Bald head Egyptian Priest
Posted by mena7 (Member # 20555) on :
Bald head Egyptian Priest
Posted by mena7 (Member # 20555) on :
Bald head Egyptian Priest
Bald head Egyptian Priest
Bald head Egyptian priest
Bald head Egyptian Priest
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Priest and multi genius Imhotep
Priest Imhotep
Priest Imhotep
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Priest scribe Amenhotep son of Hapu
Priest scribe Amenhotep son of Hapu
Priest Amenhotep son of Hapu
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Bald Head Egyptian Priest
Bald head Egyptian Priest
Bald Head Egyptian Priest
Bald Head Egyptian Priest
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Egyptian Priets
Bald Head Priest
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Egyptian Priestess Karomama
Priestess Karomama
Egyptian Priestess Amenirdis I
Priestess Amenirdis I
Priestess Shepenupet
Priestess Shepenupet
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Priestess Ankhnesneferibre
Priestess Takushit
Priestess Tashukit
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Bald Head Egyptian Priest Hori
Bald Head Egyptian Priest TaiTai
Bald Head Egyptian Priest with wife and children
Seated Egyptian Priest with coat
Egyptian Priest
Bald head Egyptian Priestess or Priest
Bald head Egyptian Priest Petamenhotep
Bald head Egyptian Priest Harwa
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Egyptian Scribes
Amenhotep son of Hapu
Scribe Dersenedj
Egyptian scribe
Egyptian scribe
Egyptian scribe
Egyptian Scribe
Egyptian Scribe
Egyptian Sribe
Scribes A scribe is a person who writes books or documents by hand as a profession and helps the city keep track of its records. The profession, previously found in all literate cultures in some form, lost most of its importance and status with the advent of printing. The work could involve copying books, including sacred texts, or secretarial and administrative duties, such as taking of dictation and the keeping of business, judicial and, historical records for kings, nobles, temples, and cities. Later the profession developed into public servants, journalists, accountants, typists, and lawyers. In societies with low literacy rates, street-corner letter-writers (and readers) may still be found providing a service
Egyptian Scribes or Sesh The Ancient Egyptian scribe, or sesh,[1] was a person educated in the arts of writing (using both hieroglyphics and hieratic scripts, and from the second half of the first millennium BCE the demotic script, used as shorthand and for commerce) and dena (arithmetics).[2][3] Sons of scribes were brought up in the same scribal tradition, sent to school and, upon entering the civil service, inherited their fathers' positions.[4]
Much of what is known about ancient Egypt is due to the activities of its scribes and the officials. Monumental buildings were erected under their supervision,[5] administrative and economic activities were documented by them, and tales from the mouths of Egypt's lower classes or from foreign lands survive thanks to scribes putting them in writing.[6]
Scribes were also considered part of the royal court and did not have to pay the day ray say or join the military. The scribal profession had companion professions, the painters and artisans who decorated reliefs and other relics with scenes, personages, or hieroglyphic text. A scribe was exempt from the heavy manual labor required of the lower classes, or corvee labor.
The hieroglyph used to signify the scribe, to write, and "writings", etc., is Gardiner sign Y3,
Y3
from the category of: 'writings, & music'. The hieroglyph contains the scribe's ink-mixing palette, a vertical case to hold writing-reeds, and a leather pouch to hold the colored ink blocks, mostly black and red. Thoth was a god associated by the Ancient Egyptians with the invention of writing, being the scribe of the gods, and holding knowledge of scientific and moral laws
Palawan Scribes (Philippine)
Antonio Pigafetta, in his writings, described the cultivated fields of the native people populating the Palawan Islands. He also mentioned that these people use weapons consisting of blowpipes, spears and bronze ombard. During his stay in the area, he witnessed for the first time cockfighting and fist-fighting. He also discovered that the natives had their own system of writing consisting of 13 consonants and 3 vowels, and they had a dialect of 18 syllables. He further wrote that in Palawan, the local King had 10 scribes who wrote down the King's dictation on leaves of plants
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Bald head Egyptian priests
The Berliner 'Green Head'
Late Period, Dynasty 30, ca. 350 BC Greywacke Height 21,5 cm Inv.-No. ÄM 12500 The characteristics of Late Period sculpture including the perfect rendition of the face and delicate smoothing of the surface can be seen here. This head of a statue of an aging man also reveals his character: Reserved, knowledgeable, experienced and of strong determination. Other facts such as name and titles are unfortunately not known since the back pillar is not engraved, however the shaved head indicates a representation of a priest
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Bald Head Egyptian Priest
Wesirwer Priest of Montu
The fragmentary inscription on the dorsal pillar of this head contains a rebus that reveals the owner's name—Wesirwer ("Osiris Is Great")—and part of his title. An inscription on a statue in the Egyptian Museum in Cairo to which the head was originally attached (see photo) reveals that Wesirwer was a priest of the Theban god Montu. On the Cairo statue, Wesirwer holds figures of the Theban divine triad—Amun, king of the gods; Mut, his consort; and Khonsu, their child, a god of the moon. He sports an Achaemenid-, or Persian-, style garment, which had been introduced before Dynasty XXVII (circa 525–404 B.C.), a period of foreign occupation.
