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UN POMERIGGIO AL MUSEO EGIZIO DI TORINO
PANE VECCHIO DI 4000 ANNI.
(è un poco raffermo!!!!!)

UN POMERIGGIO AL MUSEO EGIZIO DI TORINO
MUMMIE DI ANIMALI DOMESTICO

UN POMERIGGIO AL MUSEO EGIZIO DI TORINO
LA GALLERIA DEI RE

UN POMERIGGIO AL MUSEO EGIZIO DI TORINO
LETTO CON POGGIATESTA IN LEGNO

UN POMERIGGIO AL MUSEO EGIZIO DI TORINO
VASI KANOPI

UN POMERIGGIO AL MUSEO EGIZIO DI TORINO
SARCOFAGO DI KHA

Unfinished stele fragment: offering by the servant of the seat of Truth Mahu to the deities Amun, Mut and Meretseger - (1292-1190 B.C.E. - New Kingdom - 19th dynasty) - limestone 20.5 x 20 x 4 cm - Egyptian Museum of Turin

Ushabti di varie epoche e dimensioni - Museo Egizio di Torino

Il termine ushabti, ovvero “colui che risponde”(dal verbo usheb, “rispondere”), indica una categoria di statuette funerarie che gli Egiziani collocavano nelle tombe dal Medio Regno sino all’epoca Tolemaica. Da uno o più esemplari per corredo funerario, il loro numero aumenta nel tempo fino a raggiungere le molte centinaia di esemplari. Nei corredi funerari del Nuovo Regno gli ushabti possono essere deposte all'interno di cofanetti in legno dipinto, che imitano nella forma le antiche cappelle arcaiche del Basso Egitto.
Le statuette venivano animate magicamente grazie al capitolo VI del Libro dei Morti, che portavano, quasi sempre, iscritto o dipinto sul corpo: “O ushabti! se io sarò chiamato, e se io sarò numerato per eseguire ogni sorta di lavori che sono eseguiti nel mondo sotterraneo… e sarò numerato in qualunque tempo per fare prosperare i campi, per irrigare le rive, per trasportare le sabbie dall’oriente ad occidente, “eccomi”, dici tu allora”.

The term ushabti, or "the one who answers"(from the verb usheb, "to answer"), denotes a category of funerary figurines that Egyptians placed in tombs from the Middle Kingdom until the Ptolemaic period. From one or more specimens per funerary trousseau, their number increases over time to many hundreds. In New Kingdom grave goods, ushabti may be laid inside painted wooden caskets, which mimic in form the ancient archaic chapels of Lower Egypt.
The figurines were magically animated thanks to Chapter VI of the Book of the Dead, which they bore, almost always, inscribed or painted on their bodies: "O ushabti! if I shall be called, and if I shall be numbered to perform all sorts of works that are performed in the underworld ... and I shall be numbered at any time to make the fields prosper, to irrigate the banks, to transport the sands from the east to the west, 'here I am,' say you then."

Ushabti di varie epoche e dimensioni - Museo Egizio di Torino

Il termine ushabti, ovvero “colui che risponde”(dal verbo usheb, “rispondere”), indica una categoria di statuette funerarie che gli Egiziani collocavano nelle tombe dal Medio Regno sino all’epoca Tolemaica. Da uno o più esemplari per corredo funerario, il loro numero aumenta nel tempo fino a raggiungere le molte centinaia di esemplari. Nei corredi funerari del Nuovo Regno gli ushabti possono essere deposte all'interno di cofanetti in legno dipinto, che imitano nella forma le antiche cappelle arcaiche del Basso Egitto.
Le statuette venivano animate magicamente grazie al capitolo VI del Libro dei Morti, che portavano, quasi sempre, iscritto o dipinto sul corpo: “O ushabti! se io sarò chiamato, e se io sarò numerato per eseguire ogni sorta di lavori che sono eseguiti nel mondo sotterraneo… e sarò numerato in qualunque tempo per fare prosperare i campi, per irrigare le rive, per trasportare le sabbie dall’oriente ad occidente, “eccomi”, dici tu allora”.

The term ushabti, or "the one who answers"(from the verb usheb, "to answer"), denotes a category of funerary figurines that Egyptians placed in tombs from the Middle Kingdom until the Ptolemaic period. From one or more specimens per funerary trousseau, their number increases over time to many hundreds. In New Kingdom grave goods, ushabti may be laid inside painted wooden caskets, which mimic in form the ancient archaic chapels of Lower Egypt.
The figurines were magically animated thanks to Chapter VI of the Book of the Dead, which they bore, almost always, inscribed or painted on their bodies: "O ushabti! if I shall be called, and if I shall be numbered to perform all sorts of works that are performed in the underworld ... and I shall be numbered at any time to make the fields prosper, to irrigate the banks, to transport the sands from the east to the west, 'here I am,' say you then."

