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Sarcophagus of a Great Royal Wife
Valley of the Queens
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Granite
Museo Egizio, Turin (S. 05434/01, 02, 03)


These fragments once comprised the side of a sarcophagus belonging to a Great Royal Wife whose name remains unknown. The queen’s name has been removed, although the reason is unclear. It is possible that the destruction of the sarcophagus was contemporary with the removal of the name. The fragments depict three of the four sons of Horus, protectors of the deceased’s internal organs. The image of the fourth son is now lost.


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Sarcophagus of a Great Royal Wife
Valley of the Queens
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Granite
Museo Egizio, Turin (S. 05434/01, 02, 03)


These fragments once comprised the side of a sarcophagus belonging to a Great Royal Wife whose name remains unknown. The queen’s name has been removed, although the reason is unclear. It is possible that the destruction of the sarcophagus was contemporary with the removal of the name. The fragments depict three of the four sons of Horus, protectors of the deceased’s internal organs. The image of the fourth son is now lost.


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The Reign of Ramesses II
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Furniture Fragments, probably a seat
Probably from Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 2457)


These panels show Queen Ahmose-Nefertari and her son, Amenhotep I, seated on thrones in front of an offering table. They were considered founders and protectors of Deir el-Medina, where they were worshipped. These fragments may have belonged to a sedan chair used to carry a statue of the deified queen during processions.




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Furniture Fragments, probably a seat
Probably from Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 2457)


These panels show Queen Ahmose-Nefertari and her son, Amenhotep I, seated on thrones in front of an offering table. They were considered founders and protectors of Deir el-Medina, where they were worshipped. These fragments may have belonged to a sedan chair used to carry a statue of the deified queen during processions.




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The Reign of Ramesses II
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Mummified Knees
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Human remains
Museo Egizio, Turin (S. 05154)


Based on the proportions of the bones, experts estimate that these human remains belonged to a woman who stood between 5’ 5” and 5’ 6”—taller than eighty-four percent of the women of her time. X-rays revealed that she suffered from arteriosclerosis, suggesting she was between forty and sixty years old. The knees were probably separated from the rest of the body during the tomb robbery.


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Mummified Knees
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Human remains
Museo Egizio, Turin (S. 05154)


Based on the proportions of the bones, experts estimate that these human remains belonged to a woman who stood between 5’ 5” and 5’ 6”—taller than eighty-four percent of the women of her time. X-rays revealed that she suffered from arteriosclerosis, suggesting she was between forty and sixty years old. The knees were probably separated from the rest of the body during the tomb robbery.


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The Pharaoh and the Gods
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The Pharaoh and the Gods
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Francesco Ballerini, Edoardo Baglione, and Michelangelo Pizzio (Italian)
Model of Nefertari’s Tomb, early 1900s
Wood
Museo Egizio, Turin (Provv. 3749)


This scale model was built shortly after Ernesto Schiaparelli uncovered Nefertari’s tomb in Egypt’s Valley of the Queens in 1904. All the paintings were carefully copied and reproduced at one-tenth scale. The model was so accurate that it helped in the conservation of the tomb in the 1980s.


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Francesco Ballerini, Edoardo Baglione, and Michelangelo Pizzio (Italian)
Model of Nefertari’s Tomb, early 1900s
Wood
Museo Egizio, Turin (Provv. 3749)


This scale model was built shortly after Ernesto Schiaparelli uncovered Nefertari’s tomb in Egypt’s Valley of the Queens in 1904. All the paintings were carefully copied and reproduced at one-tenth scale. The model was so accurate that it helped in the conservation of the tomb in the 1980s.


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The Reign of Ramesses II
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Provisions for the Deceased
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Provisions for the Deceased
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
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Scarab Amulets
Tomb of Khaemwaset (QV 44), Valley of the Queens
Third Intermediate Period or Late Period (about 1075–332 BCE)
Faience
Museo Egizio, Turin (Provv. 3365 & S. 05329)


A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect their heart. The heart scarab could also serve as a replacement should the heart of the deceased be destroyed. These scarabs were once attached to a bead net that covered a mummy, as evidenced by the series of tiny holes along the edges. Bead nets were used to decorate the mummy and represented the night sky of the goddess Nut.
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Scarab Amulets
Tomb of Khaemwaset (QV 44), Valley of the Queens
Third Intermediate Period or Late Period (about 1075–332 BCE)
Faience
Museo Egizio, Turin (Provv. 3365 & S. 05329)


A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect their heart. The heart scarab could also serve as a replacement should the heart of the deceased be destroyed. These scarabs were once attached to a bead net that covered a mummy, as evidenced by the series of tiny holes along the edges. Bead nets were used to decorate the mummy and represented the night sky of the goddess Nut.
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Scarab Amulets
Tomb of Khaemwaset (QV 44), Valley of the Queens
Third Intermediate Period or Late Period (about 1075–332 BCE)
Faience
Museo Egizio, Turin (Provv. 3365 & S. 05329)


A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect their heart. The heart scarab could also serve as a replacement should the heart of the deceased be destroyed. These scarabs were once attached to a bead net that covered a mummy, as evidenced by the series of tiny holes along the edges. Bead nets were used to decorate the mummy and represented the night sky of the goddess Nut.
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Scarab Amulets
Tomb of Khaemwaset (QV 44), Valley of the Queens
Third Intermediate Period or Late Period (about 1075–332 BCE)
Faience
Museo Egizio, Turin (Provv. 3365 & S. 05329)


A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect their heart. The heart scarab could also serve as a replacement should the heart of the deceased be destroyed. These scarabs were once attached to a bead net that covered a mummy, as evidenced by the series of tiny holes along the edges. Bead nets were used to decorate the mummy and represented the night sky of the goddess Nut.
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Shabtis of Pharaoh Seti I
Unknown provenance
New Kingdom, 19th dynasty, reign of Seti I (about 1290–1279 BCE)
Faience
Museo Egizio, Turin (Cats. 2503, 2504, 2505)


Seti I was the father of Ramesses II. His tomb, discovered in 1817, contained hundreds of shabti figures made of wood or faience. These statuettes depict the mummy of the deceased, holding hoes and carrying baskets on their backs. It was believed that these figures would perform manual labor for the deceased in the afterlife. Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.
HTMLText_07040F5C_99B6_4961_41A6_90B78FAA6F41_mobile.html =
Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Shabtis of Pharaoh Seti I
Unknown provenance
New Kingdom, 19th dynasty, reign of Seti I (about 1290–1279 BCE)
Faience
Museo Egizio, Turin (Cats. 2503, 2504, 2505)


Seti I was the father of Ramesses II. His tomb, discovered in 1817, contained hundreds of shabti figures made of wood or faience. These statuettes depict the mummy of the deceased, holding hoes and carrying baskets on their backs. It was believed that these figures would perform manual labor for the deceased in the afterlife. Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.



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In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
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Stela Dedicated to the Goddess Meretseger
Deir el-Medina
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1521)


The four snakes atop this stela represent Meretseger, a local goddess worshipped in Deir el-Medina. The standing figure on the right is the goddess Isis. The stela’s owner, Amennakht, a Deir el-Medina craftsman, appears at the bottom in an attitude of worship.
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In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
_______


Stela Dedicated to the Goddess Meretseger
Deir el-Medina
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1521)


The four snakes atop this stela represent Meretseger, a local goddess worshipped in Deir el-Medina. The standing figure on the right is the goddess Isis. The stela’s owner, Amennakht, a Deir el-Medina craftsman, appears at the bottom in an attitude of worship.
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How to Read a Stela
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How to Read a Stela
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In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
_______


Stela of Kel
Deir el-Medina
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1636)


The upper register of this stela depicts Kel, a stonemason, pouring water over the food offerings he is presenting to the gods Osiris, Ptah, Anubis, Horus, and Hathor. In the middle register, he does the same for family members. In the bottom register, Kel and his wife receive offerings from their children. This stela retains most of its original paint.


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In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
_______


Stela of Kel
Deir el-Medina
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1636)


The upper register of this stela depicts Kel, a stonemason, pouring water over the food offerings he is presenting to the gods Osiris, Ptah, Anubis, Horus, and Hathor. In the middle register, he does the same for family members. In the bottom register, Kel and his wife receive offerings from their children. This stela retains most of its original paint.


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Statue of Ramesses II, Seated between the God Amun and the Goddess Mut
Temple of Amun, Karnak
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Granite
Museo Egizio, Turin (Cat. 0767)


Considered a living god, the pharaoh served as the empire’s spiritual, judicial, and political leader. Pharaohs built huge stone temples to honor the gods and to immortalize themselves. This monumental sculpture depicts the great pharaoh Ramesses II seated between the sun god Amun, on the left, and the goddess Mut, on the right—the two patron deities of Thebes. The figures are all the same size, showing that, in this instance, god, goddess, and king were considered equally important. Statues like this represented the role of the pharaoh as an intermediary between humans and the gods, preserving cosmic balance.




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Statue of Ramesses II, Seated between the God Amun and the Goddess Mut
Temple of Amun, Karnak
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Granite
Museo Egizio, Turin (Cat. 0767)


Considered a living god, the pharaoh served as the empire’s spiritual, judicial, and political leader. Pharaohs built huge stone temples to honor the gods and to immortalize themselves. This monumental sculpture depicts the great pharaoh Ramesses II seated between the sun god Amun, on the left, and the goddess Mut, on the right—the two patron deities of Thebes. The figures are all the same size, showing that, in this instance, god, goddess, and king were considered equally important. Statues like this represented the role of the pharaoh as an intermediary between humans and the gods, preserving cosmic balance.




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In Deir el-Medina, an unusually high number of people were literate. Incidents of daily life—births and deaths, comments about their neighbors, and even jokes—were recorded in various ways. Hundreds of papyri and more than thirty thousand limestone or pottery fragments (ostraca) have been preserved; they document the names of most of the workers and their families. Tomb paintings and administrative records also reveal details about farming, harvesting, making clothes, and other important aspects of life in ancient Egypt.


Paper made of papyrus was precious, so it was often used on both sides. This document records progress on the tomb of Ramesses VI, adding up the volumes of the rooms excavated so far and estimating how much work remains to complete the tomb.
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Fragment of a Work Journal
Probably from Deir el-Medina
New Kingdom, 20th dynasty, reign of Ramesses V and Ramesses VI (about 1149–1139 BCE)
Papyrus with ink
Museo Egizio, Turin (Cat. 1923)




HTMLText_0EFB72AB_996A_5B27_41E3_4EFF01DE0A96_mobile.html =
In Deir el-Medina, an unusually high number of people were literate. Incidents of daily life—births and deaths, comments about their neighbors, and even jokes—were recorded in various ways. Hundreds of papyri and more than thirty thousand limestone or pottery fragments (ostraca) have been preserved; they document the names of most of the workers and their families. Tomb paintings and administrative records also reveal details about farming, harvesting, making clothes, and other important aspects of life in ancient Egypt.


Paper made of papyrus was precious, so it was often used on both sides. This document records progress on the tomb of Ramesses VI, adding up the volumes of the rooms excavated so far and estimating how much work remains to complete the tomb.
_______


Fragment of a Work Journal
Probably from Deir el-Medina
New Kingdom, 20th dynasty, reign of Ramesses V and Ramesses VI (about 1149–1139 BCE)
Papyrus with ink
Museo Egizio, Turin (Cat. 1923)




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Records of Daily Life
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Records of Daily Life
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Shabtis of Pharaoh Seti I
Unknown provenance
New Kingdom, 19th dynasty, reign of Seti I (about 1290–1279 BCE)
Faience
Museo Egizio, Turin (Cats. 2503, 2504, 2505)


Seti I was the father of Ramesses II. His tomb, discovered in 1817, contained hundreds of shabti figures made of wood or faience. These statuettes depict the mummy of the deceased, holding hoes and carrying baskets on their backs. It was believed that these figures would perform manual labor for the deceased in the afterlife. Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.
HTMLText_0FCAF1B5_99DA_5920_41CF_12A5D5DF9CBE_mobile.html =
Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Shabtis of Pharaoh Seti I
Unknown provenance
New Kingdom, 19th dynasty, reign of Seti I (about 1290–1279 BCE)
Faience
Museo Egizio, Turin (Cats. 2503, 2504, 2505)


Seti I was the father of Ramesses II. His tomb, discovered in 1817, contained hundreds of shabti figures made of wood or faience. These statuettes depict the mummy of the deceased, holding hoes and carrying baskets on their backs. It was believed that these figures would perform manual labor for the deceased in the afterlife. Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.
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Scribes and Their Studies
HTMLText_1030EB3E_996A_4921_41E0_CFA2D2A4CE1D_mobile.html =
Scribes and Their Studies
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Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These
sketches, called ostraca, have been found by the thousands in Deir el-Medina. These ostraca constitute an amazing record of preparatory studies (use of a grid, placing of colors, decorative features) and drafts (official scenes, royal portraits) by budding artists.


The ostraca displayed in this case depict a range of subjects, including figural scenes, animals, architectural details, and administrative documents recorded in hieratic script (a cursive form of hieroglyphic writing).
_______


Ostracon Depicting a Duck
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted limestone
S. 06287


HTMLText_10315B3E_996A_4921_41CC_801FF6FF1F63_mobile.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These
sketches, called ostraca, have been found by the thousands in Deir el-Medina. These ostraca constitute an amazing record of preparatory studies (use of a grid, placing of colors, decorative features) and drafts (official scenes, royal portraits) by budding artists.


The ostraca displayed in this case depict a range of subjects, including figural scenes, animals, architectural details, and administrative documents recorded in hieratic script (a cursive form of hieroglyphic writing).
_______


Ostracon Depicting a Duck
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted limestone
S. 06287


HTMLText_10317B3E_996A_4921_41DD_83A8CE0E38F3.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These
sketches, called ostraca, have been found by the thousands in Deir el-Medina. These ostraca constitute an amazing record of preparatory studies (use of a grid, placing of colors, decorative features) and drafts (official scenes, royal portraits) by budding artists.


The ostraca displayed in this case depict a range of subjects, including figural scenes, animals, architectural details, and administrative documents recorded in hieratic script (a cursive form of hieroglyphic writing).
_______


Ostracon Depicting a Cat
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Painted limestone
S. 06304




HTMLText_10317B3E_996A_4921_41DD_83A8CE0E38F3_mobile.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These
sketches, called ostraca, have been found by the thousands in Deir el-Medina. These ostraca constitute an amazing record of preparatory studies (use of a grid, placing of colors, decorative features) and drafts (official scenes, royal portraits) by budding artists.


The ostraca displayed in this case depict a range of subjects, including figural scenes, animals, architectural details, and administrative documents recorded in hieratic script (a cursive form of hieroglyphic writing).
_______


Ostracon Depicting a Cat
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Painted limestone
S. 06304




HTMLText_10319B3E_996A_4921_41E3_4BB78CA7A242.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These
sketches, called ostraca, have been found by the thousands in Deir el-Medina. These ostraca constitute an amazing record of preparatory studies (use of a grid, placing of colors, decorative features) and drafts (official scenes, royal portraits) by budding artists.


The ostraca displayed in this case depict a range of subjects, including figural scenes, animals, architectural details, and administrative documents recorded in hieratic script (a cursive form of hieroglyphic writing).
_______


Ostracon Depicting a Sphinx
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Limestone with black ink
S. 06280


HTMLText_10319B3E_996A_4921_41E3_4BB78CA7A242_mobile.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These
sketches, called ostraca, have been found by the thousands in Deir el-Medina. These ostraca constitute an amazing record of preparatory studies (use of a grid, placing of colors, decorative features) and drafts (official scenes, royal portraits) by budding artists.


The ostraca displayed in this case depict a range of subjects, including figural scenes, animals, architectural details, and administrative documents recorded in hieratic script (a cursive form of hieroglyphic writing).
_______


Ostracon Depicting a Sphinx
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Limestone with black ink
S. 06280


HTMLText_126B5818_99B6_56E1_41CC_5AE1754C5590.html =
Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Shabtis of Pharaoh Seti I
Unknown provenance
New Kingdom, 19th dynasty, reign of Seti I (about 1290–1279 BCE)
Faience
Museo Egizio, Turin (Cats. 2503, 2504, 2505)


Seti I was the father of Ramesses II. His tomb, discovered in 1817, contained hundreds of shabti figures made of wood or faience. These statuettes depict the mummy of the deceased, holding hoes and carrying baskets on their backs. It was believed that these figures would perform manual labor for the deceased in the afterlife. Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.
HTMLText_126B5818_99B6_56E1_41CC_5AE1754C5590_mobile.html =
Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
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Shabtis of Pharaoh Seti I
Unknown provenance
New Kingdom, 19th dynasty, reign of Seti I (about 1290–1279 BCE)
Faience
Museo Egizio, Turin (Cats. 2503, 2504, 2505)


Seti I was the father of Ramesses II. His tomb, discovered in 1817, contained hundreds of shabti figures made of wood or faience. These statuettes depict the mummy of the deceased, holding hoes and carrying baskets on their backs. It was believed that these figures would perform manual labor for the deceased in the afterlife. Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.
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Nefertari playing senet, detail of a wall painting from the Tomb of Nefertari, New Kingdom, 19th dynasty, c. 1292 – 1187 BCE. Bridgeman images



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Nefertari playing senet, detail of a wall painting from the Tomb of Nefertari, New Kingdom, 19th dynasty, c. 1292 – 1187 BCE. Bridgeman images



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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
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Statue of Idet and Ruiu
Probably from the Theban Necropolis
New Kingdom, early 18th dynasty (about 1480–1390 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3056)


Statues like this typically depict a married couple. It was unusual for two women to be sculpted side by side. The relationship between these two women is not specified, although Idet seems to be more important, as she is seated on the right (the place of honor). To the right of her seat is an offering to the god of the underworld Osiris, and states that Idet’s heart is pure.
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
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Statue of Idet and Ruiu
Probably from the Theban Necropolis
New Kingdom, early 18th dynasty (about 1480–1390 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3056)


Statues like this typically depict a married couple. It was unusual for two women to be sculpted side by side. The relationship between these two women is not specified, although Idet seems to be more important, as she is seated on the right (the place of honor). To the right of her seat is an offering to the god of the underworld Osiris, and states that Idet’s heart is pure.
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Jars and Vases in the Tombs
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Jars and Vases in the Tombs
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During the early 1900s, when Ernesto Schiaparelli excavated several tombs in the Valley of the Queens, he found an array of grave goods, including many jars and vases. These items were commonly used in everyday life to hold a range of liquids, from water and beer to oil and wine. They were included in tombs for the same purpose, providing liquid provisions to the deceased in the afterlife.


Vases decorated with light blue floral designs are among the most refined pottery types produced in ancient Egypt. One of the most widespread decorative motifs used on these vases was horizontal rows of flower petals, which imitated the wreaths of real flowers—symbols of rebirth—that were sometimes strung like garlands around jars and their stands during religious festivals.
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Decorated Vase
Valley of the Queens
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Ceramic
Museo Egizio, Turin (S. 05720)





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During the early 1900s, when Ernesto Schiaparelli excavated several tombs in the Valley of the Queens, he found an array of grave goods, including many jars and vases. These items were commonly used in everyday life to hold a range of liquids, from water and beer to oil and wine. They were included in tombs for the same purpose, providing liquid provisions to the deceased in the afterlife.