The Brooklyn fragment belongs to a group of green-stone heads that combine both conventional and naturalistic facial details. Wesirwer's egg-shaped skull and almond eyes are standard elements of fourth-century works, but the serene gaze is a naturalizing element perhaps evocative of Wesirwer's piety
Priest of Montu Wesirwer
Egyptian Priest of Montu Wesirwer
Priest Wesirwer
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Bald Head Egyptian Priests
One of a small number of surviving busts, this was probably a model for a larger work. The garment resembles those worn by officials when Egypt was part of the Persian Empire. The facial features are remarkable for their naturalistic rendering of old age
Bald Boston Green Head Priest
Boston green head priest
This head of a priest, called the Boston Green Head, is the best portrait sculpture known from the Late Period. The face is wonderfully lifelike and individual. Light wavy lines indicate the furrows of his brow, and crow’s feet radiate from the outer corners of his eyes. The top of his nose has a pronounced bony ridge. Deep creases run from the edges of his nose to the corners of his mouth. Thin lips and a downturned mouth impart an expression of strength and determination. The slight wart on his left cheek is unique in Egyptian art and also introduces an element of asymmetry dear to the artists of the Late Period
Presumably from a temple sculpture, this head represents an elderly man with individualized facial features. The statue to which it once belonged was probably quite traditional in its pose and execution. This piece depicts a priest from the Ptolemaic Period. Statues of bald-headed men of this type are known as "egg-heads." The head is slightly elongated and the cranial bone structure is often well defined. The face is sensitively modeled and we are left with an image that evokes a real face, even if it is not a representation of any one particular model. Features could be recombined to create a more realistic face, and we cannot assume that this piece is a true portrait of a particular individual. The face is hollowed deeply beneath the eyes which are heavily lidded and appear to be partially closed even though the eyeballs themselves bulge slightly. The bone structure around the temples has been carefully modeled. The ears are oversized but they are pinned back flat to the sides of the head. The facial features are slightly asymmetrica
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Iunmutef priest, pillar decorations, facimile, Giovanni Battista Belzoni l, tomb of Seti I
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Once part of a statue placed in a temple as a votive gift, the sculpture shows an elderly man with firmly set facial features. When complete, the statue showed the owner offering a "naos" or shrine, to his god. Signs of age, with hints of bittersweet emotion, appear only in the private sculpture of the Late Period and Ptolemaic Period, never in royal works. This is in direct opposition to works of the Middle Kingdom where signs of age, weariness, and care appeared first in royal facial features
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Priest Imhotep
Priest Imhotep
Priest Imhotep
Priest and multi talented Imhotep
Priest Imhotep
Priest Imhotep
Priest Imhotep
Priest Imhotep
Imhotep (sometimes spelled Immutef, Im-hotep, or Ii-em-Hotep; called Imuthes (Ἰμούθης) by the Greeks), fl. 27th century BC (circa 2650–2600 BC) (Egyptian ỉỉ-m-ḥtp *jā-im-ḥātap meaning "the one who comes in peace, is with peace"), 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 (or Re) at Heliopolis. He is considered by some to be the earliest known architect[2] and engineer[3] and physician in early history,[4] though two other physicians, Hesy-Ra and Merit-Ptah, lived around the same time. The full list of his titles is: Chancellor of the King of Egypt, Doctor, First in line after the King of Upper Egypt, Administrator of the Great Palace, Hereditary nobleman, High Priest of Heliopolis, Builder, Chief Carpenter, Chief Sculptor, and Maker of Vases in Chief. He was one of only a few commoners ever to be accorded divine status after death. The center of his cult was Memphis. From the First Intermediate Period onward Imhotep was also revered as a poet and philosopher. His sayings were famously referenced in poems: "I have heard the words of Imhotep and Hordedef with whose discourses men speak so much."[5]
