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Nefertiti Brooch
Made From Chinese Gold
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Egyptian Museum
Egyptian
Museum
The Museum
of Egyptian Antiquities, known commonly as the Egyptian Museum or Museum
of Cairo, in Cairo Egypt, is home to
an extensive collection of Ancient Egyptian antiquities. It has 120,000 items, with a
representative amount on display, the remainder in storerooms. As of April
2015, it is open to the public, albeit with heavy security, x-ray machines, and
metal detectors. Men may be subjected to a short but invasive pat-down scan as
an additional security measure.
The Egyptian Museum of Antiquities contains
many important pieces of ancient Egyptian history. It houses the world’s
largest collection of Pharaonic antiquities. The Egyptian government
established the museum, built in 1835 near the Ezbekeyah Garden and later to the Cairo Citadel. In 1855 Archduke Maximilian of Austria was
given all of the artifacts by the Egyptian government; these are now in the Kunsthistorisches Museum, Vienna.
A new museum was established at Boulaq in 1858 in a former warehouse,
following the foundation of the new Antiquities Department under the direction
of Auguste Mariette. The building
lay on the bank of the Nile
River, and in 1878 it suffered significant damage in a flood of the Nile River. In 1892, the collections
were moved to a former royal palace, in the Giza district of Cairo. They remained there
until 1902 when they were moved, for the last time, to the current museum in Tahrir Square.
There are two main floors in
the museum, the ground floor and the first floor. On the ground floor there is
an extensive collection of papyrus and coins used in the Ancient world. The
numerous pieces of papyrus are generally small fragments, due to their decay
over the past two millennia. Several languages are found on these pieces,
including Greek, Latin, Arabic, and ancient
Egyptian. The coins found on this floor are made of many different metals,
including gold, silver, and bronze. The coins are not only Egyptian, but also
Greek, Roman, and Islamic. This has helped historians research the history of
Ancient Egyptian trade.
Also on
the ground floor are artifacts from the New Kingdom, the time period between
1550 and 1069 BC. These artifacts are generally larger than items created in
earlier centuries. Those items include statues, tables, and coffins
(sarcophagi).
On the
first floor there are artifacts from the final two dynasties of Egypt,
including items from the tombs of the Pharaohs Thutmosis III, Thutmosis IV, Amenophis II, Hatshepsut, and the courtier Maiherpri, as well as many artifacts
from the Valley of the Kings, in
particular the material from the intact tombs of Tutankhamun and Psusennes
II. Two special rooms contain a number of mummies of kings and other royal family
members of the New Kingdom.
A cobra Naja ( the snake cobra)
A cobra Naja
A cobra naja de peito estufado que o rei trazia representada na fronte, sobre a coroa, simbolizava o Olho de Rá e visava aterrorizar os inimigos, ao mesmo tempo em que protegia o rei, expelindo fogo.
A ela é dedicado um culto diário para suavizar o seu humor. Conhecido como uraeus, esse símbolo permaneceu como marca dos faraós durante todo o período dinástico e data provavelmente do longo reinado do rei Den, da I dinastia. A belíssima cobra que vemos ao lado era, provavelmente, elemento de uma coroa de
Sesóstris II (1897 a 1878 a.C.). Feita com ouro maciço, tem a cabeça de lápis-lazúli, o olho de granada e mede apenas 6,7 centímetros de altura.
Kom-Ombo Temle
Kom Ombo
Located in the town of Kom-Ombo, about 28 miles north of Aswan, the Temple, dating to the Ptolemies, is built on a high dune overlooking the Nile. The actual temple was started by Ptolemy VI Philometor in the early second century BC. Ptolemy XIII built the outer and inner hypostyle halls. The outer enclosure wall and part of the court were built by Augustus sometime after 30 BC, and are mostly gone. There are also tombs from the Old Kingdom in the vicinity of Kom-Ombo village.
The Temple known as Kom Ombo is actually two temples consisting of a Temple to Sobek and a Temple of Haroeris. In ancient times, sacred crocodiles basked in the sun on the river bank near here. The Temple has scant remains, due first to the changing Nile, then the Copts who once used it as a church, and finally by builders who used the stones for new buildings.
