Amenhotep, son of Hapu, was an architect, a priest, a scribe, and a public official, who held a number of offices under Amenhotep III.
He is said to have been born at the end of Thutmose III's reign, in the town of Athribis (modern Banha in the north of Cairo). His father was Hapu, and his mother Itu.[1] He was a priest and a Scribe of Recruits (organizing the labour and supplying the manpower for the Pharaoh's projects, both civilian and military). He was also an architect and supervised several building projects, among them Amenhotep III's mortuary temple at western Thebes, of which only two statues remain nowadays, known as the Colossi of Memnon.
After his death, his reputation grew and he was revered for his teachings and as a philosopher. He was also revered as a healer and eventually worshipped as a god of healing, like his predecessor Imhotep. There are several statues of him as a scribe, portraying him as a young man and as an older man.
According to some reliefs in the tomb of Ramose, he may have died in the 31st year of Amenhotep III.
Manetho however gives a legendary account of how Amenhotep advised a king Amenophis, who was "desirous to become a spectator of the gods, as had Orus, one of his predecessors in that kingdom, desired the same before him". This Amenophis is commonly identified with Akhenaton, while Orus fits with the latter's father, Amenhotep III. Manetho relates that the wise man counseled that the king should "clear the whole country of the lepers and of the other impure people" and that the King then sent 80,000 lepers to the quarries. After this the wise man foresaw that the lepers would ally themselves with people coming to their help and subdue Egypt. He put the prophecy into letter to the King and then killed himself. Manetho associates this event with the Exodus of the Israelites from Egypt but Josephus strongly rejects that interpretation
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Harwa lived at the beginning of the XXVth Dynasty and held one of the most important positions in the theocratic state of Amon of Thebes attaining the position of Grand Steward of the Divine Adoratrice.
The face of Harwa is well known. There are eight statues of him preserved in various Museums (in Aswan, Cairo, Berlin, Paris, and London). The most realistic of these, depict an old, bald man with large face, almond-shaped eyes and a mouth with thin lips. The body is extremely fat, demonstrating the high state of wealth Harwa attained. He is seated with the left leg raised. This peculiar position goes back to the Old Kingdom and it is completely in keeping with the sculpture of the XXV dynasty where some archaising elements go together with a tendency to portray the person in a realistic manner.
The texts engraved on Harwa's statues tell us that he was born in a family of Theban priests. He was son of the "lady of the house", Nestaureret, and of a priest attached to the temple of Amon of Karnak, Padimut son of Ankhefenamon. Harwa embraced the career of his father. He must have been a young priest when Piankhy conquered Egypt. The unpublished statue in Cairo Museum portraying him with his parents must have been produced in that epoch of his life. The inscriptions carved on the statue mention Harwa as imi-khent, a lowly-ranked priestly position, indicating that he was at the very beginning of his career. When Piankhy conquered Egypt, Harwa must have embraced the Nubian cause and it is perhaps because of his loyalty to the king of the XXVth Dynasty that he attained the highest ranks in the Theban clergy. It is impossible to determine when exactly he was appointed to Grand Steward of the Divine Adoratrice, but he is already mentioned in connection with Amenirdis I (the sister of Piankhy).
Harwa held the position of Grand Steward for about forty years from the time of Piankhy, serving under Nubian pharaohs Shabaqo (713 - 698 BCE) and Shebitqo (698 - 690 BCE), until the reign of Taharqo (690 - 664 BCE). It was during this last reign that Harwa must have began his funerary monument
Harwa was an important man in ancient Egypt. He was an important figure in the life of Amenirdis I of ancient Egypt’s XXV Dynasty. He acted as the ‘Chief Steward’, or ‘Grand Steward’ for Amenirdis I, as God’s Wife of Amun and also whilst Queen Amenirdis served as Divine Adoratrice. Additionally, he held the title (as High Priest) of “Doorkeeper in the Temple of Amun”.
Born in to a family of Theban Priests, Harwa held high office in Thebes (modern-day Luxor) with great responsibility to Amun and God’s Wife of Amun, the Divine Votaress, Amenirdis I. He was son of the “Lady of the House”, Nestaureret, and of a Priest attached to the temple of Amun in Karnak, Padimut son of Ankhefenamon.
His tomb is located in el-Assasif, part of the Theban Necropolis, near to Deir el-Bahri and is known as TT37 (Theban Tomb 37) which has been under archaeological examination for some years (14+) and currently not accessible to the public
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Hori was the High Priest of Ptah at the very end of the reign of Ramesses II. Hori succeeded Neferronpet in office.
