Egyptian

EgyptianCeramics of different sizes and shapes were produced in Egypt from the Predynastic Period onwards. The potter took advantage of the residual clays of the Nile banks so that he only molded the clay and set it out to dry in the sun, then polished it with a stone and occasionally coated it with an ochre slip. The polishing gives the vessel its red hue while the black top and interior are black due to carbonization as the hot vessel was placed in a bed of smoldering chaff. The final vessels had excitingly variant shapes with modern overtones as is apparent from these few examples.http://www.emuseum.gov.eg/

details.asp?which2=536

BLACK-TOPPED RED-WARE CERAMICS

prehistoric Clay

This very elaborate example illustrates the intricate fine work, the strong taste for gold and polychrome, as well as the rich symbolism hidden behind each element of luxurious specimen of the goldsmith's trade. In fact, all the themes which illustrate an eternal cycle are represented in the pectoral: the lunar and solar emblems; Upper and Lower Egypt, the kings ascent to heaven and his rule in the next world.

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PECTORAL OF TUTANKHAMON

New Kingdom , 18th Dynasty

TUT-ANKH-AMUN Gold, Silver, Glass

, Semi-precious stones

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The imagination of the royal artist never ceases to amaze us. Here the artist has bound these two prisoners together transforming the cane into a true work of art. The Syrian captive wears a costume ornamented with circular and floral motifs and his hands, face and feet are made of ivory. The African captive on the other hand wears a garment of multicoloured streamers while his hands, face and limbs are made of ebony. A papyrus umbel bearing the king's cartouche is at the other end of the cane. When the king held the cane the prisoners were turned upside down and rendered harmless in his grasp.


Cane with two prisonersNew Kingdom , 18th Dynasty MaterialGlass, Wood, Ebony, Ivory


Such glass vases, with a tall base, bulging belly, large high neck and flattened rim illustrate a technique of manufacture which first appeared during the Eighteenth Dynasty. Glass with such decorative patterns was not blown but moulded hollow around a clay mandrel which was removed once the glass had cooled. In order to obtain the garland and chevron motifs, they applied little glass rods of yellow, white and blue to the reheated surface of the vessel. The colours fused together as they melted. One could elongate the base and neck or add them separately as had been done with the handles. It is clearly a masterpiece of craftsmanship and scientific knowledge.


POLYCHROME GLASS VASE receptacleNew Kingdom , 18th Dynasty



This stela illustrates a new form of personal piety which appeared in the Amarna Period in the form of the royal family worship, as a mean to reach the divinity. Thus the presentations of the royal family became a sort of icon kept in private chapels of Amarna houses. On such stelae, the sun disk dominates the scene with its rays ending in human hands, offering the " ankh " and " was " signs (life and prosperity) to Akhenaten and Nefertiti sitting comfortably and playing with their daughters. The scene captures an intimate moment with the royal family in which the central themes are harmony, love and affection.This moment, exclusive to Amarna art, shows the scope of reform in royal iconography and religion.


THE ROYAL FAMILY AS "HOLY FAMILY" Amenhotep IV (Akhenaten) DateNew Kingdom , 18th DynastyPainted Limestone

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New Kingdom , 18th Dynasty

Painted Wood, Gilded Wood


This lady represents elegance and luxury. A heavy wig held by a lotus diadem, surrounds her delicate face. Her plaited robe is tied beneath the breast, covering one shoulder and exposing the other. The asymmetrical pose gives the impression of a graceful stride. She clasps a bouquet with one hand, while the other holds a previously inserted object. The base has an inscription of offerings for the deceased.


The body is well built and executed with very good proportions. Moreover, colours play an essential role in enlivening the statue and enhancing its attractiveness.

THE LADY HENUT-NAKHTU

KAEMHESET Old Kingdom , 5th Dynasty MaterialPainted Limestone

This is a jewel casket in the form of a naos with a cornice, standing on raised feet and closed with a vaulted lid.


4th Dynasty

This chair is characterized by two carrying poles terminating in elegant golden palmiform capitals. Ebony panels decorated with magnificent golden hieroglyphs outline the back of the chair.


JEWEL CASKET OF THUYA New Kingdom , 18th Dynasty

MaterialGilded Wood, Ivory, Ebony,SEDAN CHAIR OF QUEEN HETEPHERES Old Kingdom , 4th Dynasty MaterialGold, Ebony

19th Dynasty

This stela with ears belongs to a category of votive objects which were dedicated by private persons to a particular divinity, in this case to " He-who-listens-to-prayers ".


