图为埃及考古团主席 Zahi Hawass 在检查这些木乃伊

Art of Ancient Art of Ancient EgyptEgypt

Ancient Egyptian Ancient Egyptian culture is considered culture is considered crucial to the development crucial to the development of art in Europe and the of art in Europe and the Western Hemisphere. Its Western Hemisphere. Its influence on early Greek influence on early Greek art is visible. art is visible.

Art of Ancient EgyptArt of Ancient Egypt Early Egyptians believed that invisiblEarly Egyptians believed that invisible supreme powers lay behind the forcee supreme powers lay behind the forces of nature and that order and balance s of nature and that order and balance (maat) preserved their universe. Identif(maat) preserved their universe. Identifying and naming these elements and sying and naming these elements and setting them into a social structure like tetting them into a social structure like their own, allowed the Egyptians to feel heir own, allowed the Egyptians to feel as if they had some control over their was if they had some control over their world.orld.

Art of Ancient EgyptArt of Ancient Egypt These beliefs evolved into a religioThese beliefs evolved into a religion with many gods, goddesses and expln with many gods, goddesses and explanatory myths. Amum was the King of tanatory myths. Amum was the King of the Gods, and Osiris was the Lord of the he Gods, and Osiris was the Lord of the Underworld. Underworld.

Divinities had a variety of forms, huDivinities had a variety of forms, human, animal, or a combination of both. man, animal, or a combination of both. The pharaoh, an intermediary between The pharaoh, an intermediary between mortals and gods during his lifetime, wmortals and gods during his lifetime, was destined to become one of the “greas destined to become one of the “great gods” after his death.at gods” after his death.

Art of Ancient EgyptArt of Ancient Egypt Egyptian culture was dedicated to Egyptian culture was dedicated to providing a home for the providing a home for the kaka, that part of , that part of the human being that defines the human being that defines personality and that survives life on personality and that survives life on earth after death. earth after death.

The The kaka could find a home in a statue could find a home in a statue of the deceasedof the deceased. The enduring nature of . The enduring nature of the the ka ka required that artisans decorate required that artisans decorate tombs with paintings that the spirit tombs with paintings that the spirit could enjoy after death. Small servant could enjoy after death. Small servant figures might be carved from wood to figures might be carved from wood to serve the departed in the afterlife. serve the departed in the afterlife.

Polytheism is the belief in and worship of many gods. It contrasts with Monotheism, belief in one god, and Pantheism, identification of God with the universe. In polytheism the gods are personified, distinguished by functions, related to one another in a cosmic family, and the subjects of myths and legends.

The belief in a multitude of distinct and separate deities. It is formally contrasted with pantheism, the belief in an impersonal God identical with the universe, although the two doctrines can sometimes be found in the same religious tradition. Polytheism is distinguished from theism, also called monotheism, on the basis of polytheism's claim that divinity, while personal and distinguished from the universe, is many rather than one.

Except for the great monotheisms of Judaism, Christianity, and Islam, the world's religions are overwhelmingly polytheistic. Polytheism characterizes Hinduism, Mahayana Buddhism, Confucianism, Taoism, and Shintoism in the East, and also contemporary African tribal religions. In the ancient world Egyptians, Babylonians, and Assyrians worshipped a plurality of deities, as did the ancient Greeks, Romans, and Norse. Belief in several distinct deities serves to provide a focus for popular religious devotion when the official deity or deities of the religion are remote from the common person.

According to Ninian Smart, deities are formed around a number of aspects of life. These include natural forces and objects such as fertility and atmospheric forces; vegetation such as trees, sacred herbs, and vineyards; animal and human forms such as serpents, cattle, and animal - human hybrids; and assorted functions such as love, agriculture, healing, and war.

The Tomb was a miniature universe for the deceased, an eternal resting place. The burial of the dead implieThe Tomb was a miniature universe for the deceased, an eternal resting place. The burial of the dead implied the expectation of an afterlife. d the expectation of an afterlife. 2004 年 12 月 6 日，在埃及西南部沙漠中的巴哈里亚绿洲 （ Bahariya oasis ）的金木乃伊谷，埃及一考古队发现了 20 具木乃伊。 2000 年在该地进行的一次考古挖掘曾发现 105 具木乃伊。

图为埃及考古团主席 Zahi Hawass 在检查这些木乃伊

图为在坟墓中发现的金面具。

A mummy

A mummy, Louvre

During mummification the internal organs were removed and placed in four containers. These containers often have human or animal-headed stoppers. The word, canopic, comes from the Greek name of the local god of Canopus in the Nile delta, who was represented as a human-headed pot. Canopic jars can be made of limestone, alabaster, wood, pottery, or even cartonnage. The heads of the canopic jar represented the Four Sons of Horus: From right to left they are; Imsety: The human headed guardian of the liver; Hapy: The baboon headed guardian of the lungs; Duamutef: The jackal or wild dog headed guardian of the stomach; Qebekh-sennuef: The falcon headed guardian of the intestines;.

Egyptian Mummy and Coffin, ca. 1000 BCE. British Museum, London The ancient Egyptians believed in life after death. They believed that mummification would guarantee passage into the next life. They venerated the pharaoh as the living representative of the sun god. They believed that on his death, the pharaoh would join with the sun to govern Egypt eternally. His body was prepared for burial by a special, ten-week embalming procedure that involved removing all of his internal organs except his heart, and filling his body cavity with preservatives. His intestines, stomach, lungs, and liver were all embalmed separately---the brain was removed and discarded. The king’s corpse was then wrapped in fine linen and placed in an elaborately ornamented coffin, which was floated down the Nile on a royal barge to a burial site located at Gizeh. In no other civilization have such elaborate preparations for the afterlife been made in the preservation of the dead.

The large white pillar painted on the back of the coffin forms a "backbone." This provides symbolic support for the mummy and displays an inscription detailing Nes-mut-aat-neru's ancestry.

