بردية ساخرة تصور أنثى جرذ تخدمها القطط

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بردية ساخرة تصور أنثى جرذ تخدمها القطط

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Artefact Details

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حجرة رقم: 29 بالدور العلوي

التأريخ: الدولة الحديثة

مكان الاكتشاف: .مصر الوسطى – جبانة المنيا

بحجم:
العرض: 13سم – الطول: 55 سم.

المادة: .ورق بردي وألوان غير محددة

نجت ثلاثة أمثلة فقط من البرديات الساخرة من مصر القديمة، وهي تصور حيوانات تقلد السلوك البشري لأغراض فكاهية أو ساخرة، استخدم فيها الفنانون المصريون هذه الرموز للتعبير عن حالة مصر في فترات الضعف من خلال خدمة القطط (التي كانت ترمز للمصريين) للفئران (والتي تصور الأجانب الذين أصبحوا في مركز القوة)، كما أنها تحدد انقلاب الموقف السياسي من خلال مشاهد القطط والذئاب التي تعتني بالإوز، والأسد الذي يلعب السنت (الداما) مع الغزلان، ومجموعات الحيوانات الموسيقية. كما سخرت بعض الرسوم الكاريكاتورية من العادات الجنائزية والدينية، بينما في الحياة الدينية، تعبر هذه الرموز للحيوانات ذات الأفعال البشرية عن الأحداث الأسطورية والطقوس الدينية.

تحتوي هذه البردية على مشهدين ساخرين: فصورت أنثى جرذ (تعبر عن الأجانب) جالسة على كرسي مرتفع إلى اليسار، وقد وضعت قدمها على مسند، تساعدها قطة (رمز للمصريين) على ارتداء شعر مستعار، وقد وقفت أمامها قطة أخرى تقدم لها الشراب، بينما صور خلفها قطة ثالثة تحمل ابنها، والرابعة تحمل مروحة. يُصور المشهد الآخر إلى اليمين قطة تحمل جرتين، تقف أمامها قطة أخرى تريق سائل أمام تمثال لبقرة (طقس للتطهير).

Statuette of Apis Bull on a Sledge

Statuette of Apis Bull on a Sledge

Artefact Details

Gallery number: Room 19 – Upper Floor

Period: Late Period (c. 664–332 BC)

Place of discovery: Saqqara

Size: H 31.00 cm W 8.50 cm D/L 24.00 cm

Material: Bronze

Egypt had several bull cults of which the Apis cult was the most popular. This sacred bull was known by a number of names including Api, Hapi, or Hep, before the Greeks introduced the name Apis. He was the god of fertility and primeval power associated with the creator god Ptah, where he becomes Ptah’s earthly incarnation.

Worship of Apis Bull can be traced as early as the 1st Dynasty where he was associated with festive occasions and ceremonies of fertility and regeneration. He is depicted commonly as a striding bull with a solar-disk and uraeus between its horns, or as a man with a bull’s head in later times. During the Ptolemaic period, he was represented as a bearded man in robes.

Each Apis Bull was chosen according to detailed specifications to embody this god, who was the patron of artisans and the tutelary deity of Memphis. When an Apis Bull died he would be embalmed and buried in grand style within the Serapeum at Saqqara, a series of chambers and corridors that grew as space for additional burials was needed. Over the periods during which the Serapeum was in active use, thousands of pilgrims dedicated stelae and figurines to honour the Apis Bull.

This statue depicts the bull’s striding forward, leading with the left leg. A sun-disk fronted by a uraeus cobra rests between its horns, indicating its divinity. The triangular patch on its forehead was one of the markings by which the living god was identified. Around its neck, incised lines create an elaborate collar, of the type worn by humans for festival occasions. There is a dedicatory inscription on the sledge.

