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Excellent Egyptians
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Egyptian Gallery
by RnibAmulets were magic charms worn for protection against injury or disease. The living wore them as jewellery and they covered the body of the dead to protect them in the afterlife. Amulets came in many forms. Many depicted gods so the living may have worn a figure of Bes protector of the family, whilst mummies were covered with gods of the afterlife such as Anubis or Horus. Some were the shape of body parts such as a hand or leg. These may have been magical replacements for actual limbs that had been lost or damaged. Many amulets represented a hieroglyph such as the ˜Ankh which meant life or the ˜Djed' pillar for stability. The ˜wadjat' was the eye of the god Horus and meant ˜Healthy one'. It was thought to give strong protection against evil. Scarabs were beetle-shaped charms representing rebirth and placed within the mummy's wrappings.The Heart Scarab was most important of all, covering the heart so that it did not speak out against you when you were judged by Osiris god of the underworld. (a) Djed pillar - origin unknown; 664-343 BC; faience (a ceramic made with sand); 11 cm high by 3 cm wide and 1.5 cm thick. A pale blue/green glazed pillar with a flared base and four horizontal bars at the top and looks like an electricity pylon. Tactile image is just slightly larger. (b) Bes - origin and date unknown; faience (a ceramic made with sand); 3.5 cm high by 0.6 cm wide and 0.6 cm thick. This pale blue/green glazed figure is in the shape of the dwarf god Bes and has a large head and small body with short arms and legs. Tactile image is four times larger. (c) Wadjat (or Eye of Horus for protection) - origin unknown; 945-656 BC; faience (a ceramic made with sand); 4.5 cm high by 5 cm wide and 1 cm thick. An Egyptian-style eye that has a thick outline with a pupil in the middle with the corner of the eye extended to the left. An eyebrow follows the same line as the eye and its outline extension. Below the eye is a slightly off centre 'j' shape that goes from the base of the eye just past the pupil and turns upwards below the outline extension. A further vertical pattern extends between the eye and eyebrow and between the bottom of the eye down to the base of the 'j' shape. This is also the shape of the hieroglyphic symbol for the wadjat. Most of the blue/green glaze has come off it making it look more like a stone than pottery. Tactile image is one and a half time larger. (d) Heart scarab - origin unknown; 664-343 BC; faience (a ceramic made with sand); 14.5 cm long by 8 cm high and 1 cm thick. This has the body of a scarab or dung beetle with falcon wings on either side. The wings are attached through small holes in the scarab and wings by fine cord. The scarab has the distinctive shape - head, thorax and abdomen divided by two lines, one across and one down to show where the wings would emerge for flying. The wings have a straight top with rounded sides and base. The heart scarab is pale blue with black markings on the wings to denote the primary feathers. Tactile image is just slightly smaller. The tactile image shows the three amulets and heart scarab on one page. All are shown in outline infilled with a texture. Further lines and solid texture show some of their detail.
Egyptian Gallery
by RnibHawara, Egypt, AD 80-120, excavated in 1888 by Flinders Petrie; cartonnage, like papier mache but using linen and plaster of paris covered in gold leaf with the inner surface painted; 45 cm high by 34 cm wide and 24 cm deep (from back of head to tip of nose). This is a 2,000-year-old mummy mask from the Roman period. It shows the face of a man whose name we know, because it's written on the mask: Titos Flavios Demetrios. He was living in Egypt but was of Greek descent - descended from the soldiers Alexander the Great had put into Egypt. What we don't know is how he became a Roman citizen. The gold mask was designed to fit over the head of the mummy a bit like a large helmet and was to give the dead person the powers of gods and thus helping them with their journey to the afterlife. The face is carefully moulded with the facial features clearly shown. The eyes, painted white with black outline, pupils and eyebrows, stare directly at you. Surrounding the face is a long headdress, similar in style to Lady Tahathor that forms the outer edges of the mask. This mask shows in raised relief Osiris on his throne, with Isis and Nephthys acting as mourners. On either side are birds, the hawk god Horus and Ba or soul-bird. At the base are eight underworld gods wearing sun discs and holding feathers to observe Anubis attending to the mummy of Titos. The inner surface of the mask, not designed to have been seen, is left undecorated. The tactile image shows the side view of the mask to show how it would have fitted over the mummy and the shape of the face. It is about half the size of the actual mask. The shape of the mask and facial features are outlined with a texture for the headdress. Thinner lines, a different texture and solid texture show some of the raised relief on the headdress. Solid texture also shows the eyebrow, eye and mouth.
