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March 16 2015


The Monster (1903) | The Public Domain Review

A 1903 film directed by French filmmaker Georges Méliès and, as is common with his films, starring the man himself. The story centres on the chaotic, and ultimately futile, attempt to bring a dead Egyptian Princess back to life....
Reposted bygifluvverroniquemolbesenredheadladyblackandwhitebynlmshampainconcarnejanealicejonesworldwide

March 03 2015

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Four Kneeling Statues of Smaller Size
Dynasty 18, joint reign of Hatshepsut and Thutmose III, (ca. 1473-1458 B.C.E.)
Granite, from Thebes, originally from Hatshepsut's temple at Deir el-Bahri; MMA excavations, 1922-23, 1926-27

"At least eight, perhaps up to twelve statues of Hatshepsut of this type are thought to have been placed along the last section of the processional way in the uppermost court of the temple. Hatshepsut is again represented kneeling, in this instance wearing the soft khat headcloth and presenting djed (endurance) symbols and nemset water jars, a combination of gifts that was part of the rituals around the procession of the boat-shaped ('barque') shrine in which the image of the god Amun was conveyed once a year across the river to rest overnight in the sanctuary of Hatshepsut's temple." (From the Metropolitan Museum, NYC info card)
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Big giant scarab statue at the Temple of Karnak, thanks to King Amenhotep III aka Amenhotep The Great
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The vulture goddess Nekhebet and a frieze of lotsa cobra deities - Temple of Hatshepsut, Deir el Bahri
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Hieroglyphs in a tomb in the Valley of the Kings

All the cartouches I can see have been mangled so that the names they contain cannot be read.  O_o
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Statuette of Hatshepsut; Museum of Fine Arts, Boston

November 05 2014

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Funerary Complex of Djoser at Saqqara

I thought it had a bit of a Frank Lloyd Wright feel to it oddly enough.


November 04 2014

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The Egyptian Book of the Faiyum, 1st century BC-2nd century AD.

The Book of the Faiyum is the modern name of a text that describes the Faiyum oasis as the mythical center of prosperity and ritual. The text was compiled during the Greco-Roman period, perhaps in the temple of the crocodile god Sobek in Shedet, but it may be based on precedents from earlier periods. The most famous copy of this text, known as the Boulaq/Hood/Amherst papyrus, consists of two papyrus scrolls with hieroglyphic text and illustrations. Portions of this papyrus are now in the Walters Art Museum (Baltimore), the Morgan Library & Museum (New York), and the Egyptian Museum (Cairo). Besides this and other hieroglyphic versions, there are also hieratic and Demotic copies on papyrus and an unillustrated hieroglyphic version inscribed on the walls of the Sobek temple in Kom Ombo (Upper Egypt).

The focal point of the Walters Art Museum’s section of the book of the Faiyum is a long oval representing the Faiyum lake itself. Inside the lake, images of mythological figures including the crocodile god Sobek-Re, Osiris, and the solar child allude to stories of the creation of the world as well as the nightly regeneration of the sun god. Around the lake, forty-two deities are depicted, each representing an important cult site in Egypt. In this way, the book functions as a map of a ceremonial landscape centered in the Faiyum. (Walters)

Courtesy of & currently located at the Walters Art Museum, Balitmore, USA. Via their online collectionsW.738.

November 03 2014

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Egyptian blue — a bright blue crystalline substance — is believed to be the first unnatural pigment in human history. Ancient Egyptians used a rare mineral, cuprorivaite, as inspiration for the color. Cuprorivaite was so rare searching and mining for it was impossible. Instead, using advanced chemistry for the time, Egyptians manufactured the color. It was made by mixing calcium compound (typically calcium carbonate), a copper-containing compound (metal filings or malachite), silica sand and soda or potash as a flux, then heating to between 850-950 C.