Everything is duplicated along the main axis. There are two entrances, two courts, two colonades, two hypostyle halls and two sanctuaries. There were probably even two sets of priests. The left, or northern side is dedicated to Haroeris (sometimes called Harer, Horus the Elder) who was the falcon headed sky god and the right to Sobek (the crocodile headed god). The two gods are accompanied by their families. They include Haroeris' wife named Tesentnefert, meaning the good sister and his son, Panebtawy. Sobeck likewise is accompanied by his consort, Hathor and son, Khonsu.
Foundations are all that are left of the original Pylon. Beyond the Pylon, there was once a staircase in the court that lead to a roof terrace. The court has a columned portico and central altar. There is a scene of the King leaving his palace escorted by standards. Near the sanctuary is a purification scene. On either side of the door to the pronaos are columns inscribed with icons of the lotus (south) and papyrus (north), symbolizing the 'two lands' of Egypt.
In the southwest corner of the pronaos is the one column that does not echo the duality of the temples. Here, there are scenes depicting purification of the King, his coronation and his consecration of the Temple. The ceiling has astronomical images.
The hypostyle hall has papyrus capitals on the columns. Here, there is an inventory of the scared places of Egypt, the gods of the main towns and the local and national festivals.
In the anti chamber, there are scenes depicting the goddess Seshat launching the building of the temple, followed by a scene of the completed temple with the king throwing natron in a purification ceremony. The staircase leading to the roof is all that remains of the offering hall.
Statues to the gods and the builders of the temple once occupied the net room just before the sanctuaries. The ceiling of the pure place to the north still remains with an image of Nut. There is little left of the sanctuaries.
The Gods of Ancient Egypt -- The Legend of Osiris
The Legend of Osiris
The Legend of Osiris is one of the most ancient myths in Egypt, and it was central to the ancient Egyptian state religion. The myth establishes Osiris' position as god of the dead and lord of the underworld, and Horus' (and thus all the pharaohs) right to kingship. It also demonstrates the powers and duties of the other major gods as well as setting up the Great Adversary, Set. Yet oddly enough, we have yet to find a complete version of the story. What we have has been cobbled together over many years from many different documents and sources. What I have presented here is my own attempt at restructuring one of the oldest stories in the world.
Isis, her husband Osiris, and their son Horus, the protagonists of the Osiris myth
It is an old story, but it is one of what Neil Gaiman calls the "Great Stories." The Great Stories are part of the core human experience and never change except in the most superficial ways. They defy any attempts to rewrite them with drastic changes, always returning to their original forms. The setting might be modified depending on who's telling it, the characters have different names, but fundamentally, it's still the same story.
A version of the Osiris myth exists in every culture: the just king murdered by his cruel brother, only to be avenged by the prince who follows in his father's footsteps. Sometimes the dead king is rewarded for his upright ways and gains great reward in the next life. We find its echoes in nearby civilizations such as the Greeks and Romans, in far-off Japan and China, in Christianity, even in Shakespeare, where the avenging prince is named Hamlet. Take another look at it, you'll see what I mean. Enjoy the story.
O my brothers and my sisters, gather around me that I may tell the tale of the Before-Time, of the Golden Age when the gods walked upon the earth with us. Know then that in those ancient days, long before even the grandfather of our Pharaoh's grandfather was born, Osiris the great-grandson of Ra sat upon the throne of the gods, ruling over the living world as Ra did over the gods. He was the first Pharaoh, and his Queen, Isis, was the first Queen. They ruled for many ages together, for the world was still young and Grandmother Death was not as harsh as she is now.
His ways were just and upright, he made sure that Maat remained in balance, that the law was kept. And so Maat smiled upon the world. All peoples praised Osiris and Isis, and peace reigned over all, for this was the Golden Age.