Vases decorated with light blue floral designs are among the most refined pottery types produced in ancient Egypt. One of the most widespread decorative motifs used on these vases was horizontal rows of flower petals, which imitated the wreaths of real flowers—symbols of rebirth—that were sometimes strung like garlands around jars and their stands during religious festivals.
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Decorated Vase
Valley of the Queens
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Ceramic
Museo Egizio, Turin (S. 05720)





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Stela of Pendua
Probably from Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1565)


On this stela, a Deir el-Medina craftsman named Pendua and his family, depicted in the lower register, worship two goddesses, shown in the upper register. The hieroglyphic inscription identifies the goddesses as Nefertiti, mistress of the sky and of all the gods, and Irytnefret, ruler of the sky and mistress of the Two Lands. They wear modius crowns, the characteristic headdress of queens during the New Kingdom, but they hold ankh symbols and was scepters, symbols of power that identify them as goddesses.


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Stela of Pendua
Probably from Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1565)


On this stela, a Deir el-Medina craftsman named Pendua and his family, depicted in the lower register, worship two goddesses, shown in the upper register. The hieroglyphic inscription identifies the goddesses as Nefertiti, mistress of the sky and of all the gods, and Irytnefret, ruler of the sky and mistress of the Two Lands. They wear modius crowns, the characteristic headdress of queens during the New Kingdom, but they hold ankh symbols and was scepters, symbols of power that identify them as goddesses.


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Scribe’s Palette
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood and reed
Museo Egizio, Turin (Cat. 6222)


Scribes carried their supplies in portable wooden palettes like this one. A symbol of administrative power, the writing kit included reed brushes for precision writing and ink wells to hold colored pigments. Scribes used only red and black ink, whereas painters used a wider variety of colors.
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Scribe’s Palette
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood and reed
Museo Egizio, Turin (Cat. 6222)


Scribes carried their supplies in portable wooden palettes like this one. A symbol of administrative power, the writing kit included reed brushes for precision writing and ink wells to hold colored pigments. Scribes used only red and black ink, whereas painters used a wider variety of colors.
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The fertile mud deposited by the annual Nile flood allowed farmers to grow barley and emmer wheat. These crops became bread and beer. Egyptians enjoyed fruits and vegetables as well as meat, poultry, and fish of all types. Cakes were sweetened with dates or honey, and grapes produced wine. Food and drink were stored in a variety of vessels and containers, often decorated. One of the most widespread decorative motifs used on these vases was horizontal rows of flower petals, which imitated wreaths of real flowers—symbols of rebirth.


In ancient Egypt, it was believed that an image had the power to become what it represented. “Dummy” or false vases were not proper containers, but imitations of vases made of more precious materials like stone, gold, or silver. Ancient Egyptian craftsmen developed numerous techniques for producing cost-effective objects that looked like more precious ones.
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Dummy Vase
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Painted ceramic
(Cat. 3323)
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The fertile mud deposited by the annual Nile flood allowed farmers to grow barley and emmer wheat. These crops became bread and beer. Egyptians enjoyed fruits and vegetables as well as meat, poultry, and fish of all types. Cakes were sweetened with dates or honey, and grapes produced wine. Food and drink were stored in a variety of vessels and containers, often decorated. One of the most widespread decorative motifs used on these vases was horizontal rows of flower petals, which imitated wreaths of real flowers—symbols of rebirth.


In ancient Egypt, it was believed that an image had the power to become what it represented. “Dummy” or false vases were not proper containers, but imitations of vases made of more precious materials like stone, gold, or silver. Ancient Egyptian craftsmen developed numerous techniques for producing cost-effective objects that looked like more precious ones.
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Dummy Vase
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Painted ceramic
(Cat. 3323)
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The fertile mud deposited by the annual Nile flood allowed farmers to grow barley and emmer wheat. These crops became bread and beer. Egyptians enjoyed fruits and vegetables as well as meat, poultry, and fish of all types. Cakes were sweetened with dates or honey, and grapes produced wine. Food and drink were stored in a variety of vessels and containers, often decorated. One of the most widespread decorative motifs used on these vases was horizontal rows of flower petals, which imitated wreaths of real flowers—symbols of rebirth.


In ancient Egypt, it was believed that an image had the power to become what it represented. “Dummy” or false vases were not proper containers, but imitations of vases made of more precious materials like stone, gold, or silver. Ancient Egyptian craftsmen developed numerous techniques for producing cost-effective objects that looked like more precious ones.
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Vase with floral decoration
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Ceramic
Museo Egizio, Turin (S. 07012)




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The fertile mud deposited by the annual Nile flood allowed farmers to grow barley and emmer wheat. These crops became bread and beer. Egyptians enjoyed fruits and vegetables as well as meat, poultry, and fish of all types. Cakes were sweetened with dates or honey, and grapes produced wine. Food and drink were stored in a variety of vessels and containers, often decorated. One of the most widespread decorative motifs used on these vases was horizontal rows of flower petals, which imitated wreaths of real flowers—symbols of rebirth.


In ancient Egypt, it was believed that an image had the power to become what it represented. “Dummy” or false vases were not proper containers, but imitations of vases made of more precious materials like stone, gold, or silver. Ancient Egyptian craftsmen developed numerous techniques for producing cost-effective objects that looked like more precious ones.
_______


Vase with floral decoration
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Ceramic
Museo Egizio, Turin (S. 07012)




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Food and Drink in Deir el-Medina
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Food and Drink in Deir el-Medina
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Sculptor’s Model of Nekhbet and Wadjet
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood and reed
Museo Egizio, Turin (Cat. 7055)


This plaque depicts Nekhbet, the vulture goddess of Upper Egypt, and Wadjet, the snake goddess of Lower Egypt, on two baskets. Together, they are the protectors of the two unified lands. They often appear on royal headdresses.


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Sculptor’s Model of Nekhbet and Wadjet
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood and reed
Museo Egizio, Turin (Cat. 7055)


This plaque depicts Nekhbet, the vulture goddess of Upper Egypt, and Wadjet, the snake goddess of Lower Egypt, on two baskets. Together, they are the protectors of the two unified lands. They often appear on royal headdresses.


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Draftsman’s Stick
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood with vegetal fibers
Museo Egizio, Turin (S. 09985)


Draftsmen created grid patterns on tomb walls to ensure the decorations were proportional. They tied strings to a stick like this, applied pigment to the strings, and snapped them against the wall to create straight lines.




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Draftsman’s Stick
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood with vegetal fibers
Museo Egizio, Turin (S. 09985)


Draftsmen created grid patterns on tomb walls to ensure the decorations were proportional. They tied strings to a stick like this, applied pigment to the strings, and snapped them against the wall to create straight lines.




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Lid from the Coffin of Ankhpakhered
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05259)


This coffin lid belonged to Ankhpakhered, a priest of the fertility god Min. In the middle of the lid, the deceased—shown lying on a bier—is framed by the goddesses Isis and Nephthys. The inside of the lid is decorated with an image of Nut, the goddess of the sky.
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Lid from the Coffin of Ankhpakhered
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05259)


This coffin lid belonged to Ankhpakhered, a priest of the fertility god Min. In the middle of the lid, the deceased—shown lying on a bier—is framed by the goddesses Isis and Nephthys. The inside of the lid is decorated with an image of Nut, the goddess of the sky.
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The Reign of Ramesses II
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Statue of the Goddess Sekhmet
Thebes
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Granodiorite
Museo Egizio, Turin (Cats. 0251)


One of the most frightening Egyptian deities was Sekhmet, the goddess of divine wrath and the plague and the fiercest hunter in all of Egypt. Daughter of the sun god Ra, she personified the sun’s rays, with the power to give life or take it away. This statue shows her holding an ankh, the symbol of life, but her lion head reinforces her violent nature.


Worshippers made offerings to a different statue of Sekhmet each morning and evening of the year to ask for her protection and to ensure that she remained in her gentle, domesticated form: the cat goddess Bastet. During the reign of Amenhotep III (about 1390–1353 BCE), hundreds of statues depicting Sekhmet were produced, including the four displayed in this gallery.



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Statue of the Goddess Sekhmet
Thebes
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Granodiorite
Museo Egizio, Turin (Cats. 0251)


One of the most frightening Egyptian deities was Sekhmet, the goddess of divine wrath and the plague and the fiercest hunter in all of Egypt. Daughter of the sun god Ra, she personified the sun’s rays, with the power to give life or take it away. This statue shows her holding an ankh, the symbol of life, but her lion head reinforces her violent nature.


Worshippers made offerings to a different statue of Sekhmet each morning and evening of the year to ask for her protection and to ensure that she remained in her gentle, domesticated form: the cat goddess Bastet. During the reign of Amenhotep III (about 1390–1353 BCE), hundreds of statues depicting Sekhmet were produced, including the four displayed in this gallery.



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Sekhmet: The Goddess of Divine Wrath
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Sekhmet: The Goddess of Divine Wrath
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Knob with a Cartouche of Aye
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 18th dynasty, reign of Aye (about 1327–1323 BCE)
Faience
Museo Egizio, Turin (S. 05162)


This knob, possibly from a piece of furniture, was the most surprising discovery in Nefertari’s tomb. It is inscribed with the cartouche (an oval shape containing a royal name) of Aye, a pharaoh from the Amarna period who ruled just after Tutankhamun. Its presence in the tomb has given rise to the hypothesis that Nefertari and Aye were related.


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Knob with a Cartouche of Aye
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 18th dynasty, reign of Aye (about 1327–1323 BCE)
Faience
Museo Egizio, Turin (S. 05162)


This knob, possibly from a piece of furniture, was the most surprising discovery in Nefertari’s tomb. It is inscribed with the cartouche (an oval shape containing a royal name) of Aye, a pharaoh from the Amarna period who ruled just after Tutankhamun. Its presence in the tomb has given rise to the hypothesis that Nefertari and Aye were related.


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The Reign of Ramesses II
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Coffin of Namenekhetimenipet
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05222)


Italian archaeologist Ernesto Schiaparelli found more than forty coffins made of painted wood inside the tombs of Ramesses III’s sons. Careful examination of their inscriptions revealed that eleven belonged to members of two distinct families—Theban religious officials whose family trees have been traced back five generations. This coffin belonged to Namenekhetimenipet, a member of one of these families. The coffin of her sister, Takhaauenbastet (displayed nearby), was also found in the tomb.
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Coffin of Namenekhetimenipet
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05222)


Italian archaeologist Ernesto Schiaparelli found more than forty coffins made of painted wood inside the tombs of Ramesses III’s sons. Careful examination of their inscriptions revealed that eleven belonged to members of two distinct families—Theban religious officials whose family trees have been traced back five generations. This coffin belonged to Namenekhetimenipet, a member of one of these families. The coffin of her sister, Takhaauenbastet (displayed nearby), was also found in the tomb.
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The Reign of Ramesses II
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Djed-Pillar Amulet
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Gilt wood and vitreous paste
Museo Egizio, Turin (S. 05163)


The back of this amulet is inscribed with Nefertari’s name and title. It may have stood on one of four protective magical bricks (not preserved) that would have been placed at the corners of the tomb chamber. According to the Book of the Dead, a spell was “to be said over a djed-pillar amulet of faience . . . set firmly on an unbaked clay brick.” This object was the only one found in place in the tomb. The djed-pillar is an ancient Egyptian funerary symbol for stability, said to represent the spine of Osiris, god of the underworld.


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Djed-Pillar Amulet
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Gilt wood and vitreous paste
Museo Egizio, Turin (S. 05163)


The back of this amulet is inscribed with Nefertari’s name and title. It may have stood on one of four protective magical bricks (not preserved) that would have been placed at the corners of the tomb chamber. According to the Book of the Dead, a spell was “to be said over a djed-pillar amulet of faience . . . set firmly on an unbaked clay brick.” This object was the only one found in place in the tomb. The djed-pillar is an ancient Egyptian funerary symbol for stability, said to represent the spine of Osiris, god of the underworld.


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Djed-Pillar Amulet
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Gilt wood and vitreous paste
Museo Egizio, Turin (S. 05163)


The back of this amulet is inscribed with Nefertari’s name and title. It may have stood on one of four protective magical bricks (not preserved) that would have been placed at the corners of the tomb chamber. According to the Book of the Dead, a spell was “to be said over a djed-pillar amulet of faience . . . set firmly on an unbaked clay brick.” This object was the only one found in place in the tomb. The djed-pillar is an ancient Egyptian funerary symbol for stability, said to represent the spine of Osiris, god of the underworld.
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Djed-Pillar Amulet
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Gilt wood and vitreous paste
Museo Egizio, Turin (S. 05163)


The back of this amulet is inscribed with Nefertari’s name and title. It may have stood on one of four protective magical bricks (not preserved) that would have been placed at the corners of the tomb chamber. According to the Book of the Dead, a spell was “to be said over a djed-pillar amulet of faience . . . set firmly on an unbaked clay brick.” This object was the only one found in place in the tomb. The djed-pillar is an ancient Egyptian funerary symbol for stability, said to represent the spine of Osiris, god of the underworld.
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The Reign of Ramesses II
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The Reign of Ramesses II
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Shabtis of Queen Nefertari
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Wood and resin
Museo Egizio, Turin (S. 05164 – S. 05197)




Shabtis are small statues shaped like mummies holding farming or irrigation tools. They were intended to perform manual labor for the deceased in the afterlife. A set of thirty-four shabtis was found in Nefertari’s tomb, although the original group must have numbered in the hundreds. All thirty-four, made from wood and resin and displayed here, are inscribed with the queen’s name and a reduced version of the spell that was believed to animate the statues in the afterlife.


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Shabtis of Queen Nefertari
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Wood and resin
Museo Egizio, Turin (S. 05164 – S. 05197)


Shabtis are small statues shaped like mummies holding farming or irrigation tools. They were intended to perform manual labor for the deceased in the afterlife. A set of thirty-four shabtis was found in Nefertari’s tomb, although the original group must have numbered in the hundreds. All thirty-four, made from wood and resin and displayed here, are inscribed with the queen’s name and a reduced version of the spell that was believed to animate the statues in the afterlife.


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Lid from the Inner Coffin of Secheperamon
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05246)


Often, a smaller inner coffin containing the deceased was nested inside a larger outer coffin, providing an extra layer of protection for the mummy. On this inner coffin lid belonging to Secheperamon, elaborately painted decoration surrounds funerary texts related to the journey of the deceased in the afterlife. The center of the lid shows the mummy of Secheperamon receiving life and warmth from the rays of the solar disc, while the sky goddess Nut stretches her wings above the weighing of the deceased’s heart. Meanwhile, Thoth, the ibis-headed god of wisdom, leads Secheperamon toward a company of other deities.


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Lid from the Inner Coffin of Secheperamon
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05246)


Often, a smaller inner coffin containing the deceased was nested inside a larger outer coffin, providing an extra layer of protection for the mummy. On this inner coffin lid belonging to Secheperamon, elaborately painted decoration surrounds funerary texts related to the journey of the deceased in the afterlife. The center of the lid shows the mummy of Secheperamon receiving life and warmth from the rays of the solar disc, while the sky goddess Nut stretches her wings above the weighing of the deceased’s heart. Meanwhile, Thoth, the ibis-headed god of wisdom, leads Secheperamon toward a company of other deities.


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The Reign of Ramesses II
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Sandals
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Vegetal Fibers (Palm Leaves)
Museo Egizio, Turin (S. 05160/01 & 02)


This pair of sandals, made of woven palm leaves, was found in Queen Nefertari’s tomb. Their size (U.S. women’s shoe size 9) is compatible with the estimated height of the woman whose knees were found in the tomb. Although their owner can’t be positively identified, their style indicates that they could have belonged to Queen Nefertari.


On one wall of the antechamber of Nefertari’s tomb, the Queen is shown seated in a pavilion and playing the game of senet. She wears sandals similar to the ones found in her tomb.



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Sandals
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Vegetal Fibers (Palm Leaves)
Museo Egizio, Turin (S. 05160/01 & 02)


This pair of sandals, made of woven palm leaves, was found in Queen Nefertari’s tomb. Their size (U.S. women’s shoe size 9) is compatible with the estimated height of the woman whose knees were found in the tomb. Although their owner can’t be positively identified, their style indicates that they could have belonged to Queen Nefertari.


On one wall of the antechamber of Nefertari’s tomb, the Queen is shown seated in a pavilion and playing the game of senet. She wears sandals similar to the ones found in her tomb.



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Fragments of the Past
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Fragments of the Past
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Statuette of a Young Boy Called Amenmes
Unknown provenance
New Kingdom, early 18th dynasty (about 1500–1450 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3093)


In ancient Egyptian art, men were generally portrayed with darker, reddish skin, in accordance with their role outside the home. This convention ignores that Egyptian society was racially mixed at all levels. This statuette depicts a young boy, whose age is signified by his traditional side-lock and his lack of clothing.
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Tombs were equipped with many objects necessary for the well-being of the deceased. The most crucial were the trappings of the body: amulets, jewelry, masks, and coffins. Many of these objects had a protective function in the afterlife. A wooden headrest was used to support the base of the mummy’s head inside the coffin. A large amulet in the shape of a scarab beetle was often placed on the chest of the deceased to protect the heart and serve as a replacement should the heart be destroyed.


Also included in the tomb were shabtis, small statuettes shaped like mummies and holding implements. They were animated by a spell contained in the Book of the Dead and performed manual labor for the deceased in the afterlife. Other provisions such as food, clothing, furniture, games, and weapons ensured the continuous comfort of the deceased in the afterlife.
_______


Statuette of a Young Boy Called Amenmes
Unknown provenance
New Kingdom, early 18th dynasty (about 1500–1450 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3093)


In ancient Egyptian art, men were generally portrayed with darker, reddish skin, in accordance with their role outside the home. This convention ignores that Egyptian society was racially mixed at all levels. This statuette depicts a young boy, whose age is signified by his traditional side-lock and his lack of clothing.
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The Reign of Ramesses II
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Sarcophagus Lid of Queen Nefertari
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Granite
Museo Egizio, Turin (S. 05153)


These fragments come from the lid of Queen Nefertari’s pink granite sarcophagus—the stone container that protected the coffin of the queen. A few traces of the original painted decoration are still visible. The inscription is a prayer to Nut, goddess of the sky. The queen’s sarcophagus lid was destroyed when the tomb was robbed. Ernesto Schiaparelli found these fragments, along with fragments of a gilded wood coffin, in the tomb’s burial chamber.


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Sarcophagus Lid of Queen Nefertari
Tomb of Nefertari (QV66), Valley of the Queens
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Granite
Museo Egizio, Turin (S. 05153)


These fragments come from the lid of Queen Nefertari’s pink granite sarcophagus—the stone container that protected the coffin of the queen. A few traces of the original painted decoration are still visible. The inscription is a prayer to Nut, goddess of the sky. The queen’s sarcophagus lid was destroyed when the tomb was robbed. Ernesto Schiaparelli found these fragments, along with fragments of a gilded wood coffin, in the tomb’s burial chamber.


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The Reign of Ramesses II
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Inner Coffin of Hory
Unknown provenance
Third Intermediate Period, 21st–22nd dynasty (about 1075–790 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (Cats. 2212/01/02)


Egyptian coffin ensembles originally consisted of three main parts: the outer coffin, the inner coffin, and the mummy board. Here, the outer coffin is now missing, but the inner coffin of Hory is displayed. The top of the coffin has a yellow background and is decorated with a frieze of uraei (cobras) with single plumes in between. The bottom is damaged, but it was originally decorated with an image of Imentet, goddess of the necropolises west of the Nile, who welcome the deceased to the afterlife. Beneath the inner coffin lid, a false lid, or mummy board, provided an additional layer of protection for the mummy. This wooden plank was decorated like the inner coffin lid and covered the full length of the mummy, with a sculpted face and hands.


