Pectoral of Tutankhamun

Pectoral of Tutankhamun:


1- This is a Pectoral, or chest ornament, which was worn by both men and women. It was discovered intact in the tomb of Tutankhamun. The piece depicts Scarab Beetles or Khepri, pushing the sun.

Khepri was believed to be a Sun god by the ancient Egyptians, and was represented as a scarab beetle. The jewel is also decorated with inlaid lotus blossoms, which hang at the bottom.


2- Winged Scarab Pectoral of Tutankhamun:

Winged Scarab Pectoral of Tutankhamun, is filled with symbolism, made with semi-precious stones (carnelian, lapis lazuli, glass,) and with a lotus blossom fringe.

The symbols of the Ankh and the Eye of Horus (Udjat) are among the most used in ancient Egyptian Art.


3- Golden pendant of Tutankhamun: 

This pendant made with a method called Cloisonné and inlaid with semiprecious stones and colored glass. It is full of symbols and hieroglyphs.

The central element of the composition is a winged scarab with a yellow stone of disputed origin which  grasps on one side a lotus and on the other a papyrus flower, flanked by two uraei (cobras.).

A gold frame outlines the main composition and supports pendants of lotus flowers, papyrus, and poppy seed heads.  

A slim solar boat rests upon the front feet of the scarab and carries the Udjat eye of Horus, flanked by two cobras. The Udjat eye is surmounted by a lunar crescent of gold and a silver disk with images of the gods, Thoth and Re-Horakhty, crowning the central figure of the king. 


4- Tutankhamun’s Necklace with a Pectoral in the Form of a Solar Boat:

This pectoral is centered on a scarab of lapis lazuli, that symbolizes the god, Khepri.  

Khepri represents the sun on the horizon of the new day. The scarab holds a solar disc of carnelian surrounded by a gold rim. The beetle is flanked by two baboons with lunar symbols on their heads.  

This item was discovered inside an inlaid box of ebony and ivory with an inscription that read: "gold jewelry for the funerary procession from the bedchamber of Nebkheperure.” This was Tutankhamun’s coronation name. 


5- Tutankhamun’s Necklace of the Sun on the Eastern Horizon:

The artist who made this Pectoral used the hieroglyphic sign for 'horizon' (akhet), which represents the sun rising between two mountains, with the scarab ( the sun-god) pushing the sun in front of it He has also added uraei (cobras) with pendent 'life' signs (ankh) to the 'horizon' hieroglyph, showing that the rising sun is bringing life to Upper and Lower Egypt.

On the symbol for the sun-god's gold barque (boat) are two uraei, one in the prow and the other in the stern; on their heads are disk of the sun and their tails are  replaced by three amulets symbolizing 'goodness' (nefer), 'life' (ankh) and 'stability' (djed). 

The straps of the pectoral are made of separate inlaid gold plaques held together at the back and the sides by rows of small gold, carnelian and glass beads. The plaques use the same elements as those in the pendant, except that the sun's disk is substituted for the sign of the horizon, and  the hieroglyphic sign for 'festival' is placed beneath the scarab. 



6- Gold cuff bracelet of Tutankhamun:

This gold cuff bracelet is composed of two semicircles joined together by a hinge on one side and a clasp on the other.  

The central plaque bears a cloisonné scarab inlaid with lapis lazuli. The scarab, symbol of the morning sun, was the most popular motif used in jewelry. The bracelet itself is also inlaid with carnelian, lapis lazuli, turquoise, quartz, and colored glass. 


7- A Pectoral of Tutankhamun with Eye of the god Horus:

A Pectoral of Tutankhamun, dominated by the Eye of the god, Horus (the Udjat).

Pectoral of Senusret II

Pectoral of Senusret II from the tomb of Sit-Hathor Yunet, daughter of Senusret II, found at El Lahun. This cloisonné pectoral is inlaid with 372 carefully cut pieces of semiprecious stones.

