Analysis Of Meret-It-It-Es

This latter point is exceedingly salient, and the prominent featuring of Egyptian gods throughout Tutankhamun’s tomb denotes the considerable cultural significance of religion and the way in which it essentially governed much of ancient Egyptian society. Correspondingly, such artefacts as the Shabti dolls further emphasize the importance of the afterlife, as the minuscule dolls are intended to represent servants for the pharaoh in life after death. This illustrates that the pharaoh was regarded as a hugely esteemed figure and shows the focus that was placed upon ensuring that the afterlife was a comfortable and hospitable environment for the ruler.

The Mummy Case of Paankhenamun was composed of a substance known as cartonnage, which was usually made out of linen or papyrus strips bound together with a sticky substance in order to form a flexible shell. After mummification, the wrapped body was placed in the coffin-case through the back, which was then laced up and a footboard was added for support. Only then the case was ready to be painted. Such cartonnage cases as the case of Paankhenamun were normally placed inside one or more layered wooden coffins and were also decorated. The innermost coffin was always in the shape of the mummy and due to its utmost importance, it was the case with the richest decorations. The amazing detail is still a wonder to many historians and anthropologists (Stockstad 120-3).

The coffin and mummy of Djedmaatesankh are known as one of the few unopened coffins, retaining the original seal. Currently, it has been decided not to open the coffin in order to examine the mummy within due to the fact that it would severely damage the artwork and hieroglyphs that have been painted on the outside. The coffin is made of cartonnage, which is created with moulded linen and plaster and is painted on the outermost layer. These paintings describe the story of Djedmaatesankh’s life, as well as references to the Book of Caverns in order to provide the body “with safe protection as it makes its journey through the underworld on its way to eternal life in the Field of Reeds”. The coffin is from the 3rd intermediate period of ancient Egyptian culture and has been dated to 945-715 BC, coinciding with the 22nd Dynasty in which Ian Shaw relays that the “Chief of the Meshwesh Sheshonq (King Sheshonq I)” ruled. The base materials used are linen and plaster to form the cartonnage, and the artwork on the outermost layer uses a combination of paint and gold leaf to create depictions of Djedmaatesankh’s life. Ancient Egyptians used paint made from a mixture of pigment and plaster to paint on coffins and sarcophagi, and the higher classes used increased amounts of gold leaf as well. Djedmaatesankh’s coffin would be classified as funerary art, which had been created to be of use in funerary rituals and practices. Djedmaatesankh’s coffin is an excellent example of the extensive

The Process of Mummification The earliest ancient Egyptians buried their dead in small pits in the

The Greeks took care of the dead by washing them, putting them in tombs, and bringing offerings to their grave. The women’s role was to wash and wrap the dead bodies in cloth. They also decorated them with flowers and herbs. The men dug the area in which the body was to be buried. On this first piece of pottery, it looks like people are walking as if they were in a funeral procession. Women are surrounding the dead person and men are following the women. The pottery has a top that looks like a funnel which comes down and narrows out into a long neck. At the bottom of the long neck it starts to get wider and forms a shape that looks like a vase. The vase sits on a very small pedestal. On the sides of the narrow neck there are two handles that look like very long and thin wings. On the neck of the pot, there is one women standing there. The design above her head looks like a wreath. She looks like she is crying over a body. She is on top of everything that is on the pottery which leads me to conclude that she is an important part of this piece. The dead person may have been her son or husband. At the bottom of the pottery there is a design that looks like black spikes. The pot is entirely black with the picture in gold paint. This pot was called a Loutrophoros. It was used for holding water to wash the dead body. After the body was buried, the Greeks put offerings on the graves of the people who have passed away. This next

Egyptian sculptures at the exhibition -- flown to Mexico from ancient temples along the Nile and from museums in Cairo, Luxor and Alexandria

The coffin is well built with rich colors. It has a head like structure with long body. The head is drawn with the face, eyes and ears and hair too. It has a long chin. Moreover, the head resembles to that of a human. The coffin is in the form of a human.

Fig. 1. “Levi Coffin.” Wikipedia Encyclopedia. Wikimedia Foundation Inc. 8 Dec 2011. Web. 16 Jan 2012.

The animal chosen is a Sacred Ibis (Threskiornis aethiopicus) depicted on this coffin, the titled is “Painted Wooden Coffin of the Sacred Ibis of Thoth” dated between 332–30 BC in the Ptolemaic era . On the coffin is a large painting of a sacred ibis. The Ibis is sitting down waiting for judgement, it has it beak on the feather of truth . There also is a man hold his arms in the air as if worshipping. In addition, there is the god Horus holding an anuk. Furthermore, a winged sun god on the coffin above the pictures .