Egyptian Gallery
by RnibPart of a wall mural in the Egyptian Gallery, Ipswich Museum; this section is 111 cm long and 48 cm high. This is a scene of everyday life in Ancient Egypt of two men - one kneeling and one standing - on a papyrus raft trying to prevent a crocodile from getting near to their two oxen that they are driving across the river. The structure of the raft can be seen - stems of papyrus bound together with ropes to form a floating wide 'u' shaped platform with each end raised out of the water. Both men hold long poles with 'y' shaped ends that they are pushing down towards the large crocodile that has its mouth open showing its fearsome teeth. Both are looking down directly at the crocodile with determined looks on their faces. The two oxen, standing side by side with water up to their bellies, are directly in front of the raft and have huge horns typical of Egyptian cattle. The ox nearest the crocodile has its head turned towards it with an expression of fear. The Nile is painted blue with vertical zigzag dark blue lines. The raft is green with darker green for the binding ropes. The men have dark brown skin. The kneeling man is wearing a white kilt and a white headdress that completely covers his hair. The standing man also wears a white kilt but has no headdress and his black hair looks ruffled. Both have bare feet. The oxen have light brown horns with white bodies, one with black spotty markings and the other with brown. The tactile image is four and a quarter times smaller than the actual scene and follows the lines and shapes as closely as possible. The raft, poles, horns, teeth of crocodile and hair of standing man are shown with solid texture. The oxen and crocodile are shown in outline infilled with two different textures. The men are also shown in outline with no texture for their skin and a third texture for their kilts. The kneeling man's headdress is shown with the same texture as the crocodile. Thin lines show the zigzag lines of the river.
Egyptian Gallery
by RnibPart of of a wall mural in the Egyptian Gallery, Ipswich Museum; this scene is 39 cm high and 42 cm wide. This is a military scene showing three identical soldiers marching towards a more senior soldier who is standing in front of them. What is significant about the senior soldier is that he has his right arm missing below his elbow showing that a person with a limb missing in Ancient Egypt still was able to play an important role and was not considered "disabled". The three soldiers, facing to the right are shown with bare feet striding towards the senior soldier, their left legs forward with their right feet bent at the toes in movement. They have dark brown skin, black hair and are wearing white kilts with large pleated front decoration. They have a fearsome expression on their faces. In their left hands they hold a long spear with a pointed tip and in their right hands they hold large oval shields with a straight bottom edge. The shields look like they are covered in oxen skin as they have white with brown markings like the oxen in the river as described in 5 above. The senior soldier is standing facing you with his legs apart and with bare feet. He is wearing a knee-length white kilt with a pleated front and a T-shirt style white top. His tummy slightly bulges over his kilt showing that he is well fed. He has a bald head and has a proud look on his face as he admires the other soldiers, perhaps because he is responsible for how they look and their training. His left hand is held at his chest just below a large amulet that is around his neck like a necklace. The stump of his right arm is held away from his body so that we can clearly see that the lower part is missing. The tactile image shows the senior soldier and just one of the other soldiers as they are all identical. The figures are roughly half the size of those in the actual painting. The two figures are shown in outline with no texture for their skin and a texture for their clothing. The spear, hair and outline of the shield are shown as solid texture with a different texture for the body of the shield.