Yet there was trouble. Proud Set, noble Set, the brother of Osiris, he who defended the Sun Boat from Apep the Destroyer, was unsettled in his heart. He coveted the throne of Osiris. He coveted Isis. He coveted the power over the living world and he desired to take it from his brother. In his dark mind he conceived of a plot to kill Osiris and take all from him. He built a box and inscribed it with wicked magic that would chain anyone who entered it from escaping.
Isis nursing Horus
Set took the box to the great feast of the gods. He waited until Osiris had made himself drunk on much beer, then challenged Osiris to a contest of strength. Each one in turn would enter the box, and attempt, through sheer strength, to break it open. Osiris, sure in his power yet feeble in mind because of his drink, entered the box. Set quickly poured molten lead into the box. Osiris tried to escape, but the wicked magic held him bound and he died. Set then picked up the box and hurled it into the Nile where it floated away.
Set claimed the throne of Osiris for himself and demanded that Isis be his Queen. None of the other gods dared to stand against him, for he had killed Osiris and could easily do the same to them. Great Ra turned his head aside and mourned, he did not stand against Set.
This was the dark time. Set was everything his brother was not. He was cruel and unkind, caring not for the balance of Maat, or for us, the children of the gods. War divided Egypt, and all was lawless while Set ruled. In vain our people cried to Ra, but his heart was hardened by grief, and he would not listen.
Only Isis, blessed Isis, remembered us. Only she was unafraid of Set. She searched all of the Nile for the box containing her beloved husband. Finally she found it, lodged in a tamarisk bush that had turned into a mighty tree, for the power of Osiris still was in him, though he lay dead. She tore open the box and wept over the lifeless body of Osiris. She carried the box back to Egypt and placed it in the house of the gods. She changed herself into a bird and flew about his body, singing a song of mourning.
Then she perched upon him and cast a spell. The spirit of dead Osiris entered her and she did conceive and bear a son whose destiny it would be to avenge his father. She called the child Horus, and hid him on an island far away from the gaze of his uncle Set.
She then went to Thoth, wise Thoth, who knows all secrets, and implored his help. She asked him for magic that could bring Osiris back to life. Thoth, lord of knowledge, who brought himself into being by speaking his name, searched through his magic. He knew that Osiris' spirit had departed his body and was lost. To restore Osiris, Thoth had to remake him so that his spirit would recognize him and rejoin. Thoth and Isis together created the Ritual of Life, that which allows us to live forever when we die. But before Thoth could work the magic, cruel Set discovered them. He stole the body of Osiris and tore it into many pieces, scattering them throughout Egypt. He was sure that Osiris would never be reborn.
Yet Isis would not despair. She implored the help of her sister Nephthys, kind Nephthys, to guide her and help her find the pieces of Osiris. Long did they search, bringing each piece to Thoth that he might work magic upon it. When all the pieces were together, Thoth went to Anubis, lord of the dead. Anubis sewed the pieces back together, washed the entrails of Osiris, embalmed him wrapped him in linen, and cast the Ritual of Life. When Osiris' mouth was opened, his spirit reentered him and he lived again.
Yet nothing that has died, not even a god, may dwell in the land of the living. Osiris went to Duat, the abode of the dead. Anubis yielded the throne to him and he became the lord of the dead. There he stands in judgment over the souls of the dead. He commends the just to the Blessed Land, but the wicked he condemns to be devoured by Ammit.
Horus and Set as supporters of the king
When Set heard that Osiris lived again he was wroth, but his anger waned, for he knew that Osiris could never return to the land of the living. Without Osiris, Set believed he would sit on the throne of the gods for all time. Yet on his island, Horus, the son of Osiris and Isis, grew to manhood and strength.
Set sent many serpents and demons to kill Horus, but he defeated them. When he was ready, his mother Isis gave him great magic to use against Set, and Thoth gave him a magic knife.
