1 10 51 https://classicalchopped2.artinterp.org/omeka/files/original/603e92b04ebff40f4eb256f9790c3cf1.jpg 5806d7fb20d2df9406c5fc970c7830d8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hemiunu Seated Date A point or period of time associated with an event in the lifecycle of the resource 4th dynasty (Old Kingdom), ca. 2570 BC Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Limestone with traces of paint and paste inlay Format The file format, physical medium, or dimensions of the resource 155.5 cm tall Source A related resource from which the described resource is derived Egypt, Giza, Western Cemetery, serdab of mastaba G 4000 Rights Holder A person or organization owning or managing rights over the resource. Roemer - und Pelizaeus - Museum in Hildesheim, Germany References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, J. D. Likeness: A Conceptual History of Ancient Portraiture, Northwestern University Press, 1968, p. 42. Allen, J. P. et al. Egyptian Art in the Age of the Pyramids. Metropolitan Museum of Art, 1999, pp. 229-231. Fischer, H. G. "An Elusive Shape Within the Fisted Hands of Egyptian Statues," Metropolitan Museum Journal 10, 1975, pp. 9-21. http://www.rpmuseum.de/english/egypt/egypt-articles.html https://archaeologyatrandom.wordpress.com/hemiunu/ Description An account of the resource Description: The portrait of "Hemiunu Seated" depicts a lifesize male figure seated on a block of stone, with his legs together and both hands resting on his thighs. The shoulders and hips are in axial alignment, and the figure exhibits strict frontality, giving the overall portrait a block-like appearance. His left hand rests flat, palm downward, while his right hand (partly restored) is curled in a fist and holds an enigmatic cylindrical object (possibly a piece of folded cloth). The fingernails and knuckle wrinkles of both hands are finely rendered. The figure wears a short kilt knotted at the waist. His legs and arms are full and fleshy, as is his torso, which features large breasts, a heavy belly with a crushed navel, and rolls of fat along his back. The hair on the figure's head is close-cropped and smooth, imitating the texture of his skin. The figure has a sagging chin, and a thin, closed mouth. The figure's eyes and nose are heavily restored; the eyes may have originally been crafted from quartz with gold casings. With the restorations in place, the statue's face is demonstrably serene. The sitter's titles are listed in hieroglyphs on the upper surface of the block beneath his feet. The characters are carved in sunken relief and filled with colored paste. Traces of color on other parts the statue indicate that it was once painted. Significance: As rendered by the ancient artist, this large, and very heavy (ca. 1 ton) portrait of Hemiunu conveys the sitter's high social status. His frontal pose, facial serenity, and youthful features echo pharaonic portraits, while his fleshy body indicates that he was wealthy and well-fed. It has been argued by scholars that the rolls of fat on Hemiunu's torso are characteristic of a person of much larger size, suggesting that these elements were added as markers of status rather than as accurate reflections of the sitter's physical body. This incongruity aside, Hemiunu's face and body still give the impression of a specific individual rather than a generic "type," situating it among other relatively "realistic" portraits of the Old Kingdom such as the "reserve heads" from selected 4th Dynasty tombs. As discovered by Herman Junker in 1912, the portrait of Hemiunu was secreted away in a serdab in the sitter's mastaba tomb (among the largest constructed at Giza) where it received offerings (through a small opening in the wall) that helped Hemiunu to achieve life after death. Despite this ancient attempt to protect the statue, tomb robbers broke into the chamber during the Roman period and damaged Hemiunu's portrait - a lamentable, yet all-too-common fate of many examples of Egyptian funerary art. Contributor An entity responsible for making contributions to the resource Professor Emily Egan Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Hemiunu was nephew and vizier to the 4th Dynasty pharaoh Khufu in the mid third millennium BC. He is purported to have been the architect of Khufu's Great Pyramid at Giza, next to which he (Hemiunu) was buried. He was the son of Prince Nefermaat and Itet, grandson of the 3rd Dynasty pharaoh, Snefru, and held many official titles including "Priest of Bastet" and "Master of Scribes." https://classicalchopped2.artinterp.org/omeka/files/original/2d6a4536e74946e0f5901292a28bdc35.JPG 46ea6e24d772b0886a7e835518c7fef3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seneb and Family Date A point or period of time associated with an event in the lifecycle of the resource 6th Dynasty (Old Kingdom), 2520 BC Medium The material or physical carrier of the resource. Painted limestome Format The file format, physical medium, or dimensions of the resource 34 cm tall References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://link.springer.com/article/10.1007/s40618-015-0396-2#Fig1 el-Shahawy, A. (2005). The Egyptian Museum in Cairo A Walk through the Alleys of Ancient Egypt (pp. 75-76). Cairo, Egypt : Farid Atiya Press. Retrieved February 25, 2018. Smith, W. S., & Simpson, W. K. (1998). The Art and Architecture of Ancient Egypt (p. 72). N.p.: Yale University Press. Hawass, Z. (n.d.). Inside the Egyptian Museum (pp. 88-89). Cairo, Egypt : The American University in Cairo Press. Arnold, D. (n.d.). Old Kingdom Statues in their Architectural Setting (pp. 41-46). Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Egypt, Giza, Western Cemetery, Mastaba #G1036 Rights Holder A person or organization owning or managing rights over the resource. The Egyptian Museum of Cairo, Egypt Contributor An entity responsible for making contributions to the resource Ryan Milley Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Seneb, a dwarf, lived during the Egyptian Old Kingdom and was of great importance. Seneb was, according to scholars, responsible for the royal wardrobe and was the chief of all of the palace dwarfs. Additionally, scholars state that Seneb was the chief priest for the funerary temples of Cheops (Khufu) and Djedefre (son of Khufu). Senetites (also known as Senet), wife of Seneb, was the Priestess of Hathor and Neith. Together, Seneb and Senetites had, as depicted in the statue, a son and daughter. While they were not of royal lineage, they were of the elite class as they were buried in a mastaba in the Western Cemetery of Giza located near the Great Pyramid of Khufu. Description An account of the resource Description: The statue group is composed of four limestone figures (2 men and 2 women) and a limestone block. The larger man and woman are sitting on the block and the children are standing/leaning on the block. The limestone is polychromatic, meaning that it is of many colors; the statue group consists of various colors (blacks, whites, tans, and reds). The men have the red, dark skin tone and the women have the white, lighter skin tone. Overall, the statue group has a mainly closed silhouette, for the exception of the open space between Seneb and his wife. The statue is under life size. The seated man, Seneb, is smaller than woman sitting with him. He is a dwarf as his head and arms are proportionally sized and his legs are of a smaller size. As mentioned above, he has a red/brown skin tone with a full head of black hair on his head. His eyes have no trace of pupils and are a white/tan color. He is wearing a white kilt and he is seated with his legs criss-crossed physically on the top of the limestone block. His arms are roughly at a ninety-degree angle facing inward where the hands meet in front of his chest. Seneb appears to be slightly fleshy in the stomach region. The seated woman, Senetites, has a fully proportional body compared to that of Seneb. She is sitting to the left of the seated man. She is wearing a white dress that is closely fitted to her body. Senetites is also wearing a heavy black wig with traces of her real hair sticking out in the front of the wig. She appears to have a slight smile on her face. Her right arm is behind Seneb's back and her right hand rests on his right shoulder. Her left arm is in front of her chest and her left hand is holding husband's left elbow. Both of her feet are on the ground. There appears to be some damage, a slash, on her left arm. Directly underneath the Seneb stand his two children. As mentioned above, there is a dark skinned figure indicating a boy and light skinned figure indicating a girl. The boy has black hair with a side ponytail on the right side. The girl, like the boy, also has black hair with the ponytail. Both children have a finger in their mouths and both are nude. Both are also very small in size. There is hieroglyphic writing on both sides of the children as well as on the bottom of the limestone block where the feet are resting. Significance: The fact that Seneb and his family were buried in a mastaba in the Western Cemetery signifies that they were of the elite class, were wealthy, and were of some importance to the royal families. It was located in a closed chest that would have acted as a serdab, a room and/or place were the Ka, or the lifespark, could inhabit the bodies of the dead. In this case, the Ka immortalizes Seneb and his family. Seneb’s cross-legged position on the block indicates that one of his held offices might have been as a scribe similar of the pose seen on the Seated Scribe statue. Seneb is positioned further ahead on the block than that of his wife suggesting that he is more important and/or has more power in the family unit. His wife is depicted as being very supportive of her husband. Senetites is holding his left arm and right shoulder which provides a sense that she is comforting her husband. Additionally, at a different angle one can observe that she is placed slightly further back than that of Seneb telling us that he is of greater importance and she is there more or less for support. She is wearing a black, heavy wig that was a typical part of elite fashion. She has a small smile on her face which might signify that she is happy with her life, husband and family, and her role. The children of Seneb and his wife might seem awkwardly placed, however the placement is intentional. The children are oddly small, but are located in the position where Seneb’s legs would have been if he were not a dwarf. This is important in that the children sort of normalize the look of the statue group as it almost appears that Seneb has fully grown legs. The statue group also creates a sense that the Egyptian culture accepted dwarfs and that being a dwarf might not have been seen as a deformity. https://classicalchopped2.artinterp.org/omeka/files/original/67123a5eeb254518ceac00a0fd64b5fa.jpg 3653957ace0906a5885ef060ed8449eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Ankh-haf Date A point or period of time associated with an event in the lifecycle of the resource Egyptian 4th Dynasty, Old Kingdom (ca. 2520-2494 BCE) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. limestone base covered with plaster and painted red Source A related resource from which the described resource is derived Egypt, Giza, Western Cemetery, Mastaba of Ankh-haf, tomb G 7510 Rights Holder A person or organization owning or managing rights over the resource. Museum of Fine Arts in Boston, MA Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Ankh-haf was an official in the 4th dynasty of Egypt. He is most likely the son of Sneferu, an Egyptian king. Ankh-haf served as an official for Khafre as an overseer of works such as the second pyramid at Giza and the carving of the Great Sphinx. Format The file format, physical medium, or dimensions of the resource 50.48 cm tall Description An account of the resource Description: The Bust of Ankh-haf is a statue made from limestone and plaster that has been painted red. The eyes have also been painted to give them