Term Paper: Coffin of Tentkhonsu
The Egyptians during this period took ample time and detail on the mummification process to ensure a successful transition from the netherworld to rebirth. The Coffin of Tentkhonsu, 1025-980 B.C., it’s a depiction of how the Egyptians valued and honored their elite members of society, as well as their gods. The Coffin of Tentkhonsu, itself dates back to the III intermediate period in Egyptian culture. The Egyptian believe was to join Osiris, whom was believed to have ascended to Netherworld and accomplished eternal life.
The Coffin of Tentkhonsu, observed at the National Museum of Natural History, was very eye drawing, its drawings on the outside and inside captive that mummies journey to rebirth. The readings of the artwork state that the mummy of Tehtkhonsu has never been completely identify. The coffin also dates back to 3,000 years.
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This changed throughout time and it became a normal practice for loved one’s in Egypt. The Coffin of Tentkhonsu was for an elite member, when focused on the drawings on the outside of the coffin, it conveys a narrative story. On the outside of the coffin there’s scenes depicting the passage to netherworld and to finalize in the rebirth of the mummy. There’s depictions of judgment of the heart, in which two helpers of the gods, weight the soul, to which makes a determination if the individual has the right to salvation and actual rebirth. In the inside there’s scenes showing salvation process and what it appears to be Tentkhonsu rebirth. What appears to be tentkhonsu, is depicted much larger than the rest of the drawings, which could hint that she was granted salvation and eventual rebirth. It is truly marvelous the dedication that was granted to the dead in the mummification process during this
age-old Pharaonic traditions) with elements of Greek culture and also made great innovations. Egyptian depictions tended toward the idealistic but stiff, with no attempt to likeness but with the influence of Greek culture, they started to emphasis on the face more than it the past. Smiles suddenly appear. Like on the head of the carved and painted wood featured a large face synonym of smile. It was round and painted in gold. The face was decorated with a fake beard, a wig painted in blue, and has black-lined eyes and eyebrows makes it look exotic. Colors were more expressive rather than natural: blue or gold association with precious materials indicated divinity because of its unnatural appearance; the use of black for royal figures expressed the fertility of the Nile from which Egypt was born. This is probably the reason why the coffin covered with a red net clothing above which many iconography, and gods and goddesses of the ancient Egypt were painted. Animals were also highly symbolic figures. For example, on the coffin of Pedi-Osiris above the painting of a goddess named Nut, there were paintings of a scarab beetle named Khepri, god of the morning sun, with wings and it ball of dung. On each shoulder of the wooden coffin featured paintings of a baboon that was raising its arms in a worshiping position. Also the paintings of two jackals, gods of embalming, appeared on the base of the coffin, representing veneration and protection of the deceased. Symbolism played an important role in establishing a sense of order. The fake beard in ancient Egypt was symbolic and meant wisdom, high rank, wealth, etc. In the usage of hierarchical proportion, the size of figures indicated their relative importance. The figures of gods and goddesses or the divine pharaohs, high officials were usually larger compared other figures: any servants and entertainers,
The Mummy Case of Paankhenamun has great significant in that it provides us with very fundamental evidence from ancient history. It does not only exhibit a complex form of art, but it also demonstrates the religious practices of ancient Egyptians in association with their beliefs in life after death, as well as their great fascination with immortality. It not only teaches us about the great science of mummification, but it also provides us all with the incredible opportunity to learn about the life of an ancient person.
Egyptian culture didn’t truly begin until the third dynasty, which is grouped into a period called the Old Kingdom. Since then, it developed into a thriving culture that changed little, even with new leaders. This conveys a sense of order and cohesion that flows throughout the time of the Egyptians. I was fascinated by the continuity. Unlike the artists of today, Egyptian artists did not rebel against the conventions of their day. If the surviving art is any indication, they were content to follow the artistic practices of their time. During the New Kingdom, a painting called "Funeral Procession, Tomb of Pairy" was created. It is a depiction of a portion of the process of laying Pairy to rest. Harold Hays wrote an article called “Funerary
Ti watching a hippopotamus hunt was discovered in the tomb of a Fifth Dynasty official under the name of Ti. The piece roughly dates back to 2540-2350 BCE, during the Old Kingdom of Egypt; such date can be inferred due to the composition of the work, as works of the deceased in a narrative or singular picture were often created as relief sculpture in tombs during the Old Kingdom period. The painted relief sculpture was carved into limestone and found on the mastaba- rectangular brick or stone structure with sloping sides built over a tomb- at Ti’s tomb in Saqqara, Egypt.