Pectoral of Senusret II

Hieroglyphic signs make up the design, which read: "The god of the rising sun grants life and dominion over all that the sun encircles for 1,100,000 years (eternity) to King Khakheperre [Senusret II]." Zigzag lines on the base bar represent the primordial waters out of which the primeval hill emerged. Each of the falcons, symbols of the sun god, clasps a circular hieroglyph meaning "encircled," thus declaring the solar deity's supreme power over the universe. The same hieroglyph, elongated to form a cartouche, encircles the throne name of Senusret II, Khakheperre.

Flanking the king's name are two ankh hieroglyphs (meaning "life") suspended from cobras whose tails are wound around the sun disk on the falcons' heads. These snakes represent Nekhbet and Udjo, the traditional protector goddesses of the king. Supporting the royal cartouche is the kneeling god Heh clutching two palm ribs symbolizing "millions of years.

Sculptures of Sensuret III

     Some of the finest examples of sculpture during the Middle Kingdom were at the height of the empire under Pharaoh Senusret III. Senusret III is known for his strikingly somber sculptures. Senusret III is considered to be perhaps the most powerful Egyptian ruler of the dynasty, and led the kingdom to an era of peace and prosperity.

     Senusret III is known for his strikingly somber sculptures in which he appears careworn and grave. While many statues portray him as a vigorous young man, others deviate from this standard and illustrate him as mature and aging. This is often interpreted as a portrayal of the burden of power and kingship. Another important innovation in sculpture during the Middle Kingdom was the block statue, which consisted of a man squatting with his knees drawn up to his chest.

     During the Middle Kingdom, relief and portrait sculpture captured subtle, individual details that reached new heights of technical perfection. Some of the finest examples of sculpture during this time was at the height of the empire under Pharaoh Senusret III.











     Khakhaure Senusret III (also written as Senwosret III or Sesostris III) ruled from 1878 BC to 1839 BC, and was the fifth monarch of the Twelfth Dynasty of the Middle Kingdom. His military campaigns gave rise to an era of peace and economic prosperity that not only reduced the power of regional rulers, but also led to a revival in craftwork, trade, and urban development in the Egyptian kingdom. One of the few kings who were deified and honored with a cult during their own lifetime, he is considered to be perhaps the most powerful Egyptian ruler of the dynasty.

     Aside from his accomplishments in architecture and war, Senusret III is known for his strikingly somber sculptures in which he appears careworn and grave. Deviating from the standard way of representing kings, Senusret III and his successor Amenemhat III had themselves portrayed as mature, aging men. This is often interpreted as a portrayal of the burden of power and kingship. That the change in representation was indeed ideological and should not be interpreted as the portrayal of an aging king is shown by the fact that in one single relief, Senusret III was represented as a vigorous young man, following the centuries old tradition, and as a mature aging king.

     Another important innovation in sculpture that occurred during the Middle Kingdom was the block statue, which would continue to be popular through to the Ptolemaic age almost 2,000 years later. Block statues consist of a man squatting with his knees drawn up to his chest and his arms folded on top of his knees. Often, these men are wearing a wide cloak that reduces the body of the figure to a simple block-like shape; in some cases the cloak covers the feet completely, and in others the feet are left uncovered. The head of the sculpture contains the most detail.

The Pyramid of Senusret I

     Senusret I followed this revival and constructed a pyramid about 1.61 km to the south of Amenemmes I’s complex. The pharaoh Senusret I ruled from about 1971 to 1926 B.C.E., during the Middle Kingdom. He was a strong leader who ruled a stable, unified Egypt. Art, literature, and architecture flourished during his reign.

   Craftspeople thrived under Senusret’s rule. The pharaoh controlled mines loaded with gold, copper, and gems such as purple amethyst. Craftspeople fashioned these materials into beautiful pieces of jewelry. Bracelets and necklaces were often highly detailed. They were then decorated with stones like turquoise.