Panels featuring images of god and goddesses

Like the first coffin, it is in the shape of the mummy. The lid again shows Nes-mut-aat-neru's face, wig and elaborate collar. Here too the scarab beetle with outstretched wings hovers over the mummy. Below the scarab look for a small scene showing the deceased Nes-mut-aat-neru worshipping a god, and a two-column inscription.

A full-length figure of a goddess.Another wooden coffin, more simply decorated

The outermost coffin of Nes-mut-aat-neru, made primarily out of sycamore wood. The posts of the coffin are inscribed with religious texts. On the top of the coffin sits an alert jackal, a reference to Anubis, the jackal-headed god who was the patron of embalmers and protector of cemeteries.

Sarcophagus, Louvre

Coffin of a Middle Kingdom official

Stone Coffin - Sarcophagus

Sarcophagus, Louvre

Louvre: Sarcophagus shows beheading of slaves

These two wooden boxes filled with mud shawabti figures were found with Nes-mut-aat-neru's elaborate nested coffins. Shawabti figures were molded in the shape of a mummified person, and were designed to do any work that the gods asked the deceased's spirit to do in the afterworld. Literally translated it means "to answer." In some tombs of the late New Kingdom whole gangs of ushabti workers were included with different tools for doing different work. A complete collection would consist of 401 Ushabti: one for each day of the year, 365 plus 36 foreman

A variety of ushabtis in the Egyptian Museum, Cairo

Coffin for a Sacred Cat, Ptolemaic period, 304-30 B.C. Bronze, Height: 11 in. (27.9 cm), Metropolitan Museum of Art, New York

据英国《每日邮报》报道，一对夫妇每周只需要拿出 10 英镑保存费就可以让自己永生，根据计划，美国人体冷冻研究所将用液氮冷冻遗体，然后一直负责维护，等科学发展到一定程度，再让尸体复活。最近几年，“人体冷冻”发展很快，越来越受欢迎。美国推出人体冷冻服务已经好多年了。他们在 70 年代建造了第一个冷冻尸体的“冷冻库”。现在，英国仍然没有公司提供这种服务，但越来越多的英国人已经作出安排：死后把自己的尸体送到美国冷冻保存。

If the heart is not “found true by trial of the Great Balance,” it will be devoured by themonster, Ament, thus meeting a second death. If pure, it might sail with the sun “up and down the river,” or flourish in a realm where wheat grows high and the living souls of the dead enjoy feasting and singing.

Illustration of Spell 110 from the Book of the Dead in the burial chamber of Sennudjem, ca. 1279 BC. New Kingdom

This is a tomb painting from the tomb of a man named Menna, New Kingdom. The Egyptians believed that the pleasures of life could be made permanent through scenes like this In this painting, Menna, the largest figure, is shown twice. He is spear fishing on the right and flinging throwing sticks at birds on the left. His wife, the second-largest figure, and his daughter and son are with him. The deceased portrayed in the way he or she wished to remain forever accompanied by images of family and servants.

Still life: offerings for the deceasedEarly Sixth DynastyPainted limestoneHeight: 48 cm (18 7/8 in)Width: 38.5 cm (15 1/8 in)The Detroit Institute of Arts

Palette of King Narmer (back/front) predynastic, 3000-2920 BC, 2’1”h. Egyptian Museum

The Narmer Palette (Great Hierakonpolis Palette) J.E. Quibell, Slate palette from Hierakonpolis, Cairo (Horus Temple 'Main Deposit') - h. 63.5 cm

Mudstone palette, Length: 42.5cm ( 泥岩雕刻板 ) ， c. 3200 BC. 耶拉孔波利斯古城，刻有瞪羚、野狗等动物图案。与大多数埃及艺术品不同，上面不存在对人的任何描述。后来的埃及艺术家将动物描绘成宠物、祭祀品和食物。但在耶拉孔波利斯古城，动物则是权力的象征，让人充满敬畏，预示着饲养它们的统治者也具有令人敬畏的权力。

The Egyptian canon of proportion.

Relief block with the figure of Aa-akhti. Late 3rd Dynasty, Fine-grained limestone with traces of paint. H: 184 cm,W: 83 cm, Depth: 18 cm. Musee du Louvre, Paris

Prince Rahotep and his wife Nofret, c. 2610 BC, Painted limestone, 120 cm h. Egyptian Museum, Cairo. The eyes are inlaid with rock crystal, facial features and Nofret’s headband and necklace are painted. They are probably the oldest portrait statues in the world.

Scene of fowling, from the Tomb of Neb-amon at Thebes, Egypt, ca. 1400 BCE. Fragment of a fresco secco (dry) New Kingdom British Museum

New Kingdom

Relief block with the figure of Aa-akhti. Late Third Dynasty, Fine-grained limestone with traces of paint. Height: 184 cm,Width: 83 cm, Depth: 18 cm. Musee du Louvre, Paris

Relief of ItushFifth Dynasty, reign of Djedkare-IsesiLimestoneHeight: 42.6 cm (16 7/8 in)Width: 74.4 cm (29 3/8 in)Depth: 9.5 cm (3 3/4 in)Brooklyn Museum of Art

Slab stela of Prince Wep-em-nefret, Fourth Dynasty, reign of Khufu. Painted limestone. Height: 45.7 cm, Width: 66 cm, Depth: 7.6 cm. Hearst Museum of Anthropology, Berkeley

Ti Watching a Hippopotamus Hunt. From Tomb of Ti, Saqqara, Dynasty 5, c. 2510-2460 BC. Painted limestone relief, 114.3cmDiscovered by the French archeologist Auguste Mariette in 1865.

painting of geese made almost 5000 years ago during the Old Kingdom.

Egypt, beginning of the Ptolomaic period (305-200 BC) limestone 24x18cm

Stepped Pyramid and mortuary precinct of Djoser, Saqqara, Egypt, Dynasty III, ca. 2630-2611 BC. Derived from square-plan mastaba.

