LaurieAnnie's photos with the keyword: mummy

Young Woman with a Gilded Wreath 120-140 AD Encaustic on wood Accession # 09.181.7 This panel was not painted in the areas where the mummy wrappings would have covered the edges. Once in the wrappings, the background was gilded, and a gilded line was drawn to frame the lower end of the painting. Gold leaf was also used for the wreath and the lower necklace, a gold chain with a crescent (called a lunula). The woman's face and neck are thickly painted in cream, heighened with pink on the cheeks and nose and around the eyes. The shades are built up from a dark ground. The woman's oval face, large eyes, and slightly open lips give the portrait considerable presence. Venus rings on her neck call attention to her youthful plump beauty. The hairstyle is typical for the period of the Emperor Hadrian, except for the corkscrew locks around the forehead, which may be a regional or personal style. Text from the Metropolitan Museum of Art label.

Young Woman with a Gilded Wreath 120-140 AD Encaustic on wood Accession # 09.181.7 This panel was not painted in the areas where the mummy wrappings would have covered the edges. Once in the wrappings, the background was gilded, and a gilded line was drawn to frame the lower end of the painting. Gold leaf was also used for the wreath and the lower necklace, a gold chain with a crescent (called a lunula). The woman's face and neck are thickly painted in cream, heightened with pink on the cheeks and nose and around the eyes. The shades are built up from a dark ground. The woman's oval face, large eyes, and slightly open lips give the portrait considerable presence. Venus rings on her neck call attention to her youthful plump beauty. The hairstyle is typical for the period of the Emperor Hadrian, except for the corkscrew locks around the forehead, which may be a regional or personal style. Text from the Metropolitan Museum of Art label.

Title: Portrait of a young woman in red Period: Roman Period Date: A.D. 90–120 Geography: From Egypt Medium: Encaustic on limewood with gold leaf Dimensions: H. 38.1 x W. 18.4 cm (15 x 7 1/4 in.) Credit Line: Rogers Fund, 1909 Accession Number: 09.181.6 The background of this portrait was originally gilded, emphasizing the divine status of the deceased young woman. She looks at the viewer with large serious eyes, accentuated by long lashes. A mass of loose curls covers her head, and some strands fall along the back of her neck on the left side. Framed by the black hair, deeply shadowed neck, and dark red tunic, her brightly lit face stands out in appealing youthfulness, an impression that is heightened by the gold wreath and sparkling jewelry. For more on the technique used to create this portrait, see 09.181.1. Text from: www.metmuseum.org/art/collection/search/547860

Title: Portrait of a young woman in red Period: Roman Period Date: A.D. 90–120 Geography: From Egypt Medium: Encaustic on limewood with gold leaf Dimensions: H. 38.1 x W. 18.4 cm (15 x 7 1/4 in.) Credit Line: Rogers Fund, 1909 Accession Number: 09.181.6 The background of this portrait was originally gilded, emphasizing the divine status of the deceased young woman. She looks at the viewer with large serious eyes, accentuated by long lashes. A mass of loose curls covers her head, and some strands fall along the back of her neck on the left side. Framed by the black hair, deeply shadowed neck, and dark red tunic, her brightly lit face stands out in appealing youthfulness, an impression that is heightened by the gold wreath and sparkling jewelry. For more on the technique used to create this portrait, see 09.181.1. Text from: www.metmuseum.org/art/collection/search/547860

Title: Mummy Portrait of a Youth Artist/Maker: Unknown Culture: Romano-Egyptian Place: Egypt (Place Created) Date: A.D. 150–200 Medium: Encaustic on linden wood Object Number: 78.AP.262 Dimensions: 20.3 × 13 cm (8 × 5 1/8 in.) Alternate Title: Mummy Portrait of a Boy (Display Title) Department: Antiquities Classification: Paintings Object Type: Panel A high infant mortality rate in Roman Egypt encouraged confidence in magical spells to ward off illness and injury. For this reason the boy wears a small round container for amulets on a plain black necklace, possibly made from leather. His head has been almost completely shaved to feature a single lock at the back (with golden clip) and two small tufts on his brow. This pattern is in accordance with the practices of devotees of the goddess Isis, whose son the god-child Horus was the model for this hair treatment. Though a child, he wears a customary white adult funerary tunic with a narrow purple clavus (woven strip) on his proper right and a mantle (pallium) draped over his proper left shoulder. The encaustic is painted directly on the wooden panel. Brush marks are visible in the wax and a pointed tool was used to create the eyelashes and black outline of the eyelid. Resin staining is visible at the edges of the portrait and on its reverse, indicating it was inserted into mummy wrappings, despite the panels smaller than life-size dimensions and square shape. Portraits of children are rare amongst funerary panels and, though apparently quickly finished, the painter’s ability to maintain a high painterly quality throughout is evident. Text from: www.getty.edu/art/collection/objects/8213/unknown-maker-mummy-portrait-of-a-youth-romano-egyptian-ad-150-200

