Amenhotep III and his Great Royal Wife, Tiye‘s firstborn son, was a prince named Thutmose. As the eldest royal son, he was heir to the throne, and so Thutmose bore prestigious titles such as High Priest of Ptah, indicating his early grooming for both religious and royal responsibilities. A carved statuette depicting him as a...
Akhenaten’s devotion to the Aten was not just religious; it was artistic and philosophical. In hymns likely written or commissioned by the king himself, such as the Great Hymn to the Aten, Akhenaten exalts the sun’s warmth as the giver of all life, with language that reads more like sacred poetry than royal decree. This...
Painted upon a modest shard of limestone (known as an ostracon) this whimsical yet charming sketch from the New Kingdom (c. 1550–1069 B.C.) captures a lively monkey mid-climb as it scales the familiar forked trunk of a doum-palm tree. Measuring just 11 by 9.7 centimetres, the piece, though small, radiates the playful curiosity and natural...
Among the many sculptural treasures of the New Kingdom are those tenderly carved family group statues intended for tomb chapels; silent participants in the rituals of memory and honour. One such ensemble features the noble figure of Ptahmai, an esteemed official who served under the mighty Ramesses II. As a mark of royal favour, he...
Despite the front of the statue having extensive damage, the back provides us with quite a bit of information about Minmose, thanks to the wonderful inscriptions having survived. Minmose’s primary titles reveal his close association with the cult of Osiris; the deity central to Egyptian beliefs about resurrection and the afterlife. He is described as...
This painted limestone headrest features two standing female figures, their arms gracefully dangling at their sides, clad in elegant robes, and adorned with necklaces and bracelets. Each woman wears a Hathoric headdress, suggestive of the goddess Hathor’s attributes of femininity, protection, and fertility. While the precise identification of these figures remains debated, it is likely...
This delicate Middle Kingdom limestone figurine (E 8000), dating from approximately 2035–1680 B.C., depicts a nude woman standing with truncated legs, wearing a tripartite wig, a cowrie shell belt, and a broad necklace, while tenderly carrying a small child. The figure’s soft curves, subtle modelling, and the inclusion of symbolic jewellery;particularly the cowrie shell belt,...
The Seated Statue of the Steward Sehetepibreankh is a notable example of Middle Kingdom Egyptian sculpture, dating to approximately 1919–1885 B.C. during the reign of Amenemhat II. This limestone statue was excavated in 1923–24 from Pit 6L.P19 in the tomb of Sehetepibreankh at Lisht South, located in the Memphite region of Egypt. The statue exemplifies...
In Ancient Egyptian art, when a king is depicted touching the Was sceptre, it is a symbolic gesture signifying his divine authority and legitimate rule. The Was sceptre, often held by gods such as Thoth or Osiris, represents power, dominion, and the control of chaos. By touching it, the king affirms his connection to the...
This ostracon is a remarkable piece of ancient Egyptian art, and it is often recognized for its portrayal of a young king, which provides a rare and valuable glimpse into royal iconography during the 20th Dynasty (around 1150 BC). Like many ostraca, this one is made of limestone, which was a common material used by...
