The Riddles of Ancient Egypt Continue fascinatingly as an Eternal Mystery!

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In ancient Egypt, there were eleven pharaohs named Ramesses, one of whom was Ramses II, known as The Great. This title likely stemmed from his lengthy reign of 66 years and his famous association with Moses.

Ramses II
Photo by konde on flickr
|Detail from a relief. King Ramses II, among the gods, the relief comes from the small temple built by King Ramses II at Abydos. In the relief, Ramesses II is crowned by the goddess Nekhbet in the form of a vulture. And Ramses II is introduced with the gods. 19th Dynasty, Abydos B 10, B 11, B 12, B 13, B 14. Louvre Museum

Perhaps his secrets are boundless and still awaiting discovery. We gain a deeper understanding of these mysteries thanks to Frédéric Payraudeau and the insightful interview by the brilliant Marie Grillot.🙏💖

Another view of the facade of the Great Temple of the Bringing the past into focus and making it relatable for all!

“Image credit at the top: A relief of Ramesses II from Memphis showing him capturing enemies: a Nubian, a Libyan and a Syrian, c. 1250 BC. Cairo Museum. (CC BY-SA 4.0, Wikipedia)”

Frédéric Payraudeau’s research reveals the existence of a granite sarcophagus of Ramesses II

via égyptophile

Frédéric Payraudeau, Egyptologist (photographed here by G.Lenzo in the tomb of Osorkon II in Tanis), identified in 2024
this fragment of granite sarcophagus (in the centre – photo Kévin Cahail) was found in Abydos in 2009
as belonging to the original sarcophagus of Ramses II
on the right, a relief of a monument representing Ramses II located in Tanis

Of the funerary equipment of Ramses II, we are incredibly familiar with the anthropoid coffin made of cedar wood (Cairo Museum – JE 26214 – CG 61020), found in the Royal Cachette of Deir el-Bahari (DB 320) in 1871/1881 which, although having preserved its mummy, did not belong to him… It is less well known that hundreds of fragments of his calcite sarcophagus, smashed by looters, were found in his tomb in the Valley of the Kings (KV 7) by Christian Leblanc, revealing that he had benefited from the same type of sarcophagus as his father Sety I (exhibited at Sir John Soane’s Museum in London)… In recent months, thanks to the acuity of the research carried out by the Egyptologist Frédéric Payraudeau, we have discovered that the man who reigned over the Dual Country for 66 years possessed a granite sarcophagus in which the calcite one must have been placed. A new “approach” to the royal burials of the early Ramesside era is emerging as a new page of post-Rameside history, with its reuses, can be read in palimpsests…

Anthropoid coffin made of cedar wood in which the mummy of Ramses II was reburied in the 21st dynasty
Found in the Royal Cachette of Deir el-Bahari (DB 320), discovered in 1871 by the Abd el-Rassoul Family
and “rediscovered” in 1881 by the Antiquities Department – registered at the Egyptian Museum in Cairo – JE 26214

MG-EA: Frédéric Payraudeau, Egyptologists produce numerous scientific studies each year. How did you become interested in the one concerning a fragment of a granite sarcophagus, 1.70 m long and 8 cm thick, discovered in 2009 by the Egyptian archaeologist Ayman Damrani in the paving of a Coptic monastery in Abydos?

FP: It turns out that this large sarcophagus fragment was reused by the high priest of Amun Menkheperre of the 21st Dynasty, a period that has been at the heart of my research on the Third Intermediate Period for a long time. So, I naturally became interested in the article publishing the monument in 2017. It was in itself a great discovery, indicating in particular that the tomb of the high priest must be in Abydos.

Frédéric Payraudeau, Egyptologist, identified in 2024 this fragment of granite sarcophagus
Found in Abydos in 2009, as belonging to the original sarcophagus of Ramses II – Photo Kévin Cahail

MG-EA: Was it the type of hieroglyphic inscriptions, the presence of a cartouche, or the quality of the material that caught your attention? And, since you had never had this fragment in your hands, what elements could you work on? What was your study approach?

FP: The piece was fascinating and of such quality that it necessarily belonged to the elite, as my Egyptian and American colleagues had seen, but I was not satisfied with the reading of the texts. It must be said that engraving on granite when poorly preserved, is very difficult to understand when there is a superposition of texts. I worked first on the photos of the article itself, then, to eliminate any uncertainty, on working photographs that Kevin Cahail very kindly sent me. The engraving of the cartouche first was then sure, and the reading of the coronation name of Ramses II followed.