EVOLUTION OF TOMB STRUCTURE: MASTABA TO PYRAMIDS

The Tomb was a The Tomb was a miniature universe fminiature universe for the deceased, an or the deceased, an eternal resting placeternal resting place. The burial of the e. The burial of the dead implied the exdead implied the expectation of an aftepectation of an afterlife.rlife.

将军坟，位于吉林省集安县东北约 4公里的龙山脚下，因其造型颇似古埃及法老的陵墓，有“东方金字塔”之称，据说为公元四世纪末五世纪初高句丽王朝第二十代王长寿王之陵。

Pyramid of the sun, Ceremonial center of the city of Teotihuacan, Mexico. Teotihuacan culture, 350-650 CE

BASE OF NORTH ACROPOLIS AND TEMPLE 1

Great Pyramids, Gizeh, Egypt, Dynasty IV, Menkaure, Khafre, Khufu, ca. 2490-2528. The smallest of the p

yramids, Menkaure's is 218 feet high (about a 15-story building) and about 356 feet at the base.

大金字塔 (Khufu) 、哈夫拉金字塔 (Khafra) 、孟卡拉金字塔 (Menkaura) 及大狮身人面像 (Great Sphinx)

The pyramid of Khafre, c. 2520-2494 Just south of Khufu's pyramid, this one seems larger since it is on higher ground. It is actually 10 feet shorter and 48 feet narrower at the base. Materials changed: earlier pyramids had cores of mud brick, but the two giant ones at Giza were made mostly of two grades of limestone, a hard white stone for the skin or cap and a coarser gray for the core. The cap has been entirely removed from Khufu's, but a bit of it remains here, at the summit of Khafre's. Most of this stone was stripped from the pyramids to build Cairo.

The pyramid of Khufu, c. 2520-2494 The oldest and the largest, this so-called "great" pyramid was originally about 480 feet high and is 775 feet at the base on one side.

About a hundred pyramids were built over a period slightly exceeding a thousand years. The rising sun shone upon the summits, just as it shone upon the earth when land first rose from the sea. This particular pyramid is Menkaure's. It's the smallest of the three at Giza and unusual in that the casing blocks are of undressed granite, not the limestone of its two immense neighbors.

Great Sphinx (with Pyramids of Khafre and Khufu in the background. ca. 2520-2494 BC, Sandstone 。 approx. 65’ high(20m), 240’ long (face 5m, ear 2m). 狮子是战神的化身，也是力量的象征，法老把自己的形象与它的形象混合起来，是为了夸耀神秘的威力，使自己成为万民崇拜的偶像。

The Great Sphinx of Giza is made completely from one stone. It was built over 3 thousand years ago, and historians still can not answer the "Riddle of the Sphinx" - who was the author of this statue, and who was the real-life model for its face. Another question debated among historians is - what exactly happened to the Sphinx nose. One of the popular theories suggests that the nose was broken off with a cannon ball fired by the soldiers of Napoleon Bonaparte. The Great Sphinx of Giza is considered a guardian of the Giza pyramids, and represents the might of the pharaohs who ruled the Egyptian land thousands of years ago.

Cheops' Pyramid is in the background. Photograph by Henri Bechard, 1887

A less familiar view, indicating the volume of rock quarried from her flanks. The Sphinx faces east, looking toward the rising sun. Why? She may have been intended as a representation of the Sun God. Alternatively, she may represent pharoah, with superhuman strength, waiting to present an offering to the rising sun. In the background, a bit of Nile Valley greenery can be seen.

Section of the Pyramid of Khufu

The pyramid of Khafre, This valley temple was part of the funerary complex including along with the pyramid (with its burial chamber) a mortuary temple (joining the pyramid on its east side), and a covered causeway leading to the valley temple. The purpose of these valley temples has been debated: they could have been used for the mummification process or perhaps for the "opening of the mouth" ceremony, when the "ka" entered the deceased person's body. This temple is an excellent state of preservation, having been buried by desert sand until the 19th century. Indentations in the alabaster floor indicate that the 23 statues of Khafre were once placed against the wall. Only one of these statues has been found.

It is one of a series of similar statues carved for the pharaoh’s valley temple near the Great Sphinx. Permanence of style and material was essential. Diorite ---闪长岩 a dark stone exceptionally hard from royal quarries in the south 700 miles away.

King Khafre seatedFourth Dynasty, reign of Khafre, GraywackeHeight: 120 cm (47 1/4 in)Egyptian Museum, Cairo

Menkaure and Khamerernebty, from Gizeh, Egypt, Dynasty IV, c. 2490-2472 BC, Slate, approx. 4’61/2” high, Boston. It is a superb example of the standing type, once in the valley temple of Menkaure’s pyramid complex at Gizeh. Notice the use of conventional postures to suggest the timeless nature of these eternal substitute homes for the ka.

Triad of King Menkaure

Head of King Djedefre, Fourth Dynasty, reign of Djedefre, Red quartzite with remains of paint. Height: 26.5 cm, Width: 28,8 cm, Depth: 38.5 cm Musee du Louvre, Paris

Reserve headFourth Dynasty, probably reign of Khufu, LimestoneHeight: 27.7 cm Kunsthistorisches Museum, Vienna Portrait head, c. 2551-2528 BC. Found in a tomb at Giza, limestone, 27.8 cm h. Kunsthistorishes Museum, Vienna.

Prince Tjau seated on the ground, Sixth Dynasty, reign of Merenre I or later, Graywacke. Height: 34.5 cm (13 5/8 in), Egyptian Museum, Cairo

Pair statue of Queen Ankh-nes-meryre II and her son Pepi II seated,Sixth Dynasty, Egyptian alabaster. c. 2383-2289 BC. 39.2 cm. Height: 38.9 cm, Width: 17.8 cm, Depth: 25.2 cm. The Brooklyn Museum.