   Some of the greatest works in Egyptian literature were written during Senusret’s reign. “The Story of Sinuhe” tells of a young official named Sinuhe who overhears a plot to kill the pharaoh. Fearing for his own life, Sinuhe flees Egypt. He thrives in his new land, but he grows very homesick. When a new pharaoh calls him home, Sinuhe returns joyfully. Senusret’s greatest accomplishments were in religious architecture. He built and improved many temples, shrines, and religious monuments.









   Perhaps Senusret’s finest architectural achievement was the White Chapel. (A chapel is a small temple.) It was made of alabaster, a hard white stone. Some historians think the chapel was originally covered in a thin layer of gold.

   Beautiful artwork decorated the chapel’s pillars. Carved scenes showed the pharaoh with various gods. Birds, animals, and Egyptian symbols were also depicted. Senusret wanted his memory to live on through his monuments. But almost none of his buildings survived the passage of time. A later pharaoh took the White Chapel apart and used the pieces in a monument of his own. Archeologists later discovered the pieces and reconstructed the White Chapel.

   Another important find which illustrates a strong association between Egypt, Asia and the Aegean is the El-Tod treasure. This was discovered in 1936, buried in the stone foundations of a temple at El-Tod in Egypt which, the archaeologists believed, was built by King Senusret I of the Middle Kingdom.

The Boundary Stelae of Akhenaten

     Boundary Stella of Akhenaten still survive today bearing testimony to the accurate surveying skills of the Cadastre Scribes, three on the western side of the Nile cut into limestone cliffs along the edge of the cultivation and twelve to the east following the hills that form the desert bay next to the river in the area now known as El-Amarna.

     The Boundary Stella of Akhenaten, shows that both pairs of princesses on each side of this Stella were holding hands, whereas the hand on the present figure's right shoulder indicates that she was joined in embrace with her sister.



     The boundary Stella of Akhenaten describe the founding of the city. The numerous rock tombs, some decorated with papyrus columns, were built hidden in the cliffs to protect them from thieves and flash floods. The famous lyrics of the 'Hymn to the Sun', composed by Akhenaten, is found in each tomb.

     The boundary Stella of Tell el-Amarna were probably carved in the years 6 to 8 of Akhenaten's reign.

Akhenaten Statues

The Amarna Period was centered around the capital city of Amarna and noted for its artistic style, which drastically shifted from conventional styles of art. The human body in the Amarna style is portrayed more realistically, rather than idealistically, though at times depictions border on caricature. Common features are an elongation and narrowing of the neck, a sloping of the forehead and nose, a prominent chin, large ears and lips, spindle-like arms and calves and large thighs, stomachs, and hips.

The decoration of the tombs of non-royals was quite different from previous eras, and clearly worshiped the Aten over other gods and goddesses. Not many buildings from this period have survived the ravages of later kings, partially as they were constructed out of standard-size blocks which were very easy to remove and reuse. Much of what we know of the Amarna period today comes from the discovery of the Amarna Letters: a cache of over 300 tablets recording select diplomatic correspondence of the Pharaoh.

Akhenaten was a pharaoh of the 18th dynasty who is best known for ushering in a
distinctly new art style known as Amarna Art.

Akhenaten Statues:

1- Akhenaten, Nefertiti and their children. This relief illustrates an intimate portrait of
Akhenaten and his family in the Amarna style of art.


2- A relief portrait of Akhenaten. Akhenaten represented in the typical Amarna period style.
New Kingdom, 18th dynasty, circa 1345 B.C.


3- Artist’s sketch: Walk in the Garden; limestone; New Kingdom, 18th dynasty, c. 1335 BC. A relief of a royal couple in the Armana style. The figures are thought to be Akhenaten and Nefertiti, Smenkhkare and Meritaten, or Tutankhamen and Ankhesenamun.


4- Akhenaton, pillar statue from the Temple of Amen-Re, Karnak, Dynasty XVIII, c. 1355-1335 BCE. Sandstone, approx. 13’ high.

He also has all the accoutrements of kingship:

13 feet in height

The cobra crown.

The false beard.

