Reproduction Details Object Type: Papyrus Material: Papyrus Date: c. 1150 BC Period: Dynasty 20, Reign of Ramesses III Findspot: Thebes, Egypt Dimensions: H: 42.80 cm, L: 54.50 cm Current Location: British Museum, London Inventory Number: EA9999,43 Reproduction Number: DP79 Description The Great Harris Papyrus is a memorial document produced following the death of Rameses III (c. 1184-1153 BC) by his son Ramesses IV. It contains a comprehensive retrospective overview of Rameses III’s reign and includes three vignettes illustrating the king’s donations to the gods and temples of Thebes, Memphis, and Heliopolis. In this vignette, Ramesses III stands before the holy family of the ancient city of Memphis: Ptah, the patron of craftsmen, his consort the lion-headed goddess Sekhmet, and their child, Nefertum, god of the lotus. The king is shown making offerings to the resident deities, with hieratic text identifying each of the figures and recording his address to Ptah and the Memphite Triad. Ramesses III Ramesses is depicted wearing a sheer overskirt, linen sash, and a pleated kilt whose triangular apron has a point ending in a fox's head. He is in full regalia, wearing the royal nemes wig with a uraeus cobra on his brow, carrying the crook and flail, and sporting a stylised bull's tail. His jewellery includes a broad collar, armlets, and bracelets, and his ear is pierced for an earring. Ramesses is identified by his two chief names given in cartouches above him: Lord of the Two Lands, Usermaatre Meryamun (Strong is the Maat of Re, beloved of Amun) Lord of Appearances Ramessu heqa Iunu (Ramesses, ruler of Heliopolis) He is making a gesture indicating he is speaking to the gods before him, and the two columns of hieratic record his words: I tell the prayers, praises, adorations, laudations, mighty deeds, and benefactions, which I did for you in your presence, O Resi-inebef (South-of-His-Wall) Ptah Ramesses is facing Ptah, the chief deity of Memphis, who stands on a dais in the shape of the symbol Maat, the divine personification of truth, harmony and justice. Ptah is one of the oldest Egyptian gods, first mentioned in Dynasty 1 and was considered to be a creator god particularly associated with craftsmen and funerary traditions. Ptah is shown with distinctive artistic attributes rarely seen in other gods that help identify him. He has a straight beard instead of a curved one, a tight-fitting skullcap instead of a headdress, and a counterpoise necklace with a rounded top and flared bottom. He is often depicted with elements that linked him to the god Osiris, such as the white shroud and djed-ankh symbols attached to his was-sceptre. The hieroglyphs provide his two chief names: Ptah the great, “South-of-His-Wall” Lord of “Life-of-the-Two-Lands” Sekhmet Standing behind Ptah is his consort, the lion-headed goddess Sekhmet, who is labelled in the hieratic text above her head as: Sekhmet the great, beloved of Ptah. As the daughter of the sun god Ra, she acted as his vengeful eye, destroyed his enemies, and brought pestilence and plague. Her solar connection is clear from the sun disk that sits atop her long wig and the uraeus cobra that encircles the headdress, which was also the emblem on the crown of the rulers of Lower Egypt. In one hand she holds an ankh, the symbol for life, and in the other a papyrus sceptre, another symbol representing Lower Egypt. Sekhmet wears a tight-fitting, red dress with a lozenge pattern which is thought to represent a bead-net dress. The beads are cylinders of blue or green faience, which were either sewn onto a linen dress or worked into a separate net worn over the linen. In art, bead-net dresses are fairly common in the Old and Middle Kingdoms but decline in number during the New Kingdom. Nefertem The third member of the divine family is the holy child of the triad, who is introduced as: Nefertem, protector of the Two Lands In Egyptian mythology, Nefertem was originally a lotus flower that had arisen from the primordial waters at the creation of the world. He represented the creation of day with sunlight and the pleasant smell of the Egyptian blue lotus flower, associating him with perfumes aromatics. Nefertem is usually depicted as a beautiful young man with a headdress in the shape of a lotus flower. Here his headdress is complemented by two plumes to create an atef-style crown. In one hand he holds an ankh, the symbol for life, and in the other a was-sceptre, representing power and dominion. Translation The text in this scene is hieratic, a handwritten adaptation of hieroglyphs for the medium of ink and brush on papyrus. Above each of the deities from left to right are their names: Nefertem, protector of the Two Lands. Sekhmet the great, beloved of Ptah. Ptah the great, “South-of-His-Wall”, lord of “Life-of-the-Two-Lands”. The two chief names of Ramesses III are given in cartouches: Lord of the Two Lands, Usermaatre Meryamun (Strong is the Maat of Re, beloved of Amun). Lord of Appearances Ramessu heqa Iunu (Ramesses, ruler of Heliopolis). Ramesses is shown presenting an address to Ptah and the holy family: “I tell the prayers, praises, adorations, laudations, mighty deeds, and benefactions, which I did for you in your presence, O Resi-inebef (South-of-His-Wall)”.

Reproduction Details Object type: Faience bowl Date: c. 1550-1292 BC. Period: Dynasty 18, New Kingdom Findspot: Chamber 949, Tomb Group 941-949 A’09, Abydos Dimensions: 150 mm x 45 mm Material: Faience Current location: Ancient Egypt Gallery, World Museum Liverpool Inventory number: 1977.109.1 Reproduction of a blue faience bowl with a marsh scene with water, fish and plant motifs that symbolise the themes of fertility, rebirth, and regeneration. It was found with a large group of vessels in a tomb in Abydos dating to Dynasty 18, c. 1550-1292 BC. Faience was made from moulded silica which was glazed with copper colourants and fired to create vessels and amulets. During the early to mid-Dynasty 18, faience ‘Marsh Bowls’ became fashionable, featuring painted decoration of aquatic scenes of fish, animals and plant life seen along the Nile. These motifs symbolise the themes of fertility, rebirth, and regeneration common to ancient Egyptian art. On this bowl, the painted design features open blue lotus flowers (Nymphaea caerulea), lotus buds and papyrus flowers, whilst the underside is decorated as a flower with petals. The lotus flower was used in art to represent the idea of regeneration as lotus flowers can be observed opening in the morning and closing at night, which the ancient Egyptians associated with the sun god's rebirth every morning. The sides of the bowl carry a swirling, water-like pattern representing the Nile and swimming between the stems of the marsh plants are four tilapia fish with lotus buds in their mouths. Tilapia (Tilapia nilotica) were used since Predynastic times to symbolise the concepts of rebirth and regeneration, possibly because of the unusual behaviours the fish had. Tilapia fish protect their newly hatched young by taking them into their mouths for shelter whilst they grow, so that the young fish appear to emerge from the parent's mouth as though newly born. This spontaneous creation was linked with the god Atum, whose own act of spontaneous generation initiated the creation of the Egyptian universe. Related Objects There are numerous examples of faience marsh bowls with similar decorations in museums across the world. Marsh-Bowl of Hatnefer, ca. 1492–1473 B.C. Met Museum #36.3.8 Marsh-Bowl of Rennefer, ca. 1504–1447 B.C., Met Museum #35.3.77 Marsh Bowl of Teti, ca. 1550–1458 B.C., Met Museum #26.7.905 Bowl with Fish and Lotuses, ca. 1550-1400 BC, The Walters Art Museum #48.400

Reproduction Details Object Type: Painted bas relief Date: c. 1197-1191 BC Period: Dynasty 19, New Kingdom Findspot: Tomb of Siptah (KV47), Valley of the Kings, second corridor Print Reference: DP80A KV47 is the burial place of pharaoh Siptah Akhenre Setepenre, who ruled c. 1197-1191 BC during Dynasty 19. As with most tombs in the Valley of the Kings, it was largely unfinished and undecorated when the king died, but the outer corridors were plastered and decorated to a high standard. Filling the southern end of the second corridor is a scene illustrating the words of Chapter 151 of the Book of the Dead, spoken by the gods and goddesses that reside within the embalming tent to the mummy of the deceased pharoah. At the centre is the jackal-headed Anubis acting as the divine embalmer, standing over a lion-headed couch supporting the mummy of the deceased pharoah. At the head and foot of the mummy kneel the sister goddesses Isis and Nephthys, who rest their hands on the ‘shen’ emblem of eternity. Anubis Anubis was the god of embalming and the protector of mummies during the dangerous transition between death and rebirth in the afterlife. He appears throughout the Book of the Dead at key points, reanimating the mummy in the Opening of the Mouth ceremony, and guiding them to the hall of judgement for the Weighing of the Heart. Anubis is typically portrayed either as a black jackal or a jackal-headed man wearing the feather costume of the gods, as in this scene. The ancient Egyptians associated the jackal with death as the creatures inhabited the areas at the edges of the desert where