King Menkaura, the goddess Hathor, and the deified Hare nome

The third and smallest figure is a goddess of lesser importance, associated not with the entire country, but with a single district in Upper Egypt known as the Hare nome. It is symbolized by the rabbit standard she wears on her head. An artist has cleverly merged the ankh sign she carries in her left hand with Hathor's throne. The Hare nome goddess, like Hathor and Menkaura, exhibits a body proportioned according to the Old Kingdom ideal of beauty and is modelled with the restrained elegance that makes this period a highpoint of Egyptian art.

The inscription on the sculpture's base clarifies the meaning of this complicated piece: "The Horus (Kakhet), King of Upper and Lower Egypt, Menkaura, beloved of Hathor, Mistress of the Sycamore. Recitation: I have given you all good things, all offerings, and all provisions in Upper Egypt, forever." It signifies that all the material goods produced in the Hare nome will be presented to the king to sustain him in perpetuity. One theory suggests that eight such triads, each featuring the king and Hathor with one of the other nome deities, were set up in Menkaura's Valley Temple.

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The Golden statue of god Amun.

The icon that is Pharaoh of Egypt in the challenge and success that he is King Walid Al-Batouti

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In Egypt, there are tour guides who have done to the country what the official in charge of tourism and media could not do; they did not wait for a word of thanks from any official. Talking about the mayor of the tour guides, Walid Al-Batouti, the most important tour guide in Egypt .. Tourist guide for Walid Al-Batouti is not a profession but a hobby and an art! He possesses knowledge, culture and language in addition to tact, lightness and spirit... The tourist group receives them themselves, and within minutes, everyone in the regiment deals with "Al-Batouti" as if he were a friend of him from a long time ago .. boundless confidence .. and a sense of security, and most importantly The tourist leaves the country, crying, because of the severity of his attachment to Egypt through the window opened by them. Walid Al-Batouti and a group of his loyal companions stood in the face of many conspiracies that wanted to destroy Egypt's reputation at home and abroad .. And he was able to lead a counter-revolution against the advocates of defeat and decline.

Walid Al-Batouti does not send an opportunity to travel abroad to invite the return of tourism to Egypt, and his intelligence was able to draw the attention of the global media; the management of the stairs of the Metropolitan Museum met an American child obsessed with Egypt and the Pharaohs, and the batteries did not give the child the foot of the American media to create A beautiful story about the love of Egypt. On another trip from Ibn Battuta, which is the name by which Walid Al-Batouti is known for the many of his international trips and tours; he met the group of malefactors who attribute our antiquities to aliens or scholars scattered from their fictional continent of Atlantis... The important thing is that the Egyptian pharaohs did not build anything to cool the fire of their hatred against Egypt Which works in their chest .. And it was from Walid Al-Batouti except that he taught them a lesson in science, and they had that he, as a professional tourist guide in his profession, is mutual in the history and effects of Egypt. Ignorance of the theories of these haters on a The date of the ancient Egyptian. Walid Al-Batouti was talking about a tour guide, who I think is an Egyptian Egyptologist and historian who has written books exploring the sphinx and history of the Pharaohs and unfortunately feeding the theories of those we talked about before .. This is the difference between a tourist guide who loves his country and a fake claimant.

a wonderful painting by a blind player.

The fugitive, a wonderful painting by a blind player

Limestone carving found in Saqqara

It refers to the period 1333-1319 BC and the lyrics of the song are written in hieroglyphs

"(Osiris) does not listen to the pleas of the people, and lamentation does not save anyone from the grave."

 

Ramess lll madient Hapo.

Ramesses II in the pose of a child: seated, his finger to his lips, and a braid of hair falling to one side. Now in the Louvre.

Haremhab was a royal scribe and general of the army under Tutankhamun.

 

Haremhab was a royal scribe and general of the army under Tutankhamun. He continued to serve during the reign of Aya and eventually succeeded Aya asking. This statue was made before Haremhab ascended the throne. By having himself depicted as a scribe, Haremhab declares himself to be among the elite group of literate individuals, thus following a tradition more than a thousand years old of depicting great officials as men of wisdom and learning.
He sits erect, but relaxed, his gaze slightly down. Across his knees, he unrolls a papyrus scroll on which he has composed a hymn to the god Thoth, patron of scribes. A shell containing ink lies on his left knee. Over his left shoulder is a strap with a miniature scribe's kit attached to each end. A figure of the god Amun is incised on his forearm, perhaps indicating a tattoo.
In this statue, the unlined, youthful face is belied by the potbelly and the folds of flesh beneath the breasts. These artistic conventions indicate that the subject has reached the age of wisdom. Although the scribal pose exhibits the frontal orientation common to all formal Egyptian statue, it may be appreciated more fully as a piece of sculpture in the round since it has no back pillar. The youthful face reflects the features seen on many statues depicting Tutankhamun (50.6), and the style of this magnificent life-size sculpture retains some of the softness and naturalism of the earlier Amarna period while looking forward to later Ramesside art.
He sits erect, but relaxed, his gaze slightly down. Across his knees, he unrolls a papyrus scroll on which he has composed a hymn to the god Thoth, patron of scribes. A shell containing ink lies on his left knee. Over his left shoulder is a strap with a miniature scribe's kit attached to each end. A figure of the god Amun is incised on his forearm, perhaps indicating a tattoo.
In this statue, the unlined, youthful face is belied by the potbelly and the folds of flesh beneath the breasts. These artistic conventions indicate that the subject has reached the age of wisdom. Although the scribal pose exhibits the frontal orientation common to all formal Egyptian statue, it may be appreciated more fully as a piece of sculpture in the round since it has no back pillar. The youthful face reflects the features seen on many statues depicting Tutankhamun (50.6), and the style of this magnificent life-size sculpture retains some of the softness and naturalism of the earlier Amarna period while looking forward to later Ramesside art.