Photo of the cartouche engraved on the fragment of the sarcophagus (by Kevin Cahail)
Drawing of the cartouche of Ramses II overprinted with the name of the high priest Menkheperrê (by Frédéric Payraudeau)

MG-EA: This sarcophagus was reused by the high priest Menkheperrê during the 21st dynasty. Is his “biography” well documented?

FP: The high priest Menkheperrê is a well-known character. In the second half of the 11th century BC, he was the pontiff of Amon and general-in-chief of Upper Egypt for almost half a century under the reign of his brother Psusennes, the pharaoh in Tanis. In Karnak, he notably restored the temple enclosure.

Frédéric Payraudeau, Egyptologist, identified in 2024 this fragment of granite sarcophagus found in Abydos in 2009 as belonging to the original sarcophagus of Ramses II – photo Kévin Cahail

MG-EA: At the end of the Ramesside period marked by the pillaging of the tombs of the Valley of the Kings, the high priests of Amun restored and then sheltered the royal mummies in hiding places to protect them… Can we imagine that, a century later, their successors came to “help themselves” to the funerary furniture that remained “in situ”? Why and how did they come to reuse certain sarcophagi, even if it was far from their burial place (and in Tanis, do you know anything about it)?

It is much worse than that: the high priests organized part of the looting of the necropolis. Thefts by bands of looters from the ordinary people were a pretext for intervening at the very end of the reign of Ramses XI in the Valley of the Kings. The desire to protect the royal mummies went hand in hand with appropriating the treasures that had not yet been looted. The workers of Deir el-Medina, whose ancestral role was to dig and decorate the royal tombs, saw their activities reoriented towards exploiting the riches of the Valley of the Kings. We still have traces of this just before the pontificate of Menkheperrê, under his other brother Masaharta, who sent a team to the Valley “to look for gold for the high priest”. By the time Menkheperre’s teams came to recover the sarcophagus of Ramesses II and one of those of Merenptah for himself and Psusennes, these two tombs had already been emptied mainly by the previous high priests. The appropriation of these prestigious objects, whose names of the first owners were not entirely erased, was a way of connecting with this prestigious past. This craze for the Ramesside period is also visible in Tanis, where the city was built, at the same time, using materials taken from the abandoned Piramesses.

The lid of the sarcophagus of Merenptah – pink granite – 19th dynasty
reused for Psusennes I – 21st dynasty – found in his tomb in Tanis (NRT III) by Pierre Montet in February 1940 – Egyptian Museum, Cairo – JE 87297.2

MG-EA: Ramses II himself had “reused” many statues, engraving his name and correcting the features of his predecessors… His sarcophagus, taken from the “gold chamber” of his tomb, was thus “reused” 200 years after he died for a high priest… And then a fragment was found in a Coptic place of worship: history repeats itself, or even perpetuates itself?

FP: Ancient Egypt extensively practised reuse, not only for economic but often also for cultural or political reasons. Should we recall that most of Tutankhamun’s treasures, including the famous golden mask, previously belonged to the queen who preceded him on the throne? According to their module, the columns in the eastern sector of Tanis date from the Old Kingdom. They were reused by Ramses II in a sanctuary of Piramses, then transported to Tanis and re-engraved under Osorkon II before being moved to where we admire them today in the Late Period or after. So, yes, we would be wrong to think that ancient objects only had one life.

Marie Grillot performed and released the interview for Egypt-news and Egyptophile.

Frédéric Payraudeau is an Egyptologist, lecturer at Sorbonne University, director of the French Mission of the Excavations of Tanis (MFFT)* and vice-president of the French Society of Egyptology. He is the author of numerous works, including “L’Egypte et la vallée du Nil. Tome 3: Les époques tardives …”, published by PUF

We sincerely thank him for agreeing to dedicate this interview to us despite his schedule and the start of the new mission in Tanis.

A Holy Beetle for a Young Pharaoh’s Divine Fortune

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This impressive piece is another fascinating treasure, not because of the quantity of it by using jewellery to make it but because of its inner precious spiritual quality.