Pair statue of Memi and Sabu standing, Fourth Dynasty. Limestone with remains of paint. Height: 62 cm. Width: 24.5 cm, Depth: 15.2 cm. MMOA, New York

Butcher, 5th Dynasty, probably reign of NiuserreLimestone with remains of paint (knife restored)37 cm Oriental Institute, University of Chicago

Ni-ka-re, his wife, and their daughter5th Dynasty, reign of Nuiserre or later,

Painted limestone, 57 cm MMOA

Seated scribe (Kay?), from his mastaba at Saqqara, Egypt, Dynasty V, c. 2450-2350 BC. Painted limestone, approx. 1’9” h. Louvre, Paris. Scribes occupied a privileged position in ancient Egypt. Still portrait sculptures of scribes are less formal than royal portraits, often seated figures with crossed legs and even sometimes with realistic rolls of fat on the figure's abdomen. Here the scribe sits with a partly unrolled papyrus scroll on his knees.

Seated Scribe: painted limestone, beginning of Dynasty 5, c. 2475 BCE. This statue is an idealized rendition of a loyal scribe and public official.  In a squatted position, the scribe sits with his back upright and his eyes fixed to the future -- a representation in keeping with the positive attitudes and general respect held towards scribes throughout Khufu's reign. Though asymmetrical, the anonymous scribe's face denotes confidence and determination.  His windswept wig-locks leave the expressions of his round face in plain view.

Selected Works from the Egyptian Museum at Cairo, Old Kingdom, statue of a servant.

Ka-Aper, from his mastaba at Saqqara, Egypt, Dynasty V, c. 2450-2350 BC, wood, approx. 3’7” high, Egyptian Museum, Cairo.

Relief of Hesi-reThird Dynasty, reign of DjoserAcacia woodHeight: 86 cm (33 7/8 in)Width: 41 cm (16 1/8 in)Egyptian Museum, Cairo

Beginning with the 18th Dynasty and ending with the 20th, the kings abandoned the Memphis area and built their tombs in Thebes. Also abandoned were the pyramid style tombs. Most of the tombs were cut into the limestone following a similar pattern: three corridors, an antechamber and a sunken sarcophagus chamber. These catacombs were harder to rob and were more easily concealed. Construction usually lasted six years, beginning with the new reign.

女法老的木乃伊静静躺在木箱中

女法老哈特谢普苏特 埃及学者证实最著名女法老木乃伊

展出的最著名女法老木乃伊

研究人员在检查法老木乃伊

Funerary temple of Queen Hatshepsut, Deir el-Bahri, Egypt, c. 1480 BC. Sandstone and rock. Construction of this temple began in the reign of Thutmose I and continued during the reign of his daughter Hatshepsut. Most of the projecting colonnades have een restored. (Middle Kingdom)

Granite statue of Hatshepsut as pharaoh, 18th Dynasty, c. 1473-1458 BC. 241 cm. MMOAH was the second known queen who ruled Egypt as pharaoh. The earlier queen, Sobekneferu, ruled in the 12th Dynasty, but did not preside over an artistic revival.

Hatshepsut with offering jars, from the upper court of her mortuary temple, Deir el-Bahri, Egypt, c. 1473-1458 BC. Red granite, 259 cm. MMOA, NY.

Painted limestone sphinx of Queen Hatshepsut, from Deir el-Bahri, c. 1470 BC. 61 cm, MMOA.

Hatshepsut as Sphinx, from Deir el-Bahri, Dynasty 18, c. 1478-1458 BC. Red Granite, 164 cm h. MMOA

Kneeling granite colossus of Queen Hatshepsut wearing the White Crown and offering libation vessels, from Deir el-Bahri, c. 1460 BC. 281 cm MMOA.

(Right) Indurated Limestone statue of Queen Hatshepsut in the costume of a pharaoh, from Deir el-Bahri, c. 1460 BC. 196 cm MMOA.

Temple of Ramses II. Abu Simbel (now relocated), Dynasty XIX, c. 1275-1225 BC. Colossi approx. 65’ (20 m) high. After eleven centuries of oblivion, these temples were rediscovered in 1813 when Johann Ludwig Burckhardt saw by accident the upper parts of the colossal figures. In 1817 Giovanni Battista Belzoni found the entrance, partially freed from the sand. In the following years these temples were often partially covered by shifting sands.

The young, handsome face is finely carved. He wears a double crown on his head and a heavy nemes flares out on both sides of his face. The line of the smiling lips is more than a meter long.

Smaller sculptures between the legs and at the base of the colossi represent members of the royal family: "Princess Nebt-taui, Princess Bant-anat and an unidentified princess on the southernmost colossus; Queen Tu'e, the King's mother, Queen Nefertari, his wife, and his son prince Amen-hir-khopshef to the left of the doorway; and beside the statues to the right (north), Queen Nefertari, twice represented, and Prince Ramses"

Interior of the Temple of Ramses II. Abu Simbel. Pillar statues approx. 9.75 m high.

Interior of the Temple of Ramses II. Wall decoration depicts military victories of Ramses II.

Interior of the Temple of Ramses II. Abu Simbel. Pillar statues approx. 9.75 m high.

Colossal statue of Rameses II, Memphis Museum, Egypt. Situated in a special shelter, this limestone statue depicts the handsome and muscular pharaoh. Part of the crown and legs are missing. Cartouches bearing Rameses name are on his right shoulder and chest.

The Great Temple of Ramses II (left) and the Temple of Hathor/Nefertari (right) Today visitors see the reconstructed temples now relocated on higher ground (60 meters directly above their earlier position) after the heroic international rescue efforts to save these treasures from Lake Nasser.