Hori was a son of prince Khaemwaset and hence a grandson of Ramesses II. Hori had an older brother named Ramesses who had served as Sem priest of Ptah. It was Hori however who would eventually follow in his father's footsteps and become high priest. Hori also had a sister named Isetnofret. It is possible that Isetnofret married her uncle Merenptah and served as his queen. If so, Hori would have been both a nephew and a brother-in-law to pharaoh Merenptah.[1]
Hori is attested on:[2] A pillar originally from his tomb in Saqqara. Hori uses the titles Noble, Chief in charge of Both Lands, Sem Priest and High Priest. He is explicitly said to be the son of Khaemwaset. A stela (BM 167) from the Scribe of the Royal Harem named Ptahemwia
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Karomama Meritmut (prenomen: Sitamun Mutemhat) was an ancient Egyptian high priestess, a God's Wife of Amun during the 22nd dynasty.[1]
She is possibly identical with Karomama, a daughter of Pharaoh Osorkon II, who was depicted in the sed-hall of the pharaoh. She followed Henuttawy as high priestess. She is depicted in the Karnak chapel Osiris-Nebankh ('Osiris, Lord of Life'). A bronze statue of hers, which she received from her treasurer Ahentefnakht, is in the Louvre now;[1] a votive statue of Maat she also received from him, was found in Karnak, a stela of hers, her canopic jars and ushabtis are in Berlin.[2] She was followed as God's Wife by Shepenupet
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Amenirdis I (Khaneferumut) was a God's Wife of Amun in ancient Egypt.[1]
She was a Kushite princess, the daughter of Pharaoh Kashta and Queen Pebatjma. She is likely to have been the sister of pharaohs Shabaka and Piye.[1][2] Kashta arranged to have Amenirdis I adopted by the Divine Adoratrice of Amun, Shepenupet I, at Thebes as her successor.[3] This shows that Kashta already controlled Upper Egypt prior to the reign of Piye, his successor.[4]
She ruled as high priestess approximately between 714 and 700 BCE, under the reigns of Shabaka and Shabataka, and she adopted Piye's daughter Shepenupet II as her successor. Upon her death, she was buried in a tomb in the grounds of Medinet-Habu.[1]
She is depicted in the Osiris-Hekadjet ('Osiris, Ruler of Eternity') temple in the Karnak temple complex, and in Wadi Gasus, along with Shepenupet I. She is mentioned on two offering tables, five statues, a stela and several small objects including scarabs
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Found on Kom Tourougka, near Lake Mareotis, south of Alexandria, in 1880. Copper alloy with precious metal inlay. End of 25th Dynasty, approximately 670 BC. The statue had a ritual votive, and funerary use.
The woman’s name means ‘the Ethiopian’ and may refer to her relation or marriage to an Ethiopian. Her father was Akanosh II, great chief of the Ma tribe from Libya. The figure’s characteristic garment is executed with inlaid decoration, a technique in which the engraved design is inlaid with precious metal wire. The motifs are hieroglyphs and deities of the northeast region of the Nile Delta, Takushit’s homeland
Her name means “the Ethiopian” and possibly refers to a family connection to or a marriage with an Ethiopian. According to the inscriptions that the statue bears, her father was Akan II, the Great Chief of the Libyan tribe Ma, and her office was of priestess “waab” (pure-chaste priestess), which according to the religious hierarchy was the lowest priestly title.
The use of the statue was ceremonial while the priestess was alive, and was part of the ritual equipment of the sanctuary, in which there was a priestess. After her death, it was used for votive and funerary ends and it decorated her tomb, which, according to the custom of the time, is located within the sanctuary precinct.
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Painted coffin panel showing the journey through the Netherworld, from the Roman period.
Top: procession of priests carrying emblems of the gods follows the deceased and Osiris. Middle: Three priests performs rites to the boat shrine of Sokar. Isis and Anubis receive deceased woman. Lower: Deceased with Ma'at arrive; Anubis and Horus weigh his heart against a feather
Egyptian Priest
Isis Priest Holding Osiris Jar under the sea in Alexandria Egypt.
Bald Head Egyptian Priests.
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Egypt Picture - Statue of the First Priest of Amun, Ramessunakht, with the Theban Triad
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Tukuler
multidisciplinary Black Scholar
Member # 19944
posted
That Roman era coffin painting, I've seen its likes depicting a pink man among a 9 Bows type representation and maybe also a female captive 9 Bows scene too.
Something else from Boston. "Wooden face from a statue dating to the 1st Dynasty." is all they have to say about it.
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quote:Originally posted by Tukuler: That Roman era coffin painting, I've seen its likes depicting a pink man among a 9 Bows type representation and maybe also a female captive 9 Bows scene too.
Something else from Boston. "Wooden face from a statue dating to the 1st Dynasty." is all they have to say about it.
Priest with leopard skin and papyrus scroll in his hand. On his skirt is an image of Osiris. Third Intermediate Period, 25th Dynasty, ca. 945-712 B.C. (London, British Museum. Bild: Hill, Marsha: Gifts for the Gods (Catalogue Metropolitan Museum of Art, NewYork, 2007, p. 61)
Priest Pediamun with a Sekhmet-Amun-Nefertem Pectoral, Third Intermediate Period, ca. 8th cent. B.C., (Photo: Hill, M.: Gifts for the Gods, p. 64
God's Father"Khonsumeh. At the side of his skirt an offering scene is depicted, showing "God's Father" Pasheriense - probably a relative of Khonsumeh. Third Intermediate Period, ca. 10th-9th cent. B.C. (Berlin, Neues Museum. Bild: Hill, M.: Gifts for the Gods, p. 77)
Priest Khonsumeh
Statue, Roman period, showing the mixture of traditional Egyptian elements with Roman sculptural tradition (Munich)
rocession of priests, perhaps 4th cent. A. D. Attention at the laurel on their heads! (Column was found in Italy, today: Turin, Egyptian Museum)
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Anen was an Ancient Egyptian official during the late Eighteenth dynasty of Egypt. He was the son of Yuya and Tjuyu and the brother of Queen Tiye, the wife of Pharaoh Amenhotep III. Under the rule of his brother-in-law, Anen became the Chancellor of Lower Egypt, Second Prophet of Amun, sem-priest of Heliopolis, and acquired the title Divine Father.
Anen is depicted in a notable surviving statue (Turin 5484), now in Turin Italy. A shabti of his is now in Hague. Inscriptions on Anen's own monuments do not mention the fact that he was Amenhotep III's brother-in-law.[1] However, this relationship is established by a short but clear reference to him in his mother Tjuyu's coffin, which stated that her son Anen was the second prophet of Amun.[2]
It is likely that he died before Year 30 of Amenhotep III, since he is not mentioned in texts relating to the pharaoh's sed-festival[3] and in the last decade of Amenhotep's reign another man, Simut takes over Anen's place as Second Prophet of Amun. Simut had been Fourth Prophet of Amun previously.