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Inner Coffin of Hory
Unknown provenance
Third Intermediate Period, 21st–22nd dynasty (about 1075–790 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (Cats. 2212/01/02)


Egyptian coffin ensembles originally consisted of three main parts: the outer coffin, the inner coffin, and the mummy board. Here, the outer coffin is now missing, but the inner coffin of Hory is displayed. The top of the coffin has a yellow background and is decorated with a frieze of uraei (cobras) with single plumes in between. The bottom is damaged, but it was originally decorated with an image of Imentet, goddess of the necropolises west of the Nile, who welcome the deceased to the afterlife. Beneath the inner coffin lid, a false lid, or mummy board, provided an additional layer of protection for the mummy. This wooden plank was decorated like the inner coffin lid and covered the full length of the mummy, with a sculpted face and hands.


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The Reign of Ramesses II
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Coffin of Asetemhat
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05239)


The inscriptions on this coffin reveal the name of the deceased—Asetemhat, called “mistress of the house”—as well as her parents, Padiusir and Aseturet. The coffin is elaborately decorated inside and out. A central vignette on the outside of the lid shows Anubis, god of the dead, mummifying Asetemhat. The interior shows two full-length representations of Nut, goddess of the sky. The coffin’s underside depicts a djed-pillar, which represents the spine of Osiris, god of the underworld, a symbol of stability and resurrection.


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Coffin of Asetemhat
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 BCE)
Stuccoed and painted wood
Museo Egizio, Turin (S. 05239)


The inscriptions on this coffin reveal the name of the deceased—Asetemhat, called “mistress of the house”—as well as her parents, Padiusir and Aseturet. The coffin is elaborately decorated inside and out. A central vignette on the outside of the lid shows Anubis, god of the dead, mummifying Asetemhat. The interior shows two full-length representations of Nut, goddess of the sky. The coffin’s underside depicts a djed-pillar, which represents the spine of Osiris, god of the underworld, a symbol of stability and resurrection.


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On view in the Piano Pavilion December 6, 2020—March 14, 2021


The One for Whom the Sun Shines. Beautiful Companion. First Royal Spouse.


Nefertari was one of the most celebrated queens of ancient Egypt. The favorite wife of the great pharaoh Ramesses II (reigned 1279–1213 BCE), she was highly regarded, educated, and could read and write hieroglyphs.


This exhibition celebrates Nefertari and other powerful royal women who lived during the New Kingdom period and brings them to life through some 230 exceptional treasures from the Museo Egizio in Turin, Italy.


Step back in time to explore ancient temples, life in the royal women’s household and the artisan village of Deir el-Medina, rituals of death, and Nefertari’s resplendent tomb.



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On view in the Piano Pavilion December 6, 2020—March 14, 2021


The One for Whom the Sun Shines. Beautiful Companion. First Royal Spouse.


Nefertari was one of the most celebrated queens of ancient Egypt. The favorite wife of the great pharaoh Ramesses II (reigned 1279–1213 BCE), she was highly regarded, educated, and could read and write hieroglyphs.


This exhibition celebrates Nefertari and other powerful royal women who lived during the New Kingdom period and brings them to life through some 230 exceptional treasures from the Museo Egizio in Turin, Italy.


Step back in time to explore ancient temples, life in the royal women’s household and the artisan village of Deir el-Medina, rituals of death, and Nefertari’s resplendent tomb.



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Queen Nefertari’s Egypt is organized by the Museo Egizio, Turin, and Start, in collaboration with the Kimbell Art Museum.


The exhibition is supported by the Texas Commission on the Arts, the Fort Worth Tourism Public Improvement District, and the Consulate General of Italy in Houston.


Promotional support is provided by American Airlines, NBC 5, and PaperCity.
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Queen Nefertari’s Egypt is organized by the Museo Egizio, Turin, and Start, in collaboration with the Kimbell Art Museum.


The exhibition is supported by the Texas Commission on the Arts, the Fort Worth Tourism Public Improvement District, and the Consulate General of Italy in Houston.


Promotional support is provided by American Airlines, NBC 5, and PaperCity.
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Stela of Nakhtsu and Panakht
Probably from Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Limestone
Museo Egizio, Turin (Cat. 1454)


Some pharaohs and queens were worshipped as gods after their deaths. Pharaoh Amenhotep I and his mother, Queen Ahmose-Nefertari, were worshipped as deities in the village of Deir el-Medina. On this stela the god and goddess, seated in the upper section, are being worshipped by Nakhtsu, a worker in Deir el-Medina, alongside his son, Panakht. His wife and other children appear in a lower section of the stela.





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Stela of Nakhtsu and Panakht
Probably from Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Limestone
Museo Egizio, Turin (Cat. 1454)


Some pharaohs and queens were worshipped as gods after their deaths. Pharaoh Amenhotep I and his mother, Queen Ahmose-Nefertari, were worshipped as deities in the village of Deir el-Medina. On this stela the god and goddess, seated in the upper section, are being worshipped by Nakhtsu, a worker in Deir el-Medina, alongside his son, Panakht. His wife and other children appear in a lower section of the stela.





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Deification of Royalty
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Deification of Royalty
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The Reign of Ramesses II
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Book of Amduat
Thebes
Third Intermediate Period, 21st–24th dynasty (about 1075–712 BCE)
Papyrus with ink
Museo Egizio, Turin (Cat. 1783)


The most important book of the underworld was the Book of Amduat. The text is organized according to the twelve hours of the night. This papyrus scroll shows the final hour of the sun god’s journey through the netherworld. To rise again, the sun god, depicted as a ram-headed deity in a royal boat, must pass inside a giant snake. After passing through the snake, the sun god leaves the mummy of Osiris in the afterlife and rises in the form of Khepri, the scarab beetle god. As Khepri, the sun god is propelled by the air god Shu, whose head and outstretched arms extend across the curved vault of the sky. The text and story progress from left to right across the papyrus.


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Book of Amduat
Thebes
Third Intermediate Period, 21st–24th dynasty (about 1075–712 BCE)
Papyrus with ink
Museo Egizio, Turin (Cat. 1783)


The most important book of the underworld was the Book of Amduat. The text is organized according to the twelve hours of the night. This papyrus scroll shows the final hour of the sun god’s journey through the netherworld. To rise again, the sun god, depicted as a ram-headed deity in a royal boat, must pass inside a giant snake. After passing through the snake, the sun god leaves the mummy of Osiris in the afterlife and rises in the form of Khepri, the scarab beetle god. As Khepri, the sun god is propelled by the air god Shu, whose head and outstretched arms extend across the curved vault of the sky. The text and story progress from left to right across the papyrus.


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Contact
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Contact
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For more information
please contact
Katherine Polenz
Kimbell Art Museum
kpolenz@kimbellmuseum.org


Virtual tour
created by ikd
office@i-k-design.com


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For more information
please contact
Katherine Polenz
Kimbell Art Museum
kpolenz@kimbellmuseum.org


Virtual tour
created by ikd
office@i-k-design.com


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Bastet: Goddess of Domestic Joy
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Bastet: Goddess of Domestic Joy
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Votive Statuette of a Cat
Unknown provenance
Late Period, 26th–31st dynasty (about 664–332 BCE)
Bronze
Museo Egizio, Turin (Cat. 874)


Animals in ancient Egypt were often seen as earthly images of the gods. The cat was the animal form of Bastet, the goddess of love, dance, music, and domestic joy. She is the tame form of the lioness deity Sekhmet, the goddess of divine wrath.


Votive animal statues like this one were offered to the gods they depicted in exchange for luck or protection. As the goddess of domestic joy, Bastet was the protector of women and children and was reputed to possess a magical power to stimulate love, which ensured her popularity.






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Votive Statuette of a Cat
Unknown provenance
Late Period, 26th–31st dynasty (about 664–332 BCE)
Bronze
Museo Egizio, Turin (Cat. 874)


Animals in ancient Egypt were often seen as earthly images of the gods. The cat was the animal form of Bastet, the goddess of love, dance, music, and domestic joy. She is the tame form of the lioness deity Sekhmet, the goddess of divine wrath.


Votive animal statues like this one were offered to the gods they depicted in exchange for luck or protection. As the goddess of domestic joy, Bastet was the protector of women and children and was reputed to possess a magical power to stimulate love, which ensured her popularity.






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Fragment from a Statue of the Pharaoh Amenhotep III
Probably from Kom el-Hettan (the Mortuary Temple of Amenhotep III), Thebes
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Granite
Museo Egizio, Turin (Cat. 3148)


Many of the objects recovered from ancient Egypt are fragmentary—not surprising, given their age. Although this fragment’s exact origins are unknown, its style and dimensions indicate that it likely came from one of the standing colossi at Amenhotep III’s temple in Thebes. In these colossi, Amenhotep was typically depicted with a rounded, youthful face, a large, smiling mouth, and fleshy lips.
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Fragment from a Statue of the Pharaoh Amenhotep III
Probably from Kom el-Hettan (the Mortuary Temple of Amenhotep III), Thebes
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Granite
Museo Egizio, Turin (Cat. 3148)


Many of the objects recovered from ancient Egypt are fragmentary—not surprising, given their age. Although this fragment’s exact origins are unknown, its style and dimensions indicate that it likely came from one of the standing colossi at Amenhotep III’s temple in Thebes. In these colossi, Amenhotep was typically depicted with a rounded, youthful face, a large, smiling mouth, and fleshy lips.
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Fragments of the Past
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Fragments of the Past
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Book of the Dead of Hor
Thebes
Ptolemaic Period (332–30 BCE)
Papyrus with ink
Museo Egizio, Turin (Cat. 1803)


This papyrus depicts the weighing of the heart, a standard scene in the Book of the Dead. In the scene depicted on the left-hand side of the papyrus, the deceased, standing between the goddess Maat and the goddess of the West, raises his arms in jubilation. The gods Horus (falcon head) and Anubis (jackal head) weigh the heart of the deceased against Maat’s feather, while the god of the underworld, Osiris, and forty-two judges look on. Should the heart be heavier than the feather (and thus judged to be not pure), the beast Ammit waits in readiness to devour the sinner. The god Thoth (ibis head) records the result of the trial.


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Book of the Dead of Hor
Thebes
Ptolemaic Period (332–30 BCE)
Papyrus with ink
Museo Egizio, Turin (Cat. 1803)


This papyrus depicts the weighing of the heart, a standard scene in the Book of the Dead. In the scene depicted on the left-hand side of the papyrus, the deceased, standing between the goddess Maat and the goddess of the West, raises his arms in jubilation. The gods Horus (falcon head) and Anubis (jackal head) weigh the heart of the deceased against Maat’s feather, while the god of the underworld, Osiris, and forty-two judges look on. Should the heart be heavier than the feather (and thus judged to be not pure), the beast Ammit waits in readiness to devour the sinner. The god Thoth (ibis head) records the result of the trial.


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The Reign of Ramesses II
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Model of the Lesser Temple of Abu Simbel
Probably Italian
Early 1800s, acquired around 1825
Stuccoed wood
Museo Egizio, Turin (Cat. 7104)


This model, made in the early 1800s, depicts the Lesser Temple of Abu Simbel. The temple was dedicated to the goddess Hathor but honored the almost divine role of Nefertari, Pharaoh Ramesses II’s primary queen. Six standing colossi decorate the temple’s façade: four of Ramesses II and two of Nefertari. The temple’s inner court shows six pillars decorated with the goddess Hathor’s face.



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Model of the Lesser Temple of Abu Simbel
Probably Italian
Early 1800s, acquired around 1825
Stuccoed wood
Museo Egizio, Turin (Cat. 7104)


This model, made in the early 1800s, depicts the Lesser Temple of Abu Simbel. The temple was dedicated to the goddess Hathor but honored the almost divine role of Nefertari, Pharaoh Ramesses II’s primary queen. Six standing colossi decorate the temple’s façade: four of Ramesses II and two of Nefertari. The temple’s inner court shows six pillars decorated with the goddess Hathor’s face.



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Model of the Lesser Temple of Abu Simbel
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Floor Plan
Select point on map to move location
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Floor Plan
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Stela Depicting the Goddess Hathor and Ramesses II
Provenance unknown
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Limestone
Museo Egizio, Turin (Cat. 1462)


Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.


This small engraved stone slab was probably used as a votive monument in a household shrine. It shows the goddess Hathor holding an ankh (the symbol of life) to Ramesses II’s mouth, indicating that she is granting him a reign of one hundred thousand years.




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Stela Depicting the Goddess Hathor and Ramesses II
Provenance unknown
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Limestone
Museo Egizio, Turin (Cat. 1462)


Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.


This small engraved stone slab was probably used as a votive monument in a household shrine. It shows the goddess Hathor holding an ankh (the symbol of life) to Ramesses II’s mouth, indicating that she is granting him a reign of one hundred thousand years.




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The Reign of Ramesses II
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The Reign of Ramesses II
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Statue of the Pharaoh Thutmose I
Temple of Amun, Karnak
New Kingdom, 18th dynasty, reign of Thutmose I (about 1493–1483 BCE)
Granodiorite
Museo Egizio, Turin (Cat. 1374)


Egypt’s pharaohs are recognizable in tomb paintings and temple carvings by their symbols of power. The central Statue Bearing the Name Thutmose I depicts several: the nemes headdress, a striped head cloth worn by royalty; the uraeus, an upright cobra worn on the pharaoh’s forehead, said to spit fire at his enemies; and a bull tail (visible between the statue’s legs, attached to his belt), a symbol of male authority.


The name Thutmose I is carved in the oblong cartouches on this statue. The inscription, however, seems to have been recarved over the hieroglyphs of a previous pharaoh. Statues were often rededicated to assert a new pharaoh’s authority, to emphasize the continuity of order, or because it was less expensive than carving a new statue.




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Statue of the Pharaoh Thutmose I
Temple of Amun, Karnak
New Kingdom, 18th dynasty, reign of Thutmose I (about 1493–1483 BCE)
Granodiorite
Museo Egizio, Turin (Cat. 1374)


Egypt’s pharaohs are recognizable in tomb paintings and temple carvings by their symbols of power. The central Statue Bearing the Name Thutmose I depicts several: the nemes headdress, a striped head cloth worn by royalty; the uraeus, an upright cobra worn on the pharaoh’s forehead, said to spit fire at his enemies; and a bull tail (visible between the statue’s legs, attached to his belt), a symbol of male authority.


The name Thutmose I is carved in the oblong cartouches on this statue. The inscription, however, seems to have been recarved over the hieroglyphs of a previous pharaoh. Statues were often rededicated to assert a new pharaoh’s authority, to emphasize the continuity of order, or because it was less expensive than carving a new statue.




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symbols of power
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symbols of power
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about
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Statuette of Ahmose-Nefertari
Deir el-Medina
New Kingdom, 18th dynasty (about 1539–1292 BCE)
Wood
Museo Egizio, Turin (Cat. 1389)


Ahmose-Nefertari, the first queen of the New Kingdom, who lived almost three hundred years before Queen Nefertari, was very influential in the religious sphere. She held important religious offices, which brought her great power and independent wealth. This personal income allowed her to make an unprecedented series of ritual offerings throughout Egypt.


Queen Ahmose-Nefertari was arguably the most venerated woman in Egyptian history. After her death, she was made a goddess and was worshipped as a protector of the worker’s village of Deir el-Medina. She was often depicted with black skin—the same color as the rich Nile mud that was so important to life in the Nile Valley and thus represented fertility and rebirth.





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Statuette of Ahmose-Nefertari
Deir el-Medina
New Kingdom, 18th dynasty (about 1539–1292 BCE)
Wood
Museo Egizio, Turin (Cat. 1389)


Ahmose-Nefertari, the first queen of the New Kingdom, who lived almost three hundred years before Queen Nefertari, was very influential in the religious sphere. She held important religious offices, which brought her great power and independent wealth. This personal income allowed her to make an unprecedented series of ritual offerings throughout Egypt.


Queen Ahmose-Nefertari was arguably the most venerated woman in Egyptian history. After her death, she was made a goddess and was worshipped as a protector of the worker’s village of Deir el-Medina. She was often depicted with black skin—the same color as the rich Nile mud that was so important to life in the Nile Valley and thus represented fertility and rebirth.





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A Religious Idol
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A Religious Idol
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Statuette of a Dignitary Holding a Standard with Head of the Goddess Hathor
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1076 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3036)


Hathor was one of ancient Egypt’s most popular and widely worshipped goddesses. As a celestial deity and the wife of Horus, the god of kingship and the sky, she reflected the ideal feminine traits of fertility, motherhood, and domesticity and, as such, was the mythic counterpart to human queens. Hathor was often portrayed as a cow, symbolizing her maternal and celestial aspect, although her most common form was as a woman wearing a headdress of a solar disc resting between a pair of curved cow horns. She could also be depicted as a human with a woman’s face, cow ears, and a curled headdress.


As a funerary deity associated with rebirth and the afterlife, Hathor had local cults all over Egypt. She was one of the deities commonly invoked in private prayers and votive offerings, particularly by women desiring children.


In ancient Egypt, processions were a part of the many religious feasts held throughout the year. This statuette of a Hathor worshipper holds a standard bearing the name and likeness of this popular goddess.





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Statuette of a Dignitary Holding a Standard with Head of the Goddess Hathor
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1076 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3036)


Hathor was one of ancient Egypt’s most popular and widely worshipped goddesses. As a celestial deity and the wife of Horus, the god of kingship and the sky, she reflected the ideal feminine traits of fertility, motherhood, and domesticity and, as such, was the mythic counterpart to human queens. Hathor was often portrayed as a cow, symbolizing her maternal and celestial aspect, although her most common form was as a woman wearing a headdress of a solar disc resting between a pair of curved cow horns. She could also be depicted as a human with a woman’s face, cow ears, and a curled headdress.


As a funerary deity associated with rebirth and the afterlife, Hathor had local cults all over Egypt. She was one of the deities commonly invoked in private prayers and votive offerings, particularly by women desiring children.


In ancient Egypt, processions were a part of the many religious feasts held throughout the year. This statuette of a Hathor worshipper holds a standard bearing the name and likeness of this popular goddess.





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The Goddess Hathor
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The Goddess Hathor
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The One for Whom the Sun Shines. Beautiful Companion. First Royal Spouse.


Nefertari was one of the most celebrated queens of ancient Egypt. The favorite wife of the great pharaoh Ramesses II (reigned 1279–1213 BCE), she was highly regarded, educated, and could read and write hieroglyphs.


This exhibition celebrates Nefertari and other powerful royal women who lived during the New Kingdom period and brings them to life through some 230 exceptional treasures from the Museo Egizio in Turin, Italy.


Step back in time to explore ancient temples, life in the royal women’s household and the artisan village of Deir el-Medina, rituals of death, and Nefertari’s resplendent tomb.



For more information, visit kimbellart.org




Queen Nefertari’s Egypt is organized by the Museo Egizio, Turin, and StArt, in collaboration with the Kimbell Art Museum.


The exhibition is supported by the Texas Commission on the Arts, the Fort Worth Tourism Public Improvement District, and the Consulate General of Italy in Houston.


Promotional support is provided by American Airlines, NBC 5, and PaperCity.





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The One for Whom the Sun Shines. Beautiful Companion. First Royal Spouse.


Nefertari was one of the most celebrated queens of ancient Egypt. The favorite wife of the great pharaoh Ramesses II (reigned 1279–1213 BCE), she was highly regarded, educated, and could read and write hieroglyphs.


This exhibition celebrates Nefertari and other powerful royal women who lived during the New Kingdom period and brings them to life through some 230 exceptional treasures from the Museo Egizio in Turin, Italy.


Step back in time to explore ancient temples, life in the royal women’s household and the artisan village of Deir el-Medina, rituals of death, and Nefertari’s resplendent tomb.