The scarab beetle was a revered symbol in ancient Egyptian culture, associated with gods like Jepri and Ra. Tutankhamun, an Egyptian pharaoh, had a gold scarab bracelet adorned with precious stones like turquoise and lapis lazuli. The Egypt-museum.com report describes the bracelet as having an incredible design.

Via Meisterdrucke


Scarab bracelets, resembling scarab beetles, were popular in ancient Egypt. They were made of gold or precious stones and believed to ward off bad luck and evil spirits. Both men and women wore them as stylish jewellery representing spiritual and religious convictions.

Here, we read the story and discovery of this magnificent treasure, which should have belonged to the young Pharaoh, Tutankhamun, by our adorable lady Marie Grillot.

Tutankhamun’s scarab bracelet as a child

via égyptophile

Bracelet decorated with a scarab – gold, lapis lazuli, carnelian, turquoise, quartzite – New Kingdom – 18th Dynasty
from the tomb of Tutankhamun (KV 62) discovered in November 1922 by Lord Carnarvon and Howard Carter
Carter 269-n – JE 62360 – photo from the Egyptian Museum

According to Howard Carter’s estimate, “at least sixty per cent of the finest ‘unattached’ jewellery had disappeared” from Tutankhamun’s tomb, taken by looters who, in antiquity, violated the tomb on at least two occasions.

As terrible as this observation is, we can only rejoice that two hundred jewels have reached us! Made by the best goldsmiths of the Theban workshops, they fill us with their beauty and originality and captivate us with their luxury and brilliance.

Bracelet decorated with a scarab – gold, lapis lazuli, carnelian, turquoise, quartzite – – New Kingdom – 18th Dynasty
from the tomb of Tutankhamun (KV 62) discovered in November 1922 by Lord Carnarvon and Howard Carter
Carter 269-n – JE 62360 – photo from the Egyptian Museum
Featured here in “Tutankhamun: His tomb and his treasures”, IES Edwards, 1976

The symbolism they carry is omnipresent, whether through the motif represented, the properties of the stone used, or even the magical effectiveness linked to the association of colours, all of which combine and charge them with virtues and protective powers.

This gold bracelet with a lapis lazuli scarab is a beautiful example and particularly moves us. Indeed, its small diameter (5.4 cm) and the signs of wear it bears testify to the fact that the young pharaoh wore it in his youth… And the fact that it also accompanies him in his afterlife is just as moving…

Bracelet decorated with a scarab – gold, lapis lazuli, carnelian, turquoise, quartzite – New Kingdom – 18th Dynasty
from the tomb of Tutankhamun (KV 62) discovered in November 1922 by Lord Carnarvon and Howard Carter
Carter 269-n – JE 62360 – photo from the Egyptian Museum
Featured here in “Discovering Tutankhamun”, Zahi Hawass

“A gold and lapis lazuli scarab crowns this bracelet, which is small enough for the child Tutankhamun to wear. On each side of the scarab are inlaid mandrake fruits with sexual connotations and poppies,” explains Zahi Hawass in “Discovering Tutankhamun.”

In “The Wonders of the Egyptian Museum in Cairo”, Silvia Einaudi gives a beautiful description, of which there is an extract: “A hinge and a clasp join the two semicircles that compose it. Its upper part, whose surface gradually widens, supports a large scarab, whose back, reproduced in the most minor details, is formed of inlaid lapis lazuli set in gold sockets and whose abdomen is entirely gold. The legs are executed with precision and realism: the front legs are provided with a five-pointed rostra, while the hind legs end in hooks. The surface on which the insect is fixed is surrounded by a continuous row of tiny gold grains, bordered on the outside by lapis lazuli, gold, turquoise and carnelian segments. The two parts of the bracelet that surmount the hinge and the clasp are occupied by a delicate composition of inlaid floral motifs, which fills the small trapezoidal space in a balanced way: a yellow quartzite flower is flanked by two carnelian buds; two small gold rosettes separate their stems. The lower part of the bracelet is decorated on the outside with four parallel rows of tiny gold grains.

Bracelet decorated with a scarab – gold, lapis lazuli, carnelian, turquoise, quartzite – New Kingdom – 18th Dynasty
from the tomb of Tutankhamun (KV 62) discovered in November 1922 by Lord Carnarvon and Howard Carter
Carter 269-n – JE 62360

In “Jewels of the Pharaohs”, Cyril Aldred analyses the floral motif thus: “The two trapezoidal spacers are filled with a floral design of a mandrake fruit flanked by two poppy buds and daisies”.