Anen was buried in his tomb in the Theban Necropolis, on the west bank of the Nile opposite Thebes. His son and four daughters are depicted in his tomb, but their names didn't survive.[4] But there is to say it is not clear where Dodson / Hilton have there informations from. The last Egyptologist (Lyla Pinch-Brock) working in the tomb found no advice for these children. There is also no mention in the diarys by Norman de Garis Davies
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An Egypto-Roman black basalt bust of a priest, probably 1st century A.D., probably from a seated figure with his arms held on his sides, wearing a chiton and a himation, with almond-shaped eyes inset with glass, realistic features
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Cheikh Anta Diop (né le 29 décembre 1923 à Thieytou - mort le 7 février 1986 à Dakar) est un historien, anthropologue, égyptologue et homme politique sénégalais. Il a mis l'accent sur l'apport de l'Afrique et en particulier de l'Afrique noire à la culture et à la civilisation mondiales. Ses thèses restent aujourd'hui contestées, et sont peu reprises dans la communauté scientifique1,2,3. Si une grande partie de ses thèses, en particulier au sujet de l'Égypte antique, sont considérées comme dépourvues de fondements solides, Cheikh Anta Diop a toutefois eu un indéniable rôle de visionnaire en ce qui concerne la place de l'Afrique dans l'histoire. Sa vision peut en effet être interprétée comme une anticipation des découvertes archéologiques majeures des années 2000 sur le continent africain que ce soit Kerma ou, beaucoup plus ancien, Blombos
L'Égypte comme une civilisation négro-africaine
L'égyptologie « afrocentrée » est un domaine de recherche initié par Cheikh Anta Diop, où l'on étudie la civilisation de l'Égypte ancienne en partant du postulat qu'elle est une civilisation négro-africaine. En effet, selon Diop, la civilisation égyptienne serait une civilisation « nègre ».
Par ses habitants
Auteurs anciens
Diop rapporte que selon Hérodote, Aristote, Strabon et Diodore de Sicile - qui furent tous des témoins oculaires des Égyptiens anciens à l'époque où ceux-ci vivaient encore, contrairement aux égyptologues depuis Champollion jusqu'à nos jours qui n'ont pu, tout au plus, qu'étudier des momies égyptiennes - les Égyptiens avaient la peau « noire et les cheveux crépus »31. Il signale également l'opinion du comte de Volney32, pour qui les Coptes « ont le visage bouffi, l'œil gonflé, le nez écrasé, la lèvre grosse ; en un mot, un vrai visage de Mulâtre. J'étais [c'est évidemment Volney qui parle à la 1re personne] tenté de l'attribuer au climat, lorsque ayant été visiter le Sphinx, son aspect me donna le mot de l'énigme. En voyant cette tête caractérisée Nègre dans tous ses traits [il s'agit bien sûr de la tête du Sphinx, tête qui est à l'effigie d'un pharaon de l'Ancien Empire], je me rappelai ce passage remarquable d'Hérodote, où il dit : Pour moi, j'estime que les Colches sont une colonie des Égyptiens, parce que, comme eux, ils ont la peau noire et les cheveux crépus : c'est-à-dire que les anciens Égyptiens étaient de vrais Nègres de l'espèce de tous les naturels d'Afrique ; et dès lors, on explique comment leur sang, allié depuis plusieurs siècles à celui des Romains et des Grecs, a dû perdre l'intensité de sa première couleur, en conservant cependant l'empreinte de son moule originel. ». D'autres auteurs, comme Mubabinge Bilolo, reprendront et développeront cet argument.
La plupart des égyptologues occidentaux[Lesquels ?] contestent cette thèse en se basant sur les milliers de représentations humaines figurant dans les tombes ou les temples d'époque pharaonique : lorsque les Égyptiens y font figurer d'autres peuples, comme les Syriens, les Libyens, ils leur donnent d'autres traits et d'autres vêtements (les Syriens portent la barbe et une robe, par exemple). Or ils ont maintes fois représenté les Noirs du Soudan, le pays de Kouch, avec des traits africains et une peau noire, alors qu'ils se représentaient eux-mêmes avec une peau claire et des traits proches de ceux des Égyptiens modernes.
Kemet
Article détaillé : Kemet.
Selon Cheikh Anta Diop, par l'expression Kemet, les Égyptiens se seraient désignés dans leur propre langue comme un peuple de « Nègres »33.
À l'appui de sa thèse, il invoque une graphie « insolite34 » de km.t montrant un homme et une femme assis, graphie traduite par « les Égyptiens », mais que l'égyptologue afrocentrique Alain Anselin traduit comme « une collectivité d'hommes et de femmes noirs35 ». On n'en connaît qu'une seule occurrence36, dans un texte littéraire du Moyen Empire.
En égyptien ancien, Kemet s'écrit avec comme racine le mot km, « noir », dont Diop pense qu'il est à l'origine étymologique de « la racine biblique kam ». Pour lui, les traditions juive et arabe classent généralement l'Égypte comme un des pays de Noirs37. En outre, selon Diop, le morphème km a proliféré dans de nombreuses langues négro-africaines où il a conservé le même sens de « noir, être noir » ; notamment dans sa langue maternelle, le wolof, où khem signifie « noir, charbonner par excès de cuisson », ou en pulaar, où kembu signifie « charbon ».