Statuette of Osiris

Statuette of Osiris

Artefact Details

Gallery number: Room 19 – Upper Floor

Period: Late Period (c. 664–332 BC)

Size: H. 21 cm

Material: Schist

Osiris was the god of the deceased, master of the underworld, afterlife and lord of eternity. According to the Heliopolis Ennead, Osiris was the son of Geb and Nut, the god of the earth and the goddess of the sky respectively, and was one of at least four siblings. He was also the brother/husband of Isis, the goddess of motherhood, magic, fertility, healing and rebirth. His brother Seth was the god of war, chaos and storms; and his sister Nephthys, wife of Seth, assisted in funerary rites, working with her sister Isis in a protective role. In some versions of the mythology there is another brother, Horus the Elder (Horus the Great). Osiris was also the father of Horus (the younger).

According to Egyptian mythology, Osiris ruled Egypt, providing civilisation to his people through the knowledge of agriculture and the law. Seth was extremely jealous of his brother and killed him, dismembering and distributing the corpse throughout the many Nomes of Egypt. On the death of Osiris, Seth became king of Egypt with his sister/wife Nephthys. Isis mourned her husband, and with her great magical powers decided to find and bring him back to life. With the help of her sister Nephthys, Isis searched every Egyptian Nome, collecting the pieces of her husband’s corpse, reassembling and holding them together with linen wrappings. Isis breathed life back into his body to resurrected him and soon conceived their child Horus (the younger). Osiris then descended into the underworld, where he became its ruler.

This statuette depicts Osiris sitting on a throne in a mummified form, wearing a close-fitting enveloping garment. He holds the royal crook and flail with his arms crossed on his chest. He wears the Atef crown flanked by two ostrich feathers, adorned with the uraeus cobra. A divine beard is attached to his chin.

These kinds of statuettes were commonly offered in temples and shrines belonging to Osiris. They were found as well near temples and shrines honouring other deities or in the animal necropolis.

Statuette of seated Isis suckling Hours

Statuette of seated Isis suckling Hours

Artefact Details

Gallery number: Room 19 – Upper Floor

Period: Late Period (c. 664–332 BC)

Place of discovery: Memphite Region, Saqqara North, Animal Necropolei, Temple of Nectanebo II, Temple Terrace

Size: H 22.10 cm

Material: Bronze, gold

Isis was the goddess of motherhood, magic, fertility, healing and rebirth. According to the Heliopolis Ennead, Isis was the daughter of Geb, the god of the earth and goddess of the sky respectively, and was one of at least four siblings. She was also the sister/wife of Osiris, the god of the underworld and lord of eternity. Her brother Seth was the god of war, chaos and storms; and her sister Nephthys, wife of Seth, assisted in funerary rites, working with Isis in a protective role. In some versions of the mythology there is another brother, Horus the Elder (Horus the Great). Osiris was also the father of Horus (the younger).

According to Egyptian mythology, Osiris ruled Egypt, providing civilisation to his people through the knowledge of agriculture and the law. Seth was extremely jealous of his brother and killed him, dismembering and distributing the corpse throughout the many Nomes of Egypt. On the death of Osiris, Seth became king of Egypt with his sister/wife Nephthys. Isis mourned her husband, and with her great magical powers decided to find and bring him back to life. With the help of her sister Nephthys, Isis searched every Egyptian Nome, collecting the pieces of her husband’s corpse, reassembling and holding them together with linen wrappings. Isis breathed life back into his body to resurrected him and, soon conceived their child Horus (the younger). Osiris then descended into the underworld, where he became its ruler.

This statuette depicts the goddess Isis seated on a low-backed throne, suckling god Horus. Isis wears a long wig with the vulture headdress and a modius topped by a horned sun-disk on her head and a long sheath garment. Both her face and her dress are gilded, as is the sun-disk. Her left hand supports the head of Horus, who sits, leaning back slightly on her lap, while her right-hand cradles her left breast. Horus is naked except for a blue crown with a uraeus. The statuette is placed over a modern wooden throne and base.