Both Etruscan and Roman tomb sculpture function to memorialize the departed allowing them to move on from the world of the living and seeks to comfort those who have lost the ones they love. The two societies have differing practices in regards to death and therefore sculptures concerning the subject are somewhat different with a few identifiable similarities. While both societies seek to comfort the living and commemorate the dead this is achieved through different approaches. The Etruscan Sarcophagus with reclining couple from Cerveteri, Italy and the Mummy of Artemidorus from Roman Egypt are two examples of contrasting representations of the dead. When analyzing tomb sculpture one of the main questions is whether the work adapts a retrospective approach (presentation of the deceased as they were in life) or a prospective one (the viewpoint of looking forward to life beyond the grave). While the Etruscan sarcophagus gives a more retrospective memorialization through the depiction of the couple in a state of regularity the Roman Mummy of Artemidorus presents a more prospective approach concerning the deceased through the emphasis of funerary practices.

The Egyptian Mummy Mask from the early Roman Period is unique and beautiful in every way possible. This mask that is on display in the Museum of Fine Arts Boston is about 3 feet tall to about 2 feet wide. This certain piece of magnificent art is extremely detailed with intricate designs covering it all around. The Museum of Fine Arts makes it easy to pay attention to, because of its detail and how the mask is displayed. The Mummy Mask has it’s own small alter with a spot light shining down on it creating dramatic shadows in a very dim room. The decorations include inlaid glass eyes, a gold leaf and is hand-painted and gilded glass. This mask is not paper maché like the masks that were made in this era; this Mummy Mask had been created out of cartonnage . The Egyptians decorated this masterpiece with bold vertical and horizontal lines representing rows of beads to go along with the story it tells. The Egyptian Mummy Mask from the first half of the first century A.D illustrates a gaze of innocence and acceptance while looking into the bright future of whom the mask was made for. Perfectly painted images covering the mask tell a story of the traditional funerary practices and the after life Egyptians believed in. Egyptians would create these pieces to fit over the heads of the lost lives wrapped inside the mummy. The mask represents the deceased transformed into a God . Although the face of the mask is idealized and emotionless, the decorations say and express more than a

The shrine of Tutankhamun uncovers the burial customs of the New Kingdom Egyptians. The Canopic Shrine positioned on the east wall of the Treasury holds Tutankhamun's embalmed internal organs. A gold chest held four Canopic jars containing the dead pharaoh's internal organs in each jar. Undoubtedly, through the process of mummification, the embalmers must have removed the internal organs and preserved them in the Canopic jars, perhaps to be taken with the pharaoh to the next world. The third and innermost of three coffins of Tutankhamun is made of solid gold and is inset with semiprecious stones and coloured glass. It is covered with carved decorations and inscriptions inside and outside. It bears the names and epitaph of the deceased king and also protective texts. From this we discover the significance of the importance of the decoration of the mummy was, and the power the coffin was believed to hold. Originally, mummification was so expensive that it was a privilege enjoyed only by the Pharaoh and few nobles. Everybody else was given a simple grave burial in one of the vast cemeteries or "necropolises" of the time. But the promise of eternal life was so appealing that it wasn't long before other classes of Egyptians began signing up for mummification, too.

Some people look at artwork in different ways it just depends on your opinion of the artwork and how you interpret. I found that Tu Tu the mummy very interesting she was only around five foot tall. Since she was a mommy she wasn't very wide because her organs were put into a jar. The body was during for around 40 days with the natural salt phone around the Desert Lakes. Her body was cleaned, rubbed with oils, stuff with spices in bundles and women her body was finally wrap with long strips of linen. it is a 70 day mummification process including the rituals and ceremonies. Her coffin is covered with gold leaf in the face represents her face as if she was alive her eyes are enlarge and also her ears are also. The coffins artwork that the money

The Egyptian Book of the Dead was used primarily from the establishment of the New Kingdom in 1550 BCE to 50 BCE. It consisted of the collection of texts and spells designed to assist the deceased in their journey to the next world. The book of the dead was part of a custom of memorial texts that consisted of the past Coffin Texts and the Pyramid Texts that were decorated on objects. Spells were drained from the past works and other Egyptian history courting to Third Intermediate Period (Budge, 2012:21).

The Book of the Earth continues on the left wall of the chamber. Here there is a mummified figure that emerges from a huge snake. It represents a water clock, a device that the Egyptians used to measure time. Next to this water clock are twelve small figures that represent the hours. There are scenes of funerary equipment on the lower parts of the chamber’s walls. The pillars in the chamber originally showed Tausert offering to various deities. But just like throughout the rest of the tomb, her figures were replaced by those of Setnakht offering to Horus, Osiris, Anubis, and other deities.