Conorp Egypt

NGV

conorp — Tue, 12 Oct 2010 10:59:58 +0000

The National Gallery of Victoria is an art gallery and museum in Melbourne, Australia. Founded in 1861, it is the oldest and the largest public art gallery in Australia. The main gallery is located in St Kilda Road, in the heart of the Melbourne Arts Precinct of Southbank, with a branch gallery at Federation Square. The Gallery has a small, but impressive collection of Egyptian artifacts, which are displayed on this website.

Head of Queen Nefertiti

conorp — Sat, 28 Aug 2010 08:09:12 +0000

Egypt, el-Amarna
Boundary stela Q
Head of Queen Nefertiti
New Kingdom
Dynasty XVIII
Reign of Akhenaten
1352-1336 BC
Limestone
35.8 X 17.1 X 21.7 CM
Gift of Norman de Garis Davies, 1907

Nefertiti was the principal wife of King Amenhotep IV / Akhenaten. Her parentage is unknown but she undoubtedly came from a high-ranking family; she bore the king six daughters. Nefertiti occupied a position second only to her husband, playing a pivotal role in his religious reforms and may even been elevated by him to the position of co-ruler. If so, she was on of the only five queens regnant in pharoaonic history.

Amenhotep IV promoted the cult of Aten, the visible solar disc and creative force of sunlight, above all gods. He is first depicted as falcon-headed, resembling the creator of god Ra-Horakhty, but later, the solar disc from which rays extended, offering life to the royal family. The iconography of the sculptures from the temples makes it clear that the royal couple were identified with Shu and Tefnut, the offspring of the creator-god Atum. And build a new capital dedicated to Aten, called Akhataten (Horizon of the disc; modern el-Amama), and he changed his name to Akhenaten (Beneficial one of the Aten). The new cult did not survive the death of Akhenaten and Nefertiti and, like tem, it was the target of vilification by later rulers.

Votive stela of Amenemope

conorp — Mon, 15 Feb 2010 02:15:40 +0000

Votive stela of Amenemope
New Kingdom, mid Dynasty XVIII
Reign of Thutmose III
1479-1425 BC
Limestone, pigment
36.5 X 24.5 X 8.0
Felton Bequest 1939

This is one of a small number of volative stelae in the collection of the National Gallery of Victoria upon which private individuals are shown worshipping deities for whom they held particular veneration. It would have been dedicated at a temple or shrine and displayed; such items are encountered particularly from the New Kingdom onwards and reflect personal piety. This round-topped stela, in sunk relief, depicts three members of a family: Amenemope, hiw wife Senuires and his son Amenmes; the names of the two males honour the god Amn of Thebes. Amenemope wears a shoulde-length wig, a collar that preserves traves of blue pigment, along white linen kilt over a short one, and is barefoot.

Senuires raises one arm in adoration and carries a small jar in her left hand; this bear traces of blue pigment. Sher wears a typical shealth dress, a collar and a long wig. The single line of inscription to her right reads: “His wife, mistress of the house, Senuires”. Amenmes stands in a similiar positio to Senuires but carries a duck, originally colored red; he is attired like his father but wears a skillcap.

Amenmes was a common priest of a local form of the goddess Mut, consort of Amen, venerated at Mageb in the tenth province of the south Egypt. The writing of the place name without a final letter “t” enables the stela to be dated to the first part of Dynasty XVIII.

Translation:
“Meaning of the names”

Imn-m-jpw – ‘Amon from Ipu‘ (Akhmim) [or: ‘Amon is at Akhmim‘]
Sen-i-Asir – ‘Osiris is my brother‘
Jmn-ms – ‘Amon is born‘

Hope, Colin A. Ancient Civilizations in the International Collections of the National Gallery of Victoria. Melbourne, Victoria, 2004.

Sculptor’s model for the head of a king

conorp — Mon, 15 Feb 2010 02:08:06 +0000

EGYPT
Sculptor’s model for the head of a king
Late Period – Ptolemaic Period, 664-30 BC
plaster
17.3×11.1 x9.9cm
Bequest of Howard Spensley, 1939 (4160-D3)

To enable the sculptor, draughtswoman or carver of reliefs to produce an image that was acceptable to the patron, it is likely that they used models such as this one. In ancient Egyptian art it is generally believed that exact likeness of facial features were not reproduced, bu rather, idealized portrayals were preferred in which there was a focus upon youthful strength. This is indicated by the rare occurrence of what are clearly highly individualistic renditions, especially in sculptures of the upper echelons of society, yet there is a general similarity in most others.

Nevertheless, in many depictions of royalty especially, there are details, some quite subtle, which distinguish one face from another, while from one period to another different generals characteristics can be observed. To ensure the acceptability of the final image when either a compromise or a more individualistic rendering required, models could have been produced for approval. A variety of thees survive from the late Period and Ptolemaic Period, as do a category of objects termed “trial pieces“, in which the artist attempted to perfect his expertise in representing different images.

