Bricks Of Egypt Online

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Thisblock came from the now lost tomb or tomb chapel of a woman named Diesehebsed, who is shown to the left. She bore the title Singer in the Interior of the Temple of Amun, indicating that she was part of a divine chorus that entertained the god during offering rituals. Traces of hieroglyphs in the cartouche before the woman to the right identify her as the God's Wife Amunirdis II. Another scene of the two women together is known from the Karnak Temple, suggesting that Diesehebsed was a trusted administrator of the God's Wife, who during this period was the virtual ruler of Thebes. Diesehebsed was from one of the most prominent families of Thebes. She was the daughter of Nesptah, who was a Priest of Amun and the Scribe of the Offering Table, indicating that both father and daughter worked for the administration of Amun at Thebes. Diesehebsed was also the sister of Mentuemhat the mayor of Thebes. Blocks from his huge tomb at Thebes are shown elsewhere on this Web page.

On display in the Oriental Institute Museum are two "magical bricks" from an ancient Egyptian tomb. They are made from finely sifted Nile clay and left unbaked, rather unlike your typical architectural sun-baked mud brick. Magical bricks were inscribed with selections from Spell 151 of the Book of the Dead. According to the rubric, which provides the manufacturing and placement instructions, four bricks and four amulets set in the bricks were produced for each tomb. Placed into niches in the wall or on the floor of the burial chamber, magical bricks protected the deceased at the cardinal directions by warding off potentially dangerous entities. The designation "magical brick" derives from their rectangular shape, their designation as "brick" in ancient Egyptian texts, and their apotropaic function within the tomb. There is nothing particularly "magical" in a Western sense about magical bricks, for the properties which we would consider "magical" were notions that existed within the logical cosmology of ancient Egyptian religious traditions.

I am the one who drags things to block the hidden ones and who repels the activities of the one who displaces those who are in the torch of the necropolis. I have lit up the desert. I have confused their path. I am the protection of the Osiris, vizier, Nespaqashuty. On the south, facing to the north.

Animal mummification gained popularity in first millennium BC. During this time, mummification included even small creatures, such as snakes, shrews, and scarab beetles. Some animals were buried in coffins made of metal, wood, or clay. The mummified remains of small animals in particular were often placed in bronze coffins. Their likeness was rendered in bronze on the lid of the coffin. This example once contained a mummified lizard. The coffin has corroded shut, but remnants of the lizard still rattle around inside. The lizard was associated with the creator god Atum.

Ancient Egyptians could worship their gods without going to a temple. This small stela is incised with five pairs of ears that represent a direct conduit to the god, much like an ancient mobile phone with a dedicated line to the deity. Although this example does not bear an inscription, other such stelae identify the ears as belonging to the god Ptah. These objects demonstrate how accessible the gods were thought to be; they could be contacted any time, any place, and asked to intercede on any sort of problem.

Recovered from a private tomb in the Ramesseum at Thebes, this painted funerary stela commemorates the lady Djed-Khonsu-iw-es-ankh. She is shown in a diaphanous white gown, wearing a perfumed cone and a water lily on her head. She pours a libation over a table of food offerings and raises her hand to greet the seated god Re-Horakhty, a form of the sun god. The hieroglyphic text is a prayer asking the gods to supply food and drink for the survival of her spirit in the afterlife:

An offering which the king gives to Re-Horakhty, the Great God, Lord of Heaven, that he may give invocation offerings consisting of offerings and food to the Osiris, Lady of the House, the noblewoman, Djed-Khonsu-iw-es-ankh, deceased, daughter of the priest of Amun-Ra, King of the Gods, Master of the Secrets of the Garments of the Gods, Ser-Djehuty.

The ancient Egyptians decorated the walls of their tombs with scenes showing the types of activities that they wished to continue to enjoy after death. This relief fragment comes from the enormous tomb of Mentuemhat, a governor of Thebes. One of the most powerful men of his time, Mentuemhat was able to employ the best artists to carve and paint scenes of abundance that would satisfy his every need in the afterlife. In the relief, papyrus reed boats travel through water teeming with fish. The boat on the left has an oarsman on the bow and stern. A third figure, probably an overseer as indicated by his staff of office, points his finger in a gesture of magical protection that was meant to avert danger, such as the attack of a hippo or crocodile. The men wear reed life vests across their chests.

This statue of a potter came from a group of twenty-five statues from the tomb of Ny-kau-Inpu, a cemetery official who was probably buried at Giza. The statues included representations of Ny-kau-Inpu and his wife, his family, and household staff. The statues were put in the tomb to serve as duplicates of the individuals, ensuring that Ny-kau-Inpu and his household would live forever. This figure is one of the earliest-known statues of a potter. It shows him squatting before a low hand-turned wheel as he forms a broad bowl. The arduousness of his profession is indicated by the way his ribs stand out on his back, how his skin is tightly drawn over his face, and by his deeply receded hairline.

The wrapped head and shoulders of mummies were often covered with a mask that served as a copy of the face of the deceased. It was believed that the soul of the deceased (ba), in the form of a human-headed bird, left the body during the day and returned to it at night. The mask was a duplicate head and face that ensured that the ba would recognize the mummy in case the body decayed. The ba is shown perched on top of the head. This mask is made of cartonnage, a sort of papir-mach made from linen and papyrus. The cartonnage was coated with gesso before the paint and gilding were applied. The deceased is shown wearing a necklace at the throat with a heart amulet as a pendant. Below is a broad collar necklace fringed with drop pendants. A representation of funerary shrines with double doors appears on each shoulder. The god Osiris, with whom the deceased was associated, sits on top of each shrine.

This statuette of a butcher is one of a group of sculptures placed in the tomb of the Egyptian official Ny-kau-Inpu. The Egyptians believed that the deceased lived on the afterlife and that he or she continued to need food and beverages. Rather than sacrificing actual servants, statues of workers placed in the tomb were thought to be able to perform duties eternally. Here a butcher prepares a trussed ox. His whetstone, attached to a strap, is tucked into his waistband.

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