a life-like quality. The realistic quality can also be seen from the rendering of the musculature on the should, chest, and back. It is of a man from the chest up with missing arms. The arms are broken because the statue was most likely part of a false door for offering at the Mastaba of Ankh-haf. The bust shows a more realistic and less idealized portrait of Ankh-haf because there are bags under his eyes, age lines in his face, and a receding hairline. There is damage to the nose, forehead, chin, and ears that were already present when the bust was found. It is believed that this damage was intentionally done to deface the spirit, or ka, of the statue. There are also scratches where the red coloring has come off on the back of the statue. One of the notable qualities of the bust is the bulb-shaped head. Significance: One of the important pieces of knowledge that this bust teaches scholars is the role of skin color in ancient Egypt. The Bust of Ankh-haf is painted red, however this is not an indication that he is of a particular race or ethnicity. The red coloring is an indication that this is a male figure. Typically men were depicted with red or brown tones and women were depicted with tan or yellow tones. Another reason that this work is so significant is because of how life-like it is. There is very careful attention paid to the rendering of the face. Viewers can see the bags under the eyes and lines around the mouth and nose to show aging. The lips are also incredibly lifelike. The fact that it is so stylized shows that this is not a royal as royal figures during this time were shown in an idealized manor. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Bolshakov, Andrey. ""What Did the Bust of Ankh-haf Originall Look Like?" Journal of the Museum of Fine Arts, Boston, vol 3, 1991, pp. 4-14. Breckenridge, J. D. 1968, Likeness: A Conceptual History of Ancient Portraiture, Evanston. pp. 35-45. Print. "Bust of Prince Ank-haf". Museum of Fine Arts Boston. mfa.org. Web. Accessed February 12, 2018. Contributor An entity responsible for making contributions to the resource Nina Cardillo https://classicalchopped2.artinterp.org/omeka/files/original/ea9fd99d8b027ed0a9d7cc827934ff02.jpeg ef12e2fa6956f18ee509f8fbe9b3dc93 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Nefertiti Date A point or period of time associated with an event in the lifecycle of the resource Dynasty 18, New Kingdom, ca. 1340 BC Creator An entity primarily responsible for making the resource Thutmose Medium The material or physical carrier of the resource. Limestone with modeled gypsum, crystal, and wax Format The file format, physical medium, or dimensions of the resource 50 cm tall Source A related resource from which the described resource is derived Egypt, Amarna, workshop of the sculptor, Thuthmose Rights Holder A person or organization owning or managing rights over the resource. Neues Museum, Berlin, Germany Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Nefertiti was the wife of Pharaoh Akhenaten during the 18th Dynasty of the New Kingdom of Egypt. She was mother to six daughters and the step-mother of Tutankhamun, the next pharaoh of Egypt. Her and her husband changed Egypt religion into a monotheistic religion worshipping the sun disk god, Aten, and moved the capital of Egypt to Amarna. Description An account of the resource Description: The bust depicts Queen Nefertiti's head, neck and chest. The extent of her chest does not go past her ears and ends just above her breasts. A gold collar necklace hangs around her neck with red, blue, and green floral decorations. Her skin is painted a golden, brown color. She has a long, slender neck jutting forward, leading up to her head. Her face is completely symmetrical, with a serene expression and a very subtle smile. There are lines on either side of her mouth, which is painted reddish-brown. Her eyes look straight ahead with only her right eye fully inlaid. The iris is black wax with a quartz pupil painted black. Her left eye remains untouched limestone. Her eyes are decorated with the typical black makeup to resemble kemet, with the inner corner of her eyes downturned. She wears a special crown, unique to Nefertiti. It is painted a deep blue and flattened on top. There is a painted ribbon wrapping horizontally around the crown and knotted at the back with the ends wrapping back around towards the front. The ribbon is painted in alternating red and green blocks of color. On the front, middle of the crown is a sculpted uraeus that goes back onto the top of the crown, now broken off. Her ears have been pierced and have also suffered from damage. Significance: The bust found in the workshop of the sculptor, Thutmose, leads to the claim that this bust was an artist's model for producing portraits. This is further supported by the fact that only the right eye was inlaid. The left eye was intentionally unfinished to show other artists how to carve her eye to allow for the inlay of wax and quartz. By jutting her head forward, her neck is elongated and emphasized. This bust also shows more individualization of the queen, different from past portraits that were idealized. The face lines around her mouth show age, and the painted canthus is an attempt to imply the folded flap of skin of the inner eye. These attempts at realism move away from the idealized youthful portraits of the past. Another feature of individualization is her flat-top crown, which is unique to Nefertiti portraits. The black eye makeup is a typical feature of Egyptian portraiture to represent kemet, the black earth of the Nile banks and its fertility. Her reddish-brown skin is indicative of masculine abilities, putting her on par with Akhenaten, moving her role from supporting him to playing a bigger role in ruling Egypt. They were both children of Aten and divine rulers together. Her crown was meant to hold the uraeus, further illustrating her power and her ears were pierced to wear jewelry and show her wealth. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.egyptian-museum-berlin.com/c53.php Tharoor, Isaac. "The Bust of Nefertiti: Remembering Ancient Egypt's Queen." TIME Magazine. Time, 12 Dec. 2012. Web. 11 Feb. 2018. Ertman, Earl L. “Nefertiti's Eyes.” Archaeology 61.2 (2008): 28–32. Print. Contributor An entity responsible for making contributions to the resource Isabella Laurel https://classicalchopped2.artinterp.org/omeka/files/original/d97aefacd737f2e18491f5064d6d6833.jpg a6b370707169d19a4abeed0a699a1b3c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hatshepsut Kneeling Description An account of the resource Description: The statue of “Kneeling Hatshepsut” of the 18th Dynasty depicts the Hatshepsut kneeling on the ground or on a block of granite. The portrait statue of entirely made of granite and no visible signs of paint are present making it monochromatic. The statue has a rigid frontality and is probably only meant to be seen from its front. The portrait of Hatshepsut has a closed silhouette, as there are no openings or gaps in the granite. The arms and legs are positioned tightly on the body and no movement of the body is visible. The statue is also very symmetrical: both legs are in the kneeling position and both arms are resting on her legs as each of the hands are palm up holding a spherical vessel. It appears that Hatshepsut is wearing the royal headdress, or the nemes. She can also be seen wearing the false beard and the three-part kilt. She appears to be well built, strong and sort of muscular as well as young. Her breasts appear to be more masculine, almost non-existent. The statue is over life size. Aside from major restorations, there is noticeable damage on the left hand side of the block Hatshepsut is kneeling on as well as some gashes/slices of material missing on her chest. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hatshepsut Kneeling Date A point or period of time associated with an event in the lifecycle of the resource 18th Dynasty (New Kingdom) ca. 1479–1458 B.C. Medium The material or physical carrier of the resource. Granite Format The file format, physical medium, or dimensions of the resource 261.5 cm tall Source A related resource from which the described resource is derived Egypt, Thebes, Deir el-Bahri, Mortuary Temple of Hatshepsut Rights Holder A person or organization owning or managing rights over the resource. The Metropolitan Museum of Art, New York City, New York Creator An entity primarily responsible for making the resource Unknown Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Hatshepsut was a prominent King of the 18th Dynasty of the Egyptian New Kingdom ruling from 1479 B.C. to 1458 B.C. Hatshepsut was the daughter of Thutmose I and Ahmose and was the step sister and wife of Thutmose II. Additionally, she was the stepmom of Thutmose III, the heir of Thutmose II. Many consider Hatshepsut to be a very powerful, yet controversial ruler. When Thutmose II died, Thutmose III became king at a very young age. Since Thutmose III was so young, Hatshepsut acted as his Queen Regent. As time passed, her title gradually switched from Queen Regent to King. As her titles switched, she began to portray herself as a male and as such changed her gender on monuments, portraits, and stories/myths. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.metmuseum.org/art/collection/search/544449 Brown, Chip. "The King Herself ." , National Geographic , 2009. Accessed 25 Feb. 2018. Pages 1 to 13. "Hatshepsut: From Queen to Pharaoh." MetPublications , edited by Catharine Roehrig, The Met , 2005. Accessed 25 Feb. 2018. Pages 135 to 168. Contributor An entity responsible for making contributions to the resource Ryan Milley Description An account of the resource Description: The statue of “Kneeling Hatshepsut” of the 18th Dynasty depicts the Hatshepsut kneeling on the ground or on a block of granite. The portrait statue of entirely made of granite and no visible signs of paint. The granite consists of brown, orange/red, and black speckles. The statue has a rigid frontality and is probably only meant to be seen from its front. The portrait of Hatshepsut has a closed silhouette, as there are no openings or gaps in the granite. The arms and legs are positioned tightly on the body and no movement of the body is visible. The statue is also very symmetrical: both legs are in the kneeling position and both arms are resting on her legs as each of the hands are palm up holding a spherical vessel. It appears that Hatshepsut is wearing the royal headdress, or the nemes. She can also be seen wearing the false beard and the shendyt-kilt. She appears to be well built, strong and sort of muscular as well as young. Her breasts appear to be more masculine, almost non-existent. The statue is over life size. The statue has been heavily restored but there are still physical signs of damage all over the statue. There are slashes of granite missing all over the body of Hatshepsut. The block in which she is kneeling on also has chunks of granite missing. Significance: The statue of Hatshepsut would have been located at her Mortuary Temple in Deir el-Bahri and would have served as a religious monument. Hatshepsut, as depicted, is offered the god Amun Maat. Maat, which can be seen as the two spherical vessels in her hands, is the idea of balance, truth, and justice. This shows Hatshepsut serving in a role of piety as she is offering Maat to Amun. Additionally, the use of granite (a strong material) can represent the power, strength, and durability of Hatshepsut herself as well as Egypt during her reign as King. She is presented in an idealized, youthful manner that, again, can reemphasis her strength and power. Hatshepsut as we know was a woman and yet in this portrait there is no real indication that this is a woman. Hatshepsut is wearing the nemes, false beard, and the three part kilt, which would have traditionally only been worn by male Kings. Her breasts are also not prominent and are very masculine in nature. The masculinity of the statue can suggest certain propaganda that Hatshepsut