Tomb 10A was discovered near the Nile River in a region known as Deir el-Bersha (The Secrets of Tomb 10A: Egypt 2000 BC 2009). It is the 4,000 year old resting place of a governor and his wife, both of whom ruled during the 11th or 12th dynasty and are named Djehutynakht. After the tomb was excavated in 1915 by archaeologists from Harvard University and the Museum of Fine Arts in Boston (MFA), it was clear that what they had found was a consummate archetype of traditional Egyptian burial practices. One of the many grave goods found in the Djehutynakhts’ tomb was a fleet of 58 wooden model boats, which is the largest collection of model boats ever discovered in an Egyptian burial (Gansicke 2003: 185). The general color scheme of the model boats is beige, brown, and black. The hull of each vessel is wooden, which gives them their beige hues. A brown dye gave each of the Egyptian crewmembers their naturally dark, sun-baked skin. A black dye colored each individual’s hair. Most of the models retained their original colors or were repainted by MFA conservators while others were displayed as they were found in 1915 with faded colors (MFA, “Tomb 10A,” Conservation). At least 36 of the 58 boats may have been manufactured in the same woodshop due to the fact that they all exhibit analogous, stylistic features such as the homogeneous color scheme (MFA, “Tomb 10A,” Transport Boats). The vessels categorized as transport boats all had crews comprised of 6 to 8 wooden effigies of identical Egyptian men. At the stern of each boat there is a helmsman tending to the steering oar. At the bow, there is another man facing forward with his right arm slightly raised as if offering a handshake. He might be a navigator pointing the way though his role ... ... middle of paper ... ...practices as well as in Egyptian religion. The aforementioned set of 36 boats that may have come from the same woodshop also exhibited one other interesting feature. Taking into consideration the hieroglyphs for “northward” and “southward,” archaeologists were able to identify 18 southbound boats and 18 northbound boats due to the presence (southbound) or absence (northbound) of the mast (MFA, “Tomb 10A,” Transport Boats). These two cardinal directions coincide with the alignment of the Nile with respect to the Earth’s magnetic poles. Although these funerary boats serve one practical purpose, they appear to serve multiple symbolic purposes. They are a tribute to the vessel that carries the sun god Ra through the heavens and the underworld as well as a homage to and manifestation of the Nile, the munificent river from which the Ancient Egyptian civilization was born.
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.
Perhaps the most notorious of burial practices originating in Egypt is that of mummification. Why such an extraordinary attempt was made to preserve cadavers may seem
The site of Emperor Haung’s tomb is located in Lintong, Shaanxi province, near the city of Xi’an in China (Kesner 1995). After its completion in 210 BCE, it was covered by earth mined from an area near the Wei River, sealing it away from the outside world for over two thousand years (Swart 1984). While ancient historians wrote of the unbelievable tomb, hidden under a massive pile of earth, many modern historians simply did not believe it to be true. However, between 1932 and 1970, five figures of kneeling servants were found near where the tomb mound was thought to be (Swart 1984). The mausoleum itself was eventually unearthed in 1974 by farmers who were digging wells and accidentally broke into a vast pit containing life-sized statues of about 6,000 soldiers and horses. A group of Chinese archaeologists were assigned to excavate the site and dig up its ancient treasures. In 1976, two more underground pits were found with about 1,500 more soldiers and horses (Swart 1984). Other than the clay soldiers and horses, brass figures were discovered...
Located about 40 miles outside of Xian, a city situated in the northeastern section of China, the Tomb of the First Emperor is one of the famous sites of the modern era and has captivated the attention of archaeologists over the past four decades. The site itself is relatively large, with the outer gate being slightly less hen 7,000 yards around and the inner, underground palace containing “a gigantic pit measuring about 300 square yards was excavated in terraces to a depth of more than 100 feet. Archaeologists estimate the size of the subterranean palace built at the bottom of the pit to be about 400 feet by 525 feet, equal to 48 basketball courts” (Hoh, Erling). Yet despite its massive size and the over 40-meter mound that covers the submerged palace itself, the tomb remained relatively unknown until 1974, when a group of farmers discovered some of the first of the famous terracotta warriors that are spread throughout the site. These clay figurines exist in the thousands, and the three major test pits that archaeologists have started to uncover there are over “7,000 terracotta warriors with horses and chariots, all designed to protect the First Emperor in the afterlife” (Liu, Yang). The second most common group of artifacts came from the massive amount of conscripts, estimated at approximately 700,000 in number, who worked for over 35 years to build the tomb. Those that survived the grueling process were rewarded for their hard work and effort by being killed, mainly in order to keep the tombs many traps and treasure troves hidden. So, as you can guess, the murdering of that many people required a fairly large amount of graves to be buried in, and so archaeologists began to analyze the archaeological remains that were present th...
