In this relief Amenemhat I is shown celebrating his thirty-year jubilee (Sed Festival), ritually demonstrating that he was still vigorous and fit to rule. The king is flanked by the jackal-headed god Anubis and the falcon-headed Horus, deities closely associated with coronation rituals; each god offers him an ankh, the hieroglyph for life. To the...
With a board carved in the shape of an axe-blade, and resting upon legs shaped in the form of bull’s legs, this game of Hounds & Jackals also comes with a pull-out drawer to hold the pieces; 5 jackals and 5 hounds. This set of the game Hounds and Jackals was unearthed in 1910 by...
This face, carved from wood (unknown at the present which type of wood), measures at 22.8cm and was purchased by the British Museum from the collection of the Somerset Lowry-Corry, 2nd Earl Belmore (1774–1841) in 1843. Originally, this wooden face was made to be attached to a coffin, alas, whether it ever was attached to...
A pregnant Queen Ahmose, with her daughter (and future ruler of Egypt) Hatshepsut in utero. This scene is depicted within the walls of Hatshepsut’s funerary temple Djeser-Djeseru (“Holy of Holies”) and documents the mythos of Hatshepsut’s divine conception and birth, therefore giving her divine-right to the throne of Egypt. It is known as the Birth...
In its entirety the relief showed Ay kneeling in worship with his family and surrounded by a long prayer inscribed in hieroglyphs. The style of Ay’s portrait is typical of the Amarna period in its naturalistic depiction of the narrow and bony face, long nose, and small, squinty eyes- features common to other surviving representations...
Musicians perform as the seminary priest offers libation. A harpist, flute and lute player can be seen performing a Harper’s Song. Interestingly, the Harper’s Song accompanying this scene within the Chapel of Pa-Aten-Em-Heb, has a somewhat agnostic lyric, telling the listener through song, that lamenting and worrying about an Afterlife is seldom constructive, and one...
This stele was colored with a mixture of pigment and tempera. First, however, it was sculpted in raised and sunken relief; only later were some of its surfaces embellished with black, brown, green, yellow, and white paint. The stele commemorates for all eternity a man named Amenemhat and his wife, Hemet. Before them are two...
“Egypt Carrying the Light to Asia”, also known as “Progress”, was the proposal of erecting a neoclassical colossal statue at the Suez Canal entryway in Port Said, Egypt. Designed in the late 1860s by French artist Frédéric Auguste Bartholdi, the statue was planned to be that of a robed female named “Saeid Misr” or “Upper...
This stele is known in Egyptian art as a cippus (pl. cippi) or magical stele. The instructions found on some cippi indicate that they were used to heal afflictions caused by snake or scorpion venom. Specifically, Egyptians believed that the water poured over these cippi would be transformed into a curative remedy that the afflicted...
This limestone fragment was once a part of a full scene that appears to be depicting the king’s procession (almost certainly, king Akhenaten) as he arrived at the temple. On the far left of the fragment, you can see the elbow and arm of a trumpeter, who blows his horn as women in translucent linens...