In the example illustrated the artist has devoted attention only to the front, the back remains flat. The king wears either the head cloth (nemes) or war crown with the uraeus, a symbol of his protection by the creator. His face plump, with a small smiling mouth and a full chin and neck. It is a stylized representation of a mature person.

Lid from the inner anthropoid coffin of Iret~[en]~Hor~eru

conorp — Sat, 23 Jan 2010 02:58:55 +0000

Egypt, possibly Thebes
Lid from the inner anthropoid coffin of Iret~[en]~Hor~eru
Third Intermediate Period
Late Period
Dynasty XXV-
early Dynasty XXVI
747-600 BC
Wood, linen, gesso, pigment
21.5 X 42.4 X 70.5 CM
Purchased, 1938

To offer greater protection within the tomb, a body could be placed within sets of coffins. This is the lid from an inner coffin in human form that would have contained the owner’s body and which was then placed within the outer coffin. It is more elaborately painted than the outer coffin in a series of horizontal registers with scenes and inscriptions.

The face of the owner is painted red, the conventional color used for men’s skin, the eyebrows are black as are the cosmetic lines around the eyes and the pupils. He wears a striped, lappet head cover and a floral collar over his shoulders. Below the latter is the kneeling figure of the goddess Nut with her wings outstretched in a gesture of protection; she is supported upon the hieroglyphic for gold.

The decoration on the body is arranged as though it is upon panels framed by the bangles with which the actual body was wrapped. In the uppermost we see the deceased before Osiris and Ra, who, from Dynasty XVIII, were assimilated to form the nightly and daily manifestations of the creator god. This is a figure of a squatting falcon on a basket, representing Sokar who, like Osiris, was a god of resurrection, and then an image of the mummy of the deceased upon a lion bed under which are five jars. Finally, we encounter the tall fetish that represents Abydos, one of the main cult centers of Osiris and where it was thought he was buried.

Head covering of Padihorpasheraset

conorp — Sat, 23 Jan 2010 02:56:45 +0000

EGYPT
Head covering of Padihorpasheraset
Roman Period,
1st-2nd century AD
cartonnage, gilt, glass paste, pigment
53.7×35.9×30.1 cm
Felton Bequest, 1995 (D144-1994)

The presentation of the head of the deceased was especially important in ensuring survival in the next life. In the Old Kingdom the facial features were painted upon the linen body wrappings and sometimes modeled into them, while some instances the head, and occasionally the entire body, were coated with plaster into which details were modeled. In the Middle Kingdom the upper part of the torso and head were covered with mas made from painted Cartonnage; anthropoid coffins evolved, made first in wood and the cartonnage, in which the head was emphasized.

They become popular again during the Ptolemic and Roman Periods when normally only certain sections of the wrapped body were covered with decorated cartonnage. Cartonnage comprises layers of linen, sometimes also papyrus, stiffened with glue with a surface layer of gesso; the facial features are modeled into this and details added.

This fine examples shows stylized facial features with glass inlays for the eyes and eyebrows, and decorations with rich religious symbolism. The fillet is tied at the rear; crowned, rearing cobras are attached to it ends, supporting the sign for
life. The lappets each carry a seated figure of Ra wearing the solar disc, the falcon Sokar, the deceased before a seated Osiris, and a row of five gods. The gilding is a mask of the affluence of the owner but identifies him with the creator god, whose skin is gold.

Canopic jar with lid representing Duamutef

conorp — Fri, 22 Jan 2010 04:49:43 +0000

EGYPT, Possibly Qurna
Canopic jar with lid representing Duamutef
Third Intermediate Period,
Dynasties XXI-XXV, 1069-664 BC limestone
33.8×13.2×15.1cm
Presented by James E. Sherrard Esq., 1881 (2.a-b-D 1 A)

From an early stage in the development of their beliefs in the afterlife, the Egyptians linked the preservation of the body with eternal life. If the body was damaged or destroyed then continued existence after death was affected. Whilst substitutes for the body might be placed within the tomb in the form of models or statues, or depictions of the deceased carved upon the tomb walls or a stela, the preservation of the physical remains was always of paramount concern.

The earliest techniques involved wrapping of the body in linen; burial in sand-filled put
graves and the head of the sun’s rays combined effectively to preserve the remains. The most effective were costly and only available to the elite. By the early Old Kingdom royalty had access to evisceration which prevented the decomposition of the internal organs that reduced the likehood of the body’s survival.

The live, lungs, intestines and stomach were removed; the heart was left in place. Necessary to the functioning of the body in the next life, like the body, were desiccated in matron, wrapped in linen and placed in what we term “canopic” jars. They were included in the burial and protected by one of the four sons of Horus and also one of the goddess Isis, Nephthys, Neith or Selkit. From Dynasty XIX, jar lids was formed of the head of its protective god: human-headed Imsety (Liver), baboon-headed Hapy (Lungs), jackal-headed Duamutef (Stomach) or falcon-headed Qebehsenuef (Intestine).