This practice flourished since the New Kingdom, as the relationship between the individual and his god became more direct and close. This sculptured and painted example is dedicated to the " Good Ram " of Amon. Its upper part has the god depicted in the form of a ram wearing tall feathers with two symmetrical inscriptions identifying him as Amon-Re. The lower register is vertically divided into two parts. On one side, Bai is kneeling, while the other side has three pairs of ears painted and incised.

SMALL STELA WITH EARS New Kingdom , 19th Dynasty MaterialPainted Limestone

FIGURINE OF A FEMALE 5th Dynasty Painted

Limestone

Servant figures at work were usually depicted in relief but this particular example gains its importance from being executed in the round


COLOSSAL STATUE OF TUTANKHAMON 18th

Dynasty. Painted Quartzite

This statue represents Tutankhamon standing in the classic Egyptian pose and wearing the double crown, of which only the lower part remains over a nemes striped in blue and yellow.



CORSELET OF TUTANKHAMON 18th Dynasty Gold, Glass, Carnelian,

Ivory

A magnificent piece of jewellery, this corselet with collar, is an element of both royal and divine state costume. A sensitivity to colour, design and technique is quite apparent in the whole conception of the corselet.

It consists of an assemblage of numerous pieces, all individually worked in whether by cloisonn? or inlays of glass paste and semi-precious stones or metalwork. The body of the corselet is made of two rectangular patterns of stylized feathers, while the frontal collar has an open pectoral depicting Tutankhamon standing beneath the sun disk to receive various signs from Amon-Re. The rear collar has a trapezoidal frame enclosing the sun disk, scarab, two uraei and several ankhs. Tassels of polychrome beads hang from the trapezoid, terminating in pendants in shape of papyrus umbels and fleur-de-lis


This is one of four goddesses who, with gracefully outstretched arms, protect the gilded wooden shrine set within a baldachin, to house the alabaster chest containing the king's viscera.


BUST OF A FEMALE STATUE 5th Dynasty

Wood

This bust was originally covered with plaster and painted. It represents a young woman in a tight dress. The wig is particularly interesting as it was widely used in representations of women in the Old Kingdom, with its parallel strands of hair ending in small curls and parted in the center. This bust is all that was preserved of the standing statue which was found at the entrance to Ka-aper's chapel in his tomb, assumed to represent his wife.

THE GODDESS SELKET New Kingdom , 18th Dynasty MaterialPainted Wood, Gilded Wood


LID OF THE COFFIN OF 21st Dynasty 3rd Intermediate, 21st Dynasty Material Painted Wood, Gilded Wood

Maakare seems to have been the first of this dynasty of princesses who was sworn to celibacy. These princesses devoted themselves exclusively to the service of the god Amon, while retaining all the royal privileges, and they came to play an important political role. The funerary ensemble enclosing Maakare's mummy was found at Deir el-Bahari.


THE GENERALISSIMO NAKHTMIN

18th Dynasty Limestone


RAMSES IV TRIUMPHANT New Kingdom , 20th Dynasty

Gray Granite

Tomb of Perneb, ca. 2350–2323 B.C.E.; end of Dynasty 5; Old KingdomEgyptian; Lower Egypt, SaqqaraLimestone (partially painted); H. 16 ft. 7/8 in. (482.2 cm)

Sphinx of Amenhotep III, ca. 1391–1353 B.C.E.; Dynasty 18, reign of Amenhotep III; New KingdomEgyptian

King Menkaure (Mycerinus) and his Queen, Kha-mere-nebty II:detail, ca. 2548-2530 B.C. [Dynasty IV]

Tomb of Perneb, ca. 2350–2323 B.C.E.; end of Dynasty 5; Old KingdomEgyptian; Lower Egypt, SaqqaraLimestone (partially painted); H. 16 ft. 7/8 in. (482.2 cm)

Model of a Riverboat, ca. 1985 B.C.E.; Dynasty 12, early reign of Amenemhat I; Middle KingdomEgyptian; Western Thebes

Coffin of Khnum-nakht, ca. 1900–1800 B.C.E.; Dynasty 12; Middle KingdomEgyptian; Possibly from AsyutPainted wood; L. 82 in. (208.3 cm)

Outer Coffin of Henettawy, ca. 1040–991 B.C.E.; Dynasty 21; Third Intermediate periodEgyptian; ThebesPlastered and painted wood; L. 79 7/8 in. (203 cm)

Ram's-Head Amulet, ca. 770–657 B.C.E.; Dynasty 25; late Dynastic periodEgyptianGold; 1 5/8 x 1 3/8 in. (4.2 x 3.6 cm)

Friezes: long, horizontal compositions depicting events and important cultural information. People depicted in the following manner: head, arms and legs in

profile and torso& palms facing viewer.

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Egyptian

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