The smaller temple is dedicated to Ramses II's wife, Nefertari. Although she was not his sole wife, she was the best beloved. In addition, she is represented on the facade of this temple as large as her husband--a clear indication of her status. The sloping facade has three recessed areas on each side of a central doorway, flanked by two large statues of Ramses. Nefertari is shown as Hathor with the horns of the sacred cow, the solar disk and two plumes. The six statues are about 10 m, h. All have the left legs forward. Statues of the children of the royal couple are also shown--the princesses by Nefertari and the princes by Ramses.

The interior has an almost square pronaos with six Hathor pillars in two rows. Stories of Nefertari and Ramses are engraved under the head of the goddess. The walls are decorated with scenes of offering as well as the massacre of prisoners by Ramses, the warrior pharaoh.

The Temple of Dendur, Roman period, ca. 15 B.C. Egyptian; Dendur, Nubia, Sandstone; L. from gate to rear of temple 82 ft. (24 m 60 cm). Given to the United States by Egypt in 1965, awarded to The Metropolitan Museum of Art in 1967, and installed in The Sackler Wing in 1978 (68.154).

► Egyptian templesEgyptian temples were not simply houses for a cult image but also represented, in their de were not simply houses for a cult image but also represented, in their design and decoration, a variety of religious and mythological concepts. One important symbolic aspsign and decoration, a variety of religious and mythological concepts. One important symbolic aspect was based on the understanding of the temple as an image of the natural world as the Egyptianect was based on the understanding of the temple as an image of the natural world as the Egyptians knew it. Lining the temple base are carvings of papyrus and lotus plants that seem to grow from s knew it. Lining the temple base are carvings of papyrus and lotus plants that seem to grow from water, symbolized by figures of the Nile god Hapy. The two columns on the porch rise toward the water, symbolized by figures of the Nile god Hapy. The two columns on the porch rise toward the sky like tall bundles of papyrus stalks. Here, lotus blossoms are bound with the papyrus. Above thsky like tall bundles of papyrus stalks. Here, lotus blossoms are bound with the papyrus. Above the gate and temple entrance are images of the sun disk flanked by the outspread wings of the sky ge gate and temple entrance are images of the sun disk flanked by the outspread wings of the sky god Horus. The sky is also represented by the vultures, wings outspread, that appear on the ceiling od Horus. The sky is also represented by the vultures, wings outspread, that appear on the ceiling of the entrance porch.of the entrance porch.

► Carved on the outer walls between earth and sky are scenes of the king making offerings to deCarved on the outer walls between earth and sky are scenes of the king making offerings to deities, who hold scepters and the symbol of life (ankh). The figures are carved in sunk relief. In the ities, who hold scepters and the symbol of life (ankh). The figures are carved in sunk relief. In the brilliant Egyptian sunlight, shadows cast along the figures' edges would have emphasized their outbrilliant Egyptian sunlight, shadows cast along the figures' edges would have emphasized their outlines. Isis, Osiris, their son Horus, and the other deities are identified by their crowns and the hierolines. Isis, Osiris, their son Horus, and the other deities are identified by their crowns and the hieroglyphic inscriptions. These scenes are repeated in two horizontal registers. The king is identified bglyphic inscriptions. These scenes are repeated in two horizontal registers. The king is identified by his crowns and by his names, which appear close to his head in elongated oval shapes called carty his crowns and by his names, which appear close to his head in elongated oval shapes called cartouches; many of the cartouches simply read "pharaoh." This king was actually Caesar Augustus of ouches; many of the cartouches simply read "pharaoh." This king was actually Caesar Augustus of Rome, who, as ruler of Egypt, had himself depicted in the traditional regalia of the pharaoh. AuguRome, who, as ruler of Egypt, had himself depicted in the traditional regalia of the pharaoh. Augustus had many temples erected in Egyptian style, honoring Egyptian deities. This small temple, bustus had many temples erected in Egyptian style, honoring Egyptian deities. This small temple, built about 15 B.C., honored the goddess Isis and, beside her, Pedesi and Pihor, deified sons of a locilt about 15 B.C., honored the goddess Isis and, beside her, Pedesi and Pihor, deified sons of a local Nubian chieftain.al Nubian chieftain.

► In the first room of the temple, reliefs again show the "pharaoh" praying and offering to the gIn the first room of the temple, reliefs again show the "pharaoh" praying and offering to the gods, but the relief here is raised from the background so that the figures can be seen easily in the ods, but the relief here is raised from the background so that the figures can be seen easily in the more indirect light. From this room one can look into the temple past the middle room used for offmore indirect light. From this room one can look into the temple past the middle room used for offering ceremonies and into the sanctuary of the goddess Isis. The only carvings in these two rooms ering ceremonies and into the sanctuary of the goddess Isis. The only carvings in these two rooms are around the door frame leading into the sanctuary and on the back wall of the sanctuary, where are around the door frame leading into the sanctuary and on the back wall of the sanctuary, where Pihor worships Isis in the better preserved upper register and Pedesi worships Osiris in the one belPihor worships Isis in the better preserved upper register and Pedesi worships Osiris in the one below.ow.

Visitors in front of the Egyptian Temple of Dendur, MMOA

The temple has a more unified plan than some Egyptian temples (Karnak, for example) because it was essentially the work of only three pharaohs: Amenophis III (also known as Amenhotep III), Tutankhamen, and Ramses II. In general, each new addition was situated in front of the older section; thus we encounter the temple in reverse chronological order. Notice capitals shaped like open lotus flowers and as closed papyri (or buds).

RECONSTRUCTION DRAWING OF THE HYPOSTYLE HALL, GREAT TEMPLE OF AMUN, Karnak. Dynasty 19.

Temple of Ramses II at Abu Simbel. The large pylon front, a kind of triumphal entrance, is about 213 feet across. Two granite colossi of Ramses II on a throne (about 51 feet high) frame the entrance; originally four standing statues of Ramses II also were placed in front of the pylon. In addition, an 82 foot obelisk stands at the ceremonial entrance; it is placed on a base with ithyphallic baboons in relief. This obelisk's twin is in the Place de la Concorde, Paris.