The location of Imhotep's self-constructed tomb was well hidden from the beginning and it remains unknown, despite efforts to find it.[6] The consensus is that it is hidden somewhere at Saqqara. Imhotep's historicity is confirmed by two contemporary inscriptions made during his lifetime on the base or pedestal of one of Djoser's statues (Cairo JE 49889) and also by a graffito on the enclosure wall surrounding Sekhemkhet's unfinished step-pyramid.[7][8] The latter inscription suggests that Imhotep outlived Djoser by a few years and went on to serve in the construction of king Sekhemkhet's pyramid, which was abandoned due to this ruler's brief reign
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Priest Amenhotep son of Hapu
Priest Scribe Amenhotep ben Hapu
Pries Scribe Amenhotep son of Hapu. older age
Priest Scribe Amenhotep son of Hapu older.
Amenhotep son of Hapu rare standing statue.
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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Priest Harwa
Priest Harwa
Priest Harwa
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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Priest Hori
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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Priestess Karomama
Priestess Karomama
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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Priestess Amenirdis
Priestess Amenirdis
Priestess Amenirdis
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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Priestess Takushit
Priestess Takushit
Priestess Takushit
Statue of the princess - priestess Takushit.
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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Egyptian Priests
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Egyptian Priests Procession
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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Egyptian Roman era
Egyptian Roman era
Egypt Picture - Statue of the First Priest of Amun, Ramessunakht, with the Theban Triad
Posted by Tukuler (Member # 19944) on :
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.
Posted by mena7 (Member # 20555) on :
Tukuler nice picture of black Egyptian head.
Posted by the lioness, (Member # 17353) on :
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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Priest Anen
Priest Anen
Priest Anen
Priest Anen regalia
Priest Anen
Priest Anen
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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Egyptian Priest Roman era
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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Scholar Cheikh Anta Diop had scientifically proven that the Ancient Egyptian civilization was Black African.
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 Senemiah
Egyptian Priest
Priest of Osiris
Bald head Egyptian Priest
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Priest of Osiris. Ptolemaic Egypt. 1st century CE. Le Grand Palais exhibition
Statue in limestone of Henka, priest and scribe of the pyramid of Snefru. Bought in Meidum – Old Kingdom
Kneeling Priest Figurine in Worshipping Pose Egypt, 30th Dynasty - Ptolemaic Period (380 - 100 BCE)
Seated figure of the priest Pakharu and his wife Tupa
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Egyptian Priest head
Priest Sebekemsaf in Dublin
Two Priests holding a shrine
Vizier Khaemwaset
Egyptian priest of Ptah with shrine
Priest of Amun
Priest Hor Wedja
Priest of Amun Hariese
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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..
Block Statue of Nes-Ba-Neb-Dedet
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Egyptian Priest with Goddess Bat/Bata necklace and shrine of Osiris
Egyptian Priest of Amen wearing two gold necklace.
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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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Egyptian Priest of Osiris
Naos of Ptahmose
Priest Barenkhonsu
Priest of Amun Barenkhonsu
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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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High Priest of Ptah Sheshonq
Pediese High Priest of Ptah
Priest Nefferenpet
Vizier Nafferenpet
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Meryre with his wife Iniuia
Priest Horwedja
Vizier Kagemni
Vizier Kagemni
Meryatum
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Bald head Egyptian Priest
Bald head Egyptian Priest
Bald head Egyptian Priest
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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This one is made from sycamore wood.