they buried their dead, and were thought to be guarding the tombs. The Place Of Embalming In the hieroglyphs, Anubis is given the epithet inpw imy-wt or “Anubis, who is in the wt”, often translated to mean “Anubis, who is in the place of embalming”. This was typically a tent known as an ibu which was where the mummification of the dead took place, the internal organs removed, skin preserved and the body wrapped in bandages. In the real world, the mummification process was presided over by priests wearing Anubis masks or symbols, who would speak the spells from the book of the Dead to prepare the mummy for rebirth in the afterlife. They would also call on the protective powers of the sister goddess Isis and Nephthys, and the Four Sons of Horus, who each guarded an organ and its corresponding canopic jar. At each corner of the tent, they would place a protective figure inserted into a mud brick, including a shabti figure, djed-pillar amulet, torch, and Anubis jackal. Goddess Isis Isis was a goddess of women, motherhood, fertility, and royal power. She was the sister of Nephthys and Seth and the sister-wife of Osiris and the mother to Horus. Isis played an important role in the resurrection of Osiris after his murder at the hands of Seth and was believed to protect the dead with her husband in the afterlife. Upon her head is the symbol of her name which is the hieroglyph for a throne. Goddess Nephthys Nephthys was a funerary goddess associated with mourning, the night and magic. To Egyptians her name was Nebet-Het, which meant “the Mistress of the House”, and she wears the hieroglyphic sign of her name on her head, formed of a basket on top of a plan of an estate. She was the sister of Isis and Osiris, the sister-wife of Seth and mother to Anubis. The Mummy of Siptah On the lion-headed couch between the goddess and before Anubis is the mummy of pharoah Siptah, shown bound in white bandages with red bands and a mummy mask over his head and neck. He is shown with a slightly curved divine beard, an attribute that associates the mummy with the god and first mummy, Osiris. Translation The hieroglyphs contain parts of Chapter 151 of the Book of the Dead. In the tomb, the 8 columns of hieroglyphs are designed to be read from right to left, starting at the top of each column. The image above shows the full passage as one piece, flipped into left-right orientation. The translation and completion of the missing hieroglyphics were suggested by the scribes at r/AncientEgpytian, and show the original artist made mistakes when they copied the text onto the wall (shown in {brackets}). Dd-mdw in inpw imy-wt xnty-sH-nTr di.n(=i) n=f a a.wy.f(y) Hr nb anx Hr nfr nTr {n} [ir]t=k wnmy (m) msktt ir.t=k iAbt m manDt No two versions of Chapter 151 are identical, but you can read a summarised version based on manuscripts from the New Kingdom. In this, both Isis and Nephthys also speak to the deceased: “Words spoken by Isis: I have come as your protection, I have driven breath to your nostril the north wind that comes from Atum I have gathered your neck for you, I have caused you to exist as a god Your enemies are under your sandals, your voice is made true in the sky before Re Mighty among gods, joined in the knot to make you go the way of Horus true of voice.” “Words spoken by Nephthys: I have circled my brother Osiris I have come to be your protection My protection is behind you, behind you, eternally your summons is heard by Re, your voice made true by the gods Your justification is raised after what was done against you Ptah has felled your enemies You are Horus son of Hathor There is decreed action against your wrongdoer Your head is not to be taken from you for eternity.” In the wider scene in the tomb shown above, the Four Sons of Horus, are also present in the embalming tent, fulfilling their duty as protectors of the soft internal organs in the canopic jars. “Words spoken by Qebehsenuef: I am your son, Osiris, I have come to be your protection I have united your bones for you, I have assembled your limbs for you I have brought you your heart, and placed it for you at its place in your body I have strengthened your house after you, as you live, eternally.” “Words spoken by Hapi: I have come to be your protection I have bound your head and your limbs for you I have smitten you enemies beneath you for you, and given you your head, eternally.” “Words spoken by Duamutef: I am your son, Osiris, I am your son Horus, your beloved I have come to rescue my father Osiris from his assailant I place him under your legs, eternally.” “Words spoken by Imseti: I am your son, Osiris, I have come to be your protection I have strengthened your house enduringly As Ptah decreed in accordance with what Re himself decrees.” Further Reading The Complete Gods and Goddesses of Ancient Egypt by Richard Wilkinson (2003) Book of the Dead Chapter 151 by Barbara Luscher Siptah, Theban Mapping Project The Litany of Re by Linda Kimmel (2022) The tomb of Siphtah 4 the monkey tomb and the gold tomb (1908) Tomb of Siptah (KV47) on Wikipedia

Reproduction Details Object Type: Bas relief Date: c. 1380-1360 BC Period: Dynasty 18, New Kingdom Findspot: Tomb of Ramose (TT55), Valley of the Nobles Print Reference: DP88A Ramose was an ancient Egyptian nobleman who held the title of "Governor of Thebes and Vizier" during the transition from the reign of Amenhotep III to Akhenaten, c. 1380-1360 BC. His richly decorated tomb (TT55) is located in the Valley of the Nobles (also known as the Valley of the Workers), on the west bank of the Nile near modern-day Luxor. This necropolis contains the tombs of various officials, administrators, and other prominent individuals from the New Kingdom period. The walls of TT55 are adorned with some of the finest decoration executed in ancient Egypt, with beautiful wall paintings and reliefs that depict scenes from Ramose's life. In the entrance hallway, on the east wall, is this famous scene depicting guests attending his wedding to his brother's daughter Meryt-Ptah. The scene is carved with very fine detail on limestone and was left uncoloured except for the eyes of the figures. The Guests The high-status guests are all seated in couples upon cushions on lion-footed chairs. They wear fine linen clothes and elaborate wigs suitable for the important occasion. The guests are named in a hieroglyphic inscription which I have not reproduced in my drawing. These can be seen in photos of the monument as it currently appears. From left to right they are: Keshy, Overseer of the Hunters of Amun Keshy wears an intricate wig on his head and is clothed in linen so fine some parts of it are sheer. In his left hand, he holds a handkerchief, which resembles the folded cloth hieroglyph. This seems to be an insignia of social status as it is only found in the hands of the king and high officials, but almost never in the hands of women. Unnamed man Behind Keshy is an unnamed man, whose wig is subtly different to Keshy’s. In his left hand he holds a bundle of lotus flowers, intended as an offering to Ramose and his bride. May, Overseer of the Horses In the centre sits May being embraced by his wife Werel. Like Keshy and the unnamed man, he wears a wig and fine clothes. It is interesting to note that the eye makeup and shape of May’s face, chin and lips are more characteristic of the Amarna art style, especially when compared to the other figures. The missing hieroglyphs describe May as: “…the overseer of the horses of the lord of the Two Lands, royal messenger throughout all foreign lands, excellent, confidant, of the sovereign, whose favour lasts with the lord of the Two Lands, May, justified.” Werel, Mistress of Isheru Embracing May is his wife Werel or Werener, whose youthful beauty is conveyed by her voluminous wig, sensual eye makeup and exposed breasts. The missing hieroglyphs named her the Mistress of Isheru, the sacred lake in the Temple of Mut in Karnak. As with May, her eye makeup is distinctly Amarna-style. “… (May’s) beloved wife, favourite of Mut, the mistress of Isheru, the mistress of the house, Werel, justified.” Neby, Overseer of the Cattle of Amun Ramose’s father Neby is seated with his mother Ipuya. In his hands, he holds a white handkerchief marking his high status. He too wears an elaborate wig and is the only man to have a small beard. The only paint on the original carving was the black of Neby’s eyes, which was not done in the Amarna style used for the other two couples. The missing hieroglyphs give Neby’s full titles: “…the overseer of the cattle of Amun and the overseer of the double granary of Amun in the provinces which are in the northern Delta, the scribe, Neby, justified before the great god.” Ipuya, Mistress of the House Embracing Neby is his wife Ipuya, who is depicted differently to the other woman in the scene, Werel. Ipuya has the straight wig usually shown on goddesses and doesn’t have flowers in the garland on her forehead. These two artistic devices are often used to show that someone is already deceased when the depiction of them was made. This is confirmed by the hieroglyphics which name her and compare her to the god of the underworld, Osiris: “…(Neby’s) beloved wife, praised by Hathor, the mistress of the house, Ipuya, justified, possessor of the revered state by Osiris."