Horus sought out Set and challenged him for the throne. Set and Horus fought for many days, but in the end Horus defeated Set and castrated him. But Horus, merciful Horus, would not kill Set, for to spill the blood of his uncle would make him no better than he. Set maintained his claim to the throne,
and Horus lay claim himself as the son of Osiris. The gods began to fight amongest another, those who supported Horus and those who supported Set. Banebdjetet leaped into the middle and demanded that the gods end this struggle peacefully or Maat would be imbalanced further. He told the gods to seek the council of Neith. Neith, warlike though wise in council, told them that Horus was the rightful heir to the throne. Horus cast Set into the darkness where he lives to this day.
And so it is that Horus watches over us while we live, and gives guidance to the Pharaoh while he lives, and his father Osiris watches over us in the next life. So it is that the gods are at peace. So it is that Set, wicked Set, eternally strives for revenge, battling Horus at every turn. When Horus wins, Maat is upheld and the world is at peace.
When Set wins, the world is in turmoil. But we know that dark times do not last forever, and the bright rays of Horus will shine over us again. In the last days, Horus and Set will fight one last time for the world. Horus will defeat Set forever, and Osiris will be able to return to this world. On that day, the Day of Awakening, all the tombs shall open and the just dead shall live again as we do, and all sorrow shall pass away forever.
Lo, this is my tale. Keep it in your hearts and give it to others, as I gave it to you.
Gods of Egypt
Gods and Mythology of Ancient Egypt
Man's first gods were the forces of nature. Terrifying and unpredictable, they were feared rather than revered by our ancestors. Yet while much of the world was in darkness, worshiping cruel incarnations of natural forces, a river valley in Africa held a people who followed a different path. They worshiped gods that were beautiful to behold, luminous beings that walked the earth, guiding the human race to Paradise. They had human forms but were much more powerful; yet like humans, they got angry, despaired, fought with one another, had children, and fell in love. They lived lives that were very much like those of the people who worshiped them, the ancient Egyptians.
They were gods to be feared yes, as all gods are, but they were also gods to be loved. What's more, the Egyptians enjoyed talking about the gods. Like the gods of the Greeks and Romans, the Egyptian gods seemed to be made for storytelling. There were tales to educate, tales to entertain, and tales with morals, and in those stories, the gods didn't seem so far away and unreachable. It was comforting to hear that the gods also wept for those they had lost, to hear about the gods laughing, to learn that the gods faced many of the same problems that the people did, albeit on a grander scale. In learning about the gods on such an intimate level, the Egyptians could better relate to the universe around them.
The ancient Egyptians practiced a belief system that was part totemism, part polytheism, and part ancestor worship. There were numerous gods, but rather than living on an isolated mountain or in an unreachable heaven, many of them lived invisibly in the mortal world, acting through sacred sites, items, animals, or even chosen people. Furthermore, the spirits of the deceased, if remembered and honored, could aid and guide the living from the Afterlife.
Here we will explore the religion of the ancient Egyptians, how it evolved, how it affected their lives and their development as a civilization. But most importantly, we will try to understand a people through what they believed and in doing so, give them that which they sought most: immortality.
THE GODDESS ISIS
THE GODDESS ISIS
Several people have requested some information on the goddess Isis. I will already say that there is much more to know an learn about Isis than I habe posted. This is just an overview of who she was and her story. jope you enjoy. C.C.
Isis originally known as "Aset" or "Iset" is a goddess in Ancient Egyptian religious beliefs. She was worshipped as the ideal mother and wife as well as the patroness of nature and magic. She was the friend of slaves, sinners,
artisans and the downtrodden, but she also listened to the prayers of the wealthy, maidens, aristocrats, and rulers. Isis is often depicted as the mother of Horus, the hawk-headed god of war and protection (although in some traditions Horus's mother was Hathor). Isis is also known as protector of the dead and goddess of children.
The name Isis means "Throne". Her headdress is a throne. As the personification of the throne, she was an important representation of the pharaoh's power. The pharaoh was depicted as her child, who sat on the throne she provided. Isis was the first daughter of Geb, god of the Earth, and Nut, goddess of the Sky, and she was born on the fourth inter calary day. She married her brother, Osiris, and she conceived Horus with him. Isis was instrumental in the resurrection of Osiris when he was murdered by Set. Using her magical skills, and with the assistance of Thoth, she restored his body to life after having gathered the body parts that had been strewn about the earth by Set. It was believed that the Nile River flooded every year because of the tears of sorrow which Isis wept for Osiris.