Egyptian Gallery
by RnibThis is a mural painted onto the plaster board wall of the Egyptian Gallery and is 39 cm high by 42 cm wide. This oblong panel is rather like a cartoon and shows the story of the weighing of the heart ceremony from the dead person kneeling before judges to being presented to Osiris, the god of the underworld. It is taken from a book of the dead. The story starts in the upper left-hand corner of the panel with the dead person, represented as a man in a short black wig and wearing an ankle-length pleated robe open to the waist showing his bare chest, kneels before a panel of 14 judges who are seated in a long row facing him. He holds his hands up towards the judges as they consider the things he has done during his life. The ankh, the key of life, appears in the hands of some of the judges. After the judgement, the story continues in the bottom left-hand corner of the panel with the dead person, holding the right hand of the jackal-headed god Anubis in human form, is led towards a large set of balance scales on which his heart will be weighed against the feather of Ma'at. Anubis holds an ankh in his left hand and wears a knee-length kilt. The balance scales are shaped like a capital letter 'T' - an upright pole with a pole balancing across it with two scale pans on long ropes at each end. On the left scale pan, in a small pot, is the dead person's heart. On the right scale pan is the feather of truth. Anubis knees on a small stool to the left of the base of the scales and has his left arm extended as he is adjusting the balance arm of the scale to get the correct measurement. To the right of the base of the scales stands Ammut, the god with the head of a crocodile, the front legs and body of a lion with long mane and the back legs of a hippo. Ammut has his head turned to the right to look at Toth, the ibis-headed god of wisdom in human form, who stands facing the scales recording the results. If the results were bad, Ammut would then devour the heart, condemning the dead person to oblivion for eternity. The story continues as the results were good and the dead person's heart weighed less than the feather and so he could progress into the afterlife. He is shown being presented to Osiris by Horus, the falcon-headed god in human form. Horus holds his right hand up towards Osiris and holds an ankh in his left hand. He wears a similar kilt to Anubis. Osiris is sitting on a throne surrounded by a very ornate canopy. Under the throne, a representation of the Nile is shown - blue with dark blue zigzag lines in similar to the Nile in the Khnum image - and shown growing from this is a large lotus flower that has four figures standing on it. Osiris is shown like a mummy wrapped in white with a tall white crown on his head. He holds the symbols of Egyptian kings in his hands: the shepherd's crook and the flail. Behind him, standing side by side at the far right of the panel, is his wife Isis and her sister Nephthys. They are dressed in long, figure-hugging robes, long black wigs and conical headdresses. Together, Osiris, Isis, and Nephthys welcome the dead person to the underworld. Facing Osiris and the two ladies, in the top left-hand corner of the canopy are the two open wings holding a feather on a pole. The story is completed by hieroglyphic text that runs in columns above each of the scenes.
Egyptian Gallery
by RnibLuxor, Egypt; 664-343 BC; painted wood; 122 cm long by 50 cm wide and 40 cm high. Lady Tahathor was a wealthy lady who lived and died in Luxor about 2,500 years ago. Her mummy inside its mummy case was bought as a tourist souvenir by Mr G. Errington of Colchester who brought it back to England in the 1850s before donating it to Colchester Museum in 1871. The mummy case is richly painted. The colours survive particularly well because unusually the coffin maker did not varnish the case which can lead to yellow discoloration. The coffin is painted with symbols to protect the mummy within. The chest area is covered in repeating lines of feathers. Against these is painted a winged goddess of protection with her wings outstretched. Another winged goddess is painted again across the top of the feet. Rows of gods and goddesses are seen holding feathers to observe Anubis attending to the mummy of Lady Tahathor which is shown laid on a funeral bier. Her pale pink face is carefully sculptured with facial detail painted on. Her large almond-shaped eyes are in typical Egyptian style - large black circular pupils on a white background surrounded by a thick black line that extends slightly at each corner. Surrounding her face is a long striped gold and blue headdress that is tucked behind her sculptured ears. A very short fringe runs across her forehead just below the headdress. The ears are highlighted with black lines including a black spot where an earring would go. Between the headdress on her chest is patterning in horizontal lines in green, red, gold and blue. The tactile image is a close-up of the face of Lady Tahathor to nearly the end of the headress and is about half the size of the face on the mummy case. Her facial features are shown in outline with no texture for her skin. Her eyes and eyebrows are shown with solid texture along with her lips. A texture shows the blue stripes on her headdress with no texture for the gold stripes. The patterning on her chest is shown with texture and solid shapes.
