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Stick shabtis (or stick ushabtis) are ancient Egyptian ushabtis made of wood.
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Stick shabtis (or stick ushabtis) are ancient Egyptian ushabtis made of wood.
They have a rough, anthropoid shape, are not well-carved and bear just one inscription on the front. Unlike the normal Egyptian ushabtis which are sometimes small artworks in the own right, they are not painted or further decorated.
Stick shabtis date to the end of the 17th Dynasty and the beginning of the 18th Dynasty (around 1550 BC).
Stick shabtis had a different purpose to most of the normal ushabtis. While ushabtis were most often placed into the burial chamber and had the function to work for the deceased, stick shabtis were always found in the overground cult chapel of Egyptian tombs, only at Thebes. They are often placed into roughly carved model coffins. In the inscriptions on these shabtis, the names of officials appear.
It seems that stick shabtis represented family members and friends of a deceased. The stick shabtis were placed close to the burial of a beloved family member, so that the represented people could be symbolically close to their beloved one.
The ancient Egyptians believed that a soul was made up of many parts. In addition to these components of the soul, there was the human body.
A mastaba, also mastabah or mastabat) is a type of ancient Egyptian tomb in the form of a flat-roofed, rectangular structure with inward sloping sides, constructed out of mudbricks or limestone. These edifices marked the burial sites of many eminent Egyptians during Egypt's Early Dynastic Period and Old Kingdom. Non-royal use of mastabas continued for over a thousand years.
Canopic jars are containers that were used by the ancient Egyptians during the mummification process, to store and preserve the viscera of their owner for the afterlife. The earliest and most common versions were made from stone, but later styles were carved from wood. The ritual use of the jars dates back as far as the Old Kingdom and stayed in practice until the Late Period or the Ptolemaic Period, by which time the viscera were simply wrapped and placed with the body. Canopic jars of the Old Kingdom were rarely inscribed and had a plain lid, but by the Middle Kingdom inscriptions became more usual, and the lids were often in the form of human heads. By the Nineteenth Dynasty each of the four lids depicted one of the four sons of Horus, actings as guardians for the respective organ in their jar.
Ay was the penultimate pharaoh of ancient Egypt's 18th Dynasty. He held the throne of Egypt for a brief four-year period in the late 14th century BC. Prior to his rule, he was a close advisor to two, and perhaps three, other pharaohs of the dynasty. It is speculated that he was the power behind the throne during child ruler Tutankhamun's reign. His prenomenKheperkheperure means "Everlasting are the Manifestations of Ra", while his nomenAy it-netjer reads as "Ay, Father of the God". Records and monuments that can be clearly attributed to Ay are rare, both because his reign was short and because his successor, Horemheb, instigated a campaign of damnatio memoriae against him and the other pharaohs associated with the unpopular Amarna Period.
Neferkare Shabaka, or Shabako was the third Kushite pharaoh of the Twenty-fifth Dynasty of Egypt, who reigned from 705 to 690 BC. The Greek sources called him Sabacon (Σαβακῶν) and is mentioned by both Herodotus and Manetho.
Shebitku also known as Shabataka or Shebitqo, and anglicized as Sethos, was the second pharaoh of the Twenty-fifth Dynasty of Egypt who ruled from 714 BC – 705 BC, according to the most recent academic research. He was a son of Piye, the founder of this dynasty. Shebitku's prenomen or throne name, Djedkare, means "Enduring is the Soul of Re." Shebitku's queen was Arty, who was a daughter of king Piye, according to a fragment of statue JE 49157 of the High Priest of Amun Haremakhet, son of Shabaka, found in the temple of the Goddess Mut in Karnak.
The ushabti was a funerary figurine used in ancient Egyptian funerary practices. The Egyptological term is derived from 𓅱𓈙𓃀𓏏𓏭𓀾 wšbtj, which replaced earlier 𓆷𓍯𓃀𓏏𓏭𓀾 šwbtj, perhaps the nisba of 𓈙𓍯𓃀𓆭 šwꜣb "Persea tree".
The ancient Egyptians had an elaborate set of funerary practices that they believed were necessary to ensure their immortality after death. These rituals included mummifying the body, casting magic spells, and burials with specific grave goods thought to be needed in the afterlife.
Ancient Egyptian art refers to art produced in ancient Egypt between the 6th millennium BC and the 4th century AD, spanning from Prehistoric Egypt until the Christianization of Roman Egypt. It includes paintings, sculptures, drawings on papyrus, faience, jewelry, ivories, architecture, and other art media. It was a conservative tradition whose style changed very little over time. Much of the surviving examples comes from tombs and monuments, giving insight into the ancient Egyptian afterlife beliefs.
The four sons of Horus were a group of four deities in ancient Egyptian religion who were believed to protect deceased people in the afterlife. Beginning in the First Intermediate Period of Egyptian history, Imsety, Hapy, Duamutef, and Qebehsenuef were especially connected with the four canopic jars that housed the internal organs that were removed from the body of the deceased during the process of mummification. Most commonly, Imsety protected the liver, Hapy the lungs, Duamutef the stomach, and Qebehsenuef the intestines, but this pattern often varied. The canopic jars were given lids that represented the heads of the sons of Horus. Although they were originally portrayed as humans, in the latter part of the New Kingdom, they took on their most distinctive iconography, in which Imsety is portrayed as a human, Hapy as a baboon, Duamutef as a jackal, and Qebehsenuef as a falcon. The four sons were also linked with stars in the sky, with regions of Egypt, and with the cardinal directions.