Over December, I decided to have a little fun and create an advent calendar focusing on symbols of celebration in ancient Egyptian art. Each day I shared a different symbol and showed how it was used in different types of art to mark feasts, ceremonies and celebrations. Jump to... Perfume Cone Sistrum Floral Collar Basket of Fruit Gold Plucked Goose Board Games Wine Dancing Fine Linen Bread Lotus Flower Meat Wigs Music Beer Mandrake Fruit Singing Makeup Jewellery Fish Bouquets Family Gifts Feasting Perfume Cone This intriguing cone is no ordinary decoration—it's a representation of perfume! Crafted from wax or fat and infused with myrrh, frankincense, and other aromatic oils, these perfume cones were often seen adorning the heads or held in hands during special events. As the cone gradually melted, it released a fragrant symphony, believed by the ancient Egyptians to be pleasing to the gods and possessing purifying and protective qualities. There is plenty of artistic evidence supporting the existence of perfume cones in ancient Egypt but relatively few archaeological finds. Fragrant substances, including those possibly used in the form of perfume cones, were found in the tomb of Tutankhamun. Fragrance cones have also been found in the temple complex of Hatshepsut at Deir el-Bahari, Gurob in the Faiyum region and the ancient city of Akhetaten (Amarna), built by Akhenaten. 📷This image comes from the 18th Dynasty tomb chapel of Nebamun, originally in the Theban Necropolis and now in the British Museum EA37981. Sistrum A sistrum is a musical instrument consisting of a handle and a U-shaped frame with metal rods or loops strung across it. The metal components create a jingling sound when the instrument is shaken, and this distinctive sound was believed to have the power to ward off evil spirits and bring about the favour of the gods. It was commonly associated with the worship of goddesses, particularly Hathor, the goddess of music, dance, and fertility. Numerous wall paintings, reliefs, and sculptures from ancient Egyptian temples and tombs depict individuals, both men and women, holding and playing the sistrum. Archaeological excavations have unearthed sistrums among the artefacts buried in tombs, with a notable example found in the tomb of Tutankhamun. 📷 This image comes from a fragmentary painting from a tomb in Deir el-Medina dating to c. 1250-1200 BC (New Kingdom), now in the collection of The Walters Art Museum (museum number 32.9). Floral Collar Floral collars were worn by priests, priestesses, and individuals participating in religious ceremonies to invoke divine favour and symbolise purity. Different flowers held specific symbolic meanings. For example, the lotus flower, which often appeared in these collars, symbolised rebirth, and the sun's journey across the sky. Other flowers, such as the blue water lily, had associations with the afterlife and resurrection. Floral collars were frequently included in burial attire and tomb offerings and featured in religious rituals and offerings to the gods. While real flowers were used for temporary collars in certain ceremonies, more permanent versions were created using more durable materials like faience, precious metals, and gemstones. 📷 This image comes from the tomb of Djeserkareseneb (TT38) in Sheikh Abd el-Qurna dating to dynasty 18 of the New Kingdom. Basket of Fruit Baskets of fruit symbolise abundance, fertility, and prosperity and each variety of fruit carries its own symbolic and cultural significance. The representation of a plentiful harvest or a bountiful supply of fruit conveys the idea of wealth and well-being in ancient Egyptian society. In religious scenes, baskets of fruit are often presented as offerings to the gods as a symbol of gratitude and reverence. The gods were thought to be pleased by these offerings, and it was a way for individuals to seek favour or blessings. In ancient Egyptian art, a variety of fruits are depicted including grapes, pomegranates, figs, dates, sycamore figs, dom palm nuts (eaten raw or steeped to make juice), nabk berries and mimusops. They are shown in baskets, platters or as piles on offering tables in scenes of everyday life and religious ceremonies. Whilst species can be inferred from the artistic depictions, we also have real examples of fruit preserved in tombs due to their dry, stable climates. 📷 This image comes from a painting in the Tomb of Menna (TT 69), located in Sheikh Abd el-Qurna, part of the Theban Necropolis. It is the burial place of the ancient Egyptian official named Menna, whose titles included ‘Overseer of Fields of Amun’ and dates to the reign of Tuthmosis IV and Amenhotep III in Dynasty 18. Gold Gold was highly valued and extensively depicted in ancient Egyptian art. It was a symbol of wealth, prestige, and status; the more gold a person possessed, the higher their perceived status in society was. It could be used for trade, craftsmanship, or as a form of currency and was often given by kings as rewards to their subjects. On a spiritual level, gold was considered to be the "flesh of the gods" and the use of this precious metal in religious art and artefacts was a way to honour and emulate the divine. Its incorruptibility and everlasting brilliance linked it to the concept of immortality, and it was used in funerary contexts to create burial masks, coffins and objects to symbolise the eternal nature of the soul. 📷 This image comes from a relief on display at Rijksmuseum (museum number: H.III.PPPP), taken from the non-royal tomb of Horemheb in Saqqara dating to c. 1321-1293 BC. It portrays Horemheb, the commander of armies during Tutankhamun's reign, receiving gold neck rings and gifts from the royal family in Akhetaten (Amarna). Plucked Goose Geese were domesticated in ancient Egypt primarily for their meat, eggs, and feathers. They were a valuable food source, and scenes of geese being raised and prepared for consumption are common in Egyptian art. Scenes of plucked geese were commonly found in depictions of feasts and celebrations and were likely a delicacy served during special occasions and festivals. Geese, both alive and plucked, were included in the food offerings made to the gods as a gesture of gratitude and to ensure divine favour and protection. In one version of the ancient Egyptian creation myth, it was believed that a goose called Ngg wr ‘The Great Honker/Cackler’ fathered the primordial egg from which the sun was ‘hatched’. 📷 This image shows a servant preparing and plucking geese for consumption. It comes from the walls of the Tomb of Nakht and his wife Tawy (TT52) in Sheikh Abd el-Qurna in the Theban Necropolis. This is the burial place of an ancient Egyptian official who held the position of a scribe and astronomer of Amun and dates to the reign of Tuthmosis IV and Amenhotep III in c. 1400-1352 BC (Dynasty 18). Board Games The three most popular board games played in ancient Egypt were Senet, Mehen and Hounds and Jackals. They were played for entertainment by people of all classes but also held symbolic associations with religious beliefs and the afterlife. Senet in particular was thought to mirror the challenges and progress of the soul in the afterlife. Gaming boards and pieces were often placed in tombs, and scenes depicting individuals playing them can be found in tomb paintings. Some notable examples of gaming boards, gaming pieces and knuckle bones (used as dice) have been found in tombs, but no comprehensive set of rules has been discovered. They are all assumed to involve a combination of strategy and luck. 📷 This image shows a man called Sennedjem sitting before a table holding a Senet gaming board, with his wife Iyneferti beside him. It is part of a door which comes from Sennedjem’s tomb (TT1) in Deir al-Medina, dating to Ramesses II's reign (c. 1279-1212 BC, Dynasty 19), and now resides in the Egyptian Museum in Cairo (museum number JE 27303). Wine Wine was considered a luxury item in ancient Egypt and the ability to produce and consume wine was linked to wealth and affluence. In art, it frequently appears in festival scenes, either being made, drunk or stored in tall pottery jars. As well as being used to enhance the enjoyment of special events, wine also played a role in religious ceremonies and rituals, where it was often offered as a libation (a liquid offering) to the deities. Wine, like other offerings, had a place in funerary rituals. The fermentation process, which turned grapes into wine, represented a transformative process and this was sometimes associated with religious beliefs about life, death, and rebirth. It was presented as an offering to the deceased in tombs, symbolising sustenance, and provisions for the afterlife. The deceased were believed to continue their existence in the afterlife, and offerings like wine were intended to ensure their ongoing well-being. 