Egyptian Gallery
by RnibOrigin unknown; 395-30 BC; mummified cat in linen bandages; 30 cm high by 8 cm wide and 7 cm deep. Animals associated with deities were regularly mummified in the later periods of Egyptian history. The cat is associated with the goddess Bastet. The cat mummy is tightly wrapped in many layers of overlapping wrappings. It has a head in the shape of a cat and a body shaped like a long cylinder with a flat bottom. The ears stick up from the head and the eyes have been added on top of the wrappings and look a bit like buttons eyes sewn in place through the centre. The tactile image is about the same size as the actual mummy and is shown in outline infilled with a texture. Further lines show some of the overlapping wrappings to give an idea of the patterning they make. A different texture shows the nose and mouth area that has been wrapped slightly differently to the rest of the cat. The eyes are shown as hollows with solid centres.
Egyptian Gallery
by RnibThese are the four jars in which the organs removed during the mummification process are stored and preserved. The jars would have then been placed inside a canopic chest and buried with the mummy in the tomb. This was done because the dead person would need their organs for the afterlife. Each jar consists of a tall round container with a lid in the shape of the head of one of four gods that were responsible for protecting particular organs. The jar and the lid are not an exact fit so that you can clearly see the division between the two. The four gods were: Duamutef, the jackal-headed god whose jar contained the stomach; Qebehsenuef, the falcon-headed god whose jar contained the intestines; Hapi, the baboon-headed god whose jar contained the lungs; and Imsety, the human-headed god whose jar contained the liver. The canopic jars are not a matching set so vary in size and the material they are made from. 1. Qebehsenuef - origin unknown; 664-343 BC; carved limestone; 35 cm high with a diameter of 12 cm at widest point. This light stone coloured jar, the falcon has a triangular shaped face with the beak and circular eyes clearly carved. It almost looks like the falcon is wearing a hood. 2. Duamutef - on loan from The British Museum; 35cm high with a diameter of 12 cm at the widest point. Similar to Qebehsenuef, clearly carved jackal head with large pointed ears and snout with eyes, end of nose and mouth defined. A row of hieroglyphs are painted in black around the rim 3. Imsety - origin and date unknown; carved wood; 27 cm high with a diameter of 9 cm at widest point. A slimmer jar than the others, clearly carved human face surrounded by an Egyptian headdress and large ears. Two rows of carved hieroglyphs down the front. 4.Hapi - origin unknown; 664-343 BC; carved limestone; 22 cm high with a diameter of 9 cm at widest point. The baboon has a prominent snout with clearly carved eyes, nose bridge and mouth. The tactile image show all four canopic jars on one page, two at the top and two at the bottom. They are in scale with each other and are slightly less than half the size of the actual jars. Each jar is shown in outline infilled with a texture. Solid texture shows some of their feathers and the hieroglyphs.