Selon la plupart des égyptologues occidentaux, si l'Égypte était appelée le « pays noir » à l'époque pharaonique, c'était par référence à la couleur de la terre[réf. nécessaire], fertile car irriguée par le Nil, qui se différenciait du désert environnant, de couleur sable ou jaune.
Tests de mélanine
Selon Cheikh Anta Diop, les procédés égyptiens de momification ne détruisent pas l'épiderme au point de rendre impraticables les différents tests de la mélanine permettant de connaître leur pigmentation. Au contraire, eu égard à la fiabilité de tels tests, il s'étonne qu'ils n'aient pas été généralisés sur les momies disponibles. Sur des échantillons de peau de momie égyptienne « prélevés au laboratoire d'anthropologie physique du musée de l'Homme à Paris », Cheikh Anta Diop a réalisé des coupes minces, dont l'observation microscopique à la lumière ultraviolette lui fait « classer indubitablement les anciens Égyptiens parmi les Noirs »38.
Par sa langue
L'argument linguistique de Diop comporte deux volets39. D'une part, il essaie de prouver que l'égyptien ancien n'appartient pas à la famille afroasiatique40. D'autre part, il tente d'établir positivement la parenté génétique de l'égyptien ancien avec les langues négro-africaines contemporaines41.
Ainsi, d'après Diop et Obenga, les langues négro-africaines contemporaines et l'égyptien ancien ont un ancêtre linguistique commun, dont la matrice théorique (ou « ancêtre commun prédialectal ») aurait été reconstituée par Obenga, qui l'a baptisée « négro-égyptien ».
La langue maternelle de Cheikh Anta Diop est le wolof, et il apprend l'égyptien ancien lors de ses études d'égyptologie, ce qui, selon Diop, lui aurait permis de voir concrètement qu'il y avait des similitudes entre les deux langues42. Il a donc tenté de vérifier si ces similitudes étaient fortuites, empruntées ou filiales.
Diop observe une « loi de correspondance » entre n en égyptien et l en wolof. Il observe également que, en présence d'un morphème ayant une structure nd en égyptien, on rencontre généralement un morphème équivalent en wolof de structure ld. Le spécialiste de la linguistique historique Ferdinand de Saussure a établi que ce type de correspondances régulières n'est presque jamais fortuit en linguistique, et que cela a force de « loi » phonologique, dite sound law43.
Pour Diop, la structure consonantique du mot égyptien (nd) est la même que celle du mot wolof (ld), sachant que souvent les voyelles ne sont pas graphiées en égyptien, même si elles sont prononcées. Cela veut dire, selon lui, que, là où l'on note a pour l'égyptien, il est possible de rencontrer une toute autre voyelle dans le morphème wolof équivalent. Dans ce cas la correspondance ne serait approximative qu'en apparence, car c'est la phonétisation (la prononciation) de l'égyptien selon les règles de prononciation sémitiques qui serait erronée. Bien entendu, une telle loi ne se déduit pas de deux ou trois exemples, elle suppose l'établissement de séries lexicales exhaustives, comme on en trouve dans les ouvrages dédiés de Diop44. La méthodologie de comparaison de Diop est rejetée par des linguistes modernes, comme Russell Schuh45.
Par la culture spirituelle
Cosmogonie[modifier le code]
Selon Cheikh Anta Diop46, la comparaison des cosmogonies égyptiennes avec les cosmogonies africaines contemporaines (Dogon, Ashanti, Agni, Yoruba47, etc.) montre une similitude radicale qui témoigne selon lui d'une commune parenté culturelle. Il avance une similitude du Dieu-Serpent dogon et du Dieu-Serpent égyptien, ou encore celle du Dieu-Chacal dogon incestueux et du Dieu-Chacal égyptien incestueux. L'auteur invoque également les isomorphies Noun/Nommo, Amon/Ama ; de même que la similitude des fêtes des semailles et autres pratiques cultuelles agraire ou cycliques.
Totémisme
Le totem est généralement un animal considéré comme une incarnation de l'ancêtre primordial d'un clan. À ce titre, ledit animal (ou parfois un végétal) fait l'objet de tabous qui déterminent des attitudes cultuelles spécifiques au clan, qu'on désigne par le terme de totémisme. Selon Diop48, cette institution et les pratiques cultuelles afférentes sont attestées en Égypte tout comme dans les autres cultures « négro-africaines ».
Circoncision et excision
Selon Diop49, les Égyptiens pratiquaient la circoncision dès la période prédynastique. Se fondant sur un témoignage d'Hérodote dans Euterpe, il pense que cette institution se serait diffusée aux populations sémitiques depuis l'Égypte. Elle est attestée dans d'autres cultures « négro-africaines », notamment chez les Dogons où elle est le pendant de l'excision. Ainsi, pour Diop, circoncision et excision sont des institutions duelles de sexuation sociale ; celles-ci résulteraient des mythes cosmogoniques de l'androgynie originelle de la vie, en particulier de l'humanité (il cite l'exemple de l'androgynie d'Amon-Râ). L'excision demeure pratiquée en Égypte moderne (elle fut même combattue récemment par Suzanne Moubarak)
Par sa sociologie
Royauté sacrée
Selon Josep Cervello Autuori, la royauté égyptienne emporte une dimension sacerdotale comme ailleurs en Afrique noire50. Mais, selon Diop51, un trait encore plus singulier commun aux souverains traditionnels africains consiste en « la mise à mort rituelle du roi »52. Cette pratique serait attestée, notamment chez les Yorouba, Haoussa, Dagomba, Tchambas, Djoukons, Igara, Songhoy, Shillouks. Selon Diop, les Égyptiens auraient également pratiqué le régicide rituel, qui serait devenu progressivement symbolique, à travers la fête-Sed, un rite de revitalisation de la royauté53.