📷 This image shows the stages of wine production, from picking the grapes from the vines and crushing them underfoot to release the juices, to putting them into pottery jars and making records of the vintage. It can be found on the walls of a tomb in the Theban Necropolis belonging to a royal scribe called Userhat and his wife Mutnefret (TT56), who lived during the reign of Amenhotep II in Dynasty 18. Dancing Dance held profound significance in ancient Egyptian culture. Dance groups were a common sight at dinner parties, banquets, and within the sacred halls of religious temples. Professional ensembles, comprising singers (ḥsı͗t), musicians (ḥnı͗t or ḥnwt), and dancers (ḥbw), often performed at important festivals and funerary services. Wealthy harems even trained women in music and dance, with performances accompanied by male musicians playing instruments like guitars, lyres, and harps. As it was considered inappropriate for the well-bred to dance publicly—an activity reserved for the lower classes—the wealthy elite employed slaves to provide entertainment at their gatherings. In artistic representations, these dancers are depicted in naturalistic and lively poses, adorned with nothing more than belts and jewellery, contrasting with the more restrained and dignified postures of their affluent spectators. 📷 A group of girls are performing to the accompaniment of clapping and finger-snapping during a festival dance in honour of the goddess of music and dancing, Hathor. It comes from a fragment of a wall painting from the Tomb of the Dancers (Tomb A.2) in Dra Abu el-Naga in Thebes dating c. 1630-1540 BC (Dynasty 17). The fragment is now in the Ashmolean Museum, Oxford. Fine Linen Linen was a light, breathable fabric woven from the fibres of the flax plant, and it held cultural importance in ancient Egypt. The process of producing linen involved several labour-intensive steps, including planting, harvesting, retting, spinning, and weaving. The resulting fabric was highly valued, and wearing linen represented wealth, cultural pride and sophistication. Fine linen was associated with purity and cleanliness, making it suitable for depictions of individuals involved in religious rituals or interactions with deities. Priests, for example, were often shown wearing fine linen during special occasions, ceremonies, and rituals. Over time, the portrayal of elite individuals in fine linen became a stylistic norm in ancient Egyptian art, associating them with not only wealth but also religious piety. 📷 The lavishly dressed noblewoman Tjepu wearing a semi-transparent, fringed linen dress consisting of a white diaphanous shawl over an undergarment which leaves one breast bare. At the age of 40, she was immortalised as eternally youthful on the walls of the tomb of her son Nebamun and a man named Ipuky in Thebes dating to the reign of Amenhotep III in c. 1390-1353 BC. Now in the Brooklyn Museum (accession number 65.197). Bread Scenes of bread production, baking, and consumption were common in depictions of daily life and reflected the importance of bread in everyday existence. Depictions of abundant food offerings were used to convey affluence and well-being, and feasts and religious celebrations also included the presence of bread, emphasising its role in communal and celebratory gatherings. Bread was associated with the goddess Isis, who was connected to fertility and motherhood and bread offerings were made in religious ceremonies and rituals dedicated to various deities. Scenes of offering bread were often depicted in tomb paintings and burial contexts and symbolised provisions for the afterlife, ensuring that the departed soul had sustenance on its journey. 📷 Tia, the nurse of the Akhenaten’s daughter Ankhesenpaaten, holding small loaves of bread to the young princess before her. It probably comes from Akhetaten (Amarna) and dates to c. 1353–1336 BC. It can now be found in the Metropolitan Museum, New York (Accession Number: 1985.328.5). Lotus Flower Lotus flowers were commonly featured in religious rituals and offered as gifts to deities in temples and tombs. Shown as buds and flowers held in bunches or worn on headdresses by festivalgoers during celebrations, they were also believed to possess healing properties. Fragrances extracted from lotus flowers were used in various cosmetic and ritualistic practices. Lotus flowers, typically found in aquatic environments like ponds and slow-moving water, can emerge from the mud and bloom into beautiful and pristine flowers. This characteristic made them powerful symbols of rebirth, regeneration, and the cyclical nature of life in ancient Egypt. The blue lotus (Nymphaea caerulea) was associated with the primordial waters of Nun, the source of all creation. The lotus rising from these waters symbolised the emergence of life and the birth of the world. The lotus is also the symbol of the god Nefertem, embodying concepts of beauty and perfume. 📷 Ani in a lotus flower collar and his wife Tutu with a lotus flower headband, bouquet and headdress present offerings to the gods. This image comes from the Book of the Dead of Ani, dating from c. 1250 BC, now in the British Museum (museum number EA10470,36). Meat Representations of legs of meat was often associated with scenes of feasting, banquets, and celebrations in ancient Egyptian art. Depicting abundant and lavish food items, including meat, conveyed a sense of wealth, prosperity, and well-being. Meat, being a significant source of protein and sustenance, symbolised life and nourishment. Scenes showing the consumption of meat, especially during feasts and celebrations, reinforced the idea of abundance and the importance of food in sustaining life. Legs of meat, along with other food items, were included in funerary practices. In tombs and burial sites, scenes often depicted offerings of food to ensure the deceased had provisions for the afterlife. The inclusion of meat symbolised the continuity of sustenance in the afterworld. In religious art, scenes often depicted priests or individuals presenting various food items, including meat, as offerings to deities. These offerings were believed to please the gods and ensure their favour. 📷 An unnamed man is offering a leg of meat to the colossal figure of Abkaou, Director of Horned Animals. This image comes from the Stele of Abkaou, found in Abydos and dating to c. 2033-1963 BC (late Dynasty 11). It is now on display in room 636 of the Louvre Museum in Paris (accession number N 169). Wigs Wigs were a significant part of ancient Egyptian fashion. They came in various styles and lengths, and individuals could choose wigs based on personal preference or societal trends. Wigs were considered fashionable accessories and were used to signify social status, with the type of wig worn often indicating an individual's position in society. High-ranking officials and the elite class would wear elaborate and sophisticated wigs to demonstrate their wealth and standing. Wigs were also worn during religious ceremonies and rituals. They were considered essential in maintaining purity and cleanliness, which were important aspects of religious practices. They were often depicted in funerary scenes and were buried with individuals to ensure a proper appearance in the afterlife. The wig symbolised continuity and completeness in the afterworld. 📷 This limestone relief shows a man at some sort of celebration, wearing an elaborate wig and lotus flower headdress and fine linen garments typical of the Late Period. It probably comes from a tomb in Saqqara dating to the Amarna period and is now on display in the Brooklyn Museum (Accession Number 36.261). Music Celebratory feasts, festivals and funerary services often included entertainment in the form of professional musicians known as ḥnı͗t or ḥnwt, who accompanied singers (ḥsı͗t) and dancers (ḥbw). They played three different types of instruments including stringed instruments like harps and lyres, wind instruments like flutes and double-reeded pipes, and percussion instruments like drums, tambourines, and rattles. Music was an integral part of religious rituals and ceremonies and was believed to have a powerful impact on the spiritual realm. Musicians played during temple ceremonies, and specific hymns and songs were composed for religious occasions. Unfortunately, there is no preserved musical notation from ancient Egypt, so the exact melodies and compositions are unknown. However, scenes in tombs and temples depict musicians and provide clues about the instruments and settings. 📷 Two women from a group of musicians play a harp and a lute during a feast. This image comes from the Tomb of Rekhmire (TT100) at Abd el-Qurna in the Theban necropolis. Beer Beer was a common feature at communal celebrations, such as feasts, banquets, and festivals. These occasions often involved consuming food and drink, including beer, to foster a sense of community and shared joy. Scenes featuring abundant food and drink, including beer, were often used to convey affluence and well-being. Beer was frequently presented as an offering to deities in religious ceremonies and rituals. It played a role in religious libations, where liquid offerings were made to honour and seek favour from the gods. Beer offerings were part of the rituals performed in temples and tombs. Making offerings to the dead was a way for the living to maintain a connection with the deceased and provide for their needs in the afterlife. Beer, being a common and valued beverage in ancient Egyptian society, held significance in these funerary practices. 