According to document C, some of the goods that were transported using the Nile consisted of religious artifacts such as statues with mysterious hieroglyphic symbols and many rocks that were used to build the great pyramids of Giza. So besides the Nile being a regular trade route, it became a religious trade route as well. However, a major part of the religion of the Egyptians was the belief in the afterlife. The afterlife was actually a paradise that is often referred to as the “Field of Reeds.” (Document D) In many tomb paintings, the picture of the Field of Reeds is illustrated with the Nile River making up the entire border of the painting. Consequently, the Nile was believed to be a part of heaven, which made it a very significant resource. Document E shows that the Egyptians even wrote hymns to the Nile, praising and honoring it for exultating their land and bring the people and children
The New Kingdom in ancient Egypt, from 1550 – 1070 BC, was a time of extraordinary wealth, power, and the continuation of the arts in the classic ancient Egyptian style. Characterized by the abstract and impersonal depiction of humans, along with the strength of the Egyptian Empire, the New Kingdom is considered the peak of power and prosperity in ancient Egypt. “Fragmentary lid from the coffin of Wadj-shemsi-su” is a piece created in this time period that was originally part of a portrait located on the top of the king’s coffin. Because the coffin would carry the king’s mummified body in his tomb, the portrait depicts the pharaoh as being prepared for the Underworld, as well as being the ideal body for the spirit of the king to flow through. The objective of the coffin’s portrait is also to convey the power of the kingdom, putting emphasis on the king’s image and the immense wealth that accompanies him. In addition to the piece’s function as a coffin, “Fragmentary lid from the coffin of Wadj-shemsi-su” embodies the strength and wealth of the New Kingdom through the piece’s human face, use of bright colors, and geometric detailing.
From the beginning to end, the ships had to go through many changes in order to accommodate all of the cargo. The first ships used suffered greatly in the African water because they were wooden. As time passed the ships were modified for the journeys. For example, copper was added to help fight against shipworms. Rediker mentions in the book the details of how the ship is built and he even includes the measurements of the wood used and the supplies needed. Shortly after explaining this, he mentions the beatings some of the crew had to take if they were to mess up any part of the ship.
The Metropolitan Museum of Art. ‘Egyptian Art’, The Metropolitan Museum of Art Egyptian Art. New Series, Vol. 41, No. 3, Egyptian Art (Winter, 1983-1984): pp. 1+3-56
W. Raymond Johnson, The Journal of Egyptian Archaeology, (1996), pp. 65-82, Date viewed 19th may, http://www.jstor.org/stable/pdfplus/3822115.pdf?&acceptTC=true&jpdConfirm=true
Finally, the Nile influenced spiritual beliefs. Egyptians believed that the Nile would provide for them even in the afterlife (Doc D). The Nile was reflected in bottom panel of the tomb painting like the one of paradise called Field of Reeds. If it did not exist, there would be nothing to draw in the paintings – no water, the crops, no people, the boat rides. Egyptians sang hymn of praise and thanks to the Nile (Doc E). The hymn shows that Egyptians worshipped the river and believed it had the power to bring happiness or sorrow. The people knew that there was a strong connection between the river and their
As I look at the colorful walls of Beni Hasan tomb painting in the article, I am intrigue by these beautiful paintings. Egyptians are known for many breathtaking art monuments. The article explained images in the painting, interpretations and abuses of Beni Hasan painting. Comparing the differences from this article to our textbook and Wikipedia sites, the article did a great job on presenting correct information to the readers. Wikipedia sites were more detailed orientated on the tomb paintings than the others.
Term Paper: Coffin of Tentkhonsu The Egyptians during this period took ample time and detail on the mummification process to ensure a successful transition from the netherworld to rebirth. The Coffin of Tentkhonsu, 1025-980 B.C., it’s a depiction of how the Egyptians valued and honored their elite members of society, as well as their gods. The Coffin of Tentkhonsu, itself dates back to the III intermediate period in Egyptian culture. The Egyptian believe was to join Osiris, whom was believed to have ascended to Netherworld and accomplished eternal life.
Ancient Egyptian burial rituals and customs have evolved over time as source C depicts. Source C is relief illustrating the evol...
When one travels to Egypt, what does he/she see - pyramid after temple after tomb, each standing the test of time. One stands out - they are all associated with religious beliefs, they all have stood unmoving for thousands of years, and they all involve mechanical genius- the moving of colossal stones without the use of the wheel. The finest example such mechanics is shown in the construction of the revered pyramid. These three factors, all belonging to the religious architecture of ancient Egypt, do nothing else but prove its greatness.
The use of rock-cut tombs and burial caves was inherited by the Israelites from the Canaanites. However, while the Canaanite Bronze Age caves were mostly crude and undefined, one can see the deliberate shaping of rock-hewn tombs in Israel and Judah. The most common type included a square room entered through a small square opening which could be closed by a large stone. Rock-cut benches on three sides of the chamber provided space for three bodies. More elaborate examples had an additional rear chamber. Both cave and bench tomb burials remained consistent in plan, body treatments, and categories of mortuary provisions throughout the Iron Age. The only variations were in relative wealth, and beginning in the 9th century BCE, a few lavish individual tombs were cut in Jerusalem and Gibeon, and twelve of these were probably for important political and/or religious functionaries (Bloch-Smith 1992). From Judah, the total number of reported tombs are 24 cave and 81 bench tombs from the 10th through the late 8th century BCE, and 17 cave and 185 bench tombs from the late 8th through the early 6th century BCE (Bloch-Smith 1992).