Title: Mummy Portrait of a Youth Artist/Maker: Unknown Culture: Romano-Egyptian Place: Egypt (Place Created) Date: A.D. 150–200 Medium: Encaustic on linden wood Object Number: 78.AP.262 Dimensions: 20.3 × 13 cm (8 × 5 1/8 in.) Alternate Title: Mummy Portrait of a Boy (Display Title) Department: Antiquities Classification: Paintings Object Type: Panel A high infant mortality rate in Roman Egypt encouraged confidence in magical spells to ward off illness and injury. For this reason the boy wears a small round container for amulets on a plain black necklace, possibly made from leather. His head has been almost completely shaved to feature a single lock at the back (with golden clip) and two small tufts on his brow. This pattern is in accordance with the practices of devotees of the goddess Isis, whose son the god-child Horus was the model for this hair treatment. Though a child, he wears a customary white adult funerary tunic with a narrow purple clavus (woven strip) on his proper right and a mantle (pallium) draped over his proper left shoulder. The encaustic is painted directly on the wooden panel. Brush marks are visible in the wax and a pointed tool was used to create the eyelashes and black outline of the eyelid. Resin staining is visible at the edges of the portrait and on its reverse, indicating it was inserted into mummy wrappings, despite the panels smaller than life-size dimensions and square shape. Portraits of children are rare amongst funerary panels and, though apparently quickly finished, the painter’s ability to maintain a high painterly quality throughout is evident. Text from: www.getty.edu/art/collection/objects/8213/unknown-maker-mummy-portrait-of-a-youth-romano-egyptian-ad-150-200

Outer Coffin of Hor, from Akhmim (Panopolis) Unknown (Artist) Date: 525-404 BC Culture: Egyptian Category: Woodwork Medium: wood, stucco, pigment Collection: Ancient Art Dimensions: Overall: 84 1/2 × 28 7/8 × 29 1/2 in. (214.63 × 73.34 × 74.93 cm) Object Number: L.5.52.1 This sarcophagus dates to Dynasty 27, when Egypt was ruled as part of the Persian Empire. Its form, including a vaulted lid with a post at each corner, represents the tomb of Osiris. A model of this type of sarcophagus in the Museum of Fine Arts, Boston, has birds on each post and a sculpted, reclining jackal on the lid. Text from: www.vmfa.museum/piction/7898249-174029864

Outer Coffin of Hor, from Akhmim (Panopolis) Unknown (Artist) Date: 525-404 BC Culture: Egyptian Category: Woodwork Medium: wood, stucco, pigment Collection: Ancient Art Dimensions: Overall: 84 1/2 × 28 7/8 × 29 1/2 in. (214.63 × 73.34 × 74.93 cm) Object Number: L.5.52.1 This sarcophagus dates to Dynasty 27, when Egypt was ruled as part of the Persian Empire. Its form, including a vaulted lid with a post at each corner, represents the tomb of Osiris. A model of this type of sarcophagus in the Museum of Fine Arts, Boston, has birds on each post and a sculpted, reclining jackal on the lid. Text from: www.vmfa.museum/piction/7898249-174029864

Boy with a Floral Garland in His Hair Medium: Tempera, wood Reportedly From: Er-Rubiyat, Faiyum Region, Egypt Dates: ca. 200-230 C.E. Period: Roman Period Dimensions: 11 3/4 x 7 13/16 x 3/8 in. (29.9 x 19.8 x .9 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Egyptian Orientation Gallery, 3rd Floor Accession Number: 41.848 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/3458/Boy_wi...

Boy with a Floral Garland in His Hair Medium: Tempera, wood Reportedly From: Er-Rubiyat, Faiyum Region, Egypt Dates: ca. 200-230 C.E. Period: Roman Period Dimensions: 11 3/4 x 7 13/16 x 3/8 in. (29.9 x 19.8 x .9 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Egyptian Orientation Gallery, 3rd Floor Accession Number: 41.848 Credit Line: Charles Edwin Wilbour Fund Text from: www.brooklynmuseum.org/opencollection/objects/3458/Boy_wi...