Naophorous statue of Qen, priest of Anukis (1292-1190 BC - New Kingdom - 19th dynasty)
Provenance: Island of Sehel (?) - Sandstone 92 x 33 x 48 cm Egyptian Museum, Turin, Italy

Qen era “Padre Divino di Amon di Elefantina e di Khnum, Satis e Anukis”. Elefantina è il nome greco dell’attuale Assuan, al confine meridionale dell’antico Egitto. Il naos contiene una figura femminile con abito lungo, alto copricapo piumato, ampio collare, e uno scettro detto uas: si tratta di Anukis, dea dell’inondazione del Nilo, la quale con il dio a testa di ariete Khnum e la dea Satis (evocati anch'essi nelle iscrizioni come protettori del defunto) forma la triade di Elefantina, dal cui tempio sull’isola di Sehel, immediatamente a sud di Elefantina, proviene probabilmente la nostra statua.

Qen was "Divine Father of Amun of Elephantine and of Khnum, Satis and Anukis." Elephantine is the Greek name for present-day Aswan, on the southern border of ancient Egypt. The naos contains a female figure wearing a long dress, tall feathered headdress, broad collar, and a scepter called a uas: this is Anukis, goddess of the flooding of the Nile, who with the ram-headed god Khnum and the goddess Satis (also evoked in the inscriptions as protectors of the deceased) forms the Elephantine triad, from whose temple on the island of Sehel, immediately south of Elephantine, our statue probably came.

The stelae akh iqer en Ra ("the excellent spirit of Ra") (1292-1190 BC - New Kingdom - 19th dynasty)
Provenance: Deir el-Medina - Sandstone - Egyptian Museum of Turin

Le stele akh iqer en Ra (“lo spirito eccellente di Ra”) raffigurano uno o più personaggi seduti davanti a una tavola di offerte, nell’atto di odorare un fiore di loto. Sono state ritrovate soprattutto nelle case di Deir el-Medina, nella prima o nella seconda sala in apposite nicchie, davanti alle quali erano praticati i riti domestici del culto degli antenati. Grazie al potere di cui godeva nell’aldilà, il defunto, divenuto uno spirito eccellente, poteva intervenire in favore della sua famiglia, rispondendo così alle suppliche a lui indirizzate.

The stelae akh iqer en Ra ("the excellent spirit of Ra") depict one or more figures seated before an offering table, in the act of smelling a lotus flower. They have been found mostly in the houses of Deir el-Medina, in the first or second room in special niches, in front of which the domestic rites of ancestor worship were practiced. Because of the power he enjoyed in the afterlife, the deceased, having become an excellent spirit, could intervene on behalf of his family, thus responding to supplications addressed to him.

Figurative ostrakon depicting Ramesses III in the act of subduing an enemy - (1190-1076 B.C.E. - New Kingdom - 20th dynasty) - painted limestone 32.5 x 24.5 x 5 cm - Egyptian Museum, Turin

Statuettes of women (2118-1980 BCE - First Intermediate Period) wood 50.5 x 11 x 21 cm and Wood/linen 56.3 x 12.6 x 30 cm. Assiut - Egyptian Museum, Turin

Inner sarcophagus and false lid of Butehamon (1939-1875 BC. Third Intermediate Period XXI Dynasty - Painted wood - lid 211 x 75 x 42 cm. - false lid 174 x 37 x 13 cm. Provenance: Deir el-Medina - Egyptian Museum, Turin, Italy

Butehamon’s set of coffins, probably found in the tomb of Nakhtmin (Theban Tomb 291), is already the typical one for the Third Intermediate Period: an outer coffin, an inner coffin, and a “false lid”. Nothing is known of the whereabouts of his mummy. The outer coffin shows stylistic features that are still typical for the Ramesside period (1292 – 1076 BC), but the growing space devoted to images is a feature of the new “yellow coffin” style. The image repertoire is expanded, combining typical New Kingdom elements with Third Intermediate Period Theological creations. Offering and mythological scenes are alternated in the decoration of the outer coffin. The lid shows a board collar with lotus flower, a pectoral dominated by the Khepri scarab (the morning sun), and the winged figure of Nut on the abdomen. The lower half of the top of the lid, instead, is subdivided into frames showing a number of offering scenes. An exceptional feature is the long hieratic text painted on the inside of both the lid and the mummy board. It contains the “Ritual of the Opening of the Mouth”, a very old religious text whose purpose was to reanimate the mummy. Recent scientific tests have shown that Butehamon, in spite of his high rank, used pieces of earlier coffins to assemble his outer coffin

Canopic jar case of the overseer of the two Uadjren granaries, containing two jars (1450-1400 B.C. - New Kingdom 18th dynasty) wooden box 46 x 51 x 64 - canopic jars 32 x 19 cm (each) - Provenance: Thebes (?) - Egyptian Museum, Turin

Butehamon Outer Sarcophagus (1076-944 BCE - Third Intermediate Period - Middle Kingdom Twenty-first Dynasty) - Painted wood - 210 x 74 x 43 cm. Provenance: Deir el-Medina - Egyptian Museum, Turin, Italy

