The Mortuary Temple of Pepy I

Like his pyramid, Pepy I's badly broken mortuary too, was established checking to a standardised ground-plan. After the entrance in the east, a transverse corridor led to clips to the north and south and to a long entrance hall or lobby in the west. The entering hall opened onto a columned open court, to the west of which the alone temple was set. The inner temple has a transverse hall, followed by the five statue niches. To the south of these niches, a room access led to a chamber that gave entree to an antechamber with one unique column in the west. The antechamber leads to the bema by a turn to the west. To the north and south of the five statue niches, the antechamber and the sanctuary were located several magazines. Assorted limestone statues of certain and beheaded enemies, were discovered in this temple. They symbolise the enemies of Egypt -and thus of the king- rendered feeble by their decapitation and may mayhap once have lined the causeway. Similar statues have been found about the complexes of Djedkare, Teti and Pepy II. The causeway itself, alike the valley temple, has never been improved.

Kneeling Statue of Pepy I

Kneeling Statue of Pepy I

The kneeling Statue of Pepy I is a pretty statue, measuring 15.2 by 4.6 by 9 cm, pictures Pepi I offering wine in typical assaulted bowls, presumably to Hathor, whose name is mentioned in the inscription. It is made of schist, with eyes of alabaster and obsidian, inlaid in a copper encasing. A hole in the king's forehead indicates that the statue originally wore a uraeus, maybe made of a more valuable material. The king is represented kneeling, his torso slimly bent forward out of regard for the goddess. His face is depicted with a particular animation and face, wahereas the torso is more colored. An long cartouche, naming the king as the son of Hathor, is engrossed before his knees. The source of the statue, which is on march in the Brooklyn Museum, is unknown. The fact that Hathor is named in the lettering as well as Pepi's known involvement with this goddess's temple at Dendara both make it likely that this statue once supported in the temple of Hathor at Dendara. Indeed, assorted reliefs found throughout the Greek-Roman Period temple of Dendara show statues of Pepi I. More than 2000 years after his prevail, statues of Pepi I adoring Hathor would hence still be piece of her temple's inventory.

The Satellite Pyramid of Pepy I

The Satellite Pyramid of Pepy I is placed at is orthodox place, to the south-east of the main pyramid of king Pepy. Its coming corridor opens onto a high single chamber. The archaeological remains, such as parts of statues, stelae and offering tables, discovered here read that the cult for Pepi I covered to well into the Middle Kingdom. An inscription left behind by Khaemwaset, the illustrious son of the even more known Ramses II, reports how, by his time, this complex had suffered and rotted. Nevertheless, it was this complex that would have its name, mn-nfr, to the nearby city, noted today under its Greek name, Memphis.

Alabaster Statue of Pepy I

Alabaster Statue of Pepy I

The alabaster statue of Pepy I is a high statue about 26 centimetres, now at the Brooklyn Museum. This alabaster statue pictures King Pepy I seated on a throne. The throne itself is very simple and left plain, but it is made to resemble the hieroglyphic that represents the name of the goddess Isis, mother of Horus. The king jades the White Crown of Upper-Egypt and a garment that deals his upper body to his knees. This dress is mindful of the robe the king assumes during the Heb-Sed festival. In his hands, he holds the crook and the flail, additional signs of his royal house. The falcon sat behind him on the back of his throne represents Horus, the god of kingship. The king is therefore established under the security of or even as the enduring shape of Horus.

Copper Statues Pepy I and his son Merenre

Copper Statues Pepy I and his son Merenre

Plausibly the most famous copper artifacts from the Old Kingdom are the huge copper  statue of King Pepy I (sixth Dynasty) and the much earlier statue of his son Merenre, both  turned up by James Quibell at Hierakonpolis, along with the signal gold image of  the god Horus. The statues were made by hammer plates of copper over a woody  core. They were found in a poor state of saving and have never taken proper care  or scholarly care. Large-scale metal statues from the Middle and New Kingdoms are  quite great, as hard stone had become the desired medium.

Grave in metal has been little kept from early periods in Egyptian history and  as a lead we know little about its manufacture. Copper statues of King Pepy I and his son Merenre from the sixth Dynasty present that metal sculpture existed. These examples,  at  least,  were  formed  over  a  awkward  core  rather  than  being  projected.  From the Third Intermediate Period on there is considerable manifest  for  the  process  of  lost  wax  casting in the thousands of close images of deities and sacred animals which abound.