Egyptian Gallery
by RnibEgyptian Gallery: Egyptian Boat Model. Sedment, Egypt; 2160-2025 BC; wood; 60 cm long by 11 cm wide and a total of 58 cm high including the height of the mast which is 29 cm. The earliest boats were made from reeds and later from wood. Water travel was both a part of daily life and an important religious symbol.Large ships transported heavy building stone hundreds of miles along the Nile. Cargo boats carried grain.Broad barges carried cattle from one side of the Nile to the other. Pharaohs travelled by royal barge. The sun-god Ra travelled across the sky by boat. The Egyptians sometimes left the Nile (via the river's mouth) to sail on the Mediterranean or the Red sea but mostly stayed close to the shore. This boat model is over 4000 years old. It was placed in a tomb to speed along the owner's journey to the afterlife and for them to enjoy sailing there. The boat has a flat bottom with the pointed bow (front) and stern (back) curved upwards so that they would have been out of the water. The stern is raised slightly more than the bow. About a third of the way along the boat from the bow is a mast with a furled sail wrapped around it. Ropes are attached to the top of the mast and tied at the bow and stern. The sail also has ropes attached for raising and lowering it. At the stern is a large brown steering oar and immediately in front of this oar is a white canopy on four legs. The flat white deck of the boat has 8 male figures, painted with dark brown skin, white kilts, black wigs and white and black eyes, are either standing or sitting on it, mostly in pairs, and all facing the bow. At the bow is a standing man who is holding a large white stone with black markings attached to a rope that would have been used to test the depth of the water. Behind him, just in front of the mast, are two men standing with oars laid across the deck immediately in front of them. In the centre of the boat are two men sitting holding oars as if rowing. Behind these are two men standing with their arms outstretched as if rowing. Behind these is the canopy and at the stern is a single seated man who has an oar in his hands. The oars are brown with a white paddle that is roughly diamond shaped. The tactile image shows five of the eight figures and is roughly half the size of the actual object. The boat is shown with solid texture with a rough texture for the flat deck. The figures are shown in outline with solid texture for their black wigs, a texture for their kilts, no texture for their skin and a spot for their eyes. The oars, masts and legs of canopy are shown as solid texture. The sail, stone and canopy are shown with a different texture. Fine lines show the ropes from the mast and sail.
Egyptian dwarf god Bes (UEB uncontracted)
by RnibThis is an image of the god Bes known as the protector of childbirth and children. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. He is standing facing forward so all of his face and limbs can be seen. At the top centre of the page is Bes's tall hat with lines running vertically down it. Down the page from this are his eyebrows, two eyes, nose, mouth and beard. His very large ears stick out to either side of his large head. He does not have any neck so that his arms, held outwards with two bracelets on each, appear to grow out of his head. On his chest, he wears an Ankh symbol, thought to represent eternal life and life after death. It is hanging on a necklace, which is not shown. Further down the page are Bes's naval, a loincloth and his two short legs.
Egyptian dwarf god Bes (UEB contracted)
by RnibThis is an image of the god Bes known as the protector of childbirth and children. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. He is standing facing forward so all of his face and limbs can be seen. At the top centre of the page is Bes's tall hat with lines running vertically down it. Down the page from this are his eyebrows, two eyes, nose, mouth and beard. His very large ears stick out to either side of his large head. He does not have any neck so that his arms, held outwards with two bracelets on each, appear to grow out of his head. On his chest, he wears an Ankh symbol, thought to represent eternal life and life after death. It is hanging on a necklace, which is not shown. Further down the page are Bes's naval, a loincloth and his two short legs.
Egyptian dwarf god Bes (large print)
by RnibThis is an image of the god Bes known as the protector of childbirth and children. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. He is standing facing forward so all of his face and limbs can be seen. At the top centre of the page is Bes's tall hat with lines running vertically down it. Down the page from this are his eyebrows, two eyes, nose, mouth and beard. His very large ears stick out to either side of his large head. He does not have any neck so that his arms, held outwards with two bracelets on each, appear to grow out of his head. On his chest, he wears an Ankh symbol, thought to represent eternal life and life after death. It is hanging on a necklace, which is not shown. Further down the page are Bes's naval, a loincloth and his two short legs."
Egyptian citizens (UEB uncontracted)
by RnibIn this image showing Egyptian citizens, there is a man at the left of the page and a woman at the right. Both are standing and facing forwards so that all their facial features can be seen. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. In the top left is the man's head, and he is smiling. He is wearing a simple headdress composed of a piece of cloth held in place by a band. Down the page are his bare shoulders and chest and he holds his arms out to the sides of his body. Around his waist he wears a simple linen loin cloth tied in place by a sash. Down from this are the man's bare legs and feet.The woman's head is at the top right. She also has a smiling face, and her long hair is held in place by a simple hair band. Around her shoulders she wears a large jewelled collar. Her bare arms are held out to the sides of her body, and she wears a bracelet on each wrist. Her full length linen dress reaches down to her ankles at the bottom of the page, and she wears plain leather sandals on her feet.