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Egyptian High Priest of Hathor
Priest of Amun
Menkheperraseneb Second High Priest of Amun and minister under Tuthmosis III
Priest of Amun at Thebes
Priest Pede Amun Neb Nesut Tewy
Priest of Amun block statue
Egyptian Priest of Amun
Priest of Amun Penmaat
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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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Priest Henka Berlín. Neues Museum. Estatua de Henka
Statue in limestone of Henka, priest and scribe of the pyramid of Snefru. Bought in Meidum – Old Kingdom.
Priest Sobekemsaf
Priest Sebekemsaf
Meryre and his wife Iniuia
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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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Priest Merenptah
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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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Egyptian mummy reconstructions
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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WoooWi Sexy Egyptian woman silver statue!
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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Statuette of a Woman, Late Period, Dynasty 26, reign of Necho II, 610–595 BC, Egypt
Queen Ahmose Nefertary (c. 1500 BC), great royal wife of pharaoh Ahmose I via Wikipedia.
he statue shown in this image is Cleopatra VII who was an Egyptian queen. She was considered as the last "Pharaoh of Egypt" during the Ptolemaic Dynasty (332-30 BC). The Black basalt statue is one of the best-preserved images of a Ptolemaic queen. Rosicrucian Egyptian Museum, San Jose, California.
Black Woman Holding Beauty Implements Egypt (19th Dynasty; 1292-1187 B.C.E.) Oxford, the Ashmolean Museum, Department of Antiquities
Nefertiti Universite Libre de Bruxelles-Iconotheque
Sculpture of Cleopatra Ancient Egypt. Ptolemaic Dynasty. 3rd century BC
Statue of an Offering Bearer Period: Middle Kingdom, 12th Dynasty, early reign of Amenemhat I Date: ca 1981-1975 BC
Statuette of Tuy, 1391-1353 BC, Eighteenth Dynasty, reign of Amenhotep III. Louvre Museum
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Statue of the Priest Amenemhatankh Standing Period: Middle Kingdom Dynasty: Dynasty 12 Reign: Amenemhat III Amenemhatankh stands in a gesture of reverence assumed by both kings and officials. The texts on the back pillar indicate that he was a priest in a temple of the crocodile god Sobek and a sanctuary of the creator god Ptah-Sokar. He appears to have been closely connected to the pharaoh Amenemhat III. His delicate features reflect those of the king
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Granite cube statue of Petamenopet, First Prophet of Amun, and First Lector Priest. Höhe: 31 cm. Kushite Ethiopian 25th Dynasty, 680BC, reign of king Taharqa.
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Tomb statue of Ramose (RMO Leiden, Egypt Deir el-Medina, 1285-1252, 19d) by koopmanrob,
Egyptian statue Lady Sennuwy
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Egyptian Priest with child Heru and Bes
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Egypt tomb Pthames Chief Steward Ptah temple 1200 BC
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A High Priest presenting a divine triad. 18th dynasty, Egypt.
Wood statue of Neferrenpet, Vizier, and High Priest of Ptah from the reign of Ramesses II to the reign of Seti II. His name means 'Good Year'. 19th dynasty, ancient Egypt. Louvre museum.
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Statue of woman. 664-525 BC, 26th Dynasty | Louvre Museum
Statue of Minemheb, c. 1391-1353 Egypt, New Kingdom, Dynasty 18 (1540-1296 BC), reign of Amenhotep III
Egyptian Priest
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Petamun and Penhorpabik
Glazed bottle of a mother and child, 18th Dynasty, reign of Tutankhamun or Horemheb. These bottles were made throughout the 18th Dynasty but their use isn't clear. They could be for holding mother's milk - medical texts mention that this is a remedy for some ailments (male child). Ancient Egypt
ancient Egyptian mother and child
3000 BCE. Woman and child; Ivory. Badari Culture. Predynastic Egypt. Neues Museum Berlin.
Great Pyramids, Gizeh, Egypt, Fourth Dynasty. From left: pyramids of Menkaure, ca. 2490-2472 BCE; Khafre, ca. 2520-2494 BCE; and Khufu, ca.
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Ancient Egyptian portrait. Berlin | The Afro | original ancient Egyptians were blac
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Tomb statue of Hormin director of the harem of Memphis (RMO Leiden, 19d Saqqara, 1275bc) | par koopmanrob
Tomb statue of luty (RMO Leiden, Egypt Sakkara; 19d, royal personal physician)
Escultura de Tjeneramon y Wiay, dinastía XIX. Museo de Leiden, Países Bajos.