wanted to be viewed as man and not a woman to possibly prove her worth to the people as their King. The statue of the “Kneeling Hatshepsut” is important in that it portrays a woman doing what traditionally a man would have been doing. Finally, much of the damage on the statue was not accidental but was intentional. After her passing, Thutmose III defaced most if not all of her portraits, monuments, and anything that had her name on it. Her stepson had her erased from Egyptian history possibly in an attempt to deter future Queen Regents from taking power from the rightful king. The defacing of the statue shows that Hatshepsut was a strong, powerful woman who took what she wanted. https://classicalchopped2.artinterp.org/omeka/files/original/74f00b3c8da2688901fd06d8486bb228.jpg f7e639e1d8ca41bf263d751c80c5f716 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ka-aper Date A point or period of time associated with an event in the lifecycle of the resource c. 2500 BCE, Late 4th or Early 5th Dynasty (Old Kingdom) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Sycamore, rock quartz, copper Format The file format, physical medium, or dimensions of the resource 112 cm tall Source A related resource from which the described resource is derived Egypt, Saqqara, mastaba, Saqqara C8 Rights Holder A person or organization owning or managing rights over the resource. Egyptian Museum, Cairo, Egypt Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Ka-aper is identified from the inscriptions found in his Mastaba (C8) at Saqqara. Not much is known of his personal life, but his statue was found alongside a female figure, presumably his wife. He was Chief Lector-Priest and an ‘army scribe of the king.’ He is also one of 14 individuals from the Old Kingdom to be identified as priest of Heket. Description An account of the resource Description The statue of Ka-aper was found in a typical context for elite, non-royal in the Old Kingdom: a mastaba tomb. The figure is slightly smaller than life-size, being under four feet tall. His body is wooden and rather corpulent. His head is quite round, and his face is carved with a serene expression. He has a distinct hairline. Especially striking are his inlaid eyes fashioned from quartz stone and rimmed with copper. His cheeks are fleshy and his lips are full. His torso is fleshy, and he is fashioned in a standing pose, brandishing a scepter in his outstretched left hand, with a dramatic step forward with his left foot. In his right hand, there is a hole which indicates he would have been holding another object of some sort. While barefoot, he is clothed with typical, male garb. The arms of the figure were sculpted and then fastened to the figure later, rather than being carved from a single piece of wood. The figure has sustained some damage, with many splits visible, especially on the torso, on his forehead, and on the right cheek. Significance Ka-aper is a fine example of the technical skill of the sculptors of the late 4th dynasty. He is considered to be one of the finer examples of realism in Egyptian art: upon his discovery, he was given an alternate Arabic name of Sheihk el-Beled (“headman of the village”), due to his likeness to a local individual. Its discovery in a tomb is significant, as the statue likely was intended to receive offerings, customary for Egyptian mortuary practice. His figure presents information about his status, namely his fleshy body indicating a secure supply of food and wealth by extension. Unlike representation of royal figures, Ka-aper is permitted to have more individualizing features such as his very round head. While identified as a scribe, he is not shown with papyrus or writing implement, perhaps indicating that he wished to accentuate other accomplishments of his. Holding his staff outward suggests an ability to issue commands, again emphasizing a higher social status, and may have some connections to his position as a priest. He exhibits characteristic frontality of Egyptian sculpture, which is particularly enhanced by his striking eyes. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Bárta, M. 1999. “The Title ‘Priest of Heket’ in the Egyptian Old Kingdom.” Journal of Near Eastern Studies, 58.2. 107-116. Breckenridge, James D. 1968. Likeness; a Conceptual History of Ancient Portraiture. Evanston Ill: Northwestern University Press. Capart, Jean. 1920. "Some Remarks on the Sheikh El-Beled." The Journal of Egyptian Archaeology 6.4. 225-33. Rice, Michael. 1999. Who's Who in Ancient Egypt. Who's Who. London: Routledge. 88. Sourouzian, Hourig. 2010. "Old Kingdom Sculpture". In Lloyd, Alan B. A Companion to Ancient Egypt, Volume I. Wiley-Blackwell. 874-875. http://www.globalegyptianmuseum.org/detail.aspx?id=14910 Contributor An entity responsible for making contributions to the resource Jonathan Clark https://classicalchopped2.artinterp.org/omeka/files/original/f918d282045614b9828c99ccdeb4ed7f.jpg c74b2c26fa88ca945a4fe8940547a534 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Khafre Enthroned Date A point or period of time associated with an event in the lifecycle of the resource 4th dynasty (Old Kingdom), ca. 2540 BCE Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Green diorite (anorthosite gneiss) Format The file format, physical medium, or dimensions of the resource 167.5 cm tall Source A related resource from which the described resource is derived Egypt, Giza, antechamber to valley temple of Khafre Rights Holder A person or organization owning or managing rights over the resource. Egyptian Museum, Cairo, Egypt, catalogue number 14. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Khafre (Chephren) was king of united Egypt, 4th Dynasty. He was son of earlier king Khufu. Khafre was one of the great builders of ancient Egypt, responsible for the pyramid associated with his name as well as the extensive burial complex attached to his pyramid. While some sources assert his reign lasted 60 years, most scholars agree he ruled a considerably shorter period of time, from c. 2558 BCE to c. 2532 BCE. Contributor An entity responsible for making contributions to the resource Mark Weadon References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Flentye, Laurel. "The Decorative Programmes of the Pyramid Complexes of Khufu and Khafre at Giza." Old Kingdoms, New Perspectives: Egyptian Art and Archaeology 2750-2150 BC, edited by Nigel Strudwick and Helen Strudwick, Oxbow Books, 2011, pp. 77-92. Gardner's Art Through the Ages. 6th ed., Harcourt Brace Jovanovich, 1975. Grzymski, K. "Royal Statuary." Egyptian Art in the Age of the Pyramids. Metropolitan Museum of Art, 2000, pp.51-56. Panofsky, Erwin. Meaning in the Visual Arts. Doubleday, 1955. "Statue of Chephren," Artstor Digital Library, http://library.artstor.org/#/asset/AWSS35953_35953_31674928. Accessed 3 Feb 2018. Description An account of the resource Description: Khafre is seated on a decorated throne. He is frontally posed, feet squared, arms to side. The statue observes rigorous vertical symmetry, the only exception being the varied positioning of the hands: the left hand lies flat, palm down, on the left thigh, while the right hand holds what is thought to be a tightly wrapped roll of linen vertically on the right thigh. Nude from the waist up, the king is wearing garments and accessories proclaiming his royal station: a pleated kilt (shendyt), a pharaonic headdress (nemes), a false ceremonial beard, and a raised serpent symbol (uraeus) on his headband. The god Horus, in the form of a falcon, embraces the back of Khafre's head with its wings. Khafre's gaze is direct and straight ahead. The face is youthful, serene, with a hint of a smile; ears large and protuberant, eyes blank, without incised pupils. The body is young and well muscled. Both sides of the throne are decorated with symbols: papyrus representing lower Egypt, lotus representing upper Egypt, and a sematawy (hieroglyphic representation of two lungs connected to a windpipe) between them representing the unification of Egypt. Side decorations are identical, except for positions of the plants: on left side of throne the lotus is in front, the payrus in back; on right side, the reverse. The inscription on base next to the king's feet reads: "The Horus of Gold Sekhem [He Who Possesses Power], Khafre [Re Appears in Glory], the Good God, Lord of the Eastern Horizon [or the Lord Who Appears in Glory]." Lions heads are carved on the front of the throne, the legs and paws forming the legs and feet of the throne. Remarkably well preserved, the statue's only significant damage is to the left forearm, the left knee and shin, and the lower right corner and upper right corner of the throne. Significance: This statue is one of 23 assumed to have existed in Khafre's valley temple. It established the canon for royal depictions that prevailed in Egypt for centuries to follow. In its massive compactness the sculpture follows the square contours of the original block from which it was carved. Khafre's static body repeats the orthogonal outline of the throne upon which he sits. The strength and youthful vigor of the figure proclaims the solidity and potency of Khafre's reign. The serenity of the facial expression conveys the supreme confidence of Khafre's sovereignty, unaffected by worry or doubt. The winged embrace by the falcon-god Horus seals a divine blessing on the person of the king, marking him as the conduit of divinity to his earthly kingdom. Made from extremely hard green diorite, flecked with highly reflective imbedded minerals, the statue was brought to a high polish, burnishing the king's divine status. As a cult object, the statue embodies the king's ka, or life spirit, ensuring continuance after death. https://classicalchopped2.artinterp.org/omeka/files/original/87e3320d4e1126a0a249d2d85b0e8761.jpg 41ef189054f85308292420363f49be40 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Menkaure Dyad Date A point or period of time associated with an event in the lifecycle of the resource Egyptian fourth Dynasty (Old Kingdom), 2613-2465 BC Creator An entity primarily responsible for making the resource unknown Medium The material or physical carrier of the resource. Greywacke with traces of paint Format The file format, physical medium, or dimensions of the resource 142.2 cm tall Source A related resource from which the described resource is derived Egypt, Giza, Menkaure Valley Temple, thieves' hole, corridor III 4 Rights Holder A person or organization owning or managing rights over the resource. Museum of Fine Arts Boston, Massachusetts, US References A related resource that is referenced, cited, or otherwise pointed to by the described resource. “King Menkaura (Mycerinus) and queen.” Museum of Fine Arts, Boston, 30 Jan. 2018, www.mfa.org/collections/object/king-menkaura-mycerinus-and-queen-230. “The Mystery of the Menkaure Dyad.” MFA.org, educators.mfa.org/sites/educators.mfa.dev/files/related_file_362.pdf. Thompson, Stephen E. , and Peter Der Manuelian, editors. Egypt and Beyond. p.109-145 Department of Egyptology and Ancient Western Studies, Brown University, 2008. Description An account of the resource Description: This dyad shows King Menkaure standing next to a woman, who wraps her arms around him affectionately or protectively. This standing pair is showing the figures in an active striding pose, while still being static. The pose is conveying both action and stasis. The space between the legs is filled in for support and the pair is also physically attached to a back pillar. King Menkaure is shown with a well-muscled torso and idealized wearing a nemes, false beard and 3-part kilt. He is shown holding something in his hand that has been thought to be a knot of fabric or a sawn-off staff. The woman is shown clothed, wearing a wig with natural hair peeking out from underneath. Both figures are standing with one foot forward as if to take a step. This pair is partly finished. King Menkaure's head is completely finished, while the woman's is nearly finished. The statue shows fine carving and careful polishing on