Butehamon’s set of coffins, probably found in the tomb of Nakhtmin (Theban Tomb 291), is already the typical one for the Third Intermediate Period: an outer coffin, an inner coffin, and a “false lid”. Nothing is known of the whereabouts of his mummy. The outer coffin shows stylistic features that are still typical for the Ramesside period (1292 – 1076 BC), but the growing space devoted to images is a feature of the new “yellow coffin” style. The image repertoire is expanded, combining typical New Kingdom elements with Third Intermediate Period Theological creations. Offering and mythological scenes are alternated in the decoration of the outer coffin. The lid shows a board collar with lotus flower, a pectoral dominated by the Khepri scarab (the morning sun), and the winged figure of Nut on the abdomen. The lower half of the top of the lid, instead, is subdivided into frames showing a number of offering scenes. An exceptional feature is the long hieratic text painted on the inside of both the lid and the mummy board. It contains the “Ritual of the Opening of the Mouth”, a very old religious text whose purpose was to reanimate the mummy. Recent scientific tests have shown that Butehamon, in spite of his high rank, used pieces of earlier coffins to assemble his outer coffin.

Sarcophagus of Padiamenemipet, chief of the inspectors of the Khonsu temple (722-525 B.C. Late Epoch - Dynasty XXV-XXVI) Wood, stucco, paint
Dimensions 181.5 x 52 x 29 cm - Egyptian Museum of Turin

en.wikipedia.org/wiki/Pediamenopet

Inner sarcophagus and false lid of Butehamon (1939-1875 BC. Third Intermediate Period XXI Dynasty - Painted wood - lid 211 x 75 x 42 cm. - false lid 174 x 37 x 13 cm. Provenance: Deir el-Medina - Egyptian Museum, Turin, Italy

Butehamon’s set of coffins, probably found in the tomb of Nakhtmin (Theban Tomb 291), is already the typical one for the Third Intermediate Period: an outer coffin, an inner coffin, and a “false lid”. Nothing is known of the whereabouts of his mummy. The outer coffin shows stylistic features that are still typical for the Ramesside period (1292 – 1076 BC), but the growing space devoted to images is a feature of the new “yellow coffin” style. The image repertoire is expanded, combining typical New Kingdom elements with Third Intermediate Period Theological creations. Offering and mythological scenes are alternated in the decoration of the outer coffin. The lid shows a board collar with lotus flower, a pectoral dominated by the Khepri scarab (the morning sun), and the winged figure of Nut on the abdomen. The lower half of the top of the lid, instead, is subdivided into frames showing a number of offering scenes. An exceptional feature is the long hieratic text painted on the inside of both the lid and the mummy board. It contains the “Ritual of the Opening of the Mouth”, a very old religious text whose purpose was to reanimate the mummy. Recent scientific tests have shown that Butehamon, in spite of his high rank, used pieces of earlier coffins to assemble his outer coffin

Heads of nomarch statues (1900-1850 B.C.) Qau el-Kebir, tomb of Ibu - Egyptian Museum, Turin

Provenendo dalla tomba di Ibu, è possibile che queste statue appartenessero tutte a questo potente nomarca (governatore) anche se le iscrizioni non sono conservate. Possono essere datate grazie allo stile, che presenta una grande somiglianza con i faraoni Amenemhart II e Sesostri II

Coming from the tomb of Ibu, it is possible that these statues all belonged to this powerful nomarch (governor) although the inscriptions are not preserved. They can be dated because of the style, which bears a great resemblance to the pharaohs Amenemhart II and Sesostri II

Figurative ostrakon depicting a dancer in an acrobatic position (1292-1076 B.C.-New Kingdom -XIX-XX Dynasty) - material: stone/limestone, paint - dimensions 11.5 x 17 x 4 cm. Provenance Deir el-Medina - Egyptian Museum, Turin, Italy.

Gli ostraka sono manufatti realizzati sagomando schegge di pietra calcarea. Si possono quindi considerare come quaderni di appunti o taccuini da disegno. Infatti rispondevano all’esigenza di produrre immagini personali realizzate con il gusto proprio del decoratore e senza vincoli di soggetto. Nel caso dell’Ostrakon della ballerina si coglie l’intenzione di rappresentare un soggetto piacevole, destinato alla fruizione personale e intima.

Le maestranze di Deir el-Medina decoravano le tombe della valle con canoni rigidi, rispondenti alla tradizione. Invece, negli ostraka erano liberi di esprimersi con minori vincoli di ufficialità. Considerata la libertà di esecuzione, gli artisti egizi ottennero quindi figure di danzatrici armoniose e dinamiche. Inoltre i diversi soggetti dipinti documentano situazioni e persone del quotidiano e risultano quindi freschi e spontanei.

Ostrakas are artifacts made by shaping chips of limestone. They can therefore be considered as notebooks or sketchbooks. In fact, they responded to the need to produce personal images made with the decorator's own taste and without subject constraints. In the case of the Dancer's Ostrakon, the intention of depicting a pleasing subject, intended for personal and intimate enjoyment, is grasped.

The masters of Deir el-Medina decorated tombs in the valley with rigid canons, responsive to tradition. In contrast, in the ostrakas they were free to express themselves with fewer constraints of officialdom. Given the freedom of execution, Egyptian artists thus obtained harmonious and dynamic figures of female dancers. In addition, the various subjects painted document situations and people from everyday life and are therefore fresh and spontaneous.