A later myth, tells the story of Anubis, the god of the underworld. The tale describes how Nephthys was denied a child by Set and disguised herself as her twin, Isis, to seduce him. The plot succeeded resulting in the birth of Anubis. In fear of Set's retribution, Nephthys persuaded Isis to adopt Anubis, so that Set would not find out and kill the child. The tale describes both why Anubis is seen as an underworld deity (he becomes the adopted son of Osiris), and why he could not inherit Osiris's position (as he was not actually the son of Osiris but his brother Set), neatly preserving Osiris's position as lord of the underworld. It should be remembered, however, that this new myth was only a later creation of the Osirian cult who wanted to depict Set in an evil position, as the enemy of Osiris.
The most extensive account of the Isis-Osiris story known today is Plutarch's Greek description written in the 1st century BC.
In that version, Set held a banquet for Osiris in which he brought in a beautiful box and said that whoever could fit in the box perfectly would get to keep it. Set had measured Osiris in his sleep and made sure that he was the only one who could fit the box. Several tried to see whether they fit. Once it was Osiris's turn to see if he could fit in the box, Set closed the lid on him so that the box was now a coffin for Osiris. Set flung the box in the Nile so that it would drift far away. Isis went looking for the box so that Osiris could have a proper burial. She found the box in a tree in Byblos, a city along the Phoenician coast, and brought it back to Egypt, hiding it in a swamp. But Set went hunting that night and found the box. Enraged, Set chopped Osiris's body into fourteen pieces and scattered them all over Egypt to ensure that Isis could never find Osiris again for a proper burial. Isis and her sister Nephthys went looking for these pieces, but could only find thirteen of the fourteen. Fish had swallowed the last piece, his penis. She created a golden phallus, with the help of Thoth, and attached it to Osiris’s body. She then transformed into a kite and with the aid of Thoth’s magic conceived Horus the Younger.
Yet another set of late myths detail the adventures of Isis after the birth of Osiris's posthumous son, Horus. Many dangers faced Horus after birth, and Isis fled with the newborn to escape the wrath of Set, the murderer of her husband. In one instance, Isis heals Horus from a lethal scorpion sting. She also performs other miracles in relation to the cippi, or the plaques of Horus. Isis protected and raised Horus until he was old enough to face Set, and subsequently, became the pharaoh of Egypt.
It was said that Isis tricked Ra into telling her his "secret name," by causing a snake to bite him, for which only Isis had the cure. Knowing the secret name of a deity enabled one to have power of the deity. The use of secret names became central in many late Egyptian magic spells. By the late Egyptian historical period, after the occupations by the Greeks and the Romans, Isis became the most important and most powerful deity of the Egyptian pantheon because of her magical skills. Magic is central to the entire mythology of Isis, arguably more so than any other Egyptian deity.
Isis had a central role in Egyptian magic spells and ritual, especially those of protection and healing. In many spells, she also is completely merged even with Horus, where invocations of Isis are supposed to involve Horus's powers automatically as well. In Egyptian history the image of a wounded Horus became a standard feature of Isis's healing spells, which typically invoked the curative powers of the milk of Isis.