Egyptian citizens (UEB contracted)
by RnibIn this image showing Egyptian citizens, there is a man at the left of the page and a woman at the right. Both are standing and facing forwards so that all their facial features can be seen. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. In the top left is the man's head, and he is smiling. He is wearing a simple headdress composed of a piece of cloth held in place by a band. Down the page are his bare shoulders and chest and he holds his arms out to the sides of his body. Around his waist he wears a simple linen loin cloth tied in place by a sash. Down from this are the man's bare legs and feet.The woman's head is at the top right. She also has a smiling face, and her long hair is held in place by a simple hair band. Around her shoulders she wears a large jewelled collar. Her bare arms are held out to the sides of her body, and she wears a bracelet on each wrist. Her full length linen dress reaches down to her ankles at the bottom of the page, and she wears plain leather sandals on her feet.
Egyptian citizens (large print)
by RnibIn this image showing Egyptian citizens, there is a man at the left of the page and a woman at the right. Both are standing and facing forwards so that all their facial features can be seen. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. In the top left is the man's head, and he is smiling. He is wearing a simple headdress composed of a piece of cloth held in place by a band. Down the page are his bare shoulders and chest and he holds his arms out to the sides of his body. Around his waist he wears a simple linen loin cloth tied in place by a sash. Down from this are the man's bare legs and feet.The woman's head is at the top right. She also has a smiling face, and her long hair is held in place by a simple hair band. Around her shoulders she wears a large jewelled collar. Her bare arms are held out to the sides of her body, and she wears a bracelet on each wrist. Her full length linen dress reaches down to her ankles at the bottom of the page, and she wears plain leather sandals on her feet.
An Ancient Egyptian tomb (UEB uncontracted)
by RnibThis is image is a plan view of a typical Egyptian tomb showing an annexe, a treasure room, antechamber and burial chamber. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. The plan is bounded by a dashed line image border. On the bottom left of the page is the entrance into an antechamber filled with treasures and artefacts. At the top left of the page is an annexe with more valuable objects. At the right side of the antechamber there are two statues of the king and to the right of these is the entrance to the burial chamber containing the coffin. The wall to the right of the coffin is decorated. At the bottom right of the page is a treasure room with a golden shrine and an image of Anubis, god of the funeral cult and carer for the dead.
An Ancient Egyptian tomb (UEB contracted)
by RnibThis is image is a plan view of a typical Egyptian tomb showing an annexe, a treasure room, antechamber and burial chamber. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. The plan is bounded by a dashed line image border. On the bottom left of the page is the entrance into an antechamber filled with treasures and artefacts. At the top left of the page is an annexe with more valuable objects. At the right side of the antechamber there are two statues of the king and to the right of these is the entrance to the burial chamber containing the coffin. The wall to the right of the coffin is decorated. At the bottom right of the page is a treasure room with a golden shrine and an image of Anubis, god of the funeral cult and carer for the dead.
An Ancient Egyptian tomb (large print)
by RnibThis is image is a plan view of a typical Egyptian tomb showing an annexe, a treasure room, antechamber and burial chamber. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. The plan is bounded by a dashed line image border. On the bottom left of the page is the entrance into an antechamber filled with treasures and artefacts. At the top left of the page is an annexe with more valuable objects. At the right side of the antechamber there are two statues of the king and to the right of these is the entrance to the burial chamber containing the coffin. The wall to the right of the coffin is decorated. At the bottom right of the page is a treasure room with a golden shrine and an image of Anubis, god of the funeral cult and carer for the dead.
My Country: Egypt (PDF)
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Ancient Egypt in Africa
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