In “The Gold of the Pharaohs”, Christiane Ziegler gives us details on the materials and fine stones used, allowing us to better decipher the choice made by the goldsmiths during its design…

First of all, gold, whose brilliance brings it closer to that of the sun… Reputed to be unalterable, it is thus assimilated to the flesh of the gods. As for lapis lazuli, she explains: “In ancient myths, it constituted the beard and hair of the gods and possessed virtues comparable to those of turquoise”. Turquoise “méfékat”, with its luminous blue-green colour, evoked: “the growth of young shoots in spring and was synonymous with vitality and joy. Its presence in funeral equipment undoubtedly conferred on the deceased the joy of rebirth”. As for carnelian “Héréset”, it: “possessed the invigorating virtues of blood” and was thus linked to life…

Bracelet decorated with a scarab – gold, lapis lazuli, carnelian, turquoise, quartzite – New Kingdom – 18th Dynasty
from the tomb of Tutankhamun (KV 62) discovered in November 1922 by Lord Carnarvon and Howard Carter
Carter 269-n – JE 62360 

As for the most essential element, the scarab, finely worked in a deep and luminous blue lapis lazuli, is the symbol of renewal, of rebirth. Its representation is persistent in Egyptian jewellery, especially in the young king’s finery.

In her “Dictionary of Egyptian Mythology”, Isabelle Franco specifies, “The scarab is the bearer of a renewed energy which preludes all existence; it presides over the transformations which lead to all maturity. It is the animal attribute of Khepri. The sign of the scarab is used to write the word kheper, which evokes the idea of ​​birth but also of returning.”

The discoverers of Tutankhamun’s tomb: Lord Carnarvon (left) and Howard Carter, near KV 62
(photo (Harry Burton?) taken between November 1922 and April 1923)

The young king “came back to life” in November 1922, thanks to the perseverance of Howard Carter and Lord Carnarvon, who discovered his tomb in the heart of the Valley of the Kings, finally bringing him out of the oblivion the centuries had left him.

The bracelet decorated with a lapis lazuli scarab (Carter 269-n – JE 62360) was
in the wooden box inlaid in the shape of a cartridge (Carter 269 / JE 61490 / GEM 242)
Provenance: The tomb of Tutankhamun (KV 62) discovered in November 1922 by Lord Carnarvon and Howard Carter
The Griffith Institute – Tutankhamun: Anatomy of an Excavation
The Howard Carter Archives – Photographs by Harry Burton

It took seven long weeks to empty the antechamber, and the official opening of the burial chamber took place on February 17, 1923. On that same day, as they continued their extraordinary exploration, they noticed “A low door, on the right, which gave access to another, smaller room. (…) This door had neither been blocked nor sealed. A single glance was enough to make us understand that it was this which contained the real treasures of the tomb …” (Howard Carter)

This bracelet was found in this room, precisely in a dark wooden box in the shape of a cartouche, whose lid reproduces the name of Tutankhamun in a delicate coloured rebus. Harry Burton’s photos, identified as it, are placed on the ground in front and to the left of the gilded wooden naos protected by the four goddesses.

The bracelet decorated with a lapis lazuli scarab (Carter 269-n – JE 62360) was
in the wooden box inlaid in the shape of a cartridge (Carter 269 / JE 61490 / GEM 242)
Provenance: The tomb of Tutankhamun (KV 62) discovered in November 1922 by Lord Carnarvon and Howard Carter
The Griffith Institute – Tutankhamun: Anatomy of an Excavation
The Howard Carter Archives – Photographs by Harry Burton

This box, number Carter 269, contained wonders! The various jewels and artefacts it contained received this number, followed by a letter as a reference. Thus, this bracelet received the number “269 n,” and it was then registered in the Journal of Entries of the Cairo Museum JE 62360 … while waiting for the new referencing that will be given to it by the Grand Egyptian Museum, where it will soon be exhibited …

Marie Grillot

Sources:

