The faces on most statues of Amenhotep II differ slightly from those of his two immediate predecessors. Compared with the sculpture of Thutmose III or Hatshepsut exhibited nearby, for example, this statue’s face is a little longer, the eyes somewhat narrower, the brows a bit straighter, the nose slightly thicker, and the mouth less curved....
This diorite statue of a Priest of Amun dates from the Late Period’s 30th Dynasty. The priest wears an Old Kingdom style wig, carved in the Late Period fashion. His body is polished to a smooth texture, and his facial features are typical of the Late Period and Ptolemaic age. Upon the back pillar of...
This small fragmentary head made from white limestone is clearly of the Amarna Period. During Akhenaten’s reign, royal portraiture witnessed significant changes., there are numerous sculptures of Akhenaten and his royal household which deviate from traditional depictions of the monarchy. Akhenaten is sometimes shown what some deem “androgynous” and highly stylized, with huge thighs, a...
This limestone piece, despite damage and missing aspects, depicts a scene of a man and a woman copulating. The man’s phallus is oversized, for symbolism, but the tenderness of the scene showcases an interesting and unique representation of erotic artworks from Ancient Egypt. As the couple lay upon their side facing one another, the man,...
Fertility was a very important and holy notion for the Egyptians and other ancient cultures. The Egyptian religion and other ancient religions from regions all across the world were essentially almost fully focused on the concept of fertility, with both the philosophy and practices, all coming down to maintaining agriculture, thus survival. In short, fertility...
Fragment of limestone raised relief with remains of original paint, representing three mourning women. They stand, facing left, each holding the flaps of their dress in one hand and beating their breast with the other. Surviving paint is concentrated in the areas of their upper and middle bodies. Some blackish and brownish patches over surface....
These limestone fragments were originally part of a scene in which royal hairdressers attended Queen Neferu. The relief on the right represents Neferu, referred to as “The King’s Wife,” wearing a magnificent beaded usekh collar. Behind her, Henut, the hairdresser, has already pinned one strand of hair and twisted another. The relief on the left...
“Paddle dolls” got their nickname from their likeness to modern Ping-Pong paddles. They all include exaggerated images of female genitalia. Some are painted with crude representations of couples having sexual intercourse, while others have pictures of birth-gods. The motif of birth and reproduction shows that “paddle dolls” increased fertility for both the living and, most...
This white limestone relief fragment shows an unidentified queen clutching a thick usekh collar in her raised left hand. Dressed in a translucent pleated garment with a headdress ornamented with a double uraei, cow horns, double plume and sun disc in the centre, the queen has divine status. The plumes are streaked with blue, brown,...
This sandstone fragmented relief depicts Nefertiti wearing the so-called “Nubian wig” with uraeus. Blue pigment of the headdress remains in places, as with the reddish of Nefertiti’s skin. The profile is instantly recognizable with the famous bust of the queen and is delicately carved with a swan like neck, accompanied by a profile carving of...