For more information, visit kimbellart.org




Queen Nefertari’s Egypt is organized by the Museo Egizio, Turin, and StArt, in collaboration with the Kimbell Art Museum.


The exhibition is supported by the Texas Commission on the Arts, the Fort Worth Tourism Public Improvement District, and the Consulate General of Italy in Houston.


Promotional support is provided by American Airlines, NBC 5, and PaperCity.





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Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
_______


Ostracon Depicting a Prince
Valley of the Queens
New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 BCE)
Limestone with red paint
Museo Egizio, Turin (S. 05637)


This painted limestone fragment (called an ostracon) depicts Setherkhepeshef, one of Pharaoh Ramesses III’s sons, with his arms raised in worship. The fan in his left hand indicates his high status. The sketch may be a study for the decoration of the prince’s tomb.





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Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
_______


Ostracon Depicting a Prince
Valley of the Queens
New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 BCE)
Limestone with red paint
Museo Egizio, Turin (S. 05637)


This painted limestone fragment (called an ostracon) depicts Setherkhepeshef, one of Pharaoh Ramesses III’s sons, with his arms raised in worship. The fan in his left hand indicates his high status. The sketch may be a study for the decoration of the prince’s tomb.





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Beauty and care were essential for health and well-being. A pleasant appearance symbolized perfection and harmony in the afterlife. Makeup tools such as scissors, tweezers, razors, combs, pins, cosmetic spoons, and containers were part of grave goods found in Egyptian tombs.


Cosmetic pigments were obtained from red ochre, charcoal, chalk, and minerals like copper and malachite. The colors could be mixed with greasy materials like fat and oil to make them moisturizing and to facilitate their application. Flat spatulas were used for applying colored powders on the eyes and face.


Kohl was used by the Egyptians as a makeup and disinfectant for the eyes. It was made by grinding up the black mineral stibnite and mixing it with fatty and moisturizing substances. The personal containers of the elite were sometimes engraved with a cartouche.
_______


Kohl Pot of Queen Tiye
Unknown provenance
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Faience
Museo Egizio, Turin (Cat. 6236)


This cylindrical tube is inscribed with the cartouches of Amenhotep III and his Great Royal Wife, Queen Tiye. It may have belonged to the queen herself or been presented as a royal gift.
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Beauty and care were essential for health and well-being. A pleasant appearance symbolized perfection and harmony in the afterlife. Makeup tools such as scissors, tweezers, razors, combs, pins, cosmetic spoons, and containers were part of grave goods found in Egyptian tombs.


Cosmetic pigments were obtained from red ochre, charcoal, chalk, and minerals like copper and malachite. The colors could be mixed with greasy materials like fat and oil to make them moisturizing and to facilitate their application. Flat spatulas were used for applying colored powders on the eyes and face.


Kohl was used by the Egyptians as a makeup and disinfectant for the eyes. It was made by grinding up the black mineral stibnite and mixing it with fatty and moisturizing substances. The personal containers of the elite were sometimes engraved with a cartouche.
_______


Kohl Pot of Queen Tiye
Unknown provenance
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Faience
Museo Egizio, Turin (Cat. 6236)


This cylindrical tube is inscribed with the cartouches of Amenhotep III and his Great Royal Wife, Queen Tiye. It may have belonged to the queen herself or been presented as a royal gift.
HTMLText_A4CDB59B_995A_325B_41DC_6E2D3788141F.html =
Beauty and care were essential for health and well-being. A pleasant appearance symbolized perfection and harmony in the afterlife. Makeup tools such as scissors, tweezers, razors, combs, pins, cosmetic spoons, and containers were part of grave goods found in Egyptian tombs.


Cosmetic pigments were obtained from red ochre, charcoal, chalk, and minerals like copper and malachite. The colors could be mixed with greasy materials like fat and oil to make them moisturizing and to facilitate their application. Flat spatulas were used for applying colored powders on the eyes and face.


Kohl was used by the Egyptians as a makeup and disinfectant for the eyes. It was made by grinding up the black mineral stibnite and mixing it with fatty and moisturizing substances. The personal containers of the elite were sometimes engraved with a cartouche.
_______


Monkey-Shaped Cosmetic Pot
Unknown provenance
Late Period, 25th–31st dynasty (about 722–332 BCE)
Faience
Museo Egizio, Turin (Cat. 0798)


This whimsical cosmetic pot may once have held cosmetic powders or creams. Monkeys and baboons were associated with various gods, including Thoth, the god of wisdom.


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Beauty and care were essential for health and well-being. A pleasant appearance symbolized perfection and harmony in the afterlife. Makeup tools such as scissors, tweezers, razors, combs, pins, cosmetic spoons, and containers were part of grave goods found in Egyptian tombs.


Cosmetic pigments were obtained from red ochre, charcoal, chalk, and minerals like copper and malachite. The colors could be mixed with greasy materials like fat and oil to make them moisturizing and to facilitate their application. Flat spatulas were used for applying colored powders on the eyes and face.


Kohl was used by the Egyptians as a makeup and disinfectant for the eyes. It was made by grinding up the black mineral stibnite and mixing it with fatty and moisturizing substances. The personal containers of the elite were sometimes engraved with a cartouche.
_______


Monkey-Shaped Cosmetic Pot
Unknown provenance
Late Period, 25th–31st dynasty (about 722–332 BCE)
Faience
Museo Egizio, Turin (Cat. 0798)


This whimsical cosmetic pot may once have held cosmetic powders or creams. Monkeys and baboons were associated with various gods, including Thoth, the god of wisdom.


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Cosmetic Tools
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Cosmetic Tools
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Block statues, normally carved from stone, are stylized, almost geometric images of a dignitary squatting with his knees drawn up to his chest and his arms folded on top of the knees. The front surface provided ample room for carving hieroglyphic texts. The block statue in this case depicts a man named Keret, an administrator of the women’s palace.


In Egypt, wooden sculpture does not seem to have been of lower prestige than stone. Quality wood was imported from the eastern Mediterranean, and working a dense wood was, in fact, much harder than carving some of the stones commonly used in Egyptian statuary. The refined Statue of a Lady, carved in masterful detail from a single piece of wood, depicts a woman who might have lived in one of the royal women’s residences.
_______


Statue of a Girl Called Nefertemau
Probably from Thebes
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood and gold leaf
Museo Egizio, Turin (Cat. 3107)


The women’s residence served as both a nursery and a private school where noble and elite boys and girls were raised and educated. This statue’s side lock, nudity, and absence of breasts indicate her young age. The inscription on the base tells us the girl’s mother dedicated this statue to Nefertemau “to make [the girl’s] name live” after her death.
HTMLText_A81E4713_99D9_FE24_41BD_642E0F2E155D_mobile.html =
Block statues, normally carved from stone, are stylized, almost geometric images of a dignitary squatting with his knees drawn up to his chest and his arms folded on top of the knees. The front surface provided ample room for carving hieroglyphic texts. The block statue in this case depicts a man named Keret, an administrator of the women’s palace.


In Egypt, wooden sculpture does not seem to have been of lower prestige than stone. Quality wood was imported from the eastern Mediterranean, and working a dense wood was, in fact, much harder than carving some of the stones commonly used in Egyptian statuary. The refined Statue of a Lady, carved in masterful detail from a single piece of wood, depicts a woman who might have lived in one of the royal women’s residences.
_______


Statue of a Girl Called Nefertemau
Probably from Thebes
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood and gold leaf
Museo Egizio, Turin (Cat. 3107)


The women’s residence served as both a nursery and a private school where noble and elite boys and girls were raised and educated. This statue’s side lock, nudity, and absence of breasts indicate her young age. The inscription on the base tells us the girl’s mother dedicated this statue to Nefertemau “to make [the girl’s] name live” after her death.
HTMLText_A81E8713_99D9_FE24_41AD_70C0FD1937CD.html =
Block statues, normally carved from stone, are stylized, almost geometric images of a dignitary squatting with his knees drawn up to his chest and his arms folded on top of the knees. The front surface provided ample room for carving hieroglyphic texts. The block statue in this case depicts a man named Keret, an administrator of the women’s palace.


In Egypt, wooden sculpture does not seem to have been of lower prestige than stone. Quality wood was imported from the eastern Mediterranean, and working a dense wood was, in fact, much harder than carving some of the stones commonly used in Egyptian statuary. The refined Statue of a Lady, carved in masterful detail from a single piece of wood, depicts a woman who might have lived in one of the royal women’s residences.
_______


Statuette of a Lady
Probably from Thebes
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 3105)


This refined statue depicts a woman who might have lived in one of the royal women’s residences. Some queens were daughters or sisters of Egyptian pharaohs, some were foreign-born princesses sent to Egypt to make diplomatic marriages, and some were women of elite but less exalted birth. The statue was carved with masterful detail from a single piece of luxurious wood imported from the eastern Mediterranean.
HTMLText_A81E8713_99D9_FE24_41AD_70C0FD1937CD_mobile.html =
Block statues, normally carved from stone, are stylized, almost geometric images of a dignitary squatting with his knees drawn up to his chest and his arms folded on top of the knees. The front surface provided ample room for carving hieroglyphic texts. The block statue in this case depicts a man named Keret, an administrator of the women’s palace.


In Egypt, wooden sculpture does not seem to have been of lower prestige than stone. Quality wood was imported from the eastern Mediterranean, and working a dense wood was, in fact, much harder than carving some of the stones commonly used in Egyptian statuary. The refined Statue of a Lady, carved in masterful detail from a single piece of wood, depicts a woman who might have lived in one of the royal women’s residences.
_______


Statuette of a Lady
Probably from Thebes
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 3105)


This refined statue depicts a woman who might have lived in one of the royal women’s residences. Some queens were daughters or sisters of Egyptian pharaohs, some were foreign-born princesses sent to Egypt to make diplomatic marriages, and some were women of elite but less exalted birth. The statue was carved with masterful detail from a single piece of luxurious wood imported from the eastern Mediterranean.
HTMLText_A81EA713_99D9_FE24_41D5_C332D93AA5E4.html =
Block statues, normally carved from stone, are stylized, almost geometric images of a dignitary squatting with his knees drawn up to his chest and his arms folded on top of the knees. The front surface provided ample room for carving hieroglyphic texts. The block statue in this case depicts a man named Keret, an administrator of the women’s palace.


In Egypt, wooden sculpture does not seem to have been of lower prestige than stone. Quality wood was imported from the eastern Mediterranean, and working a dense wood was, in fact, much harder than carving some of the stones commonly used in Egyptian statuary. The refined Statue of a Lady, carved in masterful detail from a single piece of wood, depicts a woman who might have lived in one of the royal women’s residences.
_______


Block Statue of Keret, Overseer of the Women’s Palace
Unknown provenance
New Kingdom, 18th dynasty, reign of Amenhotep II or Thutmose IV (about 1425–1390 BCE)
Granodiorite
Museo Egizio, Turin (Cat. 3085)


This statue depicts a man named Keret, one of the administrators of the women’s palace, sitting with his knees against his chest. This stylized, almost geometric carving is called a block statue. The front surface provides room for hieroglyphic texts. Here, the sculpture’s dedicator asks the god Ptah-Sokar-Osiris to receive offerings made at the city temple.




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Block statues, normally carved from stone, are stylized, almost geometric images of a dignitary squatting with his knees drawn up to his chest and his arms folded on top of the knees. The front surface provided ample room for carving hieroglyphic texts. The block statue in this case depicts a man named Keret, an administrator of the women’s palace.


In Egypt, wooden sculpture does not seem to have been of lower prestige than stone. Quality wood was imported from the eastern Mediterranean, and working a dense wood was, in fact, much harder than carving some of the stones commonly used in Egyptian statuary. The refined Statue of a Lady, carved in masterful detail from a single piece of wood, depicts a woman who might have lived in one of the royal women’s residences.
_______


Block Statue of Keret, Overseer of the Women’s Palace
Unknown provenance
New Kingdom, 18th dynasty, reign of Amenhotep II or Thutmose IV (about 1425–1390 BCE)
Granodiorite
Museo Egizio, Turin (Cat. 3085)


This statue depicts a man named Keret, one of the administrators of the women’s palace, sitting with his knees against his chest. This stylized, almost geometric carving is called a block statue. The front surface provides room for hieroglyphic texts. Here, the sculpture’s dedicator asks the god Ptah-Sokar-Osiris to receive offerings made at the city temple.




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Egyptian Statuary
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Egyptian Statuary
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Detail from a painting inside Theban Tomb 38, Sheikh Abd el-Qurna, Deir el-Bahri, Theban Necropolis,
New Kingdom, 18th dynasty, reign of Thutmose IV (c. 1401–1390 BCE). Erich Lessing/Art Resource, NY



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Detail from a painting inside Theban Tomb 38, Sheikh Abd el-Qurna, Deir el-Bahri, Theban Necropolis,
New Kingdom, 18th dynasty, reign of Thutmose IV (c. 1401–1390 BCE). Erich Lessing/Art Resource, NY



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Music in Ancient Egypt
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Music in Ancient Egypt
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Clapper with Face of the Goddess Hathor
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 6930)


Both secular life and religious worship in ancient Egypt were punctuated by the performance of music and dance. Hymns and processional songs were a part of all religious rituals, and musical groups performed at festivals and celebrations. In the women’s palaces, women sang, danced, and played instruments including harps, lutes, drums, flutes, cymbals, clappers, and tambourines. Some instruments were associated the goddess Hathor. Hand-shaped clappers, struck together like applause, were believed to protect against evil spirits. Shaking the sistrum—a metal, percussive instrument—produced a jingling sound like a rattle, evoking the goddess Hathor walking through papyrus.
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Clapper with Face of the Goddess Hathor
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 6930)


Both secular life and religious worship in ancient Egypt were punctuated by the performance of music and dance. Hymns and processional songs were a part of all religious rituals, and musical groups performed at festivals and celebrations. In the women’s palaces, women sang, danced, and played instruments including harps, lutes, drums, flutes, cymbals, clappers, and tambourines. Some instruments were associated the goddess Hathor. Hand-shaped clappers, struck together like applause, were believed to protect against evil spirits. Shaking the sistrum—a metal, percussive instrument—produced a jingling sound like a rattle, evoking the goddess Hathor walking through papyrus.
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Fragment of a Musical Instrument (Sistrum)
Unknown provenance
Late Period, 25th–31st dynasty (about 712–332 BCE)
Bronze
Museo Egizio, Turin (Cat. 6255)


Both secular life and religious worship in ancient Egypt were punctuated by the performance of music and dance. Hymns and processional songs were a part of all religious rituals, and musical groups performed at festivals and celebrations. In the women’s palaces, women sang, danced, and played instruments including harps, lutes, drums, flutes, cymbals, clappers, and tambourines. Some instruments were associated the goddess Hathor. Hand-shaped clappers, struck together like applause, were believed to protect against evil spirits. Shaking the sistrum—a metal, percussive instrument—produced a jingling sound like a rattle, evoking the goddess Hathor walking through papyrus.


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Fragment of a Musical Instrument (Sistrum)
Unknown provenance
Late Period, 25th–31st dynasty (about 712–332 BCE)
Bronze
Museo Egizio, Turin (Cat. 6255)


Both secular life and religious worship in ancient Egypt were punctuated by the performance of music and dance. Hymns and processional songs were a part of all religious rituals, and musical groups performed at festivals and celebrations. In the women’s palaces, women sang, danced, and played instruments including harps, lutes, drums, flutes, cymbals, clappers, and tambourines. Some instruments were associated the goddess Hathor. Hand-shaped clappers, struck together like applause, were believed to protect against evil spirits. Shaking the sistrum—a metal, percussive instrument—produced a jingling sound like a rattle, evoking the goddess Hathor walking through papyrus.


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Ancient Egyptians lived in awe and fear of the many powerful, dangerous animals that inhabited the Nile River Valley. Hippopotamuses, crocodiles, lions, vultures, snakes, and other animals were worshipped as gods and goddesses, and some even served as symbols of royalty.


Taweret was the goddess of maternity and motherhood. She is depicted as a pregnant female hippo with a crocodile tail and the feet of a lion—all animals known for aggressively protecting their young.


Hathor was one of ancient Egypt’s most popular goddesses. Associated with rebirth in the afterlife, this goddess of love, sensuality, maternity, joy, and music was worshipped by commoners and queens alike. Hathor was often depicted with a woman’s face, cow’s ears, and a curled headdress. The goddess is also symbolized by a solar disc resting between a pair of curved cow horns topped with two falcon feathers.
_______


Stela with Face of the Goddess Hathor
Unknown provenance
New Kingdom, 19th dynasty (about 1292–1190 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1656)


This rough stela shows Hathor, one of ancient Egypt’s most popular goddesses. Associated with rebirth in the afterlife, this goddess of love, sensuality, maternity, joy, and music was worshipped for thousands of years by commoners and queens alike.





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Ancient Egyptians lived in awe and fear of the many powerful, dangerous animals that inhabited the Nile River Valley. Hippopotamuses, crocodiles, lions, vultures, snakes, and other animals were worshipped as gods and goddesses, and some even served as symbols of royalty.


Taweret was the goddess of maternity and motherhood. She is depicted as a pregnant female hippo with a crocodile tail and the feet of a lion—all animals known for aggressively protecting their young.


Hathor was one of ancient Egypt’s most popular goddesses. Associated with rebirth in the afterlife, this goddess of love, sensuality, maternity, joy, and music was worshipped by commoners and queens alike. Hathor was often depicted with a woman’s face, cow’s ears, and a curled headdress. The goddess is also symbolized by a solar disc resting between a pair of curved cow horns topped with two falcon feathers.
_______


Stela with Face of the Goddess Hathor
Unknown provenance
New Kingdom, 19th dynasty (about 1292–1190 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1656)


This rough stela shows Hathor, one of ancient Egypt’s most popular goddesses. Associated with rebirth in the afterlife, this goddess of love, sensuality, maternity, joy, and music was worshipped for thousands of years by commoners and queens alike.





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Ancient Egyptians lived in awe and fear of the many powerful, dangerous animals that inhabited the Nile River Valley. Hippopotamuses, crocodiles, lions, vultures, snakes, and other animals were worshipped as gods and goddesses, and some even served as symbols of royalty.


Taweret was the goddess of maternity and motherhood. She is depicted as a pregnant female hippo with a crocodile tail and the feet of a lion—all animals known for aggressively protecting their young.


Hathor was one of ancient Egypt’s most popular goddesses. Associated with rebirth in the afterlife, this goddess of love, sensuality, maternity, joy, and music was worshipped by commoners and queens alike. Hathor was often depicted with a woman’s face, cow’s ears, and a curled headdress. The goddess is also symbolized by a solar disc resting between a pair of curved cow horns topped with two falcon feathers.
_______


Statue of Queen Tiye depicted as the Goddess Taweret
Unknown provenance
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Wood
Museo Egizio, Turin (Cat. 566)


This statue depicts the goddess Taweret with the face of Queen Tiye, hinting at Tiye’s own divine nature. Taweret was the goddess of fertility and childbirth. She is depicted as a pregnant female hippo with lion paws and a crocodile tail—all animals known for aggressively protecting their young.




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Ancient Egyptians lived in awe and fear of the many powerful, dangerous animals that inhabited the Nile River Valley. Hippopotamuses, crocodiles, lions, vultures, snakes, and other animals were worshipped as gods and goddesses, and some even served as symbols of royalty.


Taweret was the goddess of maternity and motherhood. She is depicted as a pregnant female hippo with a crocodile tail and the feet of a lion—all animals known for aggressively protecting their young.