📷 King Intef II presents a bowl of beer and a jug of milk to the god Ra and the goddess Hathor. This image comes from a funerary stela found at El Tarif in Thebes and dates to Dynasty 11, c. 2108–2059 BC. It is now on display in the Metropolitan Museum of Art 13.182.3. Mandrake Fruit Traditionally found around the northern and eastern part of the Mediterranean, the mandrake was imported into Egypt during Dynasty 18 and cultivated in the gardens of elite members of society. In feasting scenes, they are often shown being offered up to the mouth of a guest by another person. Despite its toxicity, the fruits were consumed and used in potions for their hallucinogenic and aphrodisiac effects. The ancient Egyptians associated the mandrake fruit with love and desire, using it as a symbol of sexuality in love poetry. Both the plant and its yellow fruits quickly became prominent in art after their introduction. They adorned objects like cosmetic spoons, mummy masks, coffins, pottery, and floral collars. Painted representations of gardens on palace, tomb, and temple walls also featured mandrake fruits. Notably, mandrake fruits formed part of a garland found on the mummy of Tutankhamun and appeared in the floral garlands around his neck on decorated furniture. 📷 A finely dressed woman offers a mandrake fruit to another female guest at a feast. This image comes from a wall painting from the Tomb Chapel of Nebamun located somewhere in the Theban Necropolis, and now on display in the British Museum (accession number EA37986). Singing The ancient Egyptians enjoyed music in their daily lives, and scenes of people singing and playing musical instruments can be found in depictions of feasts and social gatherings of all classes. In art, figures engaged in singing are often shown with specific gestures and postures. The facial expressions and body language of the singers may convey the emotional aspect of the performance. The mouth may be open to represent vocalisation, and the position of the hands and body may suggest the act of singing or holding a musical instrument. In some cases, scenes include inscriptions or hieroglyphs that represent the lyrics or hymns being sung. Professional singers were trained in the art of music and would perform at important events, including royal banquets, celebrations, and religious festivals. Temples had singers who performed hymns and chants dedicated to specific deities. The music and lyrics were believed to invoke the presence of the gods and create a sacred atmosphere. Singing was also an integral part of funerary practices. During funeral processions and ceremonies, mourners would sing hymns and perform rituals to honour the deceased. The belief was that the soul of the departed needed guidance in the afterlife, and music and singing were thought to provide spiritual support. 📷 Two women in fine linen and floral collars sing and clap their hands. This image comes from a wall painting in the Tomb of Nebseni dating to Dynasty 18, c. 1422-1411 BC. Makeup Cosmetics served practical purposes such as protection from the environment, the sun’s harsh glare and biting insects. The idealised beauty standards of the time for emphasised clear, smooth skin, and the use of cosmetics was seen as a way to achieve this aesthetic. Black kohl was used to outline the eyes and eyebrows, whilst oils and perfumes were applied to the body for fragrance. Henna was used to dye hair and nails, and pigments and powders were used for lip colour and to enhance facial features. The application of makeup, especially around the eyes, was seen as a way to emulate the gods, who were always depicted with distinctive dark, outlined eyes. The act of applying makeup, especially for important religious ceremonies and rituals, was seen as a transformative and spiritually significant process. This linked makeup to religious devotion and a desire to connect with the divine realm. It was seen as so vital to daily life that individuals were often buried with cosmetic items so they could retain access to them in the afterlife. 📷 Queen Nefertari, Great Wife of Ramesses II, is depicted wearing elaborate black kohl eye makeup. This image comes from a wall painting from the Tomb of Nefertari (QV66) in the Valley of the Queens dating to Dynasty 19. Jewellery Wearing jewellery was part of the cultural traditions and norms of ancient Egyptian society. It was a way for individuals to express themselves, showcase their identity, and adhere to the prevailing fashions. A wide variety of jewellery was worn, including necklaces, bracelets, anklets, earrings, earplugs, rings, headgear, amulets, pectorals and toe-rings. Jewellery, particularly gold and precious gemstones, symbolised wealth, and social status, so the more elaborate and valuable the jewellery, the higher the perceived status of the individual. Jewellery played a role in religious rituals and ceremonies. It was common to present offerings of jewellery to deities in temples, and religious leaders often wore specific jewellery items during ceremonies. Amulets were worn for protection and were often depicted in funerary contexts to safeguard the deceased in the afterlife. Individuals were often buried with their jewellery, and depictions of the deceased in tombs showcased the jewellery they would carry into the afterlife. It symbolised continuity and provision in the journey beyond. 📷 A man wears an elaborate beaded collar and amulet in the shape of a heart around his neck. This image comes from a wall relief from the Tomb of Ramose (TT55) from the Valley of the Nobles, dating to the reigns of Amenhotep III and Akhenaten in c. 1380-1360 BC (Dynasty 18). Fish The Nile River, a lifeline for ancient Egypt, teemed with various fish species like perch, tilapia, catfish, and mullet. Fishing provided a readily available and sustainable food source with a high nutritional value, and fish was a significant part of everyone’s diet. Festivals and special occasions often involved elaborate feasts, where fish were a prominent feature on the menu. Their inclusion symbolised not only the material prosperity of the community but also added a special touch to joyous gatherings. Like many other elements of daily life, Fish held symbolic importance, aligning with the themes of joy and rejuvenation during festivals. They were associated with fertility and abundance, reflecting the cyclical renewal of life linked to the annual flooding of the Nile. During festive occasions, presenting fish as offerings to the gods became a ritualistic practice. This gesture conveyed gratitude, abundance, and the community's desire for divine favour and protection during important events. Offerings of fish were made to deities in temples, and their consumption was part of religious ceremonies. Medjed (an elephantfish) were worshipped at Oxyrhynchus and associated with the goddess Hathor, the Nile perch with the goddess Neith, and the tilapia with the sun god Ra. There was even a goddess called Hatmehit (literally translated as "Foremost of Fish") from the Delta city of Djedet who was depicted in the form of a fish, or a woman with a fish headdress. 📷 A porter carries a freshly caught batch of fish, as depicted on the walls of a Dynasty 19 tomb. Tomb of Menna (TT69) in Sheikh Abd el-Qurna, part of the Theban Necropolis. Bouquets In the vibrant tapestry of ancient Egyptian art, the depiction of people holding bouquets of flowers is a captivating motif laden with symbolic significance. These floral arrangements, often composed of sacred blooms like lotus blossoms, transcended mere aesthetic beauty. Flowers, with their cyclical blooming and withering, symbolised the profound cycle of life, death, and regeneration. These bouquets were used in art to convey the enduring hope for life's continuity and regeneration, as well as to celebrate the abundance and beauty of nature. Flowers symbolised a variety of concepts: The Blue Water Lily was linked to the afterlife and resurrection, due to its habit of opening with sunrise and closing with nightfall. Papyrus Flowers were associated with Lower Egypt and symbolised the marshy regions along the Nile. It often represented the unification of Upper and Lower Egypt. Cornflowers represented rejuvenation and were associated with the goddess Hathor and its bright blue colour symbolised the sky and heavens. Date Palm Blossom symbolised fertility, abundance, and victory and is often used in art to convey the idea of a bountiful harvest and prosperity. Mimosa are known for their fragrant flowers, and it was often used in decorative contexts to symbolise delicate beauty and grace. 