Sarcophagus of Wahibremakhet. Kushite Ethiopian 25th dynasty. Egypt. Royal museum, Netherlands.
From the time of Amenhotep III. The figurine is made of red quartzite. The colour was probably associated with the rising sun, considering that around this time, the cult of the all-powerful sun god was on the rise. It would reach its height during the reign of Akhenaten. On the forehead of this figurine, there was originally a cobra head, a symbol of power worn by both gods and pharaohs.
Ancient Egypt Transformed | The Metropolitan Museum of Art
Sadigh Gallery's Ancient Egyptian Limestone Statue Fragment Ptolemy women
Standing statue of Raherka,inspector of scribes,and his wife Meresankhn,c. 2350 B.C. (4th-5th dynasty)
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Henenu was a Montu Priest, steward and overseer of herds for Montuhotep II. This was a very important position during this time. He also was a tax collector and in various regions representing the king. He had a tomb at Deir el-Bahri at the Pyramid complex of Montuhotep II. Read more:
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Block statue of a governor, Late Period, Dynasty 26 (ca. 664–525 b.c.) Egyptian…
Serpentine stone sculpture of the Ancient Egyptian (Kamite) noble known as Meryre II was superintendent of the queen Nefertiti, and had the title Royal scribe, Steward, Overseer of the Two Treasuries, Overseer of the Royal Harim of Nefertiti.He had a tomb constructed at Amarna, Tomb 2 New Kingdom, Amarna Period, Pharaoh Akhenaten reign, Metropolitan Museum
Statuette Period: Middle Kingdom Dynasty: Dynasty 12–13 Date: ca. 1981–1640 B.C. Geography: From Egypt, Memphite
Statue of a Cloaked Man Period: Middle Kingdom Dynasty: Dynasty 12–13 Date: ca. 1850 B.C
Statuette of lion holding a Nubian captive Period: Late Middle Kingdom or Second Intermediate Period Dynasty: Dynasty 12, late - Second Intermediate Period Date: ca. 1850-1550 B. C. Geography: Egypt Medium: Wood
Seated Scribe - 1391 - 1353 B.C.
Statue Object Number: E9217 Provenience: Egypt Abydos Locus: Cemetery D, Tomb 9 Period: New Kingdom Eighteenth Dynasty Hatshepsut Date Made: 1479-1458 BC
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Black bronze, gold, carnelian, and obsidian head of an 'Ethiopian' depicted in Hellenistic Mode. Egyptian. Ptolemaic Period. 332-30 B.C. | The Metropolitan Museum
An Egyptian (Early Ptolemaic) Limestone Sculptor's Model Relief with a Libyan ca…
An Egyptian New Kingdom Amarna Period Painted Limestone Sculptural Group: Two Men and a Boy | Painted limestone, New Kingdom, Amarna Period, Dynasty XVIII (Reign of Akhenaten), ca. 1349-1332 B.C.E., From Gabelein, Upper Egypt This intriguing group has been variously interpreted as a family comprising a grandfather, a father, and a son and as one man at three different stages of life; the seeming affection expressed by the three figures supports the first identific
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^ Nice images.
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Thanks Ish Gebor
Statue of the Nurse Sitsnefru Period: Middle Kingdom Dynasty: Dynasty 12 Date: ca. 1900 B.C. Geography: Turkey, Anatolia, Adana Medium: Gabbro or diabase, paint
Seated Scribe of Medthu, c. 1479-1425 BC Egypt, New Kingdom, Dynasty 18 (1540-1296 BC), reign of Tutmosis III limestone, originally painted, Overall - h:30.50 w:18.90 d:24.10 cm (h:12 w:7 7/16 d:9 7/16 inches). Cleveland Museum of Art
Upper part of a limestone female figure. New Kingdom. 1550–1070 B.C. | Museum of Fine Arts, Boston
Statue porte-enseigne de Panehesy Cote cliché 96-022508 N° d’inventaire N458 Fonds Antiquités égyptiennes Note de l'image face Période 13e siècle av J.-C. règne de Ramsès II (1279-1213) Lieu de découverte Egypte (origine) Technique/Matière calcaire , sculpture (technique) Dimensions Hauteur : 0.26 m Localisation Paris, musée du Louvre Réunion des Musées Nationaux-Grand Palais - 6h
Granodiorite statue of Bakenkhonsu II. New Kingdom. 20th dynasty. Reign of Ramesses III. 1187–1156 B.C. | Museum of Fine Arts, Boston
Group statue of Ukhhotep II and his family Middle Kingdom, Dynasty 12, reign of Senwosret II or III, 1897-1842 B.C.