The first written references to Isis date back to the Fifth Dynasty. During the Old Kingdom period, Isis was represented as the wife or assistant to the deceased pharaoh. Thus she had a funerary association, her name appearing over eighty times in the pharaoh's funeral texts (the Pyramid Texts). This association with the pharaoh's wife is consistent with the role of Isis as the spouse of Horus, the god associated with the pharaoh as his protector, and then later as the deification of the pharaoh himself. But in addition, Isis was also represented as the mother of the "four sons of Horus", the four deities who protected the canopic jars containing the pharaoh's internal organs
Castle of Saladin
Castle of Saladin
Citadel of Salah al-Din , known as Castle Mountain is one of the most important features of Islamic Cairo and is located in the neighborhood of "castle" has been erected on one of onshore separated from the cliffs on the outskirts of Cairo, and is considered one of the most luxurious castles war which was built in the Middle Ages, It has a strategic place be class The first purpose of this site defensive important because it controls the cities of Cairo and Fustat , as it constitutes a natural barrier up between the two cities .Salahuddin was founded this castle on a hill from the cliffs , and completed just rebuilt his brother King in 1208 , in order to secure Cairo against possible invasions .The according to Salah al-Din completely in choosing the place of the castle, as it by putting high achieved overseeing the Cairo supervision fully , to the extent that its garrison was able to do two operations warships at one time , they tighten the internal front and head off to come out of obedience to the Sultan, and resist any attempts by foreign to seize Cairo.The fence set up by Saladin around Cairo to defend it against any external aggression , installations military mission that completed the role of the castle in the Middle Ages , a fence , which was discovered recently , after he took Salah al-Din (1171 - 1193 AD) ruled Egypt interested in build area outside the Fatimid Cairo between the door Zuwaila and Ahmad Ibn Tulun Mosque , and dividing them into several lines , including line Darb al - Ahmar , which is still known by that name even today. This leads the collector region the Vanguards bin Rzyk , interest which is the last trace of the era of the Fatimids in Egypt
Genealogical texts
Genealogical texts
Intended to texts which tell certain family ratios , usually has spread record proportions in the late Egyptian times , and its importance due to it helps to know the sequence of some of the kings that lived the families of the owners of these texts in the royal family . Among the most famous of these lineages, ratios priest lived in the twenty - second family, the inscription on the stone plate reserved Museum in Berlin. The priest said the names of 60 very front of the name of each of them the king, who sphincter. This cannot rely fully on these texts only after comparing to other sources to ensure the accuracy of their content information; And if all these sources, seven are not recorded, but the lives of kings , as is the case with inscriptions temples and royal tombs , the inscriptions graves of individuals in different eras and that exist in multiple areas contain a lot of inscriptions and scenes depicting the middle class and the working class and the peasantry. This effect are plentiful in Egypt and in foreign museums does not mean that it has been writing all chapters of ancient Egyptian history, filling all the gaps in it because the soil of Egypt is still hides a lot of treasures that will be disclosed to rewrite some chapters of this history.
Secrets of building the pyramids
Secrets of building the pyramids
The ancient Egyptians ancestors believe tamper with immortality, and they will live another life after the paradox of this world , and did everything in their power to keep their bodies , and they mummified believing that the presence of the body in proper condition necessary for the life of the other, as were the views of tools and dishes embossed on the stones until you real sacrifices that are necessary for the life of the body after death , and also carved statues and put them in tombs and temples in order to be a substitute for the mummy if it smashed or lost , and in the case of the return of the soul to it .Thus influences played a role in the activity of religious architecture, building tombs and care Ahram as immortal houses , they built of stone , while the palaces and houses built of mud - brick and burned as houses for low fleeting .The king had a special status in all phases of Egyptian history , especially in the era of the old state , he is not human normal , but it is the same sacred, the first representative of God on earth, and after his death, moving to a clique of gods in the other world, and become one of them , and this is what makes people in the building is dedicated to the royal pyramid .These pyramids , temples and cemeteries in and around the ruins that we see now was in one day full of priests who were giving offerings to the souls of kings and the public , and was one day illuminate what around wearing a pure white stone .Temples were also echoed hymns and prayers which saying it the priests while offerings and flowers cover the massacres , and the smell of incense increases the ambient sanctity of the place , but the inscriptions and colorful pictures on the walls of tombs and temples still a living witness to that movement which silent about over the years .It's really a great Pharaonic civilization.
Crystallized manifestations of religion and art in Egypt
Crystallized manifestations of religion and art in Egypt
Egypt was flourished which a strong central government also gone through periods of decay and disintegration can be summarized as follows:
Archaic period : Includes families 1 , 2, the era of the adoption of political unity and lay the foundations of Egyptian civilization on solid bases .