Bas-reliefs on the front depict scenes of military campaigns, specifically Ramses' battles with the Hittites in the fifth year of his reign. On the far right is one of the remaining standing statues of Ramses II

Temple of Horus Edfu.

The columns have capitals as closed papyri (or buds) and Osirian statues between the columns.

Senmut with Princess Nefrua, from Thebes, Dynasty XVIII,

c. 1490-1460 BC. Granite, approx. 93 cm Ägyptisches Museum, Berlin.

Amenhotep son of Hapu as an Aged Mangrey granite, Dynasty 18, reign of Amenophis III (c. 1403-1365). The inscription explains that the subject of this work had reached age 80 when it was executed.

Akhenaton, pillar statue from the Temple of Amen-Re, Karnak, Dynasty XVIII, c. 1355-1335 BC. Sandstone, 396 cm h. Egyptian Museum, Cairo.

Breaking with tradition, Akhenaten radically changed the religion, introducing the belief and worship in only one god, only the Aten, visualized as a disk of the sun, and the pharaoh was its sole high priest.Temples now had no roofs, so that the sun may be seen all day long.

Akhenaten, Nefertiti, and the Royal Princesses

Akhenaten, Nefertiti, and the Royal Princesses

Portrait of head of Queen Nefertiti, ca. 1353-35 BCE. New Kingdom, 18th Dynasty, painted limestone, 51 cm, Statue Museum, Berlin. 纳芙蒂蒂被认为是古代埃及“最美丽的王后”，是古埃及第 18 王朝 (前 1570-1293 年 )著名法老埃赫那吞的妻子。一只眼睛已经脱落，德国科学家发现美丽绝伦的半身像脸上被添加了细微的皱纹，尤其是在眼睛周围。皱纹使得半身像更个性化和令人印象深刻科学家在德国柏林一家医院通过 X线断层摄影技术对纳芙蒂蒂半身像进行检测，发现它是由石灰石制作，分层完成。检测结果表明，当年雕塑师总共对雕像修改过四次。他对半身像的皱纹做了精心处理。之后，又在最外部附着了一层石膏，皱纹隐藏在内，让人很难察觉。

Two bracelets of Queen Hetep-heres I, Fourth Dynasty, Silver, turquoise, lapis lazuli, and carnelian. Left: diameter 9 cm (3 5/8 in), width 2.4 cm (1 in), Right: diameter 8.8 cm (3 1/2 in), width 2.4 cm (1 in), Egyptian Museum, Cairo.

Fish-shaped vase, from Akhetaten (modern Tell el-Amarna). Dynasty 18, c. 1348-1335 BC. Core glass, L 14 cm. The British Museum, London.

Royal Couple in a Garden

Royal Couple in a Garden

Queen Tiye, from Gurob, Egypt, Dynasty XVIII, ca. 1353-1335 BC. Wood, with gold, silver, alabaster, and lapis lazuli, 9.5 cm, Ägyptishes Museum, Berlin.

Entry to the Valley of the Kings

In 1922, Howard Carter discovered, the almost complete tomb of the boy King Tutankhamen, Now the most famous of the all the pharaohs, because of this discovery. Tutankhamen died at the age of 19, possibly he was murdered by the very man that appears on the walls of his tomb, his chief vizier, Aye. Directly across from Tutankhamun’s tomb lies KV5, where work continues to uncover what may be the last resting place of the 150 sons of Ramesses II.

Howard Carter and an assistant unwrapping the innermost of Tutankhamun’s three nested coffins. The third coffin is solid gold and contained the king’s mummified body.

07 年 11 月 4 日工人将图坦卡蒙的石棺打开，将木乃伊搬到有温度及湿度调节的透明胶箱内展出，游客现可在墓穴看到他的真面目。考古学家称，他简直“美极了”，是古代埃及的美男子。埃及首席考古学家哈瓦斯强调，图坦卡蒙永远不会离开其墓穴，不会像其它木乃伊一样移送博物馆展出。英国考古学家卡特 1922 年发现图坦卡蒙时，把他移离墓穴，拿走他的黄金面罩，结果令木乃伊遭破坏，身体裂成 18块。两年前，埃及考古学家为图坦卡蒙作计算机断层扫描后，开始进行修复。哈瓦斯表示，由于大批游客涌到墓穴参观，令木乃伊加速损耗，“人们散发的热气及湿气，会令木乃伊化成粉末。图坦卡蒙唯一保持完好的便是他的面孔，所以我们要保住他那张脸。” 约于公元前 1323 年身亡的图坦卡蒙充满神秘，死因及身世均多谜团。最流行的说法指，他是埃及 18王朝第 12任法老， 8岁登基。考古学家 2005 年史无前例为图坦卡蒙作计算机扫描，结果虽否定他被残暴杀害，但却不能肯定其死因。专家怀疑他死前数天左腿断裂，可能受感染致死。

Crook & Flail – emblems of kingship; Vulture (Nekhbet & Cobra (wadjet) -- protective goddessesModel boat – a means of transport in the afterlife; Faience Topaz

Canopic coffinette of Tutankhamon, c. 1333-23 BC. Gold inlaid with enamel and semiprecious stones, 39 cm h. Egyptian Museum, Cairo.

Innermost coffin of Tutankhamen, from his tomb at Thebes, Dynasty XVIII, c. 1325 BC. Gold with inlay of enamel, carnelian, lapis lazuli, and turquoise. approx. 186 cm long. Egyptian Museum, Cairo.

Death mask of Tutankhamen, from the innermost coffin in his tomb at Thebes, Dynasty XVIII, c. 1323 BC. Gold with inlay of semiprecious stones, approx. 54 cm high. Egyptian Museum, Cairo.