The crook and flail in his hands (the crook has been damaged).

The royal cartouches on his stomach and collar bones.



Senusret III's Canal

     The trade with Ethiopia and Nubia, the region between the First Cataract and the district now known as the sudd region, was on an entirely different basis. A good deal of trade had taken place in predynastic times by means of market to market trading, and this market to market trading continued during the Old Kingdom and the Middle Kingdom. We know of two great markets, Assuan itself (meaning ‘ Market Place ’) and another at the Second Cataract called Iken. But the bulk of the material as far as it was in large quantities must have been transported by water in the protodynastic times. This fact requires an understanding of navigation in the cataract region. During high water (July to October) the cataracts are navigable by ships of moderate size. At the present time the date harvest of Dongola is carried to Wadi Halfa by sailing boats which make two to four trips a season. The difficulty comes in the other eight months, when the water is low and the cataracts are filled with water swirling among the half-exposed rocks.

     The first hint of the opening of a way through the nearest of the cataracts, that at Assuan, is in Dynasty VI. In his autobiography, Weny, a great official of Mernera, relates that His Majesty sent him to Wawat to dig five canals and to construct seven boats for the transportation of granite to Memphis, three cargo boats and four towing boats (manned by rowers). Wawat lies in the granite and sandstone region between the First and the Second Cataract, and there can be little doubt that the five canals were made in the First Cataract itself to permit the passage of these boats loaded with granite for the king’s pyramid. The operation would have consisted in shifting aside a number of boulders at five different places, probably along the western side, to secure quiet passage around the most dangerous places, no great matter for the experienced stone workers who built the pyramids. But we have no knowledge of the size of the canals or as to how long they continued in use.  Weny states that he accomplished the whole business, including the building of the necessary boats, the making of the canals, and the removal of the stones, in one year.



Senusret III

The Pharaoh Senusret III was one of the most emblematic monarchs in Ancient Egypt. At the peak of the Middle Kingdom, his reign (circa 1872-1854 B.C.) marked a turning-point in the history of Ancient Egypt. This strategist and visionary sovereign conquered Nubia (now the Sudan) where he had a network of fortresses built; set the first boundaries of his kingdom and established trade and strong diplomatic relations with his eastern neighbors (now Cyprus, Lebanon, Turkey, Syria, Israel and the Palestinian Territories). His military expeditions and the setup of a loyal administration meant he could consolidate his power. The Egyptian state was restructured in depth.

These changes were embodied in statuary art: the surviving enigmatic portraits of the Pharaoh show a break with tradition, depicting either stern features, symbolic of wisdom, or an idealized young man. Other artistic output (jewels, objects of everyday life, burial equipment) illustrates regained prosperity and obviously vigorous cultural exchanges with neighboring kingdoms. The public will discover the artistic riches of a key reign, considered to be a golden age of Ancient Egypt.

If this pharaoh doesn't have the fame of Tutankhamen or Ramses II, he is, in the eyes of historians and archaeologists, the pharaoh who in the beginning of the second millennium BC made Egypt into a powerful state, and who remained a model for his successors. Many striking examples of the numerous representations of Senusret III, for the most part statues but also low reliefs, are shown in the exhibition. They reveal the authoritarian, inflexible character of the ruler who could also be merciful and attentive to his people. Providing Egypt with a restructured administration that led to a new social order, he extended the limits of his empire towards the north and the south, leaving traces of his conquests on these territories.

Sculptures of Sensuret III:

Senusret III is known for his strikingly somber sculptures. Senusret III is considered to be perhaps the most powerful Egyptian ruler of the dynasty, and led the kingdom to an era of peace and prosperity. Senusret III is known for his strikingly somber sculptures in which he appears careworn and grave.

While many statues portray him as a vigorous young man, others deviate from this standard and illustrate him as mature and aging. This is often interpreted as a portrayal of the burden of power and kingship. Another important innovation in sculpture during the Middle Kingdom was the block statue, which consisted of a man squatting with his knees drawn up to his chest.