Canopic chest

conorp — Fri, 22 Jan 2010 04:46:45 +0000

EGYPT
Canopic chest
Ptolemaic Period,
332-30 BC
wood, gesso, pigment
85.5 x 28.3 x 27.9 cm
Felton Bequest, 1939 (D97.a-c-1982)

The chest was intended to contain the wrapped and desiccated internal organs of its owner, which had been removed during mummification but which must be preserved and buried in the tomb. This tradition is known from Dynasty IV onwards, but towards the end of the New Kingdom in Dynasty XX their use was discontinued and the internal organs were buried with the body. But the widespread antiquarian interest and copying of ancient practices in the Late Period, canopic chest were once again used; this lasted until the Ptolemaic Period.

The form is that of a shrine with slightly tapering sides; the lid, which may not originally have been made for this chest, supports a finely painted figure of a falcon wearing a double-plumed headdress, representing Sokar, god of the cemeteries of Memphis. At the base is a stylised rendering of the serekh, the recessed panel facade that characterized royal architecture. Other architecture elements are the khekher friaze above the decorative panels.

At the point are two chequered panels that represent the door of the shrine. They support the figures of the unnamed owner of the chest kneeling in adoration of Osiris and Ra. The sides are similarly decorated with the djed and tyet symbols of Osiris and Isis, and an upper register with two of the four sons of Horus who protect the internal organs. The hieroglyphic texts on the front contain prayers for the well being of the chest’s owner.

Bust of a woman

conorp — Fri, 22 Jan 2010 04:40:59 +0000

EGYPT, Behnessa
Bust of a woman
Roman Period,
late 3rd – early 4th century AD
limestone, gesso, pigment
72.0 x43.2×21.5cm
Felton Bequest, 1973 (D135-1975)

Throughout Egyptians history sculptures played a significant role within burial arrangements. Should the body of the deceased be destroyed, then eternal existence in the afterlife would be impaired or rendered impossible in the deceased in relief old sculptural form could act as substitutes for the body, furthermore, receive the food offerings on behalf of the deceased; they were awaited throughout performance of the Opening of the Mouth ritual. Statues could be sculpted in a wall, placed in closed chambers or displayed in niches.

The bust illustrated derived from the end of this tradition. Although it is freestanding, the lack of finish at the rear indicated that it was made to be from the front and was probably set within a niche; possibly in a tomb chapel. The garments are rendered in a lifeless manner, despite the detailing. The jewelery comprises earrings in the form of rings with acorn-shaped drops, bracelets, a bead necklace and a chain with medallion. There are traces of paint: red in the tunic, brown on the hair and yellow on the jewelery, indicating that it was of gold.

The face generally emotionless, though it has a solemn appearance. and the neck, being cylindrical, is not lifelike. These features, and the static quality of the figure, emphasize its stylized nature. There is a red-painted “L” on the left arm; aspects of the hairstyle have been thought to indicate the owner was a devotee of Isis, but this is unproved.

Base from the outer anthropoid coffin of Iret-[en]-Hor-eru

conorp — Fri, 22 Jan 2010 04:25:40 +0000

EGYPT, possibly Thebes
Base from the outer anthropoid coffin of Iret-[en]-Hor-eru
Third Intermediate Period – Late Period, Dynasty XXV -
early Dynasty XXVI,
747-600 BC
wood, gesso, pigment
33.0 x 62.0 x 193.0 cm
Purchased, 1938 (D144-1982)

The wooden coffin base and the lid from an inner belonging to Iret-[en]-Hor-eru, together with a lid from the inner coffin of a woman name Tjeseb, and their mummies, are the first major Egyptian antiquities known to have been brought to Melbourne. They belonged to local businessman J.R. Gotch and were in Melbourne before 1893. In that year the mummy were unwrapped and been displayed in the Exhibition Building before transferred to the National Gallery of Victoria for display in 1939; the mummified remains are in Melbourne Museum.

The wooden coffin is covered with a layer of white gesso and painted. On the interior of the base is a figure of the composite deity Ptah-Sikar upon a standard, show a falcon-headed, wearing atef-crown, holding a was-sceptre and wrapped in red-coloured bandages, This god combines aspect creator god Ptah, worshiped in Memphis, near modern Cairo, and Sokar, god of resurrection, revered in the cemeteries of the same region. On the side of the head end there is a solar disc from which ray extend, flanked by rearing cobras (Uraie) with the hieroglyphic sign for life (Ankh). Inscription identify the disc as the god (Hor-) Behdet, Lord of Heaven.

The interior sides bear representation of the goddess Isis and Nephthys. A text in large glyphs written on the exterior ensures offerings for the owner Iret-[en]-Hor-eru, son of Djed-khonsu-iu-ef-ankh, from the gods Ra-Horakhty, Atum and Ptah-Sokar-Osiris.