LaurieAnnie's photos with the keyword: coffin

Title: Limestone coffin model Medium; Technique: Limestone Culture: Cypriot Period: Cypro-Geometric I Date: ca. 1050–950 B.C. Dimensions: Overall: 4 3/16 x 4 1/4 x 3in. (10.6 x 10.8 x 7.6cm) Classification: Miscellaneous-Stone Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76 Accession Number: 74.51.5163 On View Description: This model is particularly elaborate, with the cutouts at the base and the decoration of the Great Goddess or her priestess and horned animals in low relief. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

Paa Joe (Ghanian, born 1945) Coffin in the Form of a Nike Sneaker 1990 Wood, pigment Accession # 2000.71 During the last four decades in the coastal region of Ghana, a tradition has developed of burying the dead in elaborate fantasy coffins. The artisans who create them draw their inspiration from the livelihood of the deceased and make such forms as a fish for a fisherman and an onion for an onion farmer. Sometimes they are simply symbols of wealth and prestige, such as a Mercedes-Benz or this Nike sneaker. The dramatic and colorful coffins display a natural joy for life in the face of death and demonstrate an artful way of overcoming adversity. Text from the Brooklyn Museum label.

Paa Joe (Ghanian, born 1945) Coffin in the Form of a Nike Sneaker 1990 Wood, pigment Accession # 2000.71 During the last four decades in the coastal region of Ghana, a tradition has developed of burying the dead in elaborate fantasy coffins. The artisans who create them draw their inspiration from the livelihood of the deceased and make such forms as a fish for a fisherman and an onion for an onion farmer. Sometimes they are simply symbols of wealth and prestige, such as a Mercedes-Benz or this Nike sneaker. The dramatic and colorful coffins display a natural joy for life in the face of death and demonstrate an artful way of overcoming adversity. Text from the Brooklyn Museum label.

Paa Joe (Ghanian, born 1945) Coffin in the Form of a Nike Sneaker 1990 Wood, pigment Accession # 2000.71 During the last four decades in the coastal region of Ghana, a tradition has developed of burying the dead in elaborate fantasy coffins. The artisans who create them draw their inspiration from the livelihood of the deceased and make such forms as a fish for a fisherman and an onion for an onion farmer. Sometimes they are simply symbols of wealth and prestige, such as a Mercedes-Benz or this Nike sneaker. The dramatic and colorful coffins display a natural joy for life in the face of death and demonstrate an artful way of overcoming adversity. Text from the Brooklyn Museum label.

Face from a Coffin Wood, gessoed and painted Third Intermediate Period, Dynasty XXI, circa 1070-945 BC Probably from Thebes Accession # 37.2037E This face from a coffin is treated in a manner called "hieroglyphic." Its features are like individual hieroglyphs and are not totally integrated into the face by means of organic modeling. This piece is dated to Dynasty XXI and attributed to Thebes because it resembles very closely many faces on coffins of that time and place. The face's shape and features reflect the revival of the artistic style of the earlier part of Dynasty XVIII (circa 1539-1390 BC) or early Dynasty XIX (circa 1295-1250 BC), some of whose art was influenced by the art of early Dynasty XVIII. Text from the Brooklyn Museum label.

Lid of the Sarcophagus of Padiinpu Limestone Ptolemaic Period, 305-30 BC From Hardai (Kynopolis) Accession # 34.1222 Although anthropoid, or mummiform, coffins made of stone instead of wood first appeared during the New Kingdom (circa 1539-1070 BC), they did not become common until the Late Period (circa 664-332 BC). The change from wood to stone reflects a step toward permanent protection in the afterlife. Padiinpu, the owner of this limestone sarcophagus, served as a scribe attached to the cult of the god Inpu (called Anubis by the Greeks) who was lord of the city of Hardai. He also served as a royal scribe and as a priest in a cult of the goddess Hathor. Padiinpu, who was named for the god Inpu, was the father of the owner of a similar lid displayed on the opposite side of the doorway. Text from the Brooklyn Museum label.

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.

Lid of the Sarcophagus of Padiinpu Limestone Ptolemaic Period, 305-30 BC From Hardai (Kynopolis) Accession # 34.1222 Although anthropoid, or mummiform, coffins made of stone instead of wood first appeared during the New Kingdom (circa 1539-1070 BC), they did not become common until the Late Period (circa 664-332 BC). The change from wood to stone reflects a step toward permanent protection in the afterlife. Padiinpu, the owner of this limestone sarcophagus, served as a scribe attached to the cult of the god Inpu (called Anubis by the Greeks) who was lord of the city of Hardai. He also served as a royal scribe and as a priest in a cult of the goddess Hathor. Padiinpu, who was named for the god Inpu, was the father of the owner of a similar lid displayed on the opposite side of the doorway. 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.

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.