📷 A woman in a flowing white linen robe is presenting someone with flowers in one hand and clasping a bouquet in her other. This relief dating to Dynasty 18 is usually referred to as “a walk in the garden” and depicts an unknown pharaoh from the Amarna period and his queen. It is now in the Neues Museum number 15000. Family The family was a central unit in ancient Egyptian society, and one's identity was closely tied to their familial connections, so we often see individuals surrounded by family members in art. They believed family was not just a social structure but a divine institution, reflecting the cosmic order known as Maat which maintained stability and harmony in the world. The virtues of love, respect, and support within the family unit were seen as aligning with the principles of Maat, whereas any disruption or imbalance within the family was perceived as a deviation from Maat. The depiction of familial scenes in art during celebrations and daily life was a manifestation of their understanding that a harmonious family life played a crucial role in upholding Maat on a larger scale. Festivals and special occasions were times of joy and celebration in ancient Egyptian society and scenes of celebration conveyed the positive and joyful aspects of communal life. In tomb art, these depictions not only celebrated the relationships and shared experiences of the deceased during their earthly life but also emphasised the importance of family unity in the afterlife. Scenes of family gatherings conveyed the hope for a blissful and connected existence in the realm beyond. 📷 Inherkhau reaches out to touch the hair of one of his children whilst his wife Wabet embraces him by the shoulders. This image comes from the Tomb of Inherkhau (TT359) in Deir el-Medina. It is the burial place of a Foreman who worked on royal building projects during the reigns of Ramesses III and Ramesses IV in Dynasty 19. Gifts During festivals and special occasions, gift-giving was a customary practice. People exchanged gifts as a gesture of goodwill and to strengthen social bonds. It was not only about the material value of the gift but also about the symbolic gesture and the act of giving itself. These gifts could range from simple items to more elaborate and valuable ones, depending on the occasion and the individuals involved. Items exchanged as gifts included jewellery made of precious metals and gemstones, fine linen and other quality fabrics, clothing, and decorative items with aesthetic value, such as statuettes, figurines, or decorative pottery. Gift-giving was an integral part of religious practices. Individuals often presented offerings to deities in temples, including food, beverages, and other valuable items. Fragrant substances such as incense and perfumes were also offered to the gods and the pleasant scents were believed to attract and appease divine entities. These offerings were a way of seeking favour, protection, or blessings from the gods. Gifts were also given to the dead as part of the funerary practices, with offerings placed in tombs to accompany the deceased in the afterlife. These included representations of tools, utensils, and other daily-life items made from clay or wood, personal items belongings to the deceased, such as jewellery, cosmetics, and clothing as well as figurines known as ushabtis that would act as servants. These offerings were considered essential for ensuring the well-being of the departed soul in the afterlife. 📷 A funeral procession of servants carrying items to the burial chamber. This image comes from a wall relief from the Tomb of Ramose (TT55) from the Valley of the Nobles, dating to the reigns of Amenhotep III and Akhenaten in c. 1380-1360 BC (Dynasty 18). Feasting Feasting scenes were a vibrant element in ancient Egyptian art, symbolising joy, abundance, and communal celebration. These depictions, found in temples, tombs, and artefacts, showcased the importance of shared meals in their culture. Banquets were not just about indulging in delicious food; they were a representation of social cohesion, prosperity, and divine blessings. The act of feasting was intertwined with religious and symbolic significance, often associated with offerings to deities and expressions of gratitude. The scenes weren't just about physical sustenance but also nourishing the spirit through the bonds of community and the divine. Over the past 25 days, we’ve explored how artists captured these festive moments with meticulous detail, portraying well-dressed people enjoying elaborate meals, whilst musicians, singers, and dancers perform for them. In these scenes, we see tables containing a wide-ranging menu of treats, including meat, fruit, bread, and cakes as well as jugs of wine and beer to drink. The guests wear fine linen, are anointed with sweet-smelling perfume, and wear elaborate makeup, jewellery, wigs, and floral collars. 📷 A servant offers two women a silver bowl at a feast in the afterlife. This image comes from the Dynasty 18 tomb chapel of Nebamun, originally in the Theban Necropolis and now in the British Museum EA37981.

Details Object Type: Book of the Dead of Nestanebetisheru; Frame 87 Material: Papyrus Date: c. 950-930 BC Period: Dynasty 21-22, Reign of Psusennes II/Shoshenq I Findspot: Theban Tomb TT320, Deir el-Bahari, Egypt Dimensions: L: 93 cm x W: 47 cm (without frame) Current Location: British Museum, London Inventory Number: EA10554,87 Reproduction Number: DP91 Creation in Ancient Egypt This scene is a symbolic representation of the creation of the world, which occurred when the sky goddess Nut was raised aloft to form a heavenly canopy above the earth god Geb. The process of creation was closely linked in the minds of the Egyptians with the renewal of life for the dead, and this scene became a common one on papyri and coffins in Dynasty 21. In this depiction, Nut is supported by the god of the atmosphere, Shu, who is aided in his task by two ram-headed deities. Her elongated body arches over the reclining figure of Geb, with her feet touching the ground at the eastern horizon and her fingers at the western horizon. In funerary spells, Nut is often described as the mother of the creator sun god and by extension, mother to the deceased. She is depicted embracing them in the celestial netherworld and protecting them during their journey on the solar barque to join the ‘Imperishable Stars’ in the sky. Greenfield Papyrus This vignette comes from the Greenfield Papyrus, one of the longest and most beautifully illustrated copies of the Book of the Dead to have survived from ancient Egypt. It was made around 950-930 BC (Dynasty 21-22) for a woman named Nestanebetisheru, a priestess of high rank and daughter to the High Priest of Amun, Pinedjem II. Her mummy and some of her grave goods were discovered amongst the 50 royal mummies reburied in the Royal Cache found in the Theban necropolis (TT320).

Reproduction Details Object Type: Sarcophagus shrine (third shrine, interior door) Date: c. 1336-1327 BC Period: Dynasty 18, New Kingdom Findspot: Tomb of Tutankhamun (KV62), Valley of the Kings, West Thebes Material: Gilded cedar wood Inventory number: Carter object #238 Print Reference: DP08 This image of the ancient Egyptian goddess Isis with protective wings outstretched is based on a scene on the golden shrine of Tutankhamun dating to 1324 BC. The shrine was one of five nested structures made of gilded cedar wood which held the body of the dead king. On the inside of the doors at one end of the shrine stood the sister goddesses Isis and Nephthys, offering words of protection to aide Tutankhamun in his journey to the Afterlife. The Goddess Isis Isis is one of the oldest gods in the ancient Egyptian pantheon and was one of the main characters of the Osiris myth, in which she resurrects her slain husband, the divine king Osiris, and produces and protects his heir, Horus. She was believed to help the dead enter the afterlife as she had helped Osiris, and she was considered the divine mother of the pharaoh, who was likened to Horus. Isis wears a tight-fitting linen dress which bears her breasts as well as a floral collar and golden jewellery. Her black wig is held in place with a band and on top of her head sits the hieroglyph of a throne, representing her name. She is standing upon the Middle Egyptian hieroglyph ‘nebu’, a collar with beads hanging from it, meaning ‘gold’. In ancient Egyptian symbolism gold was considered an indestructible metal of heavenly origin and the flesh of the gods. It is an important metal in the afterlife because it represented immortality. It is associated mostly with the sun god, Re, as its polished surface is often linked to the brilliance of the sun. Translation The hieroglyphics surrounding the goddess record her words of protection for the king within the shrine. The eight columns of text are read from left to right, top to bottom and say: Words spoken by Isis: You make the transformation in heaven like Re, you are born in the morning like him. You sail on high in the Evening Barque and join the followers of the Sun. You are forever enduring, and eternally, King of Upper and Lower Egypt, Lord of the Two Lands, Nebkheperure, Son of Re, Tutankhamun, like Re, every day. Geb, with his two arms, gives light to my face, you open my eyes, King of Upper and Lower Egypt, living on Truth, Nebkheperure, given life forever. Tutankhamun’s various names and titles are given in cartouches. The uppermost gives his throne name, Neb Khepuru Re meaning ‘Lord of the Forms of Ra’, and the lower gives his birth name Tut ankh Amun heqa Iunu shemai meaning ‘The living image of Amun, ruler of southern Heliopolis’. For more translations of the shrine’s inscriptions see The shrines of Tut-Ankh-Amon (1955) by Alexandre Piankoff. The Third Shrine