the figures, while the base and supports are rough and unfinished, and lacking descriptions commonly found on these types of sculptures. With no base inscription, it makes it difficult to properly identify the female. Both figures have very similar facial features, composure and frontality. Significance: The dyad's find location is very important. It was discovered in what is now called "Thieves' Hole" at the Menkaure Valley Temple, which lie on the bank of the Nile. It was a very accessible spot to Egyptians. There are remains of an ancient priest village and other evidence that supports the claim that this used to be a cult temple. Meaning, this statue would be intended to be viewed by the public and used in cult activity. This dyad also gives us an insight into social personas in burials. It adds to the idea that social status played a part in burials and there is a correlation between the social status of the deceased and their interpersonal relationships. Although it is not an individualized depiction of the pair, it can tell us a lot about the relationship and intimacy of the pair and gives a glimpse into the king's humanity. There are many theories about who the woman in the dyad is. While originally thought to be his wife, there are also theories that it is Menkaure's mother or a deity/ goddess. Since the bottom inscription was never finished, there are only theories. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Menkaure was an ancient Egyptian king of the 4th Dynasty during the Old Kingdom. He became famous for his tomb, the Pyramid of Menkaure at Giza. He is thought to have at least two wives and not many children. His exact amount of years reigned is uncertain. Menkaure's pyramid at Giza was called Netjer-er-Menkaure which means "Menkaure is Divine". This pyramid is the smallest of the three Royal pyramids. Contributor An entity responsible for making contributions to the resource Anna Nielsen https://classicalchopped2.artinterp.org/omeka/files/original/d7c05bb9f75b39544a6da8f06db059be.png 4ee21ac179bba856fb0ca11bda209036 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Seated Scribe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seated ("Louvre") Scribe Date A point or period of time associated with an event in the lifecycle of the resource 2700-2200 BCE (4th - 5th Dynasty, Old Kingdom) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Painted limestone, rock crystal, copper, wood Format The file format, physical medium, or dimensions of the resource Height: 53.7 cm Source A related resource from which the described resource is derived Egypt, Saqqara, north of the Serapeum sphinxes Rights Holder A person or organization owning or managing rights over the resource. Louvre Museum, Paris, France References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, James D. Likeness: A Conceptual History of Ancient Portraiture, Northwestern University Press, 1968, pp. 39, 42-44. Smith, William S. Old Kingdom Sculpture, American Journal of Archaeology Volume 45 No. 4, October - December 1941, p. 522. Williams, Ronald J. Scribal Training in Ancient Egypt, Journal of the American Oriental Society Volume 92 No. 2, April - June 1972, pp. 214-215. https://www.louvre.fr/en/oeuvre-notices/seated-scribe Description An account of the resource Description: The "Seated Scribe" of the Louvre is a frontal depiction of a half-lifesize male figure, with a red-brown painted skin tone, sitting cross-legged and erect on a thin semicircular slab of stone, and holding a roll of papyrus in his lap. The figure is nearly perfectly symmetrical, save for the poses of his hands; he is holding the scroll of papyrus using his left hand, using his outstretched thumb to hold onto the roll from above, while using his fingers to steady the scroll from below. His right hand, with elongated, delicate fingers, is posed as if he is holding a brush: he is pinching his thumb and index finger, while the rest of his hand rests on the papyrus. The papyrus rests on his kilt, which is featureless, painted white, and slopes downward from his back; the kilt is navel-high on his back, but waist-high in front. His back, similarly, is featureless. He is sitting cross-legged, with his right leg in front of his left; both legs have gently pronounced calves and kneecaps, and are missing their feet due to damage. The scribe's stomach has a roll of fat below his pronounced and slightly sagging breasts, which feature wooden nipples. His shoulders, sloping slightly downwards, and his arms, are both relaxed. He also has a conspicuous collarbone, directly beneath his average-length neck. His head is upright, with his chin-line parallel with the ground. The scribe has a gentle smile, evidenced by his smile-lines, and his somewhat thin face showcases his strong cheekbones and jawline. He has rather large ears, and an average-sized, yet slightly thin, nose. His piercing eyes, made of copper and rock crystal, are surrounded by dark blue eye-liner, and feature a light blue iris, in which is carved a circular indentation to give the impression of a pupil. are Above his forehead lies a black, close-cut haircut, which covers the top and back of his head. The overall impression of his facial expression is one of attentiveness: the scribe is primed to begin his duty. Significance: This statue depicts one of the most important workers in a noble or royal court: a scribe. This statue is identifiable as a scribe because of his cross-legged pose, and the attributes, the papyrus scroll and the now-missing brush, that he holds. The vast majority of Egyptians were illiterate, and thus the scribe was one of the very few people that could record royal discourse and keep track of government necessities, such as taxes. In the Old Kingdom, in which this statue was created, scribes were trained as apprentices from a rather young age. Much like the Old Kingdom statues of Hemiunu and Ka-aper, the rotundity of the Seated Scribe reflects the sitter's status as someone who is rather wealthy. Various other statues