Old state : It includes families of 3-6 ( about 2690 - 2180 BC). An era full of Homeland Security , where Egypt has been able to reach the top of its glory in the science of medicine, astronomy and engineering is the era of the builders of the pyramids.
Followed by the Old Age of Diminished family reunion from 7 - 10 ( about 2180 - 2060 BC). , Fassadt the uncle of turmoil and chaos descended art and but flourished literature , and good princes managed to unite the country again and play .
Central State : include 11 - 14 ( about 2060 - 1710 BC).Interested in foreign policy, kings , and took control of Lower Nubia and carried out a massive irrigation projects .Second Intermediate Period and include Dynastic 15-17 ( about 1710 - 1560 BC). Signed by Egypt under the Hyksos occupation , to enable the good lords the liberation of their homeland thanks sincerely like Taa Ra and his two sons Kamose and Ahmose and these are considered the founders of the modern state.
a cuff bracletes of Thutmose III's wife
a cuff bracletes of Thutmose III's wife
Cuff bracelets decorated with cats, gold, carnelia, lapis lazuli, and turquoise glass, discovered in 1916 in the tomb of the three foreign wifes of Thutmose III (Menhet, Menwi, and Merti) at Wady Qabbanat el Qurud, Luxor. 18th dynasty, New Kingdom.
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A beautiful Hinged Cuff Bracelet dating back to the 18th dynasty, New Kingdom under
Thutmose III
painting from the Tomb of Nebamun and his brother Ipuki
the Tomb of Nebamun
Detail of a painting from the Tomb of Nebamun and his brother Ipuki, in the Tombs of the Nobles at Thebes. Nebamun was the 'Head Sculptor of the King of the Two Lands', during the reign of king Amenhotep I, 18th dynasty, New Kingdom. This s...cene from his tomb shows him seated with his wife Henutnefert. Nebamun is wearing only a kilt and a collar and he holds with his left hand a bouquet of lotus flowers. His beautiful wife is embracing him and tenderly touching his shoulder. She is wearing a long wig decorated with lotus buds, a fine white garment and a bead-collar.
Another scene from Tomb of Nebamun and Ipuki represented a Mourning Woman, 18th dynasty, New Kingdom.
The Coptic Museum ,Icons
The Coptic Museum ,Icons
Most of the icons in the Coptic Museum were acquired from Cairo's oldest churches. The majority of them are relatively modern, dating from the 18th and 19th centuries. They are, nevertheless, interesting for their themes, including scenes from the Old and New Testaments, the Holy Virgin, saints and martyrs, and especially soldier saints. Coptic churches, both ancient and modern, are always adorned with icons since they are used in the liturgy of the Coptic Church. Indeed, the older churches are perhaps a better venue for seeing the older icons than the Coptic Museum.
However, several icons stand out. One, for example, dating to the 18th century, depicts Ahrakas and Oghani, who wear masks in the forms of dog heads. They pear towards a fruit tree. Another depicts the Virgin and Child. He raises a crown with a cross, and is flanked by Saint Peter and Saint Paul. Another touching icon represents the Virgin Mary holding the Christ child, and dates to the eighteenth century. Many others depict various saints.
The Coptic Museum ,Wall paintings
The Coptic Museum ,Wall paintings
Almost all Coptic wall painting is monastic. They were never intended to be great works of art, but some of them, and in particular those at Bawit and Saqqara from the 6th and 7th century, show a relatively high standard. These murals were applied to mud-brick walls which had been plastered and white-washed. The only technique used for Coptic murals was tempera.
Those paintings from the Monastery of Saint Apollo at Bawit (in the Bahariya Oasis), dating between the 6th and 8th centuries, consist of figural scenes including episodes from the Old Testament, representations of Christ the Pantokrator and the Holy Virgin and Child, often flanked by apostles, figures of monks and saints, medallions depicting the virtues, floral and geometric dadoes, and even hunting scenes.