Hathor was one of ancient Egypt’s most popular goddesses. Associated with rebirth in the afterlife, this goddess of love, sensuality, maternity, joy, and music was worshipped by commoners and queens alike. Hathor was often depicted with a woman’s face, cow’s ears, and a curled headdress. The goddess is also symbolized by a solar disc resting between a pair of curved cow horns topped with two falcon feathers.
_______


Statue of Queen Tiye depicted as the Goddess Taweret
Unknown provenance
New Kingdom, 18th dynasty, reign of Amenhotep III (about 1390–1353 BCE)
Wood
Museo Egizio, Turin (Cat. 566)


This statue depicts the goddess Taweret with the face of Queen Tiye, hinting at Tiye’s own divine nature. Taweret was the goddess of fertility and childbirth. She is depicted as a pregnant female hippo with lion paws and a crocodile tail—all animals known for aggressively protecting their young.




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Wild Animals in Egypt
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Wild Animals in Egypt
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The Quintessential Egyptian Woman
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Unguent Vase
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Egyptian alabaster
Museo Egizio, Turin (Cat. 3274)


In ancient Egypt, ceramic vessels were used for both domestic and ritual purposes. Plain pottery jars were used for everyday storage of a range of liquids. They were included in tombs for the same purpose, providing provisions to the deceased in the afterlife. Vessels with painted decoration may have served a cultic function, perhaps during temple celebrations or funerary rituals.


Carved and polished vessels made of Egyptian alabaster quarried in mines in Hatnub in Middle Egypt were expensive and sought after as status symbols. They often contained luxury items used in daily life, such as perfume or ointments, and were part of the funerary goods found in the tombs of wealthy families.





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Unguent Vase
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Egyptian alabaster
Museo Egizio, Turin (Cat. 3274)


In ancient Egypt, ceramic vessels were used for both domestic and ritual purposes. Plain pottery jars were used for everyday storage of a range of liquids. They were included in tombs for the same purpose, providing provisions to the deceased in the afterlife. Vessels with painted decoration may have served a cultic function, perhaps during temple celebrations or funerary rituals.


Carved and polished vessels made of Egyptian alabaster quarried in mines in Hatnub in Middle Egypt were expensive and sought after as status symbols. They often contained luxury items used in daily life, such as perfume or ointments, and were part of the funerary goods found in the tombs of wealthy families.





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Egyptian Vessels
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Egyptian Vessels
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Bowl with Floral Motifs
Heliopolis
New Kingdom, 18th dynasty (about 1539–1292 BCE)
Ceramic
Museo Egizio, Turin (S. 03682)


In ancient Egypt, ceramic vessels were used for both domestic and ritual purposes. Plain pottery jars were used for everyday storage of a range of liquids. They were included in tombs for the same purpose, providing provisions to the deceased in the afterlife. Vessels with painted decoration may have served a cultic function, perhaps during temple celebrations or funerary rituals.


Carved and polished vessels made of Egyptian alabaster quarried in mines in Hatnub in Middle Egypt were expensive and sought after as status symbols. They often contained luxury items used in daily life, such as perfume or ointments, and were part of the funerary goods found in the tombs of wealthy families.






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Bowl with Floral Motifs
Heliopolis
New Kingdom, 18th dynasty (about 1539–1292 BCE)
Ceramic
Museo Egizio, Turin (S. 03682)


In ancient Egypt, ceramic vessels were used for both domestic and ritual purposes. Plain pottery jars were used for everyday storage of a range of liquids. They were included in tombs for the same purpose, providing provisions to the deceased in the afterlife. Vessels with painted decoration may have served a cultic function, perhaps during temple celebrations or funerary rituals.


Carved and polished vessels made of Egyptian alabaster quarried in mines in Hatnub in Middle Egypt were expensive and sought after as status symbols. They often contained luxury items used in daily life, such as perfume or ointments, and were part of the funerary goods found in the tombs of wealthy families.






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Statue of the Goddess Mut
Unknown provenance
New Kingdom, early 19th dynasty (about 1292–1250 BCE)
Limestone
Museo Egizio, Turin (Cat. 769)


In many ways, Mut—whose name means “mother”—embodied the ideal Egyptian woman. She was a supportive and dutiful wife, a powerful queen, and an honored goddess. This blend of qualities made her a role model for women in all spheres of Egyptian society.


This statue fragment of the goddess Mut is identifiable from the double crown she wears above her wig. Mut was once flanked by the figure of her spouse, the god Amun-Ra. The pair were the king and queen of the gods in the New Kingdom, as well as the patron deities of Thebes. Carved in low relief on the back is the dedicator of the statue, praying to the rising sun in the shape of a scarab.




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Precious Perfumes
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Precious Perfumes
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Intended for daily and ritual use, perfumes were not alcoholic compounds but were solid or oily. The “perfumer priests” finely ground all kinds of precious fragrant ingredients—henna, spices and herbs (cinnamon, mint, saffron), irises, blue lotuses, water or rose lilies, citrus fruits, sandalwood, resins (myrrh, pine, frankincense)—which they then combined with vegetable oils and animal fat. These creams and unguents (ointments) softened, perfumed, and cleansed the skin.


Small vases made from precious materials such as alabaster, glass, and faience contained perfumes and ointments. They were part of the luxury items of the elite, and often included as part of the funerary goods found in the tombs of wealthy families.
_______


Composed Cosmetic Vase
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Egyptian alabaster
Museo Egizio, Turin (Cat. 6233)


Likely part of a deluxe beauty case, this object served a dual purpose. The two tall tubes on one side were used to store kohl, while the small, pear-shaped jar on the other side was intended to store creams or ointments. The connector between them has a hole for holding a makeup applicator.
HTMLText_C33D3528_98DA_5265_41C6_0B9DDA5FC5FA_mobile.html =
Intended for daily and ritual use, perfumes were not alcoholic compounds but were solid or oily. The “perfumer priests” finely ground all kinds of precious fragrant ingredients—henna, spices and herbs (cinnamon, mint, saffron), irises, blue lotuses, water or rose lilies, citrus fruits, sandalwood, resins (myrrh, pine, frankincense)—which they then combined with vegetable oils and animal fat. These creams and unguents (ointments) softened, perfumed, and cleansed the skin.


Small vases made from precious materials such as alabaster, glass, and faience contained perfumes and ointments. They were part of the luxury items of the elite, and often included as part of the funerary goods found in the tombs of wealthy families.
_______


Composed Cosmetic Vase
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Egyptian alabaster
Museo Egizio, Turin (Cat. 6233)


Likely part of a deluxe beauty case, this object served a dual purpose. The two tall tubes on one side were used to store kohl, while the small, pear-shaped jar on the other side was intended to store creams or ointments. The connector between them has a hole for holding a makeup applicator.
HTMLText_C33DA528_98DA_5265_41DA_1D2C2825EDBA.html =
Intended for daily and ritual use, perfumes were not alcoholic compounds but were solid or oily. The “perfumer priests” finely ground all kinds of precious fragrant ingredients—henna, spices and herbs (cinnamon, mint, saffron), irises, blue lotuses, water or rose lilies, citrus fruits, sandalwood, resins (myrrh, pine, frankincense)—which they then combined with vegetable oils and animal fat. These creams and unguents (ointments) softened, perfumed, and cleansed the skin.


Small vases made from precious materials such as alabaster, glass, and faience contained perfumes and ointments. They were part of the luxury items of the elite, and often included as part of the funerary goods found in the tombs of wealthy families.
_______


Small Glass Vases
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Blue glass
Museo Egizio, Turin (Cats. 3403 & 3404)


Glass was initially reserved for the production of luxury objects for the elite. Small vases like these, decorated with a white and yellow wave pattern, typically contained perfume or ointment that was produced in Egypt and traded all around the Mediterranean.


HTMLText_C33DA528_98DA_5265_41DA_1D2C2825EDBA_mobile.html =
Intended for daily and ritual use, perfumes were not alcoholic compounds but were solid or oily. The “perfumer priests” finely ground all kinds of precious fragrant ingredients—henna, spices and herbs (cinnamon, mint, saffron), irises, blue lotuses, water or rose lilies, citrus fruits, sandalwood, resins (myrrh, pine, frankincense)—which they then combined with vegetable oils and animal fat. These creams and unguents (ointments) softened, perfumed, and cleansed the skin.


Small vases made from precious materials such as alabaster, glass, and faience contained perfumes and ointments. They were part of the luxury items of the elite, and often included as part of the funerary goods found in the tombs of wealthy families.
_______


Small Glass Vases
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Blue glass
Museo Egizio, Turin (Cats. 3403 & 3404)


Glass was initially reserved for the production of luxury objects for the elite. Small vases like these, decorated with a white and yellow wave pattern, typically contained perfume or ointment that was produced in Egypt and traded all around the Mediterranean.


HTMLText_C33DF528_98DA_5265_41D6_9EBFC60590F8.html =
Intended for daily and ritual use, perfumes were not alcoholic compounds but were solid or oily. The “perfumer priests” finely ground all kinds of precious fragrant ingredients—henna, spices and herbs (cinnamon, mint, saffron), irises, blue lotuses, water or rose lilies, citrus fruits, sandalwood, resins (myrrh, pine, frankincense)—which they then combined with vegetable oils and animal fat. These creams and unguents (ointments) softened, perfumed, and cleansed the skin.


Small vases made from precious materials such as alabaster, glass, and faience contained perfumes and ointments. They were part of the luxury items of the elite, and often included as part of the funerary goods found in the tombs of wealthy families.
_______


Small Glass Vases
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Blue glass
Museo Egizio, Turin (Cats. 3403 & 3404)


Glass was initially reserved for the production of luxury objects for the elite. Small vases like these, decorated with a white and yellow wave pattern, typically contained perfume or ointment that was produced in Egypt and traded all around the Mediterranean.
HTMLText_C33DF528_98DA_5265_41D6_9EBFC60590F8_mobile.html =
Intended for daily and ritual use, perfumes were not alcoholic compounds but were solid or oily. The “perfumer priests” finely ground all kinds of precious fragrant ingredients—henna, spices and herbs (cinnamon, mint, saffron), irises, blue lotuses, water or rose lilies, citrus fruits, sandalwood, resins (myrrh, pine, frankincense)—which they then combined with vegetable oils and animal fat. These creams and unguents (ointments) softened, perfumed, and cleansed the skin.


Small vases made from precious materials such as alabaster, glass, and faience contained perfumes and ointments. They were part of the luxury items of the elite, and often included as part of the funerary goods found in the tombs of wealthy families.
_______


Small Glass Vases
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Blue glass
Museo Egizio, Turin (Cats. 3403 & 3404)


Glass was initially reserved for the production of luxury objects for the elite. Small vases like these, decorated with a white and yellow wave pattern, typically contained perfume or ointment that was produced in Egypt and traded all around the Mediterranean.
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Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
_______


Ostracon Depicting a Prince
Valley of the Queens
New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 BCE)
Limestone with red paint
Museo Egizio, Turin (S. 05637)


This painted limestone fragment (called an ostracon) depicts Setherkhepeshef, one of Pharaoh Ramesses III’s sons, with his arms raised in worship. The fan in his left hand indicates his high status. The sketch may be a study for the decoration of the prince’s tomb.





HTMLText_C6B08C02_9BB7_D225_41C4_4385746E4602_mobile.html =
Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
_______


Ostracon Depicting a Prince
Valley of the Queens
New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 BCE)
Limestone with red paint
Museo Egizio, Turin (S. 05637)


This painted limestone fragment (called an ostracon) depicts Setherkhepeshef, one of Pharaoh Ramesses III’s sons, with his arms raised in worship. The fan in his left hand indicates his high status. The sketch may be a study for the decoration of the prince’s tomb.





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Due to the isolation of the workers’ village, its inhabitants developed religious practices and cults that differed from the rest of Egypt. A few local deities were worshipped only in the village, such as Pharaoh Amenhotep I and Queen Ahmose-Nefertari, who were considered the founders of Deir el-Medina and, after their deaths, were venerated as protector gods. Their likenesses often appear on funerary stelae and other religious objects.
_______


Stela Depicting an Offering Scene
Probably from Deir el-Medina
New Kingdom, 20th dynasty (about 1189–1075 BCE)
Limestone
Museo Egizio, Turin (Cat. 1453/bis)


This offering scene is dedicated to the royal protectors of Deir el-Medina, the deified Queen Ahmose-Nefertari and her son, Pharaoh Amenhotep I. A representation of the daily journey of the sun is carved at the top of the scene. A scarab, carved inside the solar disc, evokes the rising sun Khepri, which sails above the hieroglyphic sign for “sky.”
HTMLText_C6B09C02_9BB7_D225_41C7_408183E34403_mobile.html =
Due to the isolation of the workers’ village, its inhabitants developed religious practices and cults that differed from the rest of Egypt. A few local deities were worshipped only in the village, such as Pharaoh Amenhotep I and Queen Ahmose-Nefertari, who were considered the founders of Deir el-Medina and, after their deaths, were venerated as protector gods. Their likenesses often appear on funerary stelae and other religious objects.
_______


Stela Depicting an Offering Scene
Probably from Deir el-Medina
New Kingdom, 20th dynasty (about 1189–1075 BCE)
Limestone
Museo Egizio, Turin (Cat. 1453/bis)


This offering scene is dedicated to the royal protectors of Deir el-Medina, the deified Queen Ahmose-Nefertari and her son, Pharaoh Amenhotep I. A representation of the daily journey of the sun is carved at the top of the scene. A scarab, carved inside the solar disc, evokes the rising sun Khepri, which sails above the hieroglyphic sign for “sky.”
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Religious Practices in Deir el-Medina
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Religious Practices in Deir el-Medina
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Egyptian Mirrors
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Egyptian Mirrors
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Mirror with Decorated Handle
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Bronze with wood
Museo Egizio, Turin (Cat. 6426)


In the beauty cases of high-ranking ladies, mirrors were essential for applying makeup. Ancient Egyptian mirrors consisted of a flat, round disk of polished metal attached to a handle, which could be in the shape of a plant, a column, or a female figure or decorated with Hathor, the goddess of love and beauty. An indispensable tool, mirrors also had a symbolic character: resembling a solar disc and thus representing the sun god Ra, mirrors reflected divine, light-giving life.


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Mirror with Decorated Handle
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Bronze with wood
Museo Egizio, Turin (Cat. 6426)


In the beauty cases of high-ranking ladies, mirrors were essential for applying makeup. Ancient Egyptian mirrors consisted of a flat, round disk of polished metal attached to a handle, which could be in the shape of a plant, a column, or a female figure or decorated with Hathor, the goddess of love and beauty. An indispensable tool, mirrors also had a symbolic character: resembling a solar disc and thus representing the sun god Ra, mirrors reflected divine, light-giving life.


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activities
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activities
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Many of Egypt’s elite shaved their heads, wearing elaborate wigs of human hair containing up to five layers of braids on formal occasions. Those unable to afford such luxury were forced to wear less realistic date-palm-fiber wigs. Female wig styles changed more rapidly than fashions in clothing or jewelry, moving from plain styles in the Old Kingdom to longer and more elaborately braided styles during the New Kingdom.
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Anthropomorphic Unguent Jar
Probably from the Theban Necropolis
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Ceramic
Museo Egizio, Turin (Cat. 3646)


Many human-shaped vases represent pregnant or lactating women and were probably made to contain milk. In this case, the body is not modeled, but the head is realistically depicted, and a floral necklace is painted on the surface of the vessel. The figure is wearing a short, rounded wig with curly hair, a style used in depictions of Nubian women.
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Many of Egypt’s elite shaved their heads, wearing elaborate wigs of human hair containing up to five layers of braids on formal occasions. Those unable to afford such luxury were forced to wear less realistic date-palm-fiber wigs. Female wig styles changed more rapidly than fashions in clothing or jewelry, moving from plain styles in the Old Kingdom to longer and more elaborately braided styles during the New Kingdom.
_______


Anthropomorphic Unguent Jar
Probably from the Theban Necropolis
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Ceramic
Museo Egizio, Turin (Cat. 3646)


Many human-shaped vases represent pregnant or lactating women and were probably made to contain milk. In this case, the body is not modeled, but the head is realistically depicted, and a floral necklace is painted on the surface of the vessel. The figure is wearing a short, rounded wig with curly hair, a style used in depictions of Nubian women.
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Egyptian Hairstyles
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Egyptian Hairstyles
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Colorful Powders
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Colorful Powders
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Men and women used tinted or colored powders to make up their faces and bodies. The cosmetics regularly used by Egyptians included a green eye paint produced from malachite that symbolized fertility; a black paint called kohl used to rim the eyes; rouge and red lip paint made from iron oxide; and tinted powders containing ceruse used to whiten the skin.


Cosmetic spoons, often made from precious materials like alabaster, were not used for makeup application but were used to contain cosmetic powders.
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Cosmetic Spoon
Valley of the Queens
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 6442)


This elaborately carved cosmetic spoon was found in the tomb of a prince. It is decorated with bouquets of lotus flowers, a symbol of rebirth.
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Men and women used tinted or colored powders to make up their faces and bodies. The cosmetics regularly used by Egyptians included a green eye paint produced from malachite that symbolized fertility; a black paint called kohl used to rim the eyes; rouge and red lip paint made from iron oxide; and tinted powders containing ceruse used to whiten the skin.


Cosmetic spoons, often made from precious materials like alabaster, were not used for makeup application but were used to contain cosmetic powders.
_______
Cosmetic Spoon
Valley of the Queens
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 6442)


This elaborately carved cosmetic spoon was found in the tomb of a prince. It is decorated with bouquets of lotus flowers, a symbol of rebirth.
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Men and women used tinted or colored powders to make up their faces and bodies. The cosmetics regularly used by Egyptians included a green eye paint produced from malachite that symbolized fertility; a black paint called kohl used to rim the eyes; rouge and red lip paint made from iron oxide; and tinted powders containing ceruse used to whiten the skin.


Cosmetic spoons, often made from precious materials like alabaster, were not used for makeup application but were used to contain cosmetic powders.
_______
Cosmetic Spoon Decorated with a Swimmer
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Egyptian alabaster
Museo Egizio, Turin (S. 01424)


Egyptian alabaster spoons were thought to have held cosmetic powders. The cosmetics regularly used by Egyptians included a green eye paint produced from malachite that symbolized fertility; a black eye paint called kohl used to rim the eyes; rouge and red lip paint made from iron oxide; and tinted powders containing ceruse used to whiten the skin.
HTMLText_D988E2AD_996A_767C_41DA_9CF367A231DF_mobile.html =
Men and women used tinted or colored powders to make up their faces and bodies. The cosmetics regularly used by Egyptians included a green eye paint produced from malachite that symbolized fertility; a black paint called kohl used to rim the eyes; rouge and red lip paint made from iron oxide; and tinted powders containing ceruse used to whiten the skin.


Cosmetic spoons, often made from precious materials like alabaster, were not used for makeup application but were used to contain cosmetic powders.
_______
Cosmetic Spoon Decorated with a Swimmer
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Egyptian alabaster
Museo Egizio, Turin (S. 01424)


Egyptian alabaster spoons were thought to have held cosmetic powders. The cosmetics regularly used by Egyptians included a green eye paint produced from malachite that symbolized fertility; a black eye paint called kohl used to rim the eyes; rouge and red lip paint made from iron oxide; and tinted powders containing ceruse used to whiten the skin.
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Jewelry: More Than Decoration
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Jewelry: More Than Decoration
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Necklaces, like those seen in this case, often combined a number of semiprecious stones—such as carnelian, quartz, and lapis lazuli—with expensive precious metals like gold. Carnelian was a favored stone in ancient Egypt because its orangey-red hue was similar to flesh and blood and was therefore symbolic of life and health. Jewelry made with Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.