Matriarcat
Pour Diop54, le matriarcat est au fondement de l'organisation sociale « négro-africaine ». Aussi serait-il attesté comme tel en Égypte ancienne : aussi bien à travers le matronymat que par la distribution matrilinéaire des pouvoirs publics.
Stratification sociale
Selon Diop55, la société égyptienne ancienne était structurée hiérarchiquement de la même façon que les autres sociétés « négro-africaines » anciennes. Du bas de l'échelle socioprofessionnelle en montant, la stratification sociale se composerait de : paysans, ouvriers spécialisés, appelés « castes » ailleurs en Afrique noire, guerriers, prêtres, fonctionnaires, Roi sacré, appelé « Pharaon » en égyptologie.
Par sa culture matérielle
Les plus vieux ustensiles et techniques de chasse, pêche, agriculture attestés en Égypte sont similaires à ceux connus dans les autres régions de l'Afrique. De même que les différentes coiffures et leurs significations, les cannes et sceptres royaux[réf. nécessaire]. Les travaux d'Aboubacry Moussa Lam sont particulièrement décisifs pour ce champ de la recherche ouvert par Diop.
L'ensemble des différents types d'arguments que les afrocentristes invoquent mobilise diverses disciplines scientifiques, et constitue d'après eux un « faisceau de preuves », c'est-à-dire un système argumentaire global, ayant sa propre cohérence interne qui l'établit comme un paradigme épistémologique autonome.
Toutefois, la préoccupation de Diop consiste moins à innover en matière d'historiographie de l'Afrique, qu'à connaître profondément l'histoire de l'Afrique en vue d'en tirer les enseignements utiles pour agir efficacement sur son avenir. Il ne s'agit pas davantage de s'enorgueillir puérilement de quelque passé glorieux, mais de bien connaître d'où l'on vient pour mieux comprendre où l'on va. D'où sa remarquable prospective politique dans Les fondements culturels, techniques et industriels d'un futur État fédéral d'Afrique noire (Présence africaine, 1960) ; et son implication concrète dans la compétition politique au Sénégal, son pays natal.
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Priest of Bastet with the God Harpocrat Cippi
Statue prophylactique d'un prêtre de Bastet portant une stèle représentant le Harpocrate debout sur des crocodiles et tenant des serpents, la tête durmontée par le masque du dieu Bès - XXXe dynastie égyptienne
Priests of Ptah Nedjem and Nebpou
Priests of Ptah Nedjem and Nebpou
Groupe statuaire des grands prêtres de Ptah Sehotepibrêânkh Nedjem et Nebpou - Règne de Sésostris III - XIIe dynastie égyptienne - Musée du Louvre
Priest offering Maat aka Goddess law, order, justice and righteousness.
Nuovo regno, XVIII dinastia, statua di scriva di amunhotep, figlio di nebiry, 1426-1400 ac ca..
posted
Block statues could be found in either tombs or temples. The human figure is carved as a simple, cubic mass that is both stable and durable, important features for an object intended to be an eternal dwelling place for the spirit of its deceased owner. The surface of the block also provided space for inscriptions. The texts on this statue are addressed to the clergy of the temple, requesting offerings and other benefits for Ankh-pekhred
This block sculpture depicts a squatting priest. It is inscribed on the rear, the front dress and the lap.
This black granite sculpture depicts a squatting figure with nknees drawn up and arms folded on the knees
This block statue is of a squatting man with an inscription on the front dress and rear
This sculpture has been carved in the round and depicts a figure with knees drawn up, arms crossed, and hands holding an ankh and a flower. There is an inscription on the front of the dress, and on the rear column
The end of the 25th Dynasty and the beginning of the 26th was a time of stylistic experimentation. Sculptors revived traditional forms, with modifications, and also created innovative decorations. The application to the chest of incised figures of the god Osiris lasted only until the end of the reign of King Psamtik I (610 BC).
The flesh folds around the mouth, the pockets beneath the eyes, the sharply furrowed brow, and the downward turn of the mouth impart a sense of emotion and experience to this sculpture. Indeed, the expression is almost fierce
This statue is carved in very high relief. It depicts two males and two female figures with their hands at their sides. There may be traces of inscriptions on their dresses. The corner of the base is broken off.
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This squatting figure has his knees drawn up and his arms crossed on his knees. He wears a wig. On the front is the deceased worshipping Osiris. There are incised hieroglyphics around the pedestal, the rear column, and the front dress
This statuette of a standing male figure is jointed at the shoulders and at the bottom of the skirt. The man's hair is done with black dots on white. The foreparts of the feet are made separately. The man wears a white skirt. The paint is largellygone from the upper part of the body. The nails are white. The piece is on its original base. There is a wood pin through the base into a prong under each foot. The workmanship of the piece is good
This sculpture of a man is probably shop work. The man has his hands at his sides. There is an inscription on the front of his dress, and on a stele at back. The piece is broken at the ankles
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Shown in the elaborate wig and gown of a New Kingdom courtier, Hor-nakht is depicted as a participant in a temple procession, carrying the standard of a ram-headed deity, perhaps Amen-re, in his left hand. The presence of an "ankh," or life sign, in his right hand is unusual for a statue that does not represent either a king or a god. In this case, it may be an item used in temple ceremonies. The statue's inscriptions request benefits for Hor-nakht from the gods Amen-re and Osiris, including life, prosperity, and health
This statuette of mediocre workmanship represents its owner, a man named Sa-Hathor (meaning "son of Hathor"). His proper left leg is advanced. His hands, palms down, are placed in front of a short, smooth, belted kilt that reaches to his knees, and which has a trapezoidal section projecting in front. One end of his kilt is visible above his belt. A rear pillar is present which reaches to the middle of his back. This piece is well preserved and only has damages of an insignificant magnitude. The back pillar is damaged, as well as the corners of the base, and the top of the proper right ear is broken off. There is surface pitting on the upper right leg, the front of the kilt, and the top of the head. There is black discoloration present on the back, shoulders, neck, and head. The statuette combines aspects of Middle Kingdom sculpture with features that harken back to the sculptural style of the Old Kingdom. The Middle Kingdom preference for hard, dark stones is
A remarkable example of the re-use of a work of art, reflecting the course of Egypt's long history, this statue was originally carved to commemorate a powerful government official. A thousand years later the inscription naming this unknown man was erased, and a carved scene was added depicting its new owner, Pa-di-iset, son of Apy, worshipping the gods Osiris, Horus, and Isis. From a text on the rear of the statue we learn that Pa-di-iset was a diplomatic messenger to the neighboring lands of Canaan and Peleset (Palestine).