Howard Carter’s notes about the golden shrines made in preparation for the complete publication of Tutankhamun's tomb have been digitised and made available by the Griffith Institute. Of shrine #238 that this scene comes from, he said: “The [third] shrine was fitted over so as to completely enclose the first innermost shrine (No. 239). It is constructed of wood, and its external and internal surfaces are entirely coated with gesso, and overlaid with a thin layer of gold laid on as gold leaf. Structurally, it takes the characteristic Egyptian shrine-form, since it has the customary shrine-roof with receding slopes towards the back, otherwise the essential parts of its crowning members and under-structure are precisely the same as those of the first innermost shrine. Its workmanship, however, taken as a whole, is the finer of the two, especially in the case of its overall decoration of incised figures and texts. Like the former shrine, it is of rectangular oblong shape. Its slightly elevated roof with curved front, receding slope towards the back, with vertical sides and end, rests upon an overhanging cavetto cornice. Beneath this crowning cornice is a plain roll moulding which is also carried down the external angles of the under-structure. These uppermost members of the entablature surmount a chief beam or frieze. The understructure consists of four corner posts, broad side and end panels, and a dado. The corner posts fulfil a double purpose, for while they form the styles of the side and end wall panels, they also act as the door posts of the front. The front of the shrine comprises, beneath the crowning cornice and roll moulding, a chief beam or over door frieze, two door posts, and a sill; to which are hung its folding doors… …The folding doors were bolted in similar manner as the doors of the first innermost shrine, but in addition they were secured by a cord bound and tied to the central pair of staples fixed to the meeting styles for that express purpose. Affixed to the cord was a seal. This original seal was discovered intact, proving that the doors had not been opened since they were closed and sealed at the time of the burial of the king. The seal of clay, or Nile mud, probably made plastic with oil, bears two impressions in relief obtained from separate incised seals:- one showing the prenomen of the King surmounting a recumbent figure of Anubis over nine Asiatic captives; the other, a counter-seal, showing only the recumbent figure of the Anubis animal over nine alien captives. The matrixes were evidently engraved (intaglio) upon some hard material, like stone or metal, and took either the form of signet-rings or ordinary stamp-shaped seals. The first device is evidently of the house of Tutankhamen, while the second would seem, with little doubt, to be a departmental seal of the necropolis administration.” Further Reading King Tut's Golden Shrines by Mark Andrews on Touregypt.net Les Chapelles de Tout Ankh Amon (1951) by Alexandre Piankoff The shrines of Tut-Ankh-Amon (1955) by Alexandre Piankoff The third shrine (TAA i.3.26) archive held by the Griffith Institute

Reproduction Details Object Type: Sarcophagus shrine (second shrine, rear panel) Date: c. 1336-1327 BC Period: Dynasty 18, New Kingdom Findspot: Tomb of Tutankhamun (KV62), Valley of the Kings, West Thebes Material: Gilded cedar wood Inventory number: Howard Carter number 237 Print Reference: DP92 Tutankhamun's Second Shrine In the heart of the burial chamber of the tomb of Tutankhamun, a nested set of five gilded cedar wood shrines housed his sarcophagus. They were beautifully decorated with deities, scenes from the Book of the Dead, and protective spells, which were intended to aid Tutankhamun in his perilous journey to the afterlife. In this scene from the rear panel of the second shrine, the sister goddesses Isis and Nephthys stretch out their protective wings to encircle the dead king and recite spells that emphasise the rejuvenation and protection of Tutankhamun in the afterlife. Isis stands on the right and Nephthys on the left. They both have protective wings outstretched to encircle the dead king and are shown in identical tight-fitting linen dresses, wigs, floral collars, and golden jewellery. They stand upon a representation of the Middle Egyptian hieroglyph ‘nebu’, a collar with beads hanging from it, meaning ‘gold’. In ancient Egyptian symbolism, gold was considered an indestructible metal of heavenly origin and the flesh of the gods and was therefore used to represent immortality. It is associated mostly with the sun god, Re, as its polished surface is often linked to the brilliance of the sun. The hieroglyphs surrounding the goddesses are excerpts from the ancient Egyptian funerary texts, specifically related to the protection and resurrection of Tutankhamun, who is identified with the god Osiris. Both spells emphasise the rejuvenation and protection of Tutankhamun in his journey through the afterlife, drawing upon the mythological narratives of the gods Isis and Nephthys in their roles as facilitators of resurrection. The Words of Isis Isis, the wife of Osiris and goddess of motherhood, appears on the right of the shrine surrounded by hieroglyphs recording her words of protection for the dead king. She is one of the oldest gods in the ancient Egyptian pantheon and heavily features in funerary art due to her part in the Osiris myth, in which she resurrects her slain husband, the divine king Osiris, and produces and protects his heir, Horus. She was believed to help the dead enter the afterlife as she had helped Osiris, and she was considered the divine mother of the pharaoh, who was likened to Horus. Isis's prayer is a comprehensive plea for protection, resurrection, empowerment, and eternal well-being for her ‘son’ Tutankhamun in the afterlife, seeking the favour and blessings of the gods, particularly Osiris. She identifies herself as Tutankhamun's protector and promises to remove obstacles and negative influences that might hinder his journey to resurrection. Isis emphasises the restoration of his physical abilities in the afterlife by granting him the ability to stand on his feet, walk about, eat and drink, and move as he did when he was alive. The prayer ensures the eternal stability of Tutankhamun's heart and being so that he remains unharmed by the wicked forces in the city of the dead. The Words of Nephthys The prayer of Nephthys, the sister of Osiris and guardian of the dead, echoes the protective role her sister Isis provides and conveys similar themes of protection, restoration, and empowerment for Tutankhamun in the afterlife. It emphasises his divine status and connection to the major gods of Egyptian mythology, who are said to rejoice for Tutankhamun every day and promise their positive judgment and acceptance of him in the afterlife. Nephthys positions herself as the protector of Tutankhamun, addressing him as her brother Osiris, and describes her actions to ensure that his body remains intact and free from the effects of decay. To do this she invokes the assistance of Anubis, the god of embalming, to perform the opening of the mouth ceremony, a symbolic ritual to restore the deceased's ability to speak and partake in the afterlife. She wishes for Tutankhamun to see with open eyes, walk with firm steps, and go about on earth as he did in his forms of life. These words were included on the shrine to ensure Tutankhamun had a successful transition to the afterlife and had all the facilities he would need to enjoy it. Translations Translations adapted from The shrines of Tut-Ankh-Amon (1955) by Alexandre Piankoff, pages 125-26. Top horizontal register, read from centre to the right: Live, Osiris, King, Lord of the Two Lands Nebkheperure, beloved of the Ennead of the Netherworld. Top horizontal register, read from centre to the left: Live, Osiris, King, Lord of appearances, Tutankhamun, ruler of Heliopolis of the South, beloved of the Ennead. Main vertical registers, read from centre to the right: Words spoken by Isis: I have come to be your protection, you are my son, my beloved Horus, I have taken away the veil over you, (made) by him who acted against you. May you lift your head to see Re, to stand on your feet, to walk about in the forms you like, to move as before. You have power over the bread, you have power over the water, you have power over the wind, you have power over all things beautiful and clean, Osiris, Lord of the Two Lands, Nebkheperure. You see with your eyes, you hear with your ears. Your heart is yours, of your real being, it is stable on its place forever and ever. It will not be ravished by the wicked who seize hearts, who ravish hearts in the Necropolis. You are a justified one before Unen-nefer [Osiris, "The eternally beautiful”]. Main vertical registers, read from centre to the left: Words spoken by Nephthys: I have come to protect you from behind, my brother Osiris, King, Lord of the Two Lands Nebkheperure. I have established your head on your neck. Anubis has gathered for you your bones, he has made your members healthy, he has removed all evil, he has caused your sorrow to depart. You will not decay! Horus has opened your mouth with this chisel of copper with which the mouth of the gods is being opened. You speak before Horus, Lord of Mankind, in the Castle of the Prince, the Great One in Heliopolis. Horus has opened the mouth of Osiris, King Tutankhamun, ruler of Heliopolis of the South, with this (instrument) of Anubis, the adze of copper, and you speak before the Great Ennead of Gods. They rejoice for you every day as they rejoice for Osiris. Horus has opened your eyes that you may see with them, Horus has made your steps firm that you may go about on earth as you were in your forms of life, Osiris, King, Lord of the Two Lands Nebkheperure, the justified one. Further Reading King Tut's Golden Shrines by Mark Andrews on Touregypt.net Les Chapelles de Tout Ankh Amon (1951) by Alexandre Piankoff The shrines of Tut-Ankh-Amon (1955) by Alexandre Piankoff The third shrine (TAA i.3.26) archive held by the Griffith Institute

