Informative Speech About Mummy

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.

Tutankhamun was an Eighteenth Dynasty pharaoh whose legacy extends to the present, and currently one of the best-known ancient Egyptians of all-time. The “Boy King” inherited the throne at the age of nine, his reign lasting only ten years before his sudden unexpected death. The traditional burial customs and funeral processions were carried out upon him, but the tomb he was laid to rest in was unique from the typical Eighteenth Dynasty tombs characterised by their lavish style and large scale. This uniqueness has been evidenced in a variety of archaeological and written sources, which express the tomb’s historical significance.

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

This necapolis is located on the west bank of the Nile River in Egypt and dates back in use from 1539-1075 B.C. (cited). These structures were not monuments to the Pharaoh’s life but were considered to be portals to the next one. The chamber rooms contained items made solely for use in the afterlife to insure the Pharaoh’s success. Detailed instructions and illustrations are on the walls exhibiting the trials and tests the king will be required to pass before obtaining his immortality and placement among the gods. The process of mummification was developed for the purpose of the sovereign’s body to be reanimated in the afterlife.

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

Welcome, I am an Egyptologist from the British Museum, and I am here to talk to you about a fantastic civilization called Ancient Egypt. Ancient Egypt was an empire that began in approximately 3100BCE, and ended in 30BCE. In the time of Ancient Egypt, funerary customs were an important part of the Egyptian’s culture and beliefs and these customs evolved through time to become more elaborate, and common. The artefact I have chosen to explore with you is the book of the dead as it will provide you with a greater understanding of the complex funerary customs, and their beliefs in the afterlife.

The mummification process is done in two phases, the first being embalming and the latter being wrapping and burial. There was a special place for embalming to take place known as the ibu. The ibu was called the place of purification. The first thing the embalmers do is to clean his body with aromatic palm wine and rinse it with Nile water. The next step involves removing all but a select few of the internal organs. The process used to remove the internal organs changed over time and varied with the wealth of the body in question. The heart was left in the body because of its necessity as the focal point of mental and emotional stability. The body’s fluids and rags used in this phase are left with the body for its burial. The body is left for a period of

Meret-it-es is a mummy showcased at the Nelson-Atkins Museum of Art. In the Egyptian section, the museum showed the multiple parts created for Meret-it-es burial. Beside the body, other items are placed in the inner coffin. It consists of a gold cartonnage on top of the mummy and 100 ushebtis surrounding the body to assist during her travels in the afterlife (“Egyptian Art”, 2015). Next, the inner coffin gets placed in the outer coffin with two inches to spare on each side (Roastofer, 2015). All artifacts were beautifully crafted, but I’m going to focus primarily on the inner coffin of Meret-it-es and its representations.

The first is religious behaviors. The Egyptians found the mummies important enough that they took the time to eviscerate the body, dip it in resin, and then wrap the hawk in linen bandages (David, 2003). A second behavior that is related to the artifact is business-related behavior. The Museum of Anthropology tells that there was a market for sacred animals to be made into votive mummies. This led to the raising of animals such as this hawk for the express purpose of turning them into mummies for religious purposes (David, 2003). The mummy business would have created jobs in the raising of the animals, embalming, and more. A third behavior would be worship. The Museum of Anthropology tells that hawks were worshipped as manifestations of Horus, and that the mummy was probably created as an offering to the god(n.d.). These behaviors help to shed light on their

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 experience at the Carlos Museum brought to my attention the great detail that goes into not only the preparation, restoration, and conservation of corpses, but also what thought goes into the decision to display a corpse or not. Also, the connections between the treatment of human remains and the discovered corpse of Richard III reveal how the treatment of a corpse often indicates how it was viewed in

In this paper I will plan to discuss in detail the funerary procedures that were used in ancient Egypt. I will pay particular attention as to how the Idea of the afterlife influenced many of the traditions in ancient Egypt that we now think of today. In surveying their beliefs on the afterlife we will begin to get a better picture as to how these ideas affected almost all aspects of their ancient culture, and indeed had impacts on neighboring cultures. I will take a look at what aspects of their religious mythology lead them to these traditions and why its observation was so key to their society.

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.