Detail of the Little Gold Shrine found in the Tomb of Tutankhamun, which is covered in scenes of the Pharaoh with his wife, Ankhesenamun.
This scene shows the royal couple out hunting ducks together. Tutankhamun is seated behind Ankhesenamun, taking aim at the birds in flight. His wife sits in front of him, pointing to where the ducks are and heady to hand him another arrow.
of one of the scenes on the side of the little golden shrine, found in
the Tomb of Tutankhamun. The scene is described as follows in the book
“The Small Golden Shrine from the Tomb of Tutankhamun” by
Ankhesenamun anoints Tutankhamun
Tutankhamun sits on a high-backed, armless chair with lion legs. A patterned cushion covers not only the seat, but the back of the chair as well. The design of the chair includes the “union of the Two Lands” motif in open-work between the legs above the strut. The king’s attitude, with his elbow resting on the chair back, is a mirror image of CR4. His feet, which are unshod, rest on a low footstool.
The king wears the same kilt, with the addition of a crimped sash and sporran, as in all the other panels on the shrine. His costume includes wristlets, armlets, a broad collar, and a shebyu-necklace. An unusual feature is the depiction of the rectangular clap at the nape of the neck, a detail sometimes included when the necklace is displayed but not usually shown when it is depicted worn. The blue crown with uraeus and streamers completes the king’s regalia. A vulture hovers protectively above and behind the king’s head. The shen-sign held in its talons is augmented by the addition of an ankh. In front of the king’s face is written:
“the Perfect God, Nebkheperure, Son of Re, Tutankhamun, Ruler of Upper Egyptian Heliopolis, give life like Re.”
Behind the throne one reads:
“all protection of life is around him like Re”
The queen stands before her husband and inclines towards him. With her far hand, she touches his far upper arm. In the other hand, she elevates above her shoulder a footed dish containing a garlanded ointment cone. Draped over the cone are two lotus blossoms: two more blossoms and three buds hand behind her hand, presumably to be understood as also held in it.
Ankhesenamun, like her husband, is barefoot. Her jewelry includes wristlets, a broad collar, and a stirrup earring with dangling pendants. She wears the Nubian wig with an elaborate uraeus diadem, as in CR 4, and with streamers. Her modius is adorned with a frieze of uraei with sun disks; a garlanded ointment cone sits at its centre, flanked by four feathers. Two vertical columns of hieroglyphs behind the queen identify her as:
“hereditary princess, great in favours, Mistress of Upper and Lower Egypt, possessor of charm, sweet of love, the great wife of the king, beloved of him, Lady of the Two Lands, Ankhesenamun, may she live forever and ever.”
Well, it might have been all the times Mare spit on people and chapter 22 and 25.
JK it was totally that time that Mare and Cal worked together to smash Samson merandus head into the pavement of Caesar Square like it was a melon. That just *wipes away a proud tear* that just really did it for me.
It’s really good that Oikawa has Iwa-chan to put him in his place.
With Oikawa’s pompous attitude and foolish actions such as pushing himself too hard, Iwaizumi knows Oikawa better than anyone since they are childhood best friends, and knows how to handle him best.
Oikawa needs Iwaizumi to be stable, and Iwaizumi needs Oikawa to keep himself going. There’s honestly no better match or person that can keep Oikawa in line and confident other than Iwa-chan. The only person he ever listens to is Iwaizumi.
They both simply compliment each other perfectly. (ಠ_ಠ) ♡ (○ﾟε＾○)v♪