Portrait of a Noblewoman Roman Period mummy portraits were painted on wooden panels that were slipped into the mummy wrappings over the face of the deceased. Often, as here, the artists used melted wax as a medium, building up thick layers of pigment and highlighting the facial features with touches of white. Although painted in the naturalistic tradition of the Greco-Roman world, these images are idealized representations of the deceased, and they were used in a traditional Egyptian funerary context. This woman's dress, hairstyle, and jewelry show the influence of fashions at the Roman imperial court and reflect a desire to be understood as Romanized. However, there is no way to know whether her heritage was Egyptian, Mediterranean, or mixed. Medium: Encaustic on wood Place Made: Egypt Dates: ca. 150 C.E. Period: Roman Period Dimensions: 17 5/16 x 11 5/16 x 1/8 in. (44 x 28.7 x 0.3 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Egyptian Orientation Gallery, 3rd Floor Accession Number: 86.226.18 Credit Line: Gift of the Ernest Erickson Foundation, Inc. Text from: www.brooklynmuseum.org/opencollection/objects/4266/Portra...

Mummified Ibis (at the top) Considered sacrosanct, the ibis was connected first with the god Thoth and later with the revered sage Imhotep. Mummified ibises found at cult sites dedicated to Thoth or Imhotep are usually understood as votives deposited by private persons either as offerings to curry favor or as gestures of appreciation for answered prayers. This elaborately preserved ibis bears witness to the extremes to which the ancient embalmers could go in their preservation of an animal. The linen wrappings, some of which have been dyed, are wound in an intricate pattern, while the bronze head attached to the mummy shows exquisite workmanship. Medium: Animal remains, bronze, linen Place Excavated: Abydos, Egypt Dates: 30 B.C.E.-100 C.E. Period: Roman Period Dimensions: 29 5/16 x 4 13/16 in. (74.5 x 12.3 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Temples and Tombs, Martha A. and Robert S. Rubin Gallery, 3rd Floor Accession Number: 14.655 Credit Line: Gift of the Egypt Exploration Fund Text from: www.brooklynmuseum.org/opencollection/objects/8647/Mummif... and Young Mummified Crocodile (at the bottom) The god Sobek, in his connections with the Nile and its annual inundation, was commonly represented as a crocodile. His most important cult was located in the Faiyum. Crocodile cemeteries are found there and in adjacent areas like Kahun. Medium: Animal remains, linen, white tape Dates: 1st century C.E. Period: Roman Period Dimensions: 3 11/16 x 29 3/16 in. (9.3 x 74.2 cm) Collections: Egyptian, Classical, Ancient Near Eastern Art Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Temples and Tombs, Martha A. and Robert S. Rubin Gallery, 3rd Floor Accession Number: 14.668 Credit Line: Museum Collection Fund Text from: www.brooklynmuseum.org/opencollection/objects/3124/Young_...

Inner Cartonnage of Gautsheshenu Linen mixed with plaster Third Intermediate Period- Late Period , probably late Dynasty XXV- early Dynasty XXVI, circa 700-650 BC From Thebes Accession # 34.1223 Osirius, lord of the underworld, appears seated on a throne at both sides of the chest of this cartonnage. At the right he presides over the judgment of the soul of the woman Gautsheshenu. Anubis, the jackal-headed conductor of the dead, is also at the right, carefully weighing Gauthsheshenu's heart. Beneath the great winged scarab are the "Four Sons of Horus," minor gods who protected specific mummified organs of the body. Many other, nonfunerary deities and their insignias appear. Indeed, the illustrations provide a Who's Who of Egyptian gods. A prominent solar motif consists of Khepri, the winged beetle, whose form represents the sun in the morning. In the center of the cartonnage is a vignette of the solar boat of the god Sokar situated in the sanctuary of his temple. Yet another form of the sun god, Horus the Behdetite, flanks the legs with outstretched wings. Thoth, the god of intellectual activity, stalks the lower right side in the form of an ibis, and a ram-headed god appears on both lower sides. The name Gautsheshenu means "bouquet of lotuses." The Egyptian word shesen ("lotus") is the origin of the women's names Susan and Suzanne. Text from the Brooklyn Museum label.

Inner Cartonnage of Nespanetjerenpare Cartonnage (linen mixed with plaster), painted, with eyes and eyebrows inlaid with glass and lapis lazuli Third Intermediate Period, Dynasty XXII, circa 945-718 BC Possibly from Thebes Accession # 35.1265 Text from the Brooklyn Museum label.