Reproduction Details Type: Throne, furniture Date: Dynasty 18, reign of Tutankhamun, c. 1336-1327 BC Findspot: Tomb of Tutankhamun (KV62), Valley of the Kings Materials: Wood, gold, silver, faience, glass, calcite, quartz, semi-precious stones Size: H. 104.0cm; W. 53.0cm; L. 64.5cm; H. of seat from ground 51.7cm Excavation inventory number: No 91 Current location: Egyptian Museum, Cairo Object number: JE 62028 Print Reference: DP51A My reproduction of a scene from the golden throne of Tutankhamun dating to Dynasty 18. One of the masterpieces of Egyptian art and workmanship, the throne features an evocative image of the young king with his wife, Ankhesenamun, in a floral pavilion. Picked out in a variety of precious metals and gemstones is Tutankhamun, reclining on a throne as Ankhesenamun rubs perfume into his shoulders from the bowl she is carrying. The chair had been modified several times before it was placed into Tutankhamun’s death. Both their names in cartouches were altered to reflect the move away from the one god Aten back to the worship of Amun and the wider Egyptian pantheon. The Aten sun disc still sits above the couple, with life-giving rays of light touching their faces, partly obscured by their crowns which were added later. Iconography The Text The cartouches to the left of Tutankhamun Son of Ra, Tutankhamun heqa Iunu shemai (The living image of Amun, ruler of southern Heliopolis), King of Upper and Lower Egypt, Nebkheperura (Lord of the forms of Ra), Given life like Ra. The cartouches to the left of the Aten disc The living one, the Sun, ruler of the Akhet, who becomes active in the Akhet, In his identity as the light that comes in the sun-disc, Given life for Eternity. The cartouches to the right of the Aten disc [to be translated] The text to the right of Ankhesenamun Noblewoman, great in favours, possessor of charm, sweet of love, Mistress of Upper and Lower Egypt, Lady of the Two Lands, Ankhesenamun, may she live forever. Further Reading Tutankhamun’s Golden Armchair: Its Original Owner and Shape Reconsidered by Ilinca Bartos Hair and the Construction of Identity in Ancient Egypt, c. 1480-1350 BC by Gay Robins

These exceptional canopic jars from the Ashmolean Museum in Oxford belonged to Zenbastef’onkh, son of Harwoz and Nakhtubasteran. They date from the 30th dynasty (380-343 BC). Above is seen Imsety, the human-headed protector of the liver, and Hapi the baboon-headed protector of the lungs. ave #oxford #egypt #Photography #Museum #egyptology #canopicjar

This unprovenanced jar in the Metropolitan Museum of Art collection dates to between c. 3450 to 3330 BCE. It is a particularly fine example of late Neqada II decorated ware, pottery made of fine marl clay and embellished with recurring motifs representing the Egyptian desert and Nilotic environment. It depicts three boats travelling in procession within the Nile Valley landscape, with desert ibex shown in close proximity to flying birds and mountains, as well as flamingos surrounded by water plants. The zig-zag decoration is thought to represent water, and indeed, water is later symbolised in hieroglyphs in this way (𓈖). The boats each hold a different set of figures accompanied by individual standards, acting a ceremony or ritual and being observed by groups of people on the land nearby. The figures on this boat are women, and the dominant character stands atop the cabin with her arms raised above her head in a gesture thought to represent a ritual greeting or dance. In decoration of this type, the women are always shown as the largest figure, often with one or two men on a smaller scale, a device used in later pharaonic art to indicate social status and dominance. In ancient Egypt, boats were employed for travel, commerce and fishing, and the symbolism of the boat and the river form an intrinsic part of the predynastic material culture. Boats are found in the form of pottery decoration, but also as models in burials, hinting at their ritual significance which develops over time. The earliest depictions in the late Neqada I period are of simple boats associated exclusively with the ritualistic hunting of crocodiles and hippos. When the human form is introduced, it is shown as a victorious hunter, killing or capturing animals and dominating rows of prisoners in the same way that they controlled and tamed the wild. By the late Neqada II period, boats become more sophisticated and are depicted bristling with oars and having wooden cabins on their decks. The boats link to earlier ritualistic hunting is built upon, with the river becoming a focus for religious activity that eventually culminates during the pharaonic period in the grand river processions associated with ancient Egyptian religious festivals and the river's central role in the journey of the deceased into the afterlife. Further information Book - Craig Patch, D., 2011. The Dawn of Egyptian Art Article - Hendrickx, S., 2013. Hunting and Social Complexity in Predynastic Egypt Video - Hendrickx, S., Friedman, R. F. & Craig Patch, D., 2012. The Dawn of Egyptian Art Object record - Metropolitan Museum of Art. Decorated Ware Jar Depicting Ungulates and Boats with Human Figures

Reproduction Details Object Type: Tomb Painting Date: c. 1390-1349 BC Period: Dynasty 18 Findspot: Tomb of Nebamun and Ipuky (TT181), Sheikh-Abd-el-Gournah, Thebes Print Reference: DP75A The Tomb of the Two Sculptors Cut into the limestone cliffs of the Sheikh-Abd-el-Gournah necropolis is the shared tomb of Nebamun and Ipuky (TT181). These two men lived during the reigns of Amenhotep III and Akhenaten in Dynasty 18 and worked at Djeseret Iset, the Small Temple of Medinet Habu. They were trained in sculpting and engraving and rose to the ranks of ‘chief sculptor in the Sacred Place’ and ‘Supervisor of the balance’, overseeing craft workshops. Their unusual joint tomb was never finished, and its paintings have suffered from millennia of deterioration, flooding, mudslides, and vandalism. Since its discovery, much of the decoration has been purposefully removed or damaged beyond recovery, so early reproductions, such as those made by Jean-Vincent Scheil and Norman de Garis Davies, are the only record. The Craftsmen’s Workshop My reproduction and partial reconstruction of a painting from the tomb shows the Chief Sculptor supervising a bustling workshop of 32 craftsmen, who are working with wood, stone, metal, and precious stones to create beautiful objects. The scene provides a wealth of information about the tools and manufacturing techniques used by the ancient craftsmen, which can be used to help interpret archaeological finds. I’m going to explore each figure to help you imagine the sights and sounds of Nebamun and Ipuky’s workshops. The Chief Sculptor The Woodworkers The top register shows a group of woodworkers building a catafalque, a platform to transport the mummy of the deceased to the necropolis and his tomb. They are carving and shaping wood into sacred symbols of the djed pillar and tyet knot to embellish the catafalque and provide divine protection for the mummy. The Goldworkers The middle register shows craftsmen working with gold and precious stones to create beautiful vessels, statues, and jewellery. The Metalworkers The bottom register shows more craftsmen making and working with metal, as well as specialist tasks such as drilling and carving beads and alabaster. This part of the painting has been so badly damaged it is almost impossible to now make out the detail of the figures. I have reconstructed it based on earlier written descriptions, comparative artwork, and artistic conventions and proportions used in this tomb. See the work of Jean Vincent Scheil for an alternative rendition. The Specialist Craftsmen Finally, nearest to the entry of the chamber, are three men working independently on specialist craft activities involving stone and glass. Comparative Artwork As already mentioned, much of this scene was damaged and required me to reconstruct parts. Where details are missing, it’s possible to find other pieces of artwork to see the artistic conventions that would have been used. For this scene, there are a number of notable comparable scenes I looked at for inspiration: Further Reading Le Tombeau Des Graveurs by Jean Vincent Scheil (1894) TT181, the tomb of Nebamon and Ipuky by Osiris.net