Amulets and ornaments adorning necklaces—from miniature ointment vases, ib-hearts, and the wedjat eye of Horus to the lunar crescent and sun-disc of Thoth—conferred protection, prosperity, wisdom, and wishes for good health upon the wearer.
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Bead and Amulet Necklace
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Semiprecious stones (carnelian, quartz, lapis lazuli, amphibolite)
Museo Egizio, Turin (S. 00276)


This necklace is made from strands of carnelian and red jasper beads, interspersed with amulets of miniature ointment jars and protective eye symbols.
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Necklaces, like those seen in this case, often combined a number of semiprecious stones—such as carnelian, quartz, and lapis lazuli—with expensive precious metals like gold. Carnelian was a favored stone in ancient Egypt because its orangey-red hue was similar to flesh and blood and was therefore symbolic of life and health. Jewelry made with Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.


Amulets and ornaments adorning necklaces—from miniature ointment vases, ib-hearts, and the wedjat eye of Horus to the lunar crescent and sun-disc of Thoth—conferred protection, prosperity, wisdom, and wishes for good health upon the wearer.
_______


Bead and Amulet Necklace
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Semiprecious stones (carnelian, quartz, lapis lazuli, amphibolite)
Museo Egizio, Turin (S. 00276)


This necklace is made from strands of carnelian and red jasper beads, interspersed with amulets of miniature ointment jars and protective eye symbols.
HTMLText_D9B7407E_99AA_52DC_418B_378A8084475C.html =
Necklaces, like those seen in this case, often combined a number of semiprecious stones—such as carnelian, quartz, and lapis lazuli—with expensive precious metals like gold. Carnelian was a favored stone in ancient Egypt because its orangey-red hue was similar to flesh and blood and was therefore symbolic of life and health. Jewelry made with Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.


Amulets and ornaments adorning necklaces—from miniature ointment vases, ib-hearts, and the wedjat eye of Horus to the lunar crescent and sun-disc of Thoth—conferred protection, prosperity, wisdom, and wishes for good health upon the wearer.
_______


Faience Necklace
Unknown provenance
Late Period, 25th–31st dynasty (about 722–332 BCE)
Gold, faience, carnelian
Museo Egizio, Turin (S. 00277/2)


This necklace is made up of seventy-eight beads, all of which are faience, except for two, which are carnelian. A small gold pendant hangs in the center, shaped like a lunar crescent combined with the sun disc. The ornament is made of gold, which was hammered into a mold. The symbol was sacred to the god Thoth, who measured time by fractions of the moon.
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Necklaces, like those seen in this case, often combined a number of semiprecious stones—such as carnelian, quartz, and lapis lazuli—with expensive precious metals like gold. Carnelian was a favored stone in ancient Egypt because its orangey-red hue was similar to flesh and blood and was therefore symbolic of life and health. Jewelry made with Egyptian faience, a ceramic material with a silica body and a brightly colored turquoise glaze, was considered magical. The shiny blue glaze was a color closely linked with fertility, life, the gleaming qualities of the sun, and the brilliance of eternity.


Amulets and ornaments adorning necklaces—from miniature ointment vases, ib-hearts, and the wedjat eye of Horus to the lunar crescent and sun-disc of Thoth—conferred protection, prosperity, wisdom, and wishes for good health upon the wearer.
_______


Faience Necklace
Unknown provenance
Late Period, 25th–31st dynasty (about 722–332 BCE)
Gold, faience, carnelian
Museo Egizio, Turin (S. 00277/2)


This necklace is made up of seventy-eight beads, all of which are faience, except for two, which are carnelian. A small gold pendant hangs in the center, shaped like a lunar crescent combined with the sun disc. The ornament is made of gold, which was hammered into a mold. The symbol was sacred to the god Thoth, who measured time by fractions of the moon.
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As early as Predynastic times, Egyptians ground minerals on stone palettes to produce makeup powders. Cosmetics quickly became not just a luxury but a necessity for daily life—and for the afterlife. Ordinary men and women were buried with simple cosmetic palettes and blocks of pigment, while members of the nobility were buried with elaborate toilette sets, demonstrating the value their owners placed on cosmetics.
_______


Box with Floral Motifs
Unknown provenance
New Kingdom, 18th dynasty (about 1539–1292 BCE)
Painted wood
Museo Egizio, Turin (Cat. 2448)


This box was likely used to store clothing or cosmetics and would have been prized in the women’s residence. Two faint inscriptions on the box’s top and front knob reveal the name of its owner: the lady Tamit. The panels are painted to look like the underlying wood—a precious material in Egypt—and the borders are decorated with geometric patterns and stylized flower petals.
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As early as Predynastic times, Egyptians ground minerals on stone palettes to produce makeup powders. Cosmetics quickly became not just a luxury but a necessity for daily life—and for the afterlife. Ordinary men and women were buried with simple cosmetic palettes and blocks of pigment, while members of the nobility were buried with elaborate toilette sets, demonstrating the value their owners placed on cosmetics.
_______


Box with Floral Motifs
Unknown provenance
New Kingdom, 18th dynasty (about 1539–1292 BCE)
Painted wood
Museo Egizio, Turin (Cat. 2448)


This box was likely used to store clothing or cosmetics and would have been prized in the women’s residence. Two faint inscriptions on the box’s top and front knob reveal the name of its owner: the lady Tamit. The panels are painted to look like the underlying wood—a precious material in Egypt—and the borders are decorated with geometric patterns and stylized flower petals.
HTMLText_DA7BBBC7_9956_362B_41D8_FB13F6D11866.html =
As early as Predynastic times, Egyptians ground minerals on stone palettes to produce makeup powders. Cosmetics quickly became not just a luxury but a necessity for daily life—and for the afterlife. Ordinary men and women were buried with simple cosmetic palettes and blocks of pigment, while members of the nobility were buried with elaborate toilette sets, demonstrating the value their owners placed on cosmetics.
_______


Cosmetic Box
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 6415)


This semi-cylindrical container used for cosmetic powders has five compartments. A hunting scene is carved on the back, framed with lotus flower petals and mandrake fruit. The flat sliding cover is decorated with a vegetal pattern. In the middle of the cover, protective eyes flank a column of hieroglyphs.
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As early as Predynastic times, Egyptians ground minerals on stone palettes to produce makeup powders. Cosmetics quickly became not just a luxury but a necessity for daily life—and for the afterlife. Ordinary men and women were buried with simple cosmetic palettes and blocks of pigment, while members of the nobility were buried with elaborate toilette sets, demonstrating the value their owners placed on cosmetics.
_______


Cosmetic Box
Unknown provenance
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 6415)


This semi-cylindrical container used for cosmetic powders has five compartments. A hunting scene is carved on the back, framed with lotus flower petals and mandrake fruit. The flat sliding cover is decorated with a vegetal pattern. In the middle of the cover, protective eyes flank a column of hieroglyphs.
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The Importance of Cosmetics
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The Importance of Cosmetics
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Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
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Ostracon Depicting a Prince
Valley of the Queens
New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 BCE)
Limestone with red paint
Museo Egizio, Turin (S. 05637)


This painted limestone fragment (called an ostracon) depicts Setherkhepeshef, one of Pharaoh Ramesses III’s sons, with his arms raised in worship. The fan in his left hand indicates his high status. The sketch may be a study for the decoration of the prince’s tomb.





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Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
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Stela Depicting the Goddess Hathor and Ramesses II
Provenance unknown
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Limestone
Museo Egizio, Turin (Cat. 1462)


The small engraved stone slab in the case to the right was probably used as a votive monument in a household shrine. It shows the goddess Hathor holding an ankh (the symbol of life) to Ramesses II’s mouth, indicating that she is granting him a reign of one hundred thousand years.





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The Reign of Ramesses II
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The Quintessential Egyptian Woman
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Statue of the Goddess Mut
Unknown provenance
New Kingdom, early 19th dynasty (about 1292–1250 BCE)
Limestone
Museo Egizio, Turin (Cat. 769)


In many ways, Mut—whose name means “mother”—embodied the ideal Egyptian woman. She was a supportive and dutiful wife, a powerful queen, and an honored goddess. This blend of qualities made her a role model for women in all spheres of Egyptian society.


This statue fragment of the goddess Mut is identifiable from the double crown she wears above her wig. Mut was once flanked by the figure of her spouse, the god Amun-Ra. The pair were the king and queen of the gods in the New Kingdom, as well as the patron deities of Thebes. Carved in low relief on the back is the dedicator of the statue, praying to the rising sun in the shape of a scarab.




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Ancestor Bust
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3080)


Sculptures known as ancestor busts have been found in Deir el-Medina houses. They were placed in a niche of the house’s main room and worshipped daily to ensure the ancestor’s protection of the household.


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Ancestor Bust
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 3080)


Sculptures known as ancestor busts have been found in Deir el-Medina houses. They were placed in a niche of the house’s main room and worshipped daily to ensure the ancestor’s protection of the household.


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The face of a colossus from the temple of Amenhotep III in Thebes
HIP/Art Resource, NY



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The face of a colossus from the temple of Amenhotep III in Thebes.
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How to Read a Stela
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How to Read a Stela
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In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
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Stela of Webkhet
Deir el-Medina
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Carved and painted limestone
Museo Egizio, Turin (Cat. 1542)


Here, Webkhet, one of several women by this name known from Deir el-Medina, receives offerings of food. The lotus flower she is smelling is a symbol of resurrection. The inscription calls her an “able spirit of Ra,” a designation for the glorified dead. Workers in Deir el-Medina kept such stelae in their homes or chapels to worship and make offerings to their deceased family members.


HTMLText_EC10E51F_9956_391F_41DF_9F3CDF5D809A_mobile.html =
In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
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Stela of Webkhet
Deir el-Medina
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 BCE)
Carved and painted limestone
Museo Egizio, Turin (Cat. 1542)


Here, Webkhet, one of several women by this name known from Deir el-Medina, receives offerings of food. The lotus flower she is smelling is a symbol of resurrection. The inscription calls her an “able spirit of Ra,” a designation for the glorified dead. Workers in Deir el-Medina kept such stelae in their homes or chapels to worship and make offerings to their deceased family members.


HTMLText_EC10F51F_9956_391F_41DB_B550B048812C.html =
In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
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Stela of Amenmose
Probably from Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1189 BCE)
Carved limestone
Museo Egizio, Turin (Cat. 1520)


Amenmose’s name is written in the upper register, alongside symbols such as two wedjat eyes (for protection), a shen ring (the symbol of cyclic eternity), and images of water and a vase (which refer to purification).
HTMLText_EC10F51F_9956_391F_41DB_B550B048812C_mobile.html =
In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
_______


Stela of Amenmose
Probably from Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1189 BCE)
Carved limestone
Museo Egizio, Turin (Cat. 1520)


Amenmose’s name is written in the upper register, alongside symbols such as two wedjat eyes (for protection), a shen ring (the symbol of cyclic eternity), and images of water and a vase (which refer to purification).
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Statue of Nebanen as a Staff-Bearer
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 3050)


The statue depicts Nebanen, a worker in Deir el-Medina. He carries a staff topped with an image of the god Amun who serves as a protector. Intended for a small chapel, the statue was dedicated by Nebanen’s son Thothnefer, also a worker in Deir el-Medina. Cultic objects like this became widespread in the New Kingdom, particularly in the Theban area.
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Statue of Nebanen as a Staff-Bearer
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Wood
Museo Egizio, Turin (Cat. 3050)


The statue depicts Nebanen, a worker in Deir el-Medina. He carries a staff topped with an image of the god Amun who serves as a protector. Intended for a small chapel, the statue was dedicated by Nebanen’s son Thothnefer, also a worker in Deir el-Medina. Cultic objects like this became widespread in the New Kingdom, particularly in the Theban area.
HTMLText_ED6B6526_9BDA_326C_41E0_012503D30A2B.html =
Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
_______


Ostracon Depicting a Prince
Valley of the Queens
New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 BCE)
Limestone with red paint
Museo Egizio, Turin (S. 05637)


This painted limestone fragment (called an ostracon) depicts Setherkhepeshef, one of Pharaoh Ramesses III’s sons, with his arms raised in worship. The fan in his left hand indicates his high status. The sketch may be a study for the decoration of the prince’s tomb.





HTMLText_ED6B6526_9BDA_326C_41E0_012503D30A2B_mobile.html =
Ramesses II, also known as Ramesses the Great, is probably the most well-known pharaoh. He was a major political force during his sixty-six-year reign (about 1279–1213 BCE), expanding his empire’s borders and maintaining diplomatic relations across the Mediterranean region.
_______


Ostracon Depicting a Prince
Valley of the Queens
New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 BCE)
Limestone with red paint
Museo Egizio, Turin (S. 05637)


This painted limestone fragment (called an ostracon) depicts Setherkhepeshef, one of Pharaoh Ramesses III’s sons, with his arms raised in worship. The fan in his left hand indicates his high status. The sketch may be a study for the decoration of the prince’s tomb.





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In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
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Stela of Nakhi
Probably from Deir el-Medina
New Kingdom, late 18th dynasty (about 1300 BCE)
Painted sandstone
Museo Egizio, Turin (Cat. 1586)


The top register of this stela shows the deceased, a craftsman named Nakhi, making an offering to the two main deities of the afterlife: Osiris, the god of the underworld, and the jackal-faced Anubis, the god of the dead, who guides the deceased in the afterlife. Both gods symbolize rebirth and resurrection. The middle register depicts Nakhi and his wife receiving offerings of food and drink, seen on the table in front of them, from their children. Their son is dressed in a panther skin, indicating that he is a priest. The bottom register illustrates Nakhi’s other children holding lotus blossoms, symbols of resurrection.




HTMLText_ED6CA526_9BDA_326C_41DD_893FE247006A_mobile.html =
In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary. Funerary stelae often depict the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
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Stela of Nakhi
Probably from Deir el-Medina
New Kingdom, late 18th dynasty (about 1300 BCE)
Painted sandstone
Museo Egizio, Turin (Cat. 1586)


The top register of this stela shows the deceased, a craftsman named Nakhi, making an offering to the two main deities of the afterlife: Osiris, the god of the underworld, and the jackal-faced Anubis, the god of the dead, who guides the deceased in the afterlife. Both gods symbolize rebirth and resurrection. The middle register depicts Nakhi and his wife receiving offerings of food and drink, seen on the table in front of them, from their children. Their son is dressed in a panther skin, indicating that he is a priest. The bottom register illustrates Nakhi’s other children holding lotus blossoms, symbols of resurrection.




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How to Read a Stela
HTMLText_ED6CC526_9BDA_326C_41D4_269F7F9A8064_mobile.html =
How to Read a Stela
HTMLText_F0A21E6D_9BFA_4EFC_41D7_72D50946677F.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These sketches, called ostraca, have been found by the thousands in Deir el-Medina. Ostraca depict a variety of subjects such as sacred animals, gods and goddesses, and other religious images.
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Ostracon Depicting the God Horus
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Painted limestone
Museo Egizio, Turin (S. 06277)


A man with his hands raised in worship faces a falcon wearing the double crown of Upper and Lower Egypt, identifying him as Horus, god of the sky.
HTMLText_F0A21E6D_9BFA_4EFC_41D7_72D50946677F_mobile.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These sketches, called ostraca, have been found by the thousands in Deir el-Medina. Ostraca depict a variety of subjects such as sacred animals, gods and goddesses, and other religious images.
_______


Ostracon Depicting the God Horus
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Painted limestone
Museo Egizio, Turin (S. 06277)


A man with his hands raised in worship faces a falcon wearing the double crown of Upper and Lower Egypt, identifying him as Horus, god of the sky.
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Ostraca
HTMLText_F0A4EE66_9BFA_4EEC_41CC_91FBEC3FA4DC_mobile.html =
Ostraca
HTMLText_F1EE28E6_9BD6_D3EC_41CA_E73649054D60.html =
Worker Shabtis
HTMLText_F1EE28E6_9BD6_D3EC_41CA_E73649054D60_mobile.html =
Worker Shabtis
HTMLText_F1EEB8E7_9BD6_D3EC_41DC_32F79AD5BF49.html =
Shabtis were ritual objects placed in the tombs of all Egyptians, rich and poor alike. These small statuettes were shaped like the mummy of the deceased and were intended to perform manual labor on their behalf in the afterlife. Shabtis were believed to be animated by a spell contained in the Book of the Dead. Some burials only contained a few shabtis, while others contained hundreds. Shabtis could be made of stone, wood, or faience and were often depicted holding hoes and carrying baskets on their backs. The shabtis in the case nearby were found in the tombs of Deir el-Medina residents.
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Shabti of Taysen
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted wood
Museo Egizio, Turin (Cat. 2768)



HTMLText_F1EEB8E7_9BD6_D3EC_41DC_32F79AD5BF49_mobile.html =
Shabtis were ritual objects placed in the tombs of all Egyptians, rich and poor alike. These small statuettes were shaped like the mummy of the deceased and were intended to perform manual labor on their behalf in the afterlife. Shabtis were believed to be animated by a spell contained in the Book of the Dead. Some burials only contained a few shabtis, while others contained hundreds. Shabtis could be made of stone, wood, or faience and were often depicted holding hoes and carrying baskets on their backs. The shabtis in the case nearby were found in the tombs of Deir el-Medina residents.
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Shabti of Taysen
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 BCE)
Painted wood
Museo Egizio, Turin (Cat. 2768)



HTMLText_F1EF48E7_9BD6_D3EC_41B1_3808F8F4F0F6.html =
Shabtis were ritual objects placed in the tombs of all Egyptians, rich and poor alike. These small statuettes were shaped like the mummy of the deceased and were intended to perform manual labor on their behalf in the afterlife. Shabtis were believed to be animated by a spell contained in the Book of the Dead. Some burials only contained a few shabtis, while others contained hundreds. Shabtis could be made of stone, wood, or faience and were often depicted holding hoes and carrying baskets on their backs. The shabtis in the case nearby were found in the tombs of Deir el-Medina residents.
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Shabti of Amennakht
Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1198 BCE)
Painted wood
Museo Egizio, Turin (Cat. 2528)



HTMLText_F1EF48E7_9BD6_D3EC_41B1_3808F8F4F0F6_mobile.html =
Shabtis were ritual objects placed in the tombs of all Egyptians, rich and poor alike. These small statuettes were shaped like the mummy of the deceased and were intended to perform manual labor on their behalf in the afterlife. Shabtis were believed to be animated by a spell contained in the Book of the Dead. Some burials only contained a few shabtis, while others contained hundreds. Shabtis could be made of stone, wood, or faience and were often depicted holding hoes and carrying baskets on their backs. The shabtis in the case nearby were found in the tombs of Deir el-Medina residents.
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Shabti of Amennakht
Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1198 BCE)
Painted wood
Museo Egizio, Turin (Cat. 2528)



HTMLText_F575CCB7_9BEA_726B_41D3_5E2050BFAE6F.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These sketches, called ostraca, have been found by the thousands in Deir el-Medina. Ostraca depict a variety of subjects such as sacred animals, gods and goddesses, and other religious images.
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Ostracon Depicting a Sacred Barge
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Limestone with paint
Museo Egizio, Turin (P. 0855)


Processional boats, like the one depicted here, were carried by priests during religious festivals. The shrine in the middle of the boat housed a deity’s statue. The ram heads that decorate the boat’s prow and stern identify this as the boat of Amun. Every year the barge of Amun was carried through the Theban Necropolis and past Deir el-Medina as part of the “Beautiful Festival of the Valley.” It is possible that this ostracon is an illustration of this festival and may have been recorded an event the artist saw.
HTMLText_F575CCB7_9BEA_726B_41D3_5E2050BFAE6F_mobile.html =
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These sketches, called ostraca, have been found by the thousands in Deir el-Medina. Ostraca depict a variety of subjects such as sacred animals, gods and goddesses, and other religious images.
_______
Ostracon Depicting a Sacred Barge
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 BCE)
Limestone with paint
Museo Egizio, Turin (P. 0855)


Processional boats, like the one depicted here, were carried by priests during religious festivals. The shrine in the middle of the boat housed a deity’s statue. The ram heads that decorate the boat’s prow and stern identify this as the boat of Amun. Every year the barge of Amun was carried through the Theban Necropolis and past Deir el-Medina as part of the “Beautiful Festival of the Valley.” It is possible that this ostracon is an illustration of this festival and may have been recorded an event the artist saw.
HTMLText_F5774CB0_9BEA_7265_41E0_44DB0DE64147.html =
Ostraca
HTMLText_F5774CB0_9BEA_7265_41E0_44DB0DE64147_mobile.html =
Ostraca
HTMLText_F6770B56_9BFE_362D_41DD_F75807AC40A3.html =
Religious Practices in Deir el-Medina
HTMLText_F6770B56_9BFE_362D_41DD_F75807AC40A3_mobile.html =
Religious Practices in Deir el-Medina
HTMLText_F677EB56_9BFE_362D_41C9_4359182DBBC4.html =
Due to the isolation of the workers’ village, its inhabitants developed religious practices and cults that differed from the rest of Egypt. A few local deities were worshipped only in the village, such as Pharaoh Amenhotep I and Queen Ahmose-Nefertari, who were considered the founders of Deir el-Medina and, after their deaths, were venerated as protector gods. Their likenesses often appear on funerary stelae and other religious objects.
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Stela of Penbuy
Probably from Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1189 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1449)


The craftsman named Penbuy, his wife, Iy, and their son Kasa kneel and raise their hands in homage to the deified Queen Ahmose-Nefertari. Behind the queen goddess, two large ears indicate that she is “one who listens to prayers” and that the faithful can address her directly.