Berlin, Neues Museum, Kopf einer Schreiberfigur (New Museum, head of a scribe figure, reign of Amenhotep III) From Egypt
ncient Egyptian sarcophagus lid, 1080-720 BCE, from the Fondation Gandur pour l’Art, France. 4d
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Social pyramid of ancient Egypt by Sanio.deviantart.com
Statue of Nesi (Pharaoh) Teti I, 6th Dynasty, Old Kingdom, found near his pyramid at Saqqara.
Standing Statue of Merti with flaring wig Old Kingdom, ca. 2381–2323 B.C. From Egypt, Memphite Region, Saqqara, Tomb of Merti, Dimensions: 58 1/4 in. (148 cm)
gyptian Queen Meritamun’s cedar coffin from her Deir el-Bahari tomb had been desecrated in antiquity and re-bandaged during the 21st Dynasty; The queen’s body shows that although she had died a relatively young woman, she had suffered from both arthritis and scoliosis; 19th dynasty, Valley of the Queens, Egypt
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quote:Originally posted by mena7:
ncient Egyptian sarcophagus lid, 1080-720 BCE, from the Fondation Gandur pour l’Art, France. 4d [/QB]
this one is fantastic
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Tête incrustée de verre et de bronze, époque ptolémaïque, VIIe-Ier siècle av. J.C. Head inlaid with glass and bronze, Ptolemaic rule
Bust of Prince Ankhhaf - IV dynasty (Museum of Fine Arts, Boston)
Face of a coffin with wood, eyes of obsidian and ivory set in bronze sockets, 18th Dynasty, c. 1400 BC or later. All images of the dead, whether mummy-masks, anthropoid coffins or free-standing statues, were idealized, representing the individual as eternally youthful and free from all physical disabilities or blemishes. This face once formed part of the lid of a mummiform coffin
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Painted limestone statue of Kai with inlaid crystal eyes and his children at this feet, Old Kingdom
Statue bust of a man KUNSTHISTORISCHES MUSEUM LATE PERIOD
12,000 Rock art, Libya THE LIBYAN Esther Kofod
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The Noble Peshuper, scribe of the Divine Adoratrice of Amun Amenerdet I. 25th dynasty, Kushite Ethiopian rule, reign of Shabaka (712-698BC). Karnak temple cachette, Egypt.
Block Statue of Neskhemenyu, son of Kapefha. Egypt, Upper Egypt; Thebes, Karnak, Temple of Amun, Cachette
Seated Scribe - 1391 - 1353 B.C.
Tambourine player. Terracotta (6th BCE) from the Punic necropolis at Dhar el Morali, Carthago. Height 33 cm Museum, Carthage, Tunisia
A RED GRANITE HEAD OF A MAN , 30TH DYNASTY, 380-342 B.C. - Sotheby's
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Statue of Sebek-em-sauf,Middle Kingdom.Its height is 150cm. Kunsthistorisches Museum Wien.
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Statue of the Scribe Nespaqashuty from the Courtyard of the Cachette, Temple of Amun, Karnak
Senenmut y la princesa Neferure hija de Hatshepsut. Dinastía XVIII.
Statue of Senmut holding Neferure, the daughter of Queen/King Hapshetsut. This is one of several statues showing Senmut and Neferure. These statues, along with Senmut's close relationship with Hatshepsut caused much gossip about the nature of their relationship during their lifetimes.
El ushebti de Neferrenpet, de la Época Ramésida, perteneció sucesivamente a las colecciones Anastasi, Raifé y de Meester de Ravestein. Este último coleccionista de antigüedades egipcias lo regaló a los Museos en 1884.