The young king Tutankhamun as agod.

This head is a fragment from a statue group that represented a god seated on a throne with the young king Tutankhamun in front of him. The king's figure was considerably smaller than that of the god, indicating his subordinate status in the presence of the deity. All that remains of the god is his right hand, which touches the back of the king's crown in a gesture that signifies Tutankhamun's investiture as king. During coronation rituals, various types of crowns were put on the king's head. The type represented here—probably a leather helmet with metal disks sewn onto it—was generally painted blue, and is commonly called the "blue crown." The ancient name was khopesh.

Statue groups showing a king together with gods had been created since the Old Kingdom, and formal groups relating to the pharaoh's coronation were dedicated at Karnak by Hatshepsut and other rulers of Dynasty 18. The Metropolitan's head of Tutankhamun with the hand of the god is special because of the intimacy with which the subject is treated. The face of the king expresses a touching youthful earnestness, and the hand of the god is raised toward his crown with gentle care.

A cast of the head has recently been matched by a scholar to the remains of an indurated limestone seated statue of a god in the storerooms at Karnak in Thebes. She reports that the join is minimal but conclusive. This confirms the long supposed origin of the Museum's head from Karnak temple, and also resolves the question of the young king's pose - he was standing rather than kneeling in front of the god. The seated god at Karnak is only preserved from the waist down and is much damaged so that the god is not identified specifically. Amun is, however, the likely candidate.

The oldest image of a cat.

The oldest image of a cat, whose attributes were revered in ancient Egypt, was the incarnation of the god Ra.
He is seen trying to destroy the bird's nest.
Reyno V was the first great period in ancient Egyptian history, (3686 BC-2181 BC)
Vatican Museum. 

 

Part of the King Osorkaf statue.

The first king of the Fifth Dynasty and its founder (reigned from 2494-2487 BC) meaning the name (User Kave) that power in his soul, has a pyramid with his name in Saqqara built in around 2490 BC,, the pyramid is now destroyed and resembles a conical hill in the sands of Saqqara. It is the first to construct a sun temple in Abu Sir.

From the airport Air Maat (justice port)

Museum of Modern Art (GEM),, The Hague,, Netherlands

DecorationTomb of The two tombs of Inerkhau.

The study of Inerkhau's circumstances proves to be fascinating, because this character, important in his position among craftsmen but not belonging to the Egyptian aristocracy, knew how to find the means to construct for himself not only one but two tombs.

The tombs of this last period of occupation of the site of Deir el-Medina are rarely decorated. Whether it was a lack of time and suitable finances, lack of qualified personnel, uncertainty and political unrest or increasing poverty of the monarchy engendering that of the workers? It seems that the progressive decadence slowed down, then almost stopped the artistic development of painters and their product.

Only the favoured, such as the chief of works Inerkhau and the foreman Hay (tomb TT267), a contemporary of Ramesses IX, seem to have had enough fortune or skill, enough authority and connections to make for themselves beautifully decorated tombs with polychromatic frescos. The rest of the corporation of craftsmen appear to have been content with chapels and chambers merely covered in a plain white-wash covering.
The period situated between the end of the reign of Ramesses III and the beginning of that of Ramesses IV was also a period of social unrest, known for the first strikes in history, motivated by the non-payment of the wages by a Pharaonic administration at a time strangled by the lack of resources in the treasury and also for being extensively corrupt.
The first tomb of Inerkhau is reduced today to its chamber and bears the number TT359: it is one of the rare tombs that the Supreme Council of Antiquities hasn't (yet) closed. It also included a forecourt, which proves to be complex as will be seen, and a decorated chapel of which nothing now remains.

Inerkhau's second tomb is TT299 and it was probably this one which was intended for Inerkhau himself, TT359 probably is meant for the use of his family. What remains of this will be examined within these pages thanks to the reports of Bernard Bruyère's excavations. These reports are exceptional and are first-hand documents of the study of both monuments