Death mask of Tutankhamen, from the innermost coffin in his tomb at Thebes, Dynasty XVIII, c. 1323 BC. Gold with inlay of semiprecious stones, approx. 54 cm high. Egyptian Museum, Cairo.

Tjuyu and Yuya - Parents of Queen Tiy - Mother of Akhnaton.

Discovered resting on a sled dressed in silver in , the antechamber of the tomb of Tutankhamun, this wooden shrine is covered in gold leaf applied to a layer of stucco. Its form, with the roof sloping down from front to rear and the projecting cornice at the top of the walls, recalls the ancient chapels of Upper Egypt.

Opening of the Mouth Ceremony

This throne was produced in the early years of the reign of Tutankhamun, prior to the religious counter reformation that marked the definitive end of the Amarna Period.

Numerous caskets and chairs were piled hazardly -as a result of the violations of the tomb - in the western corner of the antechamber. The containers were almost all rectangular in shape, with lids that were flat, featured triangular pediments, or were vaulted. With the exception of certain examples in alabaster and cane, the majority were made of wood, with precious inlays in ivory, gold leaf, turquoise, or vitreous paste.

Tut Chalice Lamp

Wonderful Artwork found in the Tutankhamun TombA top from one of the Canopic Jar

This elegant and precious game table composed of interlocking pieces is the largest of the four discovered in the annex of the tomb of Tutankhamun. The piece takes-the form of a box resting on a base supported by four leonine legs, partially covered with gold leaf and fixed to a sled. The upper surface is veneered with ivory and is subdivided by means of strips of wood into thirty squares, five of which carry inscriptions. The game of senet was played on this board. There are the same number of squares in ivory on the lower surface of the box, three of which are inscribed. This side was used for the game tjau.

The Treasure Chamber in the tomb of Tutankhamun contained twenty-two black-painted wooden caskets, each of which contained one or more wooden statues portraying the pharaoh or a number of deities from the Egyptian pantheon. All of the figures contained in the black tabernacles are fixed to a rectangular base and at the moment of their discovery were wrapped in a linen cloth datable to the third year of the reign of Akhenaten.

Two twin statues in gilded wood depict Tutankhamun standing upright on a papyrus raft and engaged in a mythical hunt for the hippopotamus symbolizing evil. The pharaoh is represented as the incarnation of Horus, the god that according to the legend fought in the swamps against the evil Seth who was transformed into a hippopotamus and was finally defeated. Tutankhamun, like the victorious god, has the task of fighting against evil and preserving the universal order of which he is the sole guarantor. The sovereign, seen in a striding pose taking a long, solemn step appears realistically to be concentrating on launching a long spear against his enemy. He is wearing the crown of Lower Egypt decorated at the front with a representation of the royal cobra above his youthful, refined facial features.

The two statues differ only in the type of head covering they are wearing (one a khat head-cloth, the other a nemes) and the inscriptions on their skirts. The king is portrayed in a striding pose, a mace gripped in his right hand and a long staff with a papyrus stem in his left hand. A gilded bronze asp adorns his forehead while the eyes are inlaid and outlined with gilded bronze, as are the eyebrows. A gilded usekh necklace and a pectoral are worn on the chest. The pleated skirt is fastened on the hips with a belt inscribed at the rear and on the buckle with the coronation name of the king Nebkbeperura. These two statues were discovered in the antechamber of the royal tomb, facing each other on either side of the sealed entrance to the burial chamber. At the time of their discovery traces of the linen bandages in which they had been wrapped were found, along with two bundles of olive and persea branches placed as offerings, one on the floor, the other still propped against the wall. The statues, of refined craftsmanship and striking in both their life-size dimensions and the black finish of the skin, are testimony to the skill of the artist who has succeeded in investing their features with a sense of the almost supernatural power they wielded as guardians of the burial chamber. Rather than being designed to frighten eventual intruders, the black skin tone was a reference to the earth and thus, given that these are ka images of the sovereign, emphasizes indestructibility of the creative nature of the king, evoking the aspects of rebirth and cyclical resurrection of Osiris.

Painted chest, from the tomb of Tutankhamen, Thebes, c. 1325 BC. Wood, 51 cm long, Egyptian Museum, Cairo.

黑檀木扇子，上面刻着的秃鹰代表上、下埃及的保护神奈荷贝特（ Nekhbet ）

彩绘的盒子，卡特认为这个盒子是墓葬中最伟大的艺术品之一。盒子上绘制着一些列图特卡蒙国王的英雄事迹，征战努比亚人的战争场景，盒的盖子描绘的是猎狮和一些沙漠游戏

休憩的头枕，由两块象牙雕刻而成，在中间是跪着的天神 Shu支撑着代表上天的枕垫，两边的狮子象征东西方地平线

黄金的王座。木质的框架用金箔或银箔包裹，并镶嵌有各种各样的宝石

装有图特卡蒙内脏的石质箱子

甲虫形宝石胸饰品。尽管，卡特认为已经有 60％的珠宝被盗墓者盗走，但在 1922 年打开墓穴时仍保留有 200 多件珠宝

猎鹰标志，这种被用来狩猎的鸟是远古神圣权力的象征

The Uraeus is the serpent emblem found in Egyptian portrayals of Royalty and Deity. It is a symbol of divine authority, representing the Goddess Wedjat as the all seeing eye of Ra, who was believed to protect the Pharoahs by spitting fire, and the emblem of the Lower Kingdom of Egypt. According to legend, the Cobra was given to the pharoahs as a sign of kingship by the God Geb.

The ankh is an ancient Egyptian symbol of life. Also known as an Ansata cross, it is a visual representation of a sandal strap. This combination of male and female symbols (the cross and circle) in the ankh suggest fertility and creative power. The top loop also symbolises the sun on the horizon, and suggests reincarnation and rebirth. The ankh appears frequently in Egyptian writings about rebirth, and this symbolism was adopted by Coptic Christians, especially gnostic sects, to symbolize the resurrection of Christ and the heavenly marriage. The ankh was an earlier form of the cross than the later "latin" cross.