Perhaps the most notorious of burial practices originating in Egypt is that of mummification. Why such an extraordinary attempt was made to preserve cadavers may seem
During that period, the Egyptian ruler attempted to restore the true traditions of Ancient Egypt and took the conventional ideas and beliefs of the previous periods. Therefore, the artwork of the Kushite period resembles several of art done during old, middle, and new kingdoms. Unlike the coffins of Tutankhamen, which was embellished with jewels and was made of gold, the coffins during this period reflected the coffins of earlier Egypt. The Coffin of Horankh portrays the figure of Horankh, an Egyptian that is believed to belong to the royal class of Egypt because of the coffin’s features. The mummy inside the coffin is wrapped in funerary shrouds and the gesso placed on top clearly depicts the shape of Horankh’s body. Paint placed on several parts of the upper part of the coffin and the added features such as the headdress and the beard add to the belief that Horankh was once a royal. His coffin is made of wooed, but is painted over and it is until you come close that the coffin appears to be made of wood and has two part that come apart. The wood is finely polished and seems to have smoothness throughout the
The coffin and mummy date back to the Ptolemaic Period, a golden age, which was from 305 to 30 B.C.E. The mummy has a painted and gilded cartonnage, whereas the coffin has painted and gessoed wood. Ta-Shery-En-Iset’s cartonnage mask and foot coverings are painted, and there are garlands on her chest. The coffin also has torus moldings, columns at the corners, and a jackal, which symbolizes the funerary god Anubis, who is painted on the lid. Ta-Shery-En-Iset was a House Mistress and daughter of another House Mistress, Ta-Imhotep. Before her own death, Ta-Imhotep created a long inscription which recorded the details of her life and how it was cut short; the inscribed memorial expressed tones of pessimism and anxiety, as opposed to other memorials at the time which were more optimistic.
The history and tradition of Egypt is one of the most greatly studied and admired of all past world civilizations. The lure of the pyramids and the specter of the sphinx have led many archeologists to dedicate his/her life to unraveling the mysteries of ancient Egyptian culture. Arguably, the most captivating aspect of Egypt’s past is that of mummification. Why did the Egyptians mummify their dead? What beliefs did the Egyptians have regarding the after life? What portion of the Egyptian civilization was mummified? What was the Book of the Dead? This is a mere sampling of the questions that come to my mind when I think of ancient Egyptian culture. I hope to lay forth answers to these questions and many more in the following pages dedicated to the history and purpose behind Egyptian mummification.
Dried onions were stuffed into the ears of the mummies and along the bandages although the significance of this is still unknown. The modern examination of mummies has enabled us to ascertain various facts about everyday Egyptian life. The mummy of Maat-ka-re is a virgin. priestess had for thousands of years been thought to have been mummified. with a child in mind.
‘…the characters’ strength was a direct result of their necessary stoicism in the face of so much hostility.’ Discuss the role of women in Burial Rites.
As these materials have magical means, often seen in Egyptian religious beliefs, a magical mean of the ushabti followed after-life of its deceased. The figurine appears to be inscribed with a special spell that contains summons; the intent of figure is placed in the tomb to act as substitute for its deceased body. This magical figurine was detailed to respond in the
The coffin of Puhorsenbu is intricately carved and decorated, with a sycamore wood base, and stucco and paint for the detail. The bright whites of the eyes are entrancing surrounding the dark brown of the eyes. A feathered bird with outstretched wings lays beneath the face and shoulders of the painted face. Red and green and gold are the most eye-catching colors of the piece, used in the lines and striping patterns that adorn the coffin. This piece was created for the purpose of the deceased and their afterlife—the testament was more to the grand life of the departed rather than the skill of the artist. As artful as we see it today, the Egyptians were not so much focused on the artistic aspect as the ritualism it served.
Three coffins were found in the tomb, the last of solid gold. King Tut's mummy was not in very good shape and so is kept at his tomb. He was found with 15 rings of various sizes on his mummy fingers depending on the amount of linen used to wrap his hands.
It is clear that tombs and burial rituals were a key element in the Egyptian society and their way of life as it ties into almost all things they did on a daily basis. Whatever a person’s status was when they were alive followed them into the afterlife. Food and luxury goods were buried with a person so that they could have it in the afterlife. The tombs became a person’s new house after they died. Therefore, making it as nice as possible was really important. Art work and clay models were added to a person’s tomb as material goods needed for the afterlife. They were also seen as decorations that kept the tombs looking nice. Throughout the years, Egyptian artworks on the inner parts of the tombs and on the coffins show a development in the Egyptian customs. Each new development was created to better preserve the bodies and comfort of the dead.
The mausoleum at Halicarnassus was the very great mausoleum tombstone of one Maussollos, the ruler of Caria, one of the provinces of the vast Persian Empire, who also served as a Governor or Satrap of the King of the Persian Empire between 377 and 353 BC (Peter and Mark, 1988). This great tomb monument was so gigantic in size going by the ancient building standards and extremely lavish were the various sculptured adornments or decorations that in next to no time the building was being recognised in the Ancient World as one of the Seven Wonders of these Ancient times (Peter and Mark, 1988). Ever since the Roman times the word mausoleum, has always been a generic term used in reference to any vast or gigantic tomb monument (Juan, 2005). In today’s world this is what most people would consider as a large-scale house built of marble meant to house a deceased person’s remains (Juan, 2005).