVI y un escarabeo del Período Tardío. El artículo comenta la historia de las antigüedades egipcias en Croacia y proporciona una descripción y traducciones de las seis primeras piezas mencionadas que se custodian en el Museo Municipal de Varazdin.