Egyptian blue was widely used in ancient times as a pigment in painting, such as in wall paintings, tombs and mummies’ coffins, and as a ceramic glaze known as Egyptian faience.  Its use spread throughout Egypt, Mesopotamia, Greece, and the far reaches of the Roman Empire. It was often used as a substitute for lapis lazuli, an extremely expensive and rare mineral sourced in Afghanistan. After the decline of the Roman Empire, though, Egyptian Blue quickly disappeared from use.

I hope Philosophy-in-Blue sees this. #very blue

August 07 2014

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Nifty cow statue - Cairo Museum

From a non-nifty website covered in adverts so I’ve spared you a link.

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Black granite statue of Sekhmet from Thebes, 14th century BCE. The statue was inscribed in the 10th century BCE with the cartouches of King Sheshonq I.

Illustration from Geraldine Pinch’s book Ancient Egyptian Magic

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LEFT Amulet in dark blue glass representing the lioness goddess Sekhmet, late 1st millennium BCE. A gold sun disc was once fitted to the head.

RIGHT Amulet in green and black faience representing the cat goddess Bastet with a litter of kittens, c. 7th-6th centuries BCE.

Illustrations from the book Magic in Ancient Egypt by Geraldine Pinch

Reposted bysaddamconcarnecynaZuruihoundsofloveelektronowyppiotruscats
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Amuletic bangle in gold and silver, c. 2000-1800 BCE. The protective symbols include wedjat eyes, djed pillars and ankh signs. Also shown are a turtle, snakes, baboons, falcons, hares and the horned mask of the goddess Hathor.

Illustration from Magic in Ancient Egypt, a book by Geraldine Pinch

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Part of The Book of the Dead of Ankhwahibre, c. 6th century BCE. It shows the main amulets used on a mummy and the spells that went with them. Next to the mummy (far right) are the djed pillar and the tyet knot. Thoth (left) is opening the gates of the underworld to let in the four winds.

Illustration from Magic in Ancient Egypt, a book by Geraldine Pinch

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Sandstone conglomerate statue of Khaemwaset: depicted wearing a short wig and kilt and standing with left foot advanced and holding two standards: the right (now damaged) was probably surmounted by a representation of the Osirian triad and is inscribed with the prenomen and epithets of Ramses II; the left is surmounted by the fetish of Abydos and inscribed with the nomen and epithets of Ramses II. The inscription around the base contains a prayer to Atum and that around the feet of the figure describes describing the setting up of this monument in Ta-Wer, probably at Abydos. There are two vertical registers of hieroglyphs on the dorsal pillar, continued on both the right and left sides, contain a prayer to Osiris.

British Museum

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Sandstone conglomerate statue of Prince Khaemwaset, a son of Ramses II. He initiated so many restorations of ancient monuments, a number of Egyptologists consider him the first member of their profession.

This statue now lives at the British Museum - pic from wikipedja

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Sandstone conglomerate statue of Prince Khaemwaset, 13th century BCE. He was a son of Ramses II, who became High Priest at Memphis. This statue probably comes from Abydos.

Illustration from Geraldine Pinch’s book Magic in Ancient Egypt

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20. Two apotropaic wands made of ivory, 19th—17th centuries BCE. The lower wand is inscribed with a formula promising protection to the Lady of the House, Seneb. The upper wand has a jackal head at the pointed end and a panther head at the rounded end.

Illustration from Geraldine Pinch’s book Magic in Ancient Egypt

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Reverse of the wand shown in fig. 20 (below). Among the beings depicted are the lion-demon Bes, the hippopotamus goddess, Taweret, and the double sphinx known as the Aker.   This wand may have been deliberately broken before being placed in a tomb.

Illustration from Geraldine Pinch’s book Magic in Ancient Egypt

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The god Shu separates his parents, the earth god, Geb and the sky goddess, Nut. Among the deities shown adoring is Heka (bottom left). The owner of the papyrus and her ba (soul bird) appear in the opposite corner. Funerary papyrus of a Theban priestess, c. 950 BCE

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