Pharoh Khafra
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Kneeling Statue of Senenmut. Egypt, from Armant. New Kingdom, Dynasty 18, joint reign of Hatshepsut and Thutmose III, 1478–1458 B.C.E. This innovative statue type, which shows him holding a divine symbol, was offered to Montu, the god of Armant, in petition for Hatshepsut's well-being and his own eternal reward.
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I like Afrocentric history because there is always a new knowledge to learn and a new artifact to discover.
Hr(Egyptian hieroglyph for "face" - Thutmose III)
Faces in Ancient Egypt (Kemet)
Old Kingdom Egypt Sure in the hell doesn't look European.
Closeup of wooden figurine of a woman Egypt Middle Kingdom 12th Dynasty 1900-1800 BCE
Head of the statue of a princess, one of the six daughters of Akhenaten and Nefertiti, New Kingdom of Ancient Egypt, 18th Dynasty, ca. 1350 BC
Granodiorite statue of Minemheb. New Kingdom. 18th dynasty. Reign of Amenhotep III, c. 1391-1353 B.C. | Cleveland Museum of Art
Cabeza de princesa de El-Amarna del antiguo Egipto; es una cabeza ancha vista desde el frente y muy alargada; se aprecia que no acaba en punta como ocurriría con la deformación por medios mecánicos, pues la la explicación por deformación mecánica es la única explicación de la arqueología oficialista a la gran cantidad de cráneos desproporcionados encontrados por todo el mundo: EVIDENTE ENGAÑO
Princess - Head from a statuette. Probably from el-Amarna. Limestone. The Amarna c.1365-1347 B.C. | Ny Carlsberg Glyptotek, Copenhagen
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Akhenaten family, Amarna, 18th Dynasty, Neueus Museum
Head of a Harpist, from Tell El-Amarna, C.1370-1360 BC (Wood) Egyptian 18th Dynasty
Statue of Ramesses ll.
Head from a Statue of King Amenhotep III - (Neues Museum) He broke with tradition, and did not make his eldest sister Head Wife, but instead chose his Ethiopian wife, Tiye, as Queen. Succession was matrilineal throughout the Mediterranean, and her sons were not considered appropriate successors. The eldest disappeared, and Akhenaten, who worshipped one God, was reviled as a heretic.
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Statue de Ramsès VI. Une inscription fragmentaire gravée sur le pilier dorsal donne une des épithètes de ce roi. Ses cartouches sont gravées sur les épaules. Granit.Nouvel empire XXe dynastie
Statue of a prince of Tekhet,a district in Nubia (present-day Sudan).The prince is depicted in traditional Egyptian fashion c.a. 1479-1400 B.C. 18th Dynasty, New Kingdom. •Brooklyn Museum•
Granodiorite statue of a man named Minemheb, accompanied by a baboon representing Thoth. Artist unknown; from the reign of the 18th Dynasty Pharaoh Amenhotep III “the Magnificent” (ca. 1390-1350 BCE). Now in the Cleveland Museum of Art.
Statue of Minemheb, c. 1391-1353 Egypt, New Kingdom, Dynasty 18 (1540-1296 BC), reign of Amenhotep III granodiorite, Overall - h:45.00 w:16.60 d:28.30 cm (h:17 11/16 w:6 1/2 d:11 1/8 inches). | Cleveland Museum of Art
Grey basalt theophorous statue of Wennefer carrying a small figure of Khonspakhered. 26th dynasty. (Incised hieroglyphic text on the back-pillar [two columns]; upper arms, skirt and plinth.)
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Ancient Egyptian head
Upper part of a black granite statue of a woman wearing an elaborate collar and wig. Ramesside Period. | The British Museum
Both group of people looks Black to me. One group is dark skin Black. The other is light skin Black. Human selfishness and ego create the prejudice and discrimination.
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Queen Nefertiti
Egyptian Goddess
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by mena7: Ancient Egyptian head
Upper part of a black granite statue of a woman wearing an elaborate collar and wig. Ramesside Period. | The British Museum
Both group of people looks Black to me. One group is dark skin Black. The other is light skin Black. Human selfishness and ego create the prejudice and discrimination.
Yeah, and both represent Egypt. Ignorant people make these weird memes. Not understanding biology and African diversity.
It is the pure ignorance and even arrogance permitting them from thinking objective about a continent they know very little about.
Clearly the dude in the middle with the black Lacoste t-shirt on is European.