Statuette of Imhotep seated

Statuette of Imhotep dedicated by Padiamun

Artefact Details

Gallery number: Room 19 – Upper Floor

Period: Late Period (c. 664–332 BC)

Size: H 21.50 cm W 5.00 cm L 13.00 cm

Material: Bronze, gold, silver

Imhotep was the Chief Minister to King Djoser, an astrologer, mathematician, physician and priest. Being a brilliant architect, he is credited with building Djoser’s step pyramid and funerary complex at Saqqara. Due to his achievements and favoured position, Imhotep’s name was inscribed on the plinth of Djoser’s statue found in Saqqara and exhibited in the Egyptian Museum.

Imhotep was worshipped as a deity from the Late Period until the 7th century AD. Many temples and shrines were erected and dedicated to him, especially in Memphis and Philae, where the injured and sick people believed that Imhotep would provide cures. Imhotep was associated with the Egyptian god Thoth and the Greek god Asclepius, both of whom were gods of medicine and wisdom.

This statuette of Imhotep depicts him with close-cropped hair or covering his hair with a tight skull cap, his eyes are inlaid in silver and he is wearing a short-pleated kilt with a broad gilded collar. He holds a sheet of papyrus on his lap, which is rolled up on both ends, inscribed with a votive spell. His sandaled feet rest on a small square base inscribed with the name of Imhotep and the dedicator, Pediamun, son of Bes and Irteru.

Statue of the priest of god Amun called Djedhor

Statue of Djed-Hor Holding a Stela of Horus on Crocodiles

Artefact Details

Gallery Number: 19 corridor  – Upper Floor

Period: Ptolemaic, Macedonian, reign of Philip Arrhidaeus (c. 323-317 BC)

Place of Discovery: Tell Atrib (Athribis)

Size: Statue 78x43x25 cm, Base 93x53x38 cm

Material: Granodiorite

This Statue of Djed-Hor the Saviour, shows him squatting on a cushion and leaning against a pillar with his arms crossed on the knees in the typical block-statue form. He is wearing a garment that tightly envelops his entire body. The entire statue, apart from his face, hands and feet, is covered with hieroglyphic talismanic magical inscriptions arranged in columns against the stings and bites of crocodiles, snakes and scorpions.

Between his crossed arms and feet is a stele of Horus on the crocodiles. Horus the child (Harpokrates) stands naked upon two crocodiles, wearing the side-lock of youth with one finger held to his lips and the god Bes’s mask above his head. His hands grasp a number of dangerous animals; two snakes and a lion in his left hand, and a scorpion and an oryx in his right. He is flanked by the lotus of Nefertum on his left and a is and the papyrus crowned with a falcon on his right.

The statue is resting on a large plinth/socle that is entirely covered with inscriptions and contains two offering basins that are united by a channel. The smaller offering basin is located in front of the block statue, while a larger offering basin extends over the rest and surrounds the statue on four sides.

These types of statues could belong to a god or a person and were erected in public places as healing statues to gain divine protection, cure stings and bites, or even to prevent intimidating dangers. The general public would pour water, wine, or any other liquids onto the statue and drink it after it gathered inside the basin. These liquids were imbued with the protection of the powerful spells inscribed on the statue.

Tondo of the Two Brothers

Tondo of the Two Brothers (Antinoopolis Tondo)

Artefact Details

Gallery number: 14 – Upper Floor

Period: Roman Period, reign of Hadrian, (c. AD 117–138)

Size: H. 24 cm, W. 38.5 cm

Place of discovery: Middle Egypt, el-Sheikh Abada, (Antinoe)

Material: Wood (unspecified), encaustic, pigment (unspecified)

This circular painting is believed to represent a provincial version of the contemporary style of mummy portraits. This panel is made of two vertically divided halves and shows what are believed to be brothers standing side by side facing forward. The right-hand half of the painting has suffered much damage.

The man on the viewer’s right appears to be the elder of the two and wears white drapery with thin hair on his upper lip and chin, brown skin and comparatively prominent facial features. Above his shoulder is the small figure or gold statuette of Hermes, with winged sandals and carrying his staff entwined with snakes.

The man on the viewer’s left wears a white tunic with a purple border. The shoulder of his garment is decorated with a swastika symbol, representing fertility and his purple cloak is fastened together with a green and gold brooch. His skin is lighter than the other man and he has only the slightest trace of facial hair. Above his shoulder is the small figure or gold statuette of a figure holding a staff and wearing an Egyptian crown. The date 15 Pachon, is painted in black above his shoulder.