The murals of the Monastery of Saint Jeremias at Saqqara are more or less similar to those of Bawit. The figures are strictly frontal and usually distinctly separated from each other. The presence of Byzantine influence can be seen, but the wall paintings are nevertheless not without originality in some themes as well as in style.
The Coptic Museum ,Ceramics and Terracotta
The Coptic Museum ,Ceramics and Terracotta
Pottery is a cheap material and a huge quantity of various wares have been unearthed in Egypt. The study of Coptic pottery in particular has progressed remarkably in the last three decades are so thanks to carefully recorded excavations at many sites. Of particular interest are those of Abu Mina, Kellia, Athribis, Naqlun, Antinoe and Esna.
Most are made of brown, red, orange, yellow, cream and pink clay, some coarse and some polished. The Coptic Museum houses a fine collection of pottery made for everyday use, including huge storage jars, amphorae and wine jars, cooking pots, spouted vessels, vases, jugs, bowls and dishes. There are also terracotta ampullae, lamps and figurines.
Many of the pieces on display have intricate designs and motifs of which animals are the most common, including hares, doves, fish, lions, gazelles and fantastic animals. Many human figures, mostly in the form of busts, were also painted on pottery, similar to some of those from Bawit.
Characteristic of Coptic terracotta are frog-shaped lamps and ampullae depicting Saint Menas standing between two kneeling camels. The Coptic Museum also exhibits some examples of Islamic glazed pottery from Al-Fustat.
The Coptic Museum ,Woodwork
The Coptic Museum ,Woodwork
Egypt lacks good quality wood for the most part, which has always made it a valuable commodity. During the Pharaonic Period find wood, and especially ebony, was imported from the south (Kush, or Nubia and Punt) and cedar from Lebanon and Syria. During the Roman and Byzantine Periods, Egypt was much less prosperous then in much of the Pharaonic Period. Therefore, one might expect that fine imported wood should have been used mainly in Alexandria, but it is known, however, that indigenous wood such as tamarisk, acacia, sycamore, lebbakh, jujube and willow were widely and skillfully used by Coptic carpenters, and that imported woods, such as box, cedar, ebony liquidambar, olive and pine were employed for fine and important works. The main centers of Coptic carpentry were Babylon (a section of Old Coptic Cairo), Antinoe, Bawit and Akhmin.
Many churches and monasteries were once adorned with elaborate sculptures in wood, consisting of lintels, doors, panels and friezes, decorated with saints, Nile themes, floral and animal ornaments, geometric patterns and scenes taken from the Old and New Testaments. Smaller items made of wood for daily life include toilette equipment, combs, caskets, toys spindles, stamp seals and musical instruments.
Woodwork, particularly screens, doors and panels of the 10th through the 14th centuries, reflects clearly the influence of Islamic Art.
The Coptic Museum houses three of the most important wood artifacts from the churches of Old Coptic Cairo. They are the door of the Church of Saint Barbara, the altar of the Church of Saints Sergius and Bacchus and the lintel from Al-Mo'allqa.
They are very valuable for the study of Coptic sculpture during the period between the 4th and 6th centuries.
The Coptic Museum ,Metalwork
The Coptic Museum ,Metalwork
Not surprisingly perhaps, considering Egypt's historic quest for rare metals, the Coptic museums collection of metalwork is a rich one, containing gold and silver, but also copper, bronze and iron. These pieces represent some of the oldest objects in the museum, dating from the 3rd to the 19th century. They come from monasteries, churches and towns, and may therefore be either religious objects or items intended for everyday use. The main group includes crosses, censers, lamps, bells, bible caskets, chandeliers, church and monastery keys, liturgical implements. Other items include household utensils, such as bowls, dishes, pans and cooking bots, while for women there are kohl boxes, necklaces, earrings and bracelets, and there are also medical instruments, weights and measures and agricultural implements. Many of these items are well executed and adorned using different techniques.
The majority of these objects are difficult to date, though a few, such as the famous Luxor silver treasure of Abraham, bishop of Hermonthis (c. 600) and some of the Bible caskets, which are inscribed with dates, or objects found with coins, can be securely dated.