HTMLText_F677EB56_9BFE_362D_41C9_4359182DBBC4_mobile.html =
Due to the isolation of the workers’ village, its inhabitants developed religious practices and cults that differed from the rest of Egypt. A few local deities were worshipped only in the village, such as Pharaoh Amenhotep I and Queen Ahmose-Nefertari, who were considered the founders of Deir el-Medina and, after their deaths, were venerated as protector gods. Their likenesses often appear on funerary stelae and other religious objects.
_______


Stela of Penbuy
Probably from Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1189 BCE)
Painted limestone
Museo Egizio, Turin (Cat. 1449)


The craftsman named Penbuy, his wife, Iy, and their son Kasa kneel and raise their hands in homage to the deified Queen Ahmose-Nefertari. Behind the queen goddess, two large ears indicate that she is “one who listens to prayers” and that the faithful can address her directly.


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Judicial Papyrus of Turin (also known as “The Harem Conspiracy Papyrus”)
Likely from Deir el-Medina
New Kingdom, 20th dynasty, reign of Ramesses IV (about 1155–1149 BCE)
Ink on papyrus
Museo Egizio, Turin (Cat. 1875)


Our knowledge of the Harem conspiracy comes to us primarily through a series of documents written some three thousand years ago. Thought to have been part of a single book-roll up to fifteen feet long, the papyrus is now fragmented into several pieces. The most complete and lengthy piece, displayed here, is referred to as the Judicial Papyrus of Turin, or “The Harem Conspiracy Papyrus.” It is written in hieratic—a simplified, cursive hieroglyph form—and read from right to left. It contains the conspirators’ names and the punishments delivered by a judicial court.


HTMLText_FC53A322_9BA9_D665_41DA_1777CFCC7351_mobile.html =
Judicial Papyrus of Turin (also known as “The Harem Conspiracy Papyrus”)
Likely from Deir el-Medina
New Kingdom, 20th dynasty, reign of Ramesses IV (about 1155–1149 BCE)
Ink on papyrus
Museo Egizio, Turin (Cat. 1875)


Our knowledge of the Harem conspiracy comes to us primarily through a series of documents written some three thousand years ago. Thought to have been part of a single book-roll up to fifteen feet long, the papyrus is now fragmented into several pieces. The most complete and lengthy piece, displayed here, is referred to as the Judicial Papyrus of Turin, or “The Harem Conspiracy Papyrus.” It is written in hieratic—a simplified, cursive hieroglyph form—and read from right to left. It contains the conspirators’ names and the punishments delivered by a judicial court.