The statue represents the charioteer Psametik-mry-Re. He stands holding a large figure of the god Osiris, Lord of the Underworld. Such "Osirophorus" figures were popular during the Egyptian Late Period (7th-4th century BC). They were placed in temples to guarantee the participation of the person depicted in the rituals for the gods
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This sculpture is of a man standing with both hands clenched at his sides. He has a shaven head. and is wearing ribbed skirt. He has a cloth in his right hand
This dark gray stone ushabti, belonged to Amen-em-ipet, the Chief of the Doorkeepers. Typical of ushabtis of the Ramesside Period he does not wear a mummiform garment, but rather a long pleated robe, representative of the clothing of the upper class. On the pleated apron at the front of the robe. The dividing lines between the lines of text have been painted red. The figure stands upon a small rounded base and seems to have a squared pillar between his feet. Also typical of this period he wears a duplex wig with the hair curled into small plaits and a double necklace. His arms are crossed over his chest and he holds a "djed" pillar, the symbol of stability in his right hand, and a "tjet" or knot of Isis in his left hand for protection. His face is broad and reminiscent of a funerary mask, with delicate cosmetic lines. The mouth is well defined and almost smiling and he wears a very short squared beard. There is a modern hole beneath the feet from a previous mounting
The top of a wrap-around garment is seen on this unfinished work. It may have been intended as a royal statue, then altered for a private owner, which would explain the chiseled area on the forehead where the uraeus serpent, a symbol of royalty, may have been
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quote:Originally posted by mena7: Priest of Bastet with the God Harpocrat Cippi
Statue prophylactique d'un prêtre de Bastet portant une stèle représentant le Harpocrate debout sur des crocodiles et tenant des serpents, la tête durmontée par le masque du dieu Bès - XXXe dynastie égyptienne
Priests of Ptah Nedjem and Nebpou
Priests of Ptah Nedjem and Nebpou
Groupe statuaire des grands prêtres de Ptah Sehotepibrêânkh Nedjem et Nebpou - Règne de Sésostris III - XIIe dynastie égyptienne - Musée du Louvre
Priest offering Maat aka Goddess law, order, justice and righteousness.
Nuovo regno, XVIII dinastia, statua di scriva di amunhotep, figlio di nebiry, 1426-1400 ac ca..
Block Statue of Nes-Ba-Neb-Dedet
Never get tired of this one.
That is some tough stonemasonry... and would you look at all the fittingly proportioned pictures on them!
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This fragment was once part of a double statue and would have probably shown the man seated with his wife to his left. His costume is the same as that worn by the royal scribe Nahu, also shown here. The three stylized flesh folds on the official's upper abdomen were a conventionalized method of showing relatively advanced age and prosperity. The remaining hieroglyphic text (on the back) mentions Ptah and Sokar, gods associated with ancient Memphis, suggesting that this sculpture came from the official's tomb at Saqqara, which was the primary necropolis, or cemetery, of Memphis.
Priest Pen-maat Holding a Shrine This kneeling male figure is holding a shrine. There is an inscription on a stele and on the front of the base
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An Egyptian dark granite head of a man, Late Period, c. 664 - 332 BC, bald, his features youthful and handsome with rounded cheeks and well-formed nose and eyes. H: 2 ¾ in (7 cm). Intact with light deposits. Ex English private collection
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Block Statue of Pede Amon Neb Nesut Tewy This block sculpture depicts a squatting priest. It is inscribed on the rear, the front dress and the lap.
Block ststue of Neb Ba Dedet
Black statue of Nes Min This seated figures has his knees drawn up and his hands on his knees
Block Statue of Nes Min This black granite sculpture depicts a squatting figure with nknees drawn up and arms folded on the knees
Block Statue of Semb This seated figures has his knees drawn up and his arms crossed on his knees. His feet are broken in front
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This fragment was once part of a double statue and would have probably shown the man seated with his wife to his left. His costume is the same as that worn by the royal scribe Nahu, also shown here. The three stylized flesh folds on the official's upper abdomen were a conventionalized method of showing relatively advanced age and prosperity. The remaining hieroglyphic text (on the back) mentions Ptah and Sokar, gods associated with ancient Memphis, suggesting that this sculpture came from the official's tomb at Saqqara, which was the primary necropolis, or cemetery, of Memphis
This statue has been carved in the round and painted. The piece is of fairly careful workmanship. The man wears a long skirt that is flat at the front. His arms are at his sides, and his hands are clenched with openings. His hair is smooth and painted black. There are prongs under both of his feet. The base is modern
This sculpture depicts the head and torso of man, the remainder is broken off. The man wears a wig. There is part of an inscription on the rear
The owner of this statue is depicted in a royal pose, wearing a shendit-kilt and a wig similar in shape to the royal "nemes" head cloth. He has long hair, and a ribbed shirt. His right hand is clenched on his knee and his left hand is open on his knee. In his right, he holds a cloth with two ends showing
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Nes Ptah Priest of Osiris. This piece is sculpted in the round and has an inscription around the pedestal, on b oth sides of the shrine, over the shrine entrance, to the left side of the rear column and on the rear of the rear column.