Designed to resemble the eye of a falcon, this symbol is called the Eye of Ra or Eye of Horus represents the right eye of the Egyptian Falcon God Horus. As the udjat (or utchat), it represented the sun, and was associated with the Sun God Ra (Re). The mirror image, or left eye, represented the moon, and the God Tehuti (Thoth). (A very similar concept of the sun and moon as eyes appears in many religious traditions) According to legend, the left eye was torn from Horus by his murderous brother Seth, and magically restored by Thoth, the God of magick. After the restoration, some stories state, Horus made a gift of the eye to Osiris, which allowed this solar deity to rule the underworld. The story of this injury is probably an allusion to the phases of the moon as the eye which is "torn out" every month. Together, the eyes represent the whole of the universe, a concept similar to that of the Taoist Yin-yang symbol. Spiritually, the right eye reflects solar, masculine energy, as well as reason and mathematics. The left eye reflects fluid, feminine, lunar energy, and rules intuition and magick. Together, they represent the combined, transcendent power of Horus. The Eye of Horus was believed to have healing and protective power, and it was used as a protective amulet, and as a medical measuring device, using the mathematical proportions of the eye to determine the proportions of ingredients in medical preparations) to prepare medications. The Masonic all seeing eye, the Eye of Providence symbol found on American money, and our modern Rx pharmaceutical symbol are all descended from the Eye of Horus.

The scarab is the symbol of Ra, the Sun God of the Egyptians. In his scarab aspect, Ra was called Khepera.Scarab beetles lay their eggs in dung, which they roll into a ball and roll into a hole. The Egyptians equated this with the movement of the sun and its daily resurrection. The opening and closing of the scarab's colorful wings symbolized night and day. Scarab is also the hieroglyph meaning rebirth.

The feather is the emblem of the Egyptian Goddess embodying justice, Ma'at. Egyptians believed that at the time of death, the feather was weighed against the heart of the deceased. A heart made heavy by sin outweighed the feather and was devoured by Ammit, but a light heart meant the individual was free from sin and entitled to join Osiris in the underworld. (The origin of the phrase "light hearted.")

The Crook and Flail are the emblems of the Egyptian God Osiris. They were the symbols of divine authority and kingship, carried by Egyptian Pharoahs in State ceremonies. The crook and flail are Shepherd's tools -one of the epithets of Osiris was "Good shepherd." The crook and flail originally belonged to a minor agricultural deity, Anedijti, and were later adopted by followers of Osiris. Originally emblems of crops and livestock, they later became symbols of purification.

Horus (Solar Horus) A representation of Horus, the falcon God of the Egyptians, in his solar aspect. Horus was the protector God of the egyptian Pharoah, and represented the King's divine authority. The common depiction of the American Eagle mascot is modeled on this image.

The nemyss is the ritual Egyptian head-dress of the pharoahs. It is best known from images of King Tutankamun- a folded linen cloth that rises from the brow and hangs toward the shoulders.The nemyss is still in wide use today by Kemetic practitioners and a number of magickal orders, including various Golden Dawn reconstructions and in Thelemic rituals.

Winged Solar Disk: This is a form that the god Horus Behudety (Horus of Edfu) takes in his battles with Seth. The god Thoth used his magic to turn Horus into a sun-disk with splendid outstretched wings. The goddesses Nekhbet and Uazet in the form of uraeus snakes joined him at his side.

Ouroboros ( Auroboros ) Sign of Totality The snake swallowing its own tail represents; rebirth, immortality, the round of existence, evolution, continuity, and perpetual movement of the universe. It symbolises unity and infinity, with no beginning and no end. The cycle of day and night, life and death, heaven and earth, good and evil are all represented by the endless turning on itself. A symbol in both Egyptian and Greek mythology.

Model boat: a means of transport in the afterlife; The floral shape represents regeneration; falcon collar --- falcon god horus.

Deshret The Red Crown. This was the crown that represented Lower Egypt (northern).

Khepresh The blue crown was a ceremonial crown often worn in battle.

Hedjet The White Crown. This was the crown of Upper Egypt (southern

Pshent The Double Crown, the red crown and the white crown put together to represent a unified Egypt. Although Egypt was not always a unified nation it was stronger that way.Therefore unification was desirable. Narmer (Menes), the founder of the First Dynasty around 3100 B.C., was the first man recorded wearing this crown.

Leb This symbol represents a heart. The Egyptian believed the heart was the center of all consciousness, even the center of life itself. When someone died it was said that their "heart has departed." It was the only organ that was not removed from the body during mummification. In the Book of the dead, it was the heart that was weighed against the feather of Maat to see if an individual was worthy of joining Osiris in the afterlife.

The Ba is what we might call someones personality. It would leave the body at the time of death. During the days the Ba would make itself useful, at night it would return to the tomb. At this time, it would look for the person to which it belonged. This would be the mummy, however, often the egyptians would supply the Ba with a statue in the likeness of the deceased in case the mummy was lost or damaged.

Sesen A Lotus Flower. This is a symbol of the sun, of creation and rebirth. Because at night the flower closes and sinks underwater, at dawn it rises and opens again. According to one creation myth it was a giant lotus which first rose out of the watery chaos at the beginning of time. From this giant l

otus the sun itself rose on the first day. A symbol of Upper Egypt

Mentemhet, from Karnak, Dynasty XXV, c. 650 BC. Granite, approx. 135 cm, Egyptian Museum, Cairo. The Old Kingdom formulas, conventions, and details of representation are all here in summary: the rigidity of the stance, frontality, spareness of silhouette, arms at the side and left leg advanced, the kilt, the headdress, even the material (granite) and the carving technique recall the past. Only the realism of the head, with its rough, almost brutal, characterization, differentiates the work from that of the earlier age.