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Textos Funerarios Egipcios
Los libros funerarios brindaban una guía para que los muertos llegaran seguros al más allá. Estos textos proporcionaban hechizos o conjuros que ayudaban a los difuntos a librarse de amenazas y vencer obstáculos en su largo y peligroso recorrido hacia el inframundo.
Aunque el Libro de los Muertos, con aproximadamente doscientos conjuros (o "capítulos"), es el texto funerario egipcio más conocido, también se utilizaban otros textos, conocidos colectivamente como Libros del Inframundo. Estos libros recorren la travesía del dios sol por el inframundo durante las doce horas de la noche, hasta su triunfante renacimiento a la mañana siguiente. También detallan la geografía de la otra vida. Aunque se describen como libros, los conjuros fueron escritos y profusamente ilustrados en papiros, ataúdes y paredes de tumbas, así como en amuletos y shabtis decorados.
Papiro del Libro de los Muertos que ilustra el peso del corazón, Tebas, 1275 a. C. © Archivo de La Historia del Mundo Alamy Foto de Archivo
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Muerte y Entierros en Deir el-Medina
A los residentes de Deir el-Medina los enterraban en tumbas que se excavaban en las laderas cercanas al este y al oeste de la población. Estas tumbas constaban típicamente de una pequeña capilla decorada con escenas funerarias pintadas en colores vivos, precedidas por un patio y con una pirámide pequeña. La cámara funeraria estaba ubicada a una gran profundidad. Las estelas funerarias (losas de piedra grabadas o talladas) se dedicaban a menudo como ofrendas en las capillas y los patios de estas tumbas. Los trabajadores de Deir el-Medina también tenían estelas de este tipo en sus hogares o capillas para adorar y hacer ofrendas a sus muertos.
Una pequeña pirámide decora la tumba de este trabajador típico en Deir el-Medina. © Mike P. Shepherd / Foto de archivo Alamy
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Componentes de un Entierro Egipcio
Una vez que el cuerpo del difunto se conservaba mediante el proceso de momificación, era necesario abastecerlo y prepararlo para el entierro. El cuerpo se adornaba con amuletos y joyas, y luego se le cubría con una máscara funeraria o una cubierta de momia. Todo esto se disponía dentro de un ataúd o una serie de ataúdes, destinados a proteger el cuerpo. Los ataúdes se colocaban dentro de un sarcófago de piedra que luego se trasladaban a la tumba del difunto. Este pieza demuestra el procuramiento del cuerpo y cómo se colocaba dentro de varios ataúdes.
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El Proceso de Momificación
Según las creencias funerarias egipcias, sin el cuerpo, el espíritu del muerto no podría sobrevivir en el más allá. Los egipcios crearon el proceso de momificación como un medio para preservar el cuerpo y sus restos.
Cuando una persona moría, los sacerdotes encargados de embalsamarla lavaban el cuerpo con una mezcla de agua y natrón, un agente secante natural. Después cumplían con una serie de pasos que tardaban un total de setenta días para completar el ritual.
Las momias eran creadas a imagen del dios Osiris, de quien se dice que fue la primera momia envuelta en vendas de lino por el dios Anubis y revivido por la diosa Isis después de su muerte.
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Componentes de un Entierro Egipcio
Una vez que el cuerpo del difunto se conservaba mediante el proceso de momificación, era necesario abastecerlo y prepararlo para el entierro. El cuerpo se adornaba con amuletos y joyas, y luego se le cubría con una máscara funeraria o una cubierta de momia. Todo esto se disponía dentro de un ataúd o una serie de ataúdes, destinados a proteger el cuerpo. Los ataúdes se colocaban dentro de un sarcófago de piedra que luego se trasladaban a la tumba del difunto. Este pieza demuestra el procuramiento del cuerpo y cómo se colocaba dentro de varios ataúdes.
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Ataúdes Antropoides
La forma y el estilo decorativo de los ataúdes cambiaron considerablemente con el tiempo en el antiguo Egipto. A principios del Reino Nuevo (c. 1540 a. C.), los ataúdes habían adquirido una forma antropoide (humana). Los rasgos del difunto se esculpían o se pintaban en las cubiertas de los ataúdes, con los ojos abiertos, como si el difunto estuviera vivo todavía, una tradición que se extendió desde el Reino Antiguo hasta ya entrado el periodo romano.
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El Proceso de Momificación
Según las creencias funerarias egipcias, sin el cuerpo, el espíritu del muerto no podría sobrevivir en el más allá. Los egipcios crearon el proceso de momificación como un medio para preservar el cuerpo y sus restos.
Cuando una persona moría, los sacerdotes encargados de embalsamarla lavaban el cuerpo con una mezcla de agua y natrón, un agente secante natural. Después cumplían con una serie de pasos que tardaban un total de setenta días para completar el ritual.
Las momias eran creadas a imagen del dios Osiris, de quien se dice que fue la primera momia envuelta en vendas de lino por el dios Anubis y revivido por la diosa Isis después de su muerte.
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Tumbas Egipcias
Las tumbas egipcias, conocidas como "casas de la eternidad", eran básicas para el viaje al más allá. Protegían el ataúd del difunto y contenían todos los artículos e instrumentos necesarios para mantener la vida después de la muerte. Debido a que las tumbas estaban destinadas a ser eternas, se construían con materiales duraderos, como la piedra.
El Valle de las Reinas, parte de la Necrópolis de Tebas, se encuentra en el lado occidental del Nilo. La ubicación de los cementerios al oeste fue instintivo para los egipcios, quienes creían que la vida humana era paralela a la ruta del sol, que se levantaba (nacía) al este y se ponía (moría) al oeste. Se decía que el inframundo residía al oeste, en la tierra del sol al ocaso.
Mientras Ernesto Schiaparelli y sus colegas excavaban en el Valle de las Reinas, descubrieron las tumbas de Jaemuaset and Setherkhepeshef dos hijos de Ramsés III. Sus tumbas fueron construidas durante la vigésima dinastía, pero después se volvieron a usar durante las dinastías vigésimo cuarta y vigésimo quinta. En el interior de las tumbas se apilaron docenas de ataúdes, muchos de ellos pertenecientes a las familias de dos sacerdotes del templo. Aunque los ataúdes ahora están vacíos, todavía se puede ver que sus inscripciones invocan a los dioses.
La tumba del príncipe Khaemuaset (QV44), hijo de Ramsés III (1187-1157 aC), tal como fue encontrada por MAI (Missione Archeaologica Italiana) el 15 de febrero de 1903. Valle de las Reinas, Tebas. Esta tumba, profanada y saqueada en la antigüedad, se reutilizó como depósito para aproximadamente otros cuarenta sarcófagos y sus momias (extraídas). Archivos del Museo Egizio, Turín, C822
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Murales en la Tumba de Nefertari
En una pared de la antecámara, Nefertari se muestra sentada en un pabellón y jugando senet, un juego que simboliza el viaje de ka (centella vital) de la reina hacia el más allá. Lleva puestas unas sandalias similares a las que se encontraron en su tumba. En otra pared, el texto en jeroglíficos del decimoséptimo hechizo del Libro de los Muertos va acompañado de una ilustración de la momia de la reina en forma de Osiris. En un anexo de la antecámara, se muestra a Nefertari con una ofrenda al dios de la sabiduría y la escritura con cabeza de ibis, Thoth. En las paredes de la escalera que conduce a la cámara funeraria, se representa a la reina con ofrendas a varias diosas, incluida la diosa alada y arrodillada Maat.
La cámara funeraria inferior con el sarcófago de la reina está sostenida por cuatro columnas decoradas con pilares djed, que significan la estabilidad y el temple de Osiris. La cámara representa simbólicamente el reino de Osiris, donde se suponía que Nefertari reposaría antes de renacer. La pared que da al sarcófago representa la resurrección de Osiris. Las otras paredes están cubiertas de conjuros y figuras del Libro de los Muertos.
Muro este de “la alcoba” de la Tumba de Nefertari (QV66). La pintura es probablemente del pintor Mariano Bartocci, empleado del Graeco-Roman Museum de Alejandría, fotografiado aquí mientras copiaba el mural frente a él (pared este de la cámara principal oriental). Archivos del Museo Egizio, DD21a
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Ataúdes Antropoides
La forma y el estilo decorativo de los ataúdes cambiaron considerablemente con el tiempo en el antiguo Egipto. A principios del Reino Nuevo (c. 1540 a. C.), los ataúdes habían adquirido una forma antropoide (humana). Los rasgos del difunto se esculpían o se pintaban en las cubiertas de los ataúdes, con los ojos abiertos, como si el difunto estuviera vivo todavía, una tradición que se extendió desde el Reino Antiguo hasta ya entrado el periodo romano.
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Una Tumba Digna de una Reina
La tumba de la reina Nefertari se construyó alrededor de 1250 a. C., en pleno apogeo de la creación artesanal del Reino Nuevo. El faraón Ramsés II hizo construir un túnel para esta magnífica e increíblemente decorada "casa de la eternidad" en la necrópolis de Tebas para su amada Gran Esposa Real, Nefertari.
La tumba consta de dos partes principales: la antecámara superior y la cámara funeraria inferior, conectadas por dos escaleras descendientes. La estructura de la tumba estaba destinada a evocar los desafíos y dificultades que la difunta tendría que enfrentar a lo largo de su ruta al más allá. Las vívidas pinturas murales representan elementos del viaje espiritual que el alma de la Reina habría recorrido por el inframundo para finalmente descansar con el dios Osiris. También se ilustran varios conjuros del Libro de los Muertos.
Cortesía del Museo Egizio
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Tumbas Egipcias
Las tumbas egipcias, conocidas como "casas de la eternidad", eran básicas para el viaje al más allá. Protegían el ataúd del difunto y contenían todos los artículos e instrumentos necesarios para mantener la vida después de la muerte. Debido a que las tumbas estaban destinadas a ser eternas, se construían con materiales duraderos, como la piedra.
El Valle de las Reinas, parte de la Necrópolis de Tebas, se encuentra en el lado occidental del Nilo. La ubicación de los cementerios al oeste fue instintivo para los egipcios, quienes creían que la vida humana era paralela a la ruta del sol, que se levantaba (nacía) al este y se ponía (moría) al oeste. Se decía que el inframundo residía al oeste, en la tierra del sol al ocaso.
Mientras Ernesto Schiaparelli y sus colegas excavaban en el Valle de las Reinas, descubrieron las tumbas de Jaemuaset and Setherkhepeshef dos hijos de Ramsés III. Sus tumbas fueron construidas durante la vigésima dinastía, pero después se volvieron a usar durante las dinastías vigésimo cuarta y vigésimo quinta. En el interior de las tumbas se apilaron docenas de ataúdes, muchos de ellos pertenecientes a las familias de dos sacerdotes del templo. Aunque los ataúdes ahora están vacíos, todavía se puede ver que sus inscripciones invocan a los dioses.
La tumba del príncipe Khaemuaset (QV44), hijo de Ramsés III (1187-1157 aC), tal como fue encontrada por MAI (Missione Archeaologica Italiana) el 15 de febrero de 1903. Valle de las Reinas, Tebas. Esta tumba, profanada y saqueada en la antigüedad, se reutilizó como depósito para aproximadamente otros cuarenta sarcófagos y sus momias (extraídas). Archivos del Museo Egizio, Turín, C822
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Una Tumba Digna de una Reina
La tumba de la reina Nefertari se construyó alrededor de 1250 a. C., en pleno apogeo de la creación artesanal del Reino Nuevo. El faraón Ramsés II hizo construir un túnel para esta magnífica e increíblemente decorada "casa de la eternidad" en la necrópolis de Tebas para su amada Gran Esposa Real, Nefertari.
La tumba consta de dos partes principales: la antecámara superior y la cámara funeraria inferior, conectadas por dos escaleras descendientes. La estructura de la tumba estaba destinada a evocar los desafíos y dificultades que la difunta tendría que enfrentar a lo largo de su ruta al más allá. Las vívidas pinturas murales representan elementos del viaje espiritual que el alma de la Reina habría recorrido por el inframundo para finalmente descansar con el dios Osiris. También se ilustran varios conjuros del Libro de los Muertos.
Cortesía del Museo Egizio
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“La Conspiración del Harén”
El Asesinato de Ramsés III
En el trigésimo segundo año de su reinado, el faraón Ramsés III fue asesinado en un intento de golpe de estado dirigido por la reina Tiye, una de sus esposas secundarias, junto con su hijo, Pentawer y numerosos habitantes y administradores del palacio real de mujeres. En 1155 a. C., Ramsés III estaba descansando en el palacio real de las mujeres en Tebas cuando los conspiradores atacaron. El golpe de estado fracasó, pero el faraón murió dieciséis días después. Le sucedió Ramsés IV, estropeando el objetivo de los conspiradores de llevar a Pentawer al trono.
Los conspiradores fueron capturados y llevados a juicio, y los procesamientos judiciales quedaron registrados en el papiro que se muestra en la vitrina a la derecha. Algunos de los acusados fueron severamente reprendidos, mientras que otros fueron ejecutados u obligados a suicidarse. Tiye no se menciona en el documento y se desconoce lo que fue de ella.
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Textos Funerarios Egipcios
Los libros funerarios brindaban una guía para que los muertos llegaran seguros al más allá. Estos textos proporcionaban hechizos o conjuros que ayudaban a los difuntos a librarse de amenazas y vencer obstáculos en su largo y peligroso recorrido hacia el inframundo.
Aunque el Libro de los Muertos, con aproximadamente doscientos conjuros (o "capítulos"), es el texto funerario egipcio más conocido, también se utilizaban otros textos, conocidos colectivamente como Libros del Inframundo. Estos libros recorren la travesía del dios sol por el inframundo durante las doce horas de la noche, hasta su triunfante renacimiento a la mañana siguiente. También detallan la geografía de la otra vida. Aunque se describen como libros, los conjuros fueron escritos y profusamente ilustrados en papiros, ataúdes y paredes de tumbas, así como en amuletos y shabtis decorados.
Papiro del Libro de los Muertos que ilustra el peso del corazón, Tebas, 1275 a. C. © Archivo de La Historia del Mundo Alamy Foto de Archivo
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Interior de la Tumba de Nefertari
Cuando el arqueólogo Ernesto Schiaparelli se adentró en la tumba de la reina Nefertari en 1904, descubrió que los ladrones habían saqueado casi todo su contenido poco después de haber sido sellada. Sin embargo, los objetos que se recuperaron sugieren lo que debió haber sido un magnífico tesoro de muebles, aceites preciados y provisiones para el más allá. La mayoría de lo que queda del tesoro funerario de la reina Nefertari se encuentra en esta sala.
Tumba de Nefertari (QV66). Vista de la cámara funeraria. Al fondo, la entrada a la cámara lateral occidental. Archivos del Museo Egizio, DD23a
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Construcción de las Tumbas
Los obreros de Deir el-Medina utilizaban herramientas, como las que se ven en las vitrinas del centro de esta sala, para construir tumbas en los Valles de los Reyes y las Reinas. Primero, los albañiles excavaban la tumba con martillos y cinceles. Después de alisar las paredes con estuco, los dibujantes trazaban líneas en cuadrícula con palos y cuerdas. Hacían bocetos previos a la decoración de la tumba, luego los pintores la decoraban con pinceles y pigmentos.
Detalle de una pintura en el interior de la Tumba Tebana 100, Sheikh Abd el-Qurna, Deir el-Bahri, Necrópolis Tebana, Reino Nuevo, XVIII dinastía, reinado de Amenhotep II (hacia 1427-1401 a. C.). © De Agostini Picture Library / S. Vannini / Bridgeman Images
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Prácticas Religiosas en Deir el-Medina
Debido al aislamiento de la comunidad donde residían los trabajadores, sus habitantes crearon prácticas y cultos religiosos y diferentes al resto de Egipto. A algunas de las deidades locales se les adoraban solo en el pueblo, como el faraón Amenhotep I y la reina Ahmose-Nefertari, quienes, después de su muerte, fueron venerados como dioses protectores. Sus semejanzas aparecen a menudo en estelas y otros objetos religiosos. Aquí también se adoraba a la diosa serpiente Meretseger, principalmente para proteger a los trabajadores de las mordeduras de serpientes.
En las casas de Deir el-Medina se han encontrado esculturas conocidas como bustos de antepasados. Se colocaban en un nicho de la sala principal de la casa y se les adoraba a diario para asegurar la protección por parte de los antepasados del hogar.
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Vivir en
Deir el-Medina
Las casas del antiguo Egipto se construían con adobe, un material económico pero impermanente. Como resultado, existen pocos sitios domésticos del antiguo Egipto hoy en día. La comunidad de trabajadores de Deir el-Medina es la excepción. Ubicado en la orilla oeste del Nilo cerca de Tebs, está a poca distancia del Valle de los Reyes (al norte), varios templos funerarios (al este) y el Valle de las Reinas (al oeste). Es uno de los raros lugares donde se pueden encontrar artículos egipcios de la vida diaria fuera de un contexto funerario.
Deir el-Medina fue el hogar de los artesanos que trabajaban en las tumbas reales durante el Reino Nuevo. Sus residentes incluían albañiles, dibujantes, pintores y otros artesanos, así como escribas, administradores y proveedores de servicios, como lavanderos y parteras. Las herramientas conservadas, los objetos sagrados y otros artefactos descubiertos en Deir el-Medina nos dan una idea de la cómo vivía (y moría) la gente común moría en esta antigua tierra.
Las ruinas de Deir el-Medina today. © Graham Mulrooney / Foto de Archivo Alamy
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Prácticas Religiosas en Deir el-Medina
Debido al aislamiento de la comunidad donde residían los trabajadores, sus habitantes crearon prácticas y cultos religiosos y diferentes al resto de Egipto. A algunas de las deidades locales se les adoraban solo en el pueblo, como el faraón Amenhotep I y la reina Ahmose-Nefertari, quienes, después de su muerte, fueron venerados como dioses protectores. Sus semejanzas aparecen a menudo en estelas y otros objetos religiosos. Aquí también se adoraba a la diosa serpiente Meretseger, principalmente para proteger a los trabajadores de las mordeduras de serpientes.
En las casas de Deir el-Medina se han encontrado esculturas conocidas como bustos de antepasados. Se colocaban en un nicho de la sala principal de la casa y se les adoraba a diario para asegurar la protección por parte de los antepasados del hogar.
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Mujeres en la Religión
La religión abarcaba todos los aspectos del antiguo Egipto. Agradar a los dioses o invocar su protección era parte de la vida diaria en todos los niveles de la sociedad. Las familias tenían un altar o santuario dentro del hogar, y las mujeres oficiaban rituales religiosos en torno a la fertilidad y el parto para ayudarlas a cumplir su rol en la sociedad como madres. Algunas mujeres de clase alta también ocupaban puestos religiosos como sacerdotisas del templo que entretenían a los dioses y diosas con música y danza. Las reinas de Egipto jugaron un papel importante en las procesiones y celebraciones religiosas, representando así el aspecto femenino de lo divino en la Tierra.
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Jeroglíficos del Antiguo Egipto
Al sistema de escritura basado en caracteres que utilizaban los antiguos egipcios se le denomina jeroglíficos. Hay más de mil signos jeroglíficos diferentes. Estos símbolos representan objetos o conceptos familiares para los antiguos egipcios, sin embargo, la mayoría de los jeroglíficos también representan sonidos en el idioma egipcio. Por ejemplo, el jeroglífico de un búho se pronunciaba con el sonido "m", por lo que el signo podría significar "búho" o el sonido "m", según el contexto.
Los jeroglíficos decoraban monumentos, tumbas y objetos de la vida cotidiana. Fusionan arte y lenguaje, expresando significado junto con el estilo propio y característico de cada autor.
Los jeroglíficos pueden leerse horizontal o verticalmente, y de izquierda a derecha o viceversa. Los caracteres generalmente aparecen en filas o bandas, separados por líneas. Una cartela es un óvalo que enmarca jeroglíficos que típicamente representan nombres reales, como Nefertari, como se muestra a continuación.
Reina Nefertari, con su nombre en una cartela, anexa a la antecámara, Tumba de Nefertari (QV66), Valle de las Reinas, Reino Nuevo, XIX dinastía, reinado de Ramsés II (c. 1279-1213 a. C.), pintura mural. © S. Vannini / Fotografía de la Biblioteca De Agostini / Bridgeman Images
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La Creencia en el Más Allá
Los egipcios creían que al morir la vida seguía en el más allá. Para asegurarse de llegar al paraíso espiritual desarrollaron un complejo conjunto de creencias y prácticas funerarias. Estas creencias se asociaban en gran medida al mito de Osiris. Cuando una persona moría, su cuerpo se preservaba cuidadosamente mediante el proceso de momificación, tal como había sucedido con el cuerpo de Osiris. El cuerpo se colocaba dentro de un ataúd, que a su vez se ponía dentro de una tumba abastecida de provisiones para el más allá.
El espíritu del difunto se embarcaba en un viaje por el inframundo, un reino peligro dirigido por Osiris, su señor y gobernante. El espíritu tenía que cumplir con ciertas tareas para atravesar los pasadizos de Osiris y llegar al más allá. Al difunto se le ayudaba en estas tareas con textos funerarios como el Libro de los Muertos. En el otro mundo, el espíritu se reuniría con el cuerpo y la vida continuaría en una dicha perpetua.
Los dioses Osiris y Atum, Tumba de Nefertari (QV66), Valle de las Reinas, Reino Nuevo, dinastía décimonovena, reinado de Ramsés II (c. 1279-1213 a. C.), pintura mural. © Bridgeman Images
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Vivir en
Deir el-Medina
Las casas del antiguo Egipto se construían con adobe, un material económico pero impermanente. Como resultado, existen pocos sitios domésticos del antiguo Egipto hoy en día. La comunidad de trabajadores de Deir el-Medina es la excepción. Ubicado en la orilla oeste del Nilo cerca de Tebs, está a poca distancia del Valle de los Reyes (al norte), varios templos funerarios (al este) y el Valle de las Reinas (al oeste). Es uno de los raros lugares donde se pueden encontrar artículos egipcios de la vida diaria fuera de un contexto funerario.
Deir el-Medina fue el hogar de los artesanos que trabajaban en las tumbas reales durante el Reino Nuevo. Sus residentes incluían albañiles, dibujantes, pintores y otros artesanos, así como escribas, administradores y proveedores de servicios, como lavanderos y parteras. Las herramientas conservadas, los objetos sagrados y otros artefactos descubiertos en Deir el-Medina nos dan una idea de la cómo vivía (y moría) la gente común moría en esta antigua tierra.
Las ruinas de Deir el-Medina today. © Graham Mulrooney / Foto de Archivo Alamy
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La Belleza en el Antiguo Egipto
Los hombres y las mujeres en Egipto prestaban mucha atención a la belleza y a la indumentaria, y los ricos se deleitaban en lucir lo último en atuendos, peinados, joyas y maquillaje. Muchos nombres egipcios, como Nefertari, incorporan la palabra "nefer", que significa "hermoso".
El clima cálido, seco y polvoriento determinaba la moda y las rutinas de belleza. Por ejemplo, se aplicaba kohl (estibina molida), un mineral negro que se aplicaba alrededor de los ojos no solo para embellecer a quienes lo usaban, sino también para protegerlos de bacterias, infecciones y de los fuertes rayos del sol. Sin la medicina moderna, en el antiguo Egipto la expectativa de vida de aquellos que sobrevivían a la infancia era de unos cuarenta años, por lo que la limpieza y el buen aseo más que lujo eran una necesidad.
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Religión en el Antiguo Egipto
Los antiguos egipcios se enfrentaban a fuerzas naturales que ellos no entendían. Ante las aterradoras y enigmáticas tormentas, terremotos, inundaciones y sequías, los egipcios recurrían a los cultos religiosos, y crearon un enorme panteón de dioses y diosas de los cuales se creía que gobernaban todos los aspectos de la vida.
Los egipcios recurrían a sus deidades mediante diversos rituales, ceremonias y celebraciones. Construyeron templos dedicados a los dioses en ciudades por todo Egipto y ahí llevaban a cabo sus ofrendas diarias. A cambio, creían que los dioses darían vida, salud y fortaleza a la tierra y su gente.
El templo de cada deidad constaba de varias habitaciones. Solo al faraón y a otros sacerdotes supremos se les permitía ingresar al santuario más recóndito, donde albergaban una estatua sagrada de cada deidad en un altar. A la estatua se le ungía, se le vestía y se le alimentaba en el ritual más importante del día, la ceremonia de ofrenda matutina.
Aunque estas ceremonias eran tradicionalmente llevadas a cabo por hombres, las mujeres también celebraban a los dioses. Las reinas de Egipto jugaron un papel importante en las procesiones y celebraciones religiosas, representando el aspecto femenino de lo divino en la Tierra.
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La Vida en el Palacio de las Mujeres
Desde la época predinástica, los faraones del antiguo Egipto se tenían varias esposas para resaltar su riqueza, facilitar las alianzas diplomáticas y asegurar su linaje. Las muchas esposas del faraón y otros dependientes de toda línea (su madre, hermanas, tías e hijos, junto con sus sirvientes y asistentes) vivían juntos en un lugar llamado el palacio real de las mujeres.
Esta residencia de mujeres funcionaba bajo una estricta jerarquía. Aunque los residentes eran principalmente mujeres y niños, la administración estaba totalmente a cargo de los hombres. Sus puestos abarcaban desde supervisores y escribas hasta mayordomos y guardias.
Ya para el Imperio Nuevo, los palacios eran comunidades femeninas económicamente independientes y sus propiedades eran utilizadas tanto para cultivar la tierra como para fabricar textiles.
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Mujeres en la Religión
La religión abarcaba todos los aspectos del antiguo Egipto. Agradar a los dioses o invocar su protección era parte de la vida diaria en todos los niveles de la sociedad. Las familias tenían un altar o santuario dentro del hogar, y las mujeres oficiaban rituales religiosos en torno a la fertilidad y el parto para ayudarlas a cumplir su rol en la sociedad como madres. Algunas mujeres de clase alta también ocupaban puestos religiosos como sacerdotisas del templo que entretenían a los dioses y diosas con música y danza. Las reinas de Egipto jugaron un papel importante en las procesiones y celebraciones religiosas, representando así el aspecto femenino de lo divino en la Tierra.
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Adornos para el Cuerpo
Los hombres y mujeres egipcios usaban collares, aretes, pulseras y anillos, tanto para protegerse como para mostrar afluencia y estatus. Las joyas estaban hechas de materiales que oscilaban desde simples conchas y cuentas de barro hasta el preciado oro y piedras semipreciosas. El vidrio y la loza se usaban a menudo en lugar de piedras porque el material se podía producir a bajo costo y en numerosos colores.
Las joyas no solo se usaban como adornos; también servían un propósito supersticioso o ritualístico. La gente usaba amuletos para protegerse contra las malas influencias y la mala suerte o para propiciar cualidades positivas como la fertilidad y la prosperidad. Llevaban símbolos de los dioses y diosas para evocar el poder de las deidades o para pedir protección divina.
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Templo de los Faraones
Abu Simbel
Los faraones construyeron enormes templos de piedra para honrar a los dioses y para inmortalizarse ellos mismos. Estas estructuras estaban cubiertas de imágenes labradas y pintadas, y de jeroglíficos que reforzaban el poder espiritual y político de los faraones que las mandaron hacer. Debido a la prosperidad que se dio durante su reinado, Ramsés II fue el constructor de monumentos a gran escala más prolífico en la historia de Egipto.
A Ramsés II se le consideraba un dios viviente en Nubia, la cual era parte del imperio egipcio en ese tiempo. Fue ahí, a lo largo de la frontera sur de Egipto, que construyó los templos gemelos de Abu Simbel. La construcción llevó aproximadamente veinte años, hasta 1244 a. C. El Gran Templo se construyó en honor al faraón. El Templo Menor que se muestra aquí en un modelo del año 1800, estaba dedicado a la diosa Hathor, pero honraba el puesto casi divino de Nefertari, la reina principal de Ramsés. El Gran Templo está decorado con cuatro colosales estatuas de Ramsés II sentado y miden aproximadamente 65 pies de altura. El Templo Menor más pequeño está frente a seis colosos: cuatro de Ramsés II y dos de Nefertari.
El Gran Templo de Abu Simbel es un homenaje al faraón divino Ramsés II. © G. Dagli Orti / Fotografía de la Biblioteca De Agostini / Bridgeman Images
El Templo Menor de Abu Simbel
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Sekhmet
Diosa de la Ira Divina
Una de las deidades egipcias más aterradoras era Sekhmet, la diosa de la ira divina y de la plaga, además de ser la cazadora más feroz de todo Egipto. Hija del dios sol Ra, personificaba los rayos del sol, con el poder de dar o quitar la vida. Estas estatuas la muestran sosteniendo un ankh, el símbolo de la vida, aunque su cabeza de león denota su naturaleza violenta.
Durante todo el año los adoradores de Sekhmet hacían ofrendas a una estatua distinta de ella en la mañana y en la noche para pedir su protección, y para asegurarse de que permaneciera en su forma dócil y domesticada: la diosa gato Bastet. Durante el reinado de Amenhotep III (alrededor de 1390-1353 a. C.), se produjeron cientos de estatuas de Sekhmet, incluidas las cuatro que se muestran en esta sala.
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Las Mujeres en el Antiguo Egipto
En el antiguo Egipto, las mujeres eran partícipes activas en todas las esferas de la sociedad, desde los campos y tribunales hasta los templos y palacios. A los hombres y a las mujeres se les veía como iguales ante la ley. Todas las mujeres (plebeyas, reinas y diosas) gozaban del derecho de tener propiedades, administrar negocios y litigar casos en los tribunales. Sin embargo, a pesar de esta inusual equidad legal, a las mujeres principalmente se les asignaba la tarea de criar a los hijos y de encargarse del hogar.
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Textos Funerarios Egipcios
Los libros funerarios brindaban una guía para que los muertos llegaran seguros al más allá. Estos textos proporcionaban hechizos o conjuros que ayudaban a los difuntos a librarse de amenazas y vencer obstáculos en su largo y peligroso recorrido hacia el inframundo.
Aunque el Libro de los Muertos, con aproximadamente doscientos conjuros (o "capítulos"), es el texto funerario egipcio más conocido, también se utilizaban otros textos, conocidos colectivamente como Libros del Inframundo. Estos libros recorren la travesía del dios sol por el inframundo durante las doce horas de la noche, hasta su triunfante renacimiento a la mañana siguiente. También detallan la geografía de la otra vida. Aunque se describen como libros, los conjuros fueron escritos y profusamente ilustrados en papiros, ataúdes y paredes de tumbas, así como en amuletos y shabtis decorados.
Papiro del Libro de los Muertos que ilustra el peso del corazón, Tebas, 1275 a. C. © Archivo de La Historia del Mundo Alamy Foto de Archivo
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El Faraón
Lo Humano y lo Divino
Al gobernante del antiguo Egipto se le conocía como el faraón; título y puesto reales heredados de nacimiento. El faraón fungía como líder espiritual, judicial y político del imperio. En vida, al faraón se le veía como la encarnación de Horus, hijo del dios sol Ra, habitante temporal entre los mortales. La muerte transformaría al faraón en un dios, Ra, pero mientras vivía en la Tierra, él era el encargado de mantener la justicia, la verdad, el orden y el equilibrio cósmico. Sus deberes eran una combinación de prácticas y rituales. El faraón, o sus representantes, oficiaban en los templos, presidían en los tribunales y defendían al país de enemigos; tanto externos como internos.
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Interior de la Tumba de Nefertari
Cuando el arqueólogo Ernesto Schiaparelli se adentró en la tumba de la reina Nefertari en 1904, descubrió que los ladrones habían saqueado casi todo su contenido poco después de haber sido sellada. Sin embargo, los objetos que se recuperaron sugieren lo que debió haber sido un magnífico tesoro de muebles, aceites preciados y provisiones para el más allá. La mayoría de lo que queda del tesoro funerario de la reina Nefertari se encuentra en esta sala.
Tumba de Nefertari (QV66). Vista de la cámara funeraria. Al fondo, la entrada a la cámara lateral occidental. Archivos del Museo Egizio, DD23a
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WOMEN
IN ANCIENT EGYPT


In ancient Egypt, women were active participants in all spheres of society, from the fields and courtrooms to temples and palaces. Men and women were treated as equals in the eyes of the law. All women—commoners, queens, and goddesses—had the right to own property, run businesses, and bring cases before the courts of law. However, despite their unusual legal equality, women were primarily tasked with raising children and running the household.
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ADORNING
THE BODY


Egyptian men and women wore necklaces, earrings, bracelets, and rings, both for protection and to show prosperity and status. Jewelry was made of materials ranging from humble shells and earthenware beads to expensive gold and semiprecious stones. Glass and faience were often used in place of stones because the material could be produced cheaply in many colors.


Jewelry was not only worn for decoration; it also had a superstitious or ritual purpose. People wore amulets to protect against evil influences and bad luck or to promote positive qualities like fertility and prosperity. They wore symbols of the gods and goddesses to evoke the deities’ power or to ask for divine protection.
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LIFE IN THE
WOMEN’S PALACE


From predynastic times, the pharaohs of ancient Egypt married multiple wives to emphasize their wealth, facilitate diplomatic alliances, and ensure their line of succession. The pharaoh’s many wives and other dependents of all ranks— his mother, sisters, aunts, and children, along with their servants and attendants—lived together in a place called the royal women’s palace.


The women’s residence functioned under a strict hierarchy. Although the residents were primarily women and children, the administration was conducted entirely by men. Their roles ranged from overseers and scribes to butlers and guards.


By the New Kingdom, the palaces were economically independent female communities, and their estates were used for farming and manufacturing textiles.
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BEAUTY
IN ANCIENT EGYPT


EGYPTIAN WOMEN AND MEN paid great attention to beauty and fashion, and the wealthy delighted in sporting the latest clothing, hair, jewelry, and makeup styles. Many Egyptian names—such as Nefertari—incorporate the word “nefer,” which means “beautiful.”


The warm, dry, dusty climate dictated many of their fashion choices and beauty routines. For example, kohl, ground from the black mineral stibnite, applied around the eyes was not only beautiful but also provided protection from bacteria, infections, and the harsh rays of the sun. Without modern medicine, those who survived childhood could only expect to live about 40 years in ancient Egypt, so cleanliness and good grooming were a necessity rather than a luxury.
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