Priest Hor Wer The elegance and lack of emotion in this statue's face characterize sculpture of the Ptolemaic Period. The inscription on the statue's back pillar records that Hor-wer was a member of the clergy and served three of the gods of the Theban area: Amen-re, Min, and Khonsu
Priest of God Montu Djed Khonsu
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[IMG]Dikran Kelekian, New York and Paris [date and mode of acquisition unknown]; Henry Walters, Baltimore, [date of acquisition unknown] by purchase; Walters Art Museum, 1931, by bequest.[/IMG] Seated Imhotep Dikran Kelekian, New York and Paris [date and mode of acquisition unknown]; Henry Walters, Baltimore, [date of acquisition unknown] by purchase; Walters Art Museum, 1931, by bequest.
The statue represents the charioteer Psametik-mry-Re. He stands holding a large figure of the god Osiris, Lord of the Underworld. Such "Osirophorus" figures were popular during the Egyptian Late Period (7th-4th century BC). They were placed in temples to guarantee the participation of the person depicted in the rituals for the gods.
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Amenhotep, high priest of Amun, and Ramses IX - Wall relief on second axis, Karnak temple of Amun-Ra, Egypt
The High Priest of Amun Amunhotep and pharaoh Ramesses IX at Karnak
Amenhotep was the High Priest of Amun towards the end of the Twentieth Dynasty of Egypt, serving under Ramesses IX, Ramesses X and Ramesses XI. He was also vizier, or great confidant, to his master and was first prophet of Amun-resonther. He was the son of Ramessesnakht, the previous high priest of Amun.[1]
Amenhotep and Ramesses IX During the reign of Ramesses XI, the Viceroy of Nubia Pinehesy attacked Thebes and besieged the high priest at the fortified temple of Medinet Habu. [2][3]
During the first decades of the 20th century there was much confusion about both the date of the suppression and the role of Pinehesy. Whereas an early Egyptologist as Wilhelm Spiegelberg assumed that it was Amenhotep himself who rebelled, Sethe showed that Amenhotep was the victim rather than the oppressor. More often than not the suppression was placed in the reign of Ramesses IX or in the early years of Ramesses XI. It is now commonly accepted that the suppression took place only shortly before the Whm Mswt, the era which started in year 19 of Ramesses XI.
It is not known for certain whether the High Priest, Amenhotep, survived this attack. However, Wente published a heavily damaged inscription from Karnak in which a High Priest (name lost, but almost certainly Amenhotep) looks back at a period of suppression. The text is highly suggestive of Amenhotep having been restored to his former position after an appeal to the king. [4]
In 1962 G. Fecht published the theory that Papyrus Moscow 127, popularly known as the "Tale of Woe" or the "Letter of Wermai" was in fact a Roman à clef, containing veiled references to the suppression of Amenhotep by the Viceroy Pinehesy, with the name Wermai interpreted as a word play on a similar sounding pontifical title.[5] If Fecht is right, the Tale of Woe provides additional evidence that Amenhotep returned to office
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Priest Tjaty This sculpture of a man is probably shop work. The man has his hands at his sides. There is an inscription on the front of his dress, and on a stele at back. The piece is broken at the ankles
Sesostris wears a short tripartite kilt and a curled wig. He has lost his traditional attributes-the staff in the left hand and the scepter in his right. The inscription on the base contains an offering formula that promises: "The king may guarantee offerings [to the god] Osiris [that he may give] mortuary offerings of bread, beer, oxen, fowl, and incense to Sesostris
This figure has been carved in the round and painted. He has short hair, plain black. His arms are joined at the shoulders, his right hand is open, his left is clenched, with a hole. Hw has a white belt, tied at the front. There is a pin set into the front, above the belt. His left leg is broken at the knee, his right foot is made separately and is gone. There is a prong under his right heel, inset into the base
This statuette of a standing male figure is jointed at the shoulders and at the bottom of the skirt. The man's hair is done with black dots on white. The foreparts of the feet are made separately. The man wears a white skirt. The paint is largellygone from the upper part of the body. The nails are white. The piece is on its original base. There is a wood pin through the base into a prong under each foot. The workmanship of the piece is good
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Found in a rock-cut tomb at Deshasheh, located about seventy miles to the south of modern Cairo, this pair statue of the mayor Nen-kheft-ka and his wife Nefer-shemes exemplifies in the pose and relative scale of its subjects the standard Egyptian artistic conventions for the representation of men and women. Nen-kheft-ka strides forward with his left foot and holds his arms closely at his sides, while his wife is depicted on a smaller scale and stands with her feet together. Each statue was carved separately and altered prior to burial to fit into a shared base.