During the Middle Kingdom, relief and portrait sculpture captured subtle, individual details that reached new heights of technical perfection. Some of the finest examples of sculpture during this time was at the height of the empire under Pharaoh Senusret III.

Khakhaure Senusret III (also written as Senwosret III or Sesostris III) ruled from 1878 BC to 1839 BC, and was the fifth monarch of the Twelfth Dynasty of the Middle Kingdom. His military campaigns gave rise to an era of peace and economic prosperity that not only reduced the power of regional rulers, but also led to a revival in craft work, trade, and urban development in the Egyptian kingdom. One of the few kings who were deified and honored with a cult during their own lifetime, he is considered to be perhaps the most powerful Egyptian ruler of the dynasty.

Aside from his accomplishments in architecture and war, Senusret III is known for his strikingly somber sculptures in which he appears careworn and grave. Deviating from the standard way of representing kings, Senusret III and his successor Amenemhat III had themselves portrayed as mature, aging men. This is often interpreted as a portrayal of the burden of power and kingship. That the change in representation was indeed ideological and should not be interpreted as the portrayal of an aging king is shown by the fact that in one single relief, Senusret III was represented as a vigorous young man, following the centuries old tradition, and as a mature aging king.













The White Chapel of Senusret I

The White Chapel of Senusret I:

The White Chapel of Senusret I at Karnak is a good example of the fine quality of art and architecture produced during the 12th Dynasty. Its columns hold reliefs of a very high quality which are hardly seen elsewhere at Karnak.







Tutankhamen Treasures (Part 6)

Tutankhamun on a Funerary Bed: 


The unexpected death of the young pharaoh in 1323 B.C. was mourned throughout Egypt. Except for the busy necropolis workshops, all labor halted and a period of ritual fasting was observed in addition to which the pharaoh’s men stopped shaving until his burial 70 days later, the customary interval required for the mummification process. One such high official was Maya, the overseer of works in the Place of Eternity (the royal necropolis), royal scribe, and overseer of the burial treasury, who appears to have felt some affection for the young pharaoh. In addition to supervising Tutankhamun’s burial preparations in an unfinished and hastily appropriated commoner’s tomb, Maya’s personal sentiments are reflected in his touching funerary gift of this finely carved wooden ushabti figure, utterly unique in form, representing the pharaoh recumbent on a lion-headed bier.

Wishing Cup: 


This stately drinking chalice, carved from a single block of alabaster, represents a blooming white lotus flanked with handles sculpted in the form of blue lilies, each surmounted by a kneeling figure of the god of eternity, Heh, resting on the sign for infinity and holding the hieroglyphic symbols for 100,000 years of life. It was found directly inside the tomb entrance, apparently the last object to be placed by the burial priests (or abandoned by the graverobbers). Called a “wishing cup” by Howard Carter, the chalice is inscribed with the pharaoh’s royal cartouches and bears a blessing engraved in a band around the lip: May your spirit live and may you spend millions of years, you who cherish Thebes, sitting with your face to the north wind, you eyes gazing upon joy.

Bust of Tutankhamun on a Lotus: 


While Howard Carter was locked out of the tomb by the Egyptian government, an official inventory of its separately stored contents revealed this painted wooden bust of the young pharaoh, undocumented and previously unknown to the authorities, suspiciously concealed inside a small wooden box. Bearing the misleading emblem of the English vintners Fortnum & Mason, it was obviously prepared for shipping. Carter’s embarrassed explanation was that the sculpture had been found in the rubble filling the tomb’s corridor (where it had presumably been abandoned in antiquity the fleeing robbers) along with a number of other objects that were “not yet fully registered.” The portrait faithfully captures Tutankhamun’s elongated platycephalic skull, a common feature among members of the inbred royal family of Amarna. A touching likeness of the young pharaoh, the sculpture represents him as the solar deity emerging from the corolla of the primordial lotus at the moment of creation. As a ritual object it symbolizes his divine rebirth every day with the rising sun.


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