Particularly surprising were two sets of battle scenes. One shows a Nubian campaign in the south, while the other shows Tutankhamun in a chariot leading Egyptian forces in Syria. The images include a royal flotilla returning triumphantly up the Nile, with a manacled Syrian prisoner hanging in a cage from the sail yard of the king’s barge. Other blocks show Tutankhamun receiving prisoners, booty, and gory hand kebabs - a detail that hasn’t been seen anywhere else in Egyptian art.
The Shadow King: The Bizarre Afterlife of King Tut’s Mummy
- Jo Marchant
The Fayum mummy portraits is the modern term given to a type of naturalistic painted portrait on wooden boards attached to mummies from the Coptic (Roman) period of Egyptian history, their production dating between the 1st and 3rd Centuries. Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and the Hadrianic Roman city Antinoopolis. “Faiyum Portraits” is generally thought of as a stylistic, rather than a geographic, description.
They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
The portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies. Almost all have now been detached from the mummies. They usually depict a single person, showing the head, or head and upper chest, viewed frontally. In terms of artistic tradition, the images clearly derive more from Graeco-Roman traditions than Egyptian ones. Two groups of portraits can be distinguished by technique: one of encaustic (wax) paintings, the other in tempera. The former are usually of higher quality.
The works have come to be valuable in providing evidence of Roman fashion, including the evolution of popular hairstyles and clothing, but their primary significance is art-historical, holding an importance of immense value to the understanding of the evolution of western art. Ancient sources indicate that panel painting (rather than wall painting), i.e. painting on wood or other mobile surfaces was held in high regard, but very few ancient panel paintings survive. The reason for the survival of so many of the mummy portraits is in a large part due to Egypt’s extremely dry climate.
Some aspects of the mummy portraits, especially their frontal perspective and their concentration on key facial features, strongly resemble later icon painting. Their discovery in the 20th Century altered much of what was known about the history of early western art, and the maturity of the depictions, ranging from realistic to deliberately stylised quickly led art scholars to recognise the aesthetic value of the paintings to be extremely high. The immediacy of the gazes, forming a direct and sometimes challengingly life-like connection with the viewer, has been compared to early modernist art of the 20th Century.
“The illusion, when standing in front of them, is that of coming face to face with someone one has to answer to—someone real.”
Thutmose IV’s Peristyle Hall Originally built by Thutmose IV - 1401 BCE to 1391 BCE.
Destroyed by: Amenhotep III - 1390 BCE to 1352 BCE.
“Only four of the pillars composing the peristyle of Thutmose IV remain
in situ at Karnak today. A large section of the peristyle was removed
in ancient times during the dismantling of the Thutmose II “festival
hall.” Today, the remains of the structure found during modern work at
Karnak have been reconstructed at the temple’s Open Air Museum. Many of
the recovered blocks still have relief scenes accented with vivid red,
yellow, green-blue and blue paint. The raised relief scenes on the
pillars depict the king embracing the god Amun. The inscriptions
reference the jubilee (heb-sed) festival of Thutmose IV.”
Photographs taken by kairoinfo4u in Karnak,
El-Karnak, Luxor Governorate, Egypt
Felix has decided to look for the set animal.
it’s an extinct sacred animal from predynastic Egypt, we think it was replaced in their mythology by the cat after its extinction, and we only think that because the cat is the only animal which was specifically bred to be a sacred animal, and it does not appear till later on in the history.
the only evidence of the set is in hieroglyphs.
it’s essentially the rl mew.
Gold Bracelet with Deities Representing Fertility and Good Fortune
Romano-Egyptian, 1st century B.C.–A.D. 1st century
Powerful talismans of fertility and good destiny are woven into this
rich golden composition. The bodies of two snakes intertwine to form a
Herakles knot, the centerpiece of this bracelet. The snake on the left
represents Agathodaimon, and the cobra on the right Terenouthis, two
agrarian/fertility deities associated with Serapis and Isis,
respectively. On the platform between them stand two goddesses,
Isis-Tyche (or Isis-Fortuna), a deity closely associated with
Alexandria, and the nude Aphrodite.
detail from the gold armlet of Queen/Kandake Amanishaketo (I century BCE) from Her Pyramid (N6) in the northern Royal Necropolis of Meroë (Sudan); now in the Neues Museum of Berlin… The Eye Goddess, the “Eye of Ra”, wearing the Double Crown, with four wings and four arms (holding the ‘Ankh’-signs), standing on a lotus flower. On the top, a row of Uraei wearing the Solar disk
Possibly from Heliopolis, Egypt, ca. 1850–1640 B.C.
(Middle Kingdom, Dynasty 12-13)
Already in the Early Dynastic Period, Egyptians deposited faience
figurines of wild animals in temple precincts. These figurines were
reintroduced in the Twelfth Dynasty, but as a component of burial
equipment and with new species added to the repertoire. The controlled
representation of desert animals may have assured the Egyptians of
eternal safety, though they also likely had symbolic meanings.