Tomb WV22, also known as KV22, was the burial place of Amenhotep III, a pharaoh of the Eighteenth Dynasty, in the western arm of the Valley of the Kings. The tomb is unique in that it has two subsidiary burial chambers for the pharaoh's wives Tiye and Sitamen. It was officially discovered in August 1799 by Prosper Jollois and Édouard de Villiers du Terrage, engineers with Napoleon's expedition to Egypt but had probably been open for some time. The tomb was first excavated in the early 1900s by Theodore M. Davis; the details of this are lost. The first documented clearance was carried out by Howard Carter in 1915. Since 1989, a Japanese team from Waseda University led by Sakuji Yoshimura and Jiro Kondo has excavated and conserved the tomb. The sarcophagus is missing from the tomb. The tomb's layout and decoration follow the tombs of the king's predecessors, Amenhotep II (KV35) and Thutmose IV (KV43); however, the decoration is much finer in quality. Several images of the pharaoh's head have been cut out and can be seen today in the Louvre.
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This is a glossary of ancient Egypt artifacts.
Reserve heads are distinctive sculptures made primarily of fine limestone that have been found in a number of non-royal tombs of the Fourth Dynasty of Egypt; primarily from the reigns of pyramid-building pharaohs Khufu to Khafre, circa 2551–2496 B.C. While each of the heads share characteristics in common with each other, the striking individuality of the pieces makes them some of the earliest examples of portrait sculpture in existence. Their purpose is not entirely clear; the name comes from the prevalent theory first put forward in 1903 by the German Egyptologist Ludwig Borchardt, that the head was to serve as an alternate home for the spirit of the dead owner should anything happen to its body.
Ankhkheperure-Merit-Neferkheperure/Waenre/Aten Neferneferuaten was a name used to refer to a female king who reigned toward the end of the Amarna Period during the Eighteenth Dynasty. Her gender is confirmed by feminine traces occasionally found in the name and by the epithet Akhet-en-hyes, incorporated into one version of her nomen cartouche. She is distinguished from the king Smenkhkare who used the same throne name, Ankhkheperure, by the presence of epithets in both cartouches. She is suggested to have been either Smenkhkare's wife, Meritaten or, his predecessor's widow, Nefertiti. If this person is Nefertiti ruling as sole king, it has been theorized by Egyptologist and archaeologist Zahi Hawass that her reign was marked by the fall of Amarna and relocation of the capital back to the traditional city of Thebes.
A false door, or recessed niche, is an artistic representation of a door which does not function like a real door. They can be carved in a wall or painted on it. They are a common architectural element in the tombs of ancient Egypt, but appeared possibly earlier in some Pre-Nuragic Sardinian tombs known as Domus de Janas. Later they also occur in Etruscan tombs and in the time of ancient Rome they were used in the interiors of both houses and tombs.
Funerary art is any work of art forming, or placed in, a repository for the remains of the dead. The term encompasses a wide variety of forms, including cenotaphs, tomb-like monuments which do not contain human remains, and communal memorials to the dead, such as war memorials, which may or may not contain remains, and a range of prehistoric megalithic constructs. Funerary art may serve many cultural functions. It can play a role in burial rites, serve as an article for use by the dead in the afterlife, and celebrate the life and accomplishments of the dead, whether as part of kinship-centred practices of ancestor veneration or as a publicly directed dynastic display. It can also function as a reminder of the mortality of humankind, as an expression of cultural values and roles, and help to propitiate the spirits of the dead, maintaining their benevolence and preventing their unwelcome intrusion into the lives of the living.
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Tombos or Tumbus is an archaeological site in northern Sudan, including Tombos island and the nearby riverbank area. Tombos is located at the Third Cataract of the Nile and on the northern margin of the Dongola Reach, not far from Kerma. The occupation of Tombos, revealed by archaeological work, began in mid-18th Dynasty of Egypt and continued through the 25th Dynasty. In the New Kingdom period, a large range of pharaonic and private royal inscriptions from 18th Dynasty and elite tombs in Egyptian style indicates Tombos was an important node of Egyptian colonial control. In the New Kingdom, Tombos witnessed the blending and entanglement of Egyptian and Nubian traditions.
Egyptian finger and toe stalls are pieces of gold jewelry used in Ancient Egypt to protect digits during burial. Such stalls were used during the 18th Dynasty of Egypt, as well as other eras, and were thought to protect the deceased from both magical and physical dangers, such as damage which could occur during the mummification process. Additionally, they were sometimes used in order to replace missing digits on the deceased, as it was believed that a complete body was needed for successful passage into the afterlife. This belief mirrors the myth of Osiris, whose body was put back together by his wife Isis, resulting in him becoming the first mummy. Some mummies were buried with prosthetics which they used in life, rather than toe stalls created specifically for burial. These stalls were most commonly found on the remains of royalty. Toe stalls were discovered in the tomb of Tutankhamun, and a nearly complete set of finger and toe stalls was discovered in the tomb of three of the wives of Thutmose III in Thebes. The wives' jewelry is currently on display at the Metropolitan Museum of Art. The stalls from this tomb are some of the earliest known, originating from the early 18th Dynasty. A later surviving example of toe stalls comes from the tomb of Psusennes I, a 21st Dynasty ruler. Although many surviving examples of finger and toe stalls originate from the 18th Dynasty, they were used for much of Ancient Egypt, including into the Ptolemaic and Roman periods. For example, one mummy from this period was found with carved golden finger stalls, similar to those discovered from earlier periods. Though royalty and the upper classes typically had stalls made of gold or silver, less wealthy Egyptians utilized other materials, including wood, stone, and/or mud. In order to provide magical protection for the deceased, a prayer was made to Osiris as the stalls were created. The stalls were often highly detailed, with carved nails and other features, such as rings.