Commonly known as mummy portraits, these paintings were found throughout Egypt and combine Greek and Egyptian representations of the human form. They are popularly known as Fayoum mummy portraits after the first discovery and largest collections recovered from the Fayoum region of Egypt. Some of these portraits represent only the head of the deceased, while others depict the upper part of the body. They illustrate the facial features, clothing and hairstyle of the deceased, were placed over the face of the mummy and secured with parts of the outermost wrapping.

These portraits were painted on boards or panels and in some cases on linen using the encaustic painting technique. A mixture of pigments with hot or cold beeswax and other ingredients such as egg, resin, and linseed oil, or animal glue tempera made from an aqueous medium such as glue, egg, wax or beeswax.

Fayoum portrait of a boy

Fayoum portrait of a boy, he wears a lilac-coloured chiton and round the top of the chiton is a necklace

Artefact Details

Gallery number: 14 – Upper Floor

Period: Roman Period (c. 30 BC – AD 306)

Size: Height: 30 cm, Width: 15.5 cm

Place of discovery: Hawara – Fayum

Material: Wood (unspecified), encaustic

This portrait is in a three-quarter pose with the right shoulder toward the front. The child has thinning brown hair, especially on the sides of the head. The face is full, nose and neck fleshy and the ears protrude forward. The brows are pushed downward and scrunched slightly together and the eyes stare straight ahead. The child’s skin is a yellowy-beige colour. This child wears a purple tunic with a white mantle over the left shoulder, and thick black sleeves, bordered by gold lines. Across the chest is a chain of circular ornaments in white (silver?) and gold that are shaped much like fruit. The top of this panel has been roughly shaped into a round edge with cut corners, the black outline followed by the cutter is still visible. Some paint is missing from the face and the left-hand side of the panel, where there are cracks. Spots of brown residue remain the surface.

Commonly known as mummy portraits, these paintings were found throughout Egypt and combine Greek and Egyptian representations of the human form. They are popularly known as Fayoum mummy portraits after the first discovery and largest collections recovered from the Fayoum region of Egypt. Some of these portraits represent only the head of the deceased, while others depict the upper part of the body. They illustrate the facial features, clothing and hairstyle of the deceased, were placed over the face of the mummy and secured with parts of the outermost wrapping.

These portraits were painted on boards or panels and in some cases on linen using the encaustic painting technique. A mixture of pigments with hot or cold beeswax and other ingredients such as egg, resin, and linseed oil, or animal glue tempera made from an aqueous medium such as glue, egg, wax or beeswax.

Cosmetic “Swimming Girl Spoon”

Cosmetic Spoon “Swimming Girl Spoon”

Artefact Details

Gallery number: 34 – Upper Floor

Period: New Kingdom

Dynasty: 18th Dynasty (c. 1550- 1069 BC)

Place of Discovery: Fayum Region, Kom Medinet Ghurab (Moeris), Necropolis Area, Tomb 20

Size: H 6.20 cm; D/L 30.50 cm; W 5 cm

Material: Wood (unspecified), pigment (unspecified)

Cosmetic spoons were extremely popular during the New Kingdom. Egyptian craftsmen were able to combine great imagination and technical ability to create such charming household items. These cosmetic spoons were not only part of daily body care and adornment, they can also be interpreted as ritual objects related to various goddesses such as Nut and Hathor.

The handle of this cosmetic spoon depicts a naked young woman swimming with her legs nicely outstretched. The girl is fashioned with a simple wig on her head and a beaded-painted broad collar around her neck. Her arms are also outstretched holding the spoon, formed in a shape of a duck with an opening mouth and wagging tongue. The head of the duck was added separately, while its back is hollowed out to contain the cosmetic powder. The wings of the duck are missing, but were carved separately as a cover to the container, the top of which was originally attached with a peg that allowed it to swing open. It is possible that this piece could have been able to float for amusement.