Tombs sometimes contained more than one statue representing the owner. The statues were usually inscribed with the owner's name and titles, and they served as a focus for funerary rituals. These examples, belonging to a man named Tef-ib, are unusual in that they represent the tomb owner while also bearing inscriptions referring to the four sons of Horus, who protected the internal organs of the deceased. These deities were also identified with the north, south, east, and west, and the statues may have been placed in the tomb in accordance with these directions. The differing facial features of these statues (including Walters 22.10, 22.11, 22.13) suggest that they were made by more than one artist. Notice as well, the sizes of the four figures differ as well as their wigs
Tombs sometimes contained more than one statue representing the owner. The statues were usually inscribed with the owner's name and titles, and they served as a focus for funerary rituals. These examples, belonging to a man named Tef-ib, are unusual in that they represent the tomb owner while also bearing inscriptions referring to the four sons of Horus, who protected the internal organs of the deceased. These deities were also identified with the north, south, east, and west, and the statues may have been placed in the tomb in accordance with these directions. The differing facial features of these statues (including Walters 22.11, 22.12, 22.13) suggest that they were made by more than one artist. Notice as well, the sizes of the four figures differ as well as their wigs
Tombs sometimes contained more than one statue representing the owner. The statues were usually inscribed with the owner's name and titles, and they served as a focus for funerary rituals. These examples, belonging to a man named Tef-ib, are unusual in that they represent the tomb owner while also bearing inscriptions referring to the four sons of Horus, who protected the internal organs of the deceased. These deities were also identified with the north, south, east, and west, and the statues may have been placed in the tomb in accordance with these directions. The differing facial features of these statues (including Walters 22.10, 22.12, 22.13) suggest that they were made by more than one artist. Notice as well, the sizes of the four figures differ as well as their wigs
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Statue of Meryma’at, Thebes, Dra Abu el-Naga, late Dynasty 18 or early Dynasty 19 (1332-1279 BCE), limestone. Meryma’at was a barber in the cult of Amun. The inscription on his kilt is a prayer to that god requesting offerings of food and drink and a happy life for his ka, or life force. Barbers had an important function in the temple, since priests had to shave their entire bodies before performing rites
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Senmut - Steward, priest, tutor, and all around go-to guy for Pharaoh Hatshepsut. Here he is seated with her daughter Neferura. This is my favorite statue from Ancient Egypt. It looks so loving and tender
Granite statue architectural element from the funerary temple of Unnefer I, head priest of the god Osiris. The inscription refers to his family tree. From Abydos. New Kingdom, 19th Dynasty, 1307-1196 BC. Egypt STATUETTE: eines Priesters mit Hathorsymbol (statuette of a priest with Hathor symbol)
the priest of Amon, Kaminem with his wife and son (the time of Thutmose III, Dynasty XVIII) - Louvre Museum
[IMG]An Inmutef priest making an offering, from the Tomb of Ramesses IX [/IMG] An Inmutef priest making an offering, from the Tomb of Ramesses IX
'Priests at Dendera.' A relief on the wall of the western staircase of the Hathor Temple at Dendera shows priests carryin
Shabti Chaemwas (son of Ramses II)
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Ancient Egyptian Vignette from the Book of the Dead Penmaat. Penmaat is depicted in his position as a priest of Amun, burning incense and showing the shaved head that was required for priestly purity. British Museum
A priest with a papyrus scroll in his right hand; on his skirt the first words of a prayer to Osiris (Middle Kingdom, Pelizaeus-Museum Hildesheim, Bild aus: Das Geheimnis der Mumien (Kat.))
Statue of Neb-Ra, Priest and Standard-bearer of the Goddess Sekhmet; now in the Luxor Museum, Egypt
Imhotep was an Egyptian polymath,[1] who served under the Third Dynasty king Djoser as chancellor to the pharaoh and high priest of the sun god Ra at Heliopolis. He is considered to be the first architect[2] and engineer[3] and physician in early history[4] though two other good physicians, Hesy-Ra and Merit-Ptah lived around the same time
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Statuettes of high priest Amenhotep - The Pushkin Museum of Fine Arts
Wonderfully lively portrait of Egyptian priest Irethorrou, dead, nearly 3,000 years, reconstructed from his skull and mummified remains. According to the coffin text, Irethorrou was wardrobe-priest of Min, responsible for caring for the god’s statue. Other titles indicate that he also specialized in funerary rituals. He is described as servant of the important funerary deity Osiris-Sokar, a position held by earlier members of his family
Lot | Sotheby's AN EGYPTIAN SANDSTONE BUST OF A THEBAN PRIEST, 19TH DYNASTY formerly holding the image of a deity before him, and wearing a short beard and double wig, the back-pillar carved with a column of inscription translating "Count in the court of Geb and setem-priest in Akhet[...];" remains of pigmen
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Statue of the Priest Harnefer, son of Nesmin and of Nehemesrattawy Date: 400–300 B.C. Karnak, Temple of Amun, Cachette Accession Number: 17.120.145
Statue of Yuny, Dynasty 19 (ca. 1290-1260 B.C.) Asyut. Limestone. Yuny was the son of Amenhotep, a renowned physician and priest of Sekhmet. Dressed in the wig, robe and footwear of nobility, Yuny's shown kneeling and grasping an elaborately decorated shrine dedicated to Osiris, the Egyptian god of resurrectio
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Statue of Padimahes, priest of Bastet, with magical texts for healing, 30th Dynasty or early Ptolematic
Mummy coffin of Djedmontefanch, a priest of Amun, ~ 945 BC - 712 BC
Standing Wood Gilded Statue of Lady Tuty - Egypt ca. 1390-1352 B.C.E.
One of the daughters of Akhenaten and Nefertiti, this is probably the oldest Meritaten.yes her head problebly looked like that
Silver statue of a royal woman (front view) with the cartouches of Necho II on her arms, Egypt, 610–595 BC
Silver statue of a royal woman (rear view) with the cartouches of Necho II on her arms, Egypt, 610–595 BC
Silver Statue of a Royal Woman with the Cartouches of Necho II on her Arms, Egypt, 610-595 BCE
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