that seem to represent the same sitter have been found around the site of the Serapeum sphinxes at Saqqara, but none of them bare a true likeness to one another. This is because most Egyptian statues, especially in the Old Kingdom context of funerary statues, do not reflect true naturalism and likeness to the sitter, which some scholars claim invalidates the idea that this branch of Egyptian sculpture is true "portraiture." Instead, the statues are identified by their inscriptions rather than by their likenesses, and are usually intended to house the ka, or "life-spark" of the soul. This statue is, therefore, a vessel for the sitter's ka, and a replacement body for the deceased. However, the true context and use of the statue cannot truly be understood - the exact location of the discovery of this statue, found in 1850 by Auguste Mariette, is unknown, the original context in which the statue was placed has long been destroyed, and the true identity of the Louvre Seated Scribe is still a mystery. Contributor An entity responsible for making contributions to the resource Edward Borders Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The true identity of this individual is unknown- he is variously identified as "Kay," Pehernefer, or simply as the "Seated" or "Louvre" Scribe. However, he is a royal scribe of the fourth or fifth dynasties. https://classicalchopped2.artinterp.org/omeka/files/original/0606de706af46aa5b0b5e3c26a79f7a7.jpg 84628907c894c06110c71fae4bb8fc61 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Senwosret III as a Sphinx Date A point or period of time associated with an event in the lifecycle of the resource 12th Dynasty (Middle Kingdom), ca. 1878-1840 B.C. Medium The material or physical carrier of the resource. Gneiss Format The file format, physical medium, or dimensions of the resource 42.5 cm tall Source A related resource from which the described resource is derived From Egypt; Likely from Upper Egypt Rights Holder A person or organization owning or managing rights over the resource. Metropolitan Museum of Art, New York, NY References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, J. D. 1968, Likeness: A Conceptual History of Ancient Portraiture, Evanston, pp. 45-50. “Egyptian Art.” The Metropolitan Museum of Art Bulletin, vol. 41, no. 3, 1983, pp. 1–56. Habachi, Labib. “The Gneiss Sphinx of Sesostris III: Counterpart and Provenance.” Metropolitan Museum Journal, 1984, pp. 11–16. https://www.metmuseum.org/art/collection/search/544186 https://www.ancient.eu/Senusret_III/ Creator An entity primarily responsible for making the resource Unknown Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Senwosret III (also known as Senusret III, Sesostris III) was the 5th king of the 12th Dynasty of the Middle Kingdom of Egypt. He was the son of the 12th Dynasty king Senusret II and the queen Kenemetneferhedjet I and was raised at the court of Thebes. Many consider Senwosret III to be the most powerful ruler of the 12th Dynasty due to the many cultural, economic, and military accomplishments that occurred during his reign. He is among the few Egyptian kings who were deified and honored with a cult during their own lifetime. Description An account of the resource Description: The portrait of “Senwosret III as a Sphinx” depicts the 12th Dynasty ruler with the body of a lion and the head of a human. He wears the royal nemes headdress, carefully incised with thin lines to create a pleated effect, and a false beard, both symbols of Egyptian kingship. The uraeus serpent sits atop the headdress; a hole remains where the cobra's upright head would have been placed. The face of this under life-size statue is portrayed with distinctive features such as deep-set, heavy-lidded eyes, frown lines around the brow area, sunken cheeks, and thin lips. These features promote an expression of sorrow and disdain, visible in many royal portraits of the Middle Kingdom. The size of the headdress in comparison to the rest of the statue helps to conceal the awkwardness of the transition between the human head and the lion’s body. This transition is further aided by the natural pattern and dark color of the stone. The sphinx was carved from a single block of gneiss, with the pattern of the stone accentuating the powerful and youthful form of the lion’s body which sits in a crouching position. The sculptor also skillfully utilized this pattern to illustrate the lion’s mane which drapes, in both ordered strands and overlapping tufts, over the shoulders of the portrait all the way down towards its feet. The lion's tail is draped, looping around one of the hind legs of the lion. Below the beard, vertically oriented inscriptions of the king’s names appear. Below the inscriptions, there appears to be damage to the base of the statue where the front paws of the sphinx would have rested. The nose of the statue is damaged as well. Significance: This portrait portrays the king Senwosret III as a sphinx, specifically a crouching sphinx. This representation is symbolic as it combines the power of the lion with the image of the reigning pharaoh. The crouching sphinx is often understood as a guardian of sacred spaces. Many believe that this sphinx was part of a pair, used to flank the entrance of an important building such as a temple. The mood conveyed by the king’s facial features is brooding. The sunken eyes and cheeks, the furrowed brow, and the thin lips portray a new ideal of Egyptian kingship. This is a common tactic in royal portraiture of the Middle Kingdom; the kings of the Twelfth Dynasty of Egypt faced a number of political trials following the collapse of the Old Kingdom and decentralization of Egypt. Portrayals of experience and the wisdom gained from leadership during those times replaced images of idealized kingship of the Old Kingdom. However, the strength and youthfulness of the lion’s body indicates traditional ideas expressed in royal Egyptian portraiture. Contributor An entity responsible for making contributions to the resource Lauren Kershenbaum