Cartonnage of the mummy of a Theban priest Nespaneterenpera of about 1000 B.C. or the XXI dynasty. The mummy is missing. The head is covered by a large wig symbolizing divinity along with the braided beard. The face is painted bright red with the eyebrows and outlines of the eyes of lapiz lazuli, the eyes being of glass. A pectoral is painted on the breast just above the large bull-headed bird covering the breast. On the balance of the cartonnage are painted religious scenes describes in detail in the January 1937 issue of the Brooklyn Museum Quarterly. Nespaneterenpera was a god-father of Amun, one of those priests who were free to enter the sanctuary. He had been a prophetof the fourth class of Amun of Karnak and also bore the special title
The work I chose to analyze was from a wall fragment from the tomb of Ameneemhet and wife Hemet called Mummy Case of Paankhenamun, found in the Art Institute of Chicago. The case of the Mummy Paankhenamun is one of the most exquisite pieces of art produced by the Egyptian people during the time before Christ. This coffin belonged to a man named Paankhenamun, which translates to “He Lives for Amun” (Hornblower & Spawforth 74). Paankhenamun was the doorkeeper of the temple of the god Amun, a position he inherited from his father.
Fig. 1 Statue of Yuny and Renenutet, ca. 1290–1270 BCE.; Fig. 2 Akhenaten and his Family,18
The Ancient Egyptian artifact that I chose to analyze and is the most interesting piece I have seen in the museum is the Cartonnage of Nespanetjerenpare. The artwork itself was larger than me and that was one of the reasons why this artwork was very interesting to me, since I am a fairly tall individual. It was created during the Third intermediate period that was around Dynasty XXII or the twenty second Dynasty of Ancient Egypt and was possibly acquired from Thebes. The dynasty was also known as the Bubastite dynasty which was approxamently from 945-718 B.C.
After reading Chapter 3 of “High Price” by Dr. Carl Hart, I learned he lived with his mother and father until the as halfway thru the second grade. Then got a divorce and he stayed with his father for about two week, but once his father realized that he was unable to take care, he then went to live with his Big Mama. His great grandmother was a Bahamian woman. She came to the United States when she was a young adult. His big mama was a women who believed and stressed that going school and being self sufficient was important. She believed that a black men in this society had no chance if they weren’t educated. Dr. Carl Hart’s family based their family morals off of Booker T. Washington and W. E. B. DuBois, based on the beliefs of the his grandmother and great grandmother. His great grandmother followed role of W. E. B. DuBois, because she believed that education was important and this was a way for African Americans can advance. Although his great grandmother believed that education was important, she did not believe that it would not help someone of his race in a world where racism played a big part of being successful. Carl’s father would promise to pick him up on the weekends and would never show or even showed up drunk. Although his father was an alcoholic, Carl didn’t mind it he just wanted to be around him. Being the his great grandmother loved him dearly, his great grandmother loved him and always had his back. When Carl’s father didn’t play a the role of being a
The reliefs of Ankh-neb-ef are limestone panels with paint that originated from the Old Kingdom of Egypt in 2150 BC during the reign of Pharaoh Pepy II. The delicate carving of the panels in the sunken relief presents a magnificent image. They portray Ankh-neb-ef, an ancient Egyptian priest whose name translates to “may his lord live.” In the reliefs, Ankh-neb-ef holds a Kherep-sceptor and a walking stick, which were symbols of authority in ancient Egypt. Egyptian civilization was extremely religious and most ancient Egyptian artworks involved the portrayal of gods, goddesses, and Pharaoh, as well. Moreover, the Egyptian reverence for order and conservative ideals led to the institution of intricate rules that governed how artists represented both humans and gods (Saylor.org 4). For instance, the apparel worn by Ankh-neb-ef in the painting is not a simple fashion statement. The priest is wearing a prestigious sarong and ornamentation, bracelets, and a wide collar. The jewelry kept their owner safe in a dangerous passage to the afterlife. This formula for representing the human figure in a painting remained popular over several centuries (Robins 24).
Mentuemhet was a mayor and prophet from the city of Amen responsible for the reconstruction of temples that had been destroyed by invading Assyrians. The statue itself is quite similar that of King Aspelta in terms of form. For example, the Mentuemhet is also shown to have an idealized body yet individualized face in the same way as King Aspelta. Furthermore, Mentuemhet is posed in the characteristic left foot forward stance of Old Kingdom Egypt. Likewise, the respective statues wear the same attire, a skirt with the same designs. This also appears to be a nod to the Old Kingdom Egypt as the same piece of clothing can be viewed on statues of leaders from this period, like Menkaure. Also, both are high reliefs in the sense that the figures are not liberated from the granite stone, though their standing depiction gives the illusion that they are free-standing statues when viewed from the front. However, the free-standing illusion provides both with a sense of permanence and longevity of statue which hints toward the timeless aspect of Egyptian statues due to their concept of the
Kermode bears today are very rare to find. Human Beings are going out to find a Kermode bear you will probably not find one. However, these bears are really rare off the coast of the Princess Royal and Gribbell island.
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
North by Northwest is an adventure, crime, mystery thriller that was created in 1959 by the director Alfred Hitchcock. Alfred Hitchcock is famous for many movies in the thriller genre such as Psycho, Vertigo and Rear Window. Alfred Hitchcock was a famous director well renowned for his style. Hitchcock enjoyed suspense in his films as Hitchcock said “Always make the audience suffer as much as possible.” (BrainyQuote, 2016) Hitchcock loved creating suspense in his movies. Hitchcock was amazing at creating suspense in very movie he directed there were twists and turns and no one would know how the story would end. Hitchcock was so good at suspense, he earned the nickname “master of suspense”. North by Northwest is an amazing example
In the late 19th century, the Seated Statue of Ramesses II was uncovered in the Temple of Harsaphes, Heracleopolis, by Sir William Flinders Petrie (Horne 1985, 22). Currently, it rests in the Mummies Gallery in the Egyptian section of the Penn Museum. The king sits heroically with his hands resting on his lap and wears the nemes headdress on his head. Made of quartzite sandstone, the statue sits at an impressive height of 226 cm, with a width of 74 cm and length of 149 cm. On his arms, there are faint traces of red and the nemes headdress has touches of blue and yellow. When it was originally crafted, the statue’s colors would have been more prominent than they currently are; there also would have been a false beard inset that has been lost to history.
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.
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
This approach to the opening of the chamber demonstrates Carter’s caution that he took into the excavation of Tutankhamun’s tomb and the transportation of the contents that was inside it. Carter opened the burial chamber and when he did he was confronted by the golden walls and two large statues “So enormous was this structure (17 feet by 11 feet, and 9 feet high, we found out afterwards) that it filled within a little the entire area of the chamber” gives an accurate description of these statues and an accurate account of the amount of artefacts that were found in Tutankhamun’s tomb.
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 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.