Egyptian Museum, Cairo – Tutankhamun’s bracelet with a scarab http://www.globalegyptianmuseum.org/record.aspx?id=15044 Howard Carter, The Tomb of Tutankhamun, Volume 3: The Annex and Treasury, Bloomsbury Academic, 2014 Jean Capart, Tutankhamun, Vromant & Cie Printers-Publishers, 1923 http://gallica.bnf.fr/ark:/12148/bpt6k5611389t/f60.texte Nicholas Reeves, Tutankhamun, life, death and discovery of a pharaoh, Editions Errance, 2003
Christiane Desroches Noblecourt, Tutankhamun and his time, catalogue of the exhibition Petit Palais, Paris, February 17-July 1967, Ministry of State for Cultural Affairs
Christiane Desroches Noblecourt, Life and Death of a Pharaoh, Hachette, 1963
Zahi Hawass, Discovering Tutankhamun, Editions du Rocher, 2015
Zahi Hawass, Tutankhamun, Treasures of the Golden Pharaoh, exhibition catalogue, IMG Melcher Media, 2018
Francesco Tiradritti, Treasures of Egypt – The wonders of the Egyptian Museum in Cairo, Gründ, 1999
Cyril Aldred, Jewels of the Pharaohs, Ed. Thames & Hudson Ltd. London, 1978
Iorwerth Eiddon Stephen Edwards, Tutankhamun: his tomb and his treasures, The Metropolitan Museum of Art, 1977
Christiane Ziegler, The Gold of the Pharaohs – 2500 Years of Goldsmithing in Ancient Egypt, catalogue of the summer 2018 exhibition at the Grimaldi Forum in Monaco,
The Griffith Institute – Tutankhamun: Anatomy of an Excavation – The Howard Carter Archives – Photographs by Harry Burton http://www.griffith.ox.ac.uk/php/am-makepage1.php?&db=burton&view=gall&burt=&card=269&desc=&strt=3&what=Search&cpos=51&s1=imagename&s2=cardnumber&s3=&dno=25 Émile Vernier Egyptian jewellery and jewellery, MIFAO, Cairo, 1907 https://archive.org/details/MIFAO2/mode/2up https://archive.org/details/MIFAO2/page/n1/mode/2up Thomas Garnet Henry James, Howard Carter, The path to Tutankhamun, TPP, 1992

Anuket, The Patron Deity of the Nile River

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As we continue researching the precious heritages of ancient Egypt, we find more and more feminine Myths of the Goddesses!
Here is another one: Anuket, Anouket, Anukis, the Goddess of Nil.

Anuket (or Anukis, her Greek name) is a Nubian goddess, represented as a lady with a crown of feathers or reeds, with a sceptre, and the well-known ankh of Ancient Egyptian culture. Her name means “she who embraces”, and she was venerated in Sehel and Elephantine. Cairo

Anuket, in Egyptian religion, is the patron deity of the Nile River. Anuket is usually depicted as a beautiful woman wearing a crown of reeds and ostrich feathers and accompanied by a gazelle. She was initially a Nubian deity.

Here, we read an article about a beautiful emblem of this fascinating Goddess by the brilliant Marie Grillot.
I wish everybody a leisurely and peaceful Merry Christmas.💖🌹🥰

This emblem of Anouket in the Louvre attests to her cult in Deir-Medineh

via égyptophile

“Two-faced” emblem of Anouket (Anoukis) – painted wood (tamarisk and shea) – 19th dynasty (around 1295 – 1186 BC)
from Deir el-Medineh – Department of Egyptian Antiquities of the Louvre Museum – N 3534
by acquisition of the Salt Collection in 1826 (Salt n°559) – © 2006 Musée du Louvre / Christian Décamps

Associated with the god Khnum and the goddess Satis, Anouket (Anoukis) is the third divinity of the triad of the First Cataract, or Elephantine triad. She is generally presented as “the daughter of the divine couple” or even “the wife of the god”.

In “Ancient Egypt and its Gods”, Jean-Pierre Corteggiani specifies that one of her titles is: “Mistress of To-Seti, that is to say of Nubia; she is sometimes called the Nubian, although there is no evidence that it actually originated in this region, one of its functions is to guard the southern border of Egypt… And he adds, “As a text from the temple of Edfu clearly explains, if it is up to Satis, assimilated to Sothis, to raise the beneficial flow, it falls to Anoukis (Anouqis) the equally essential task of reduce and thus allow, after the flood has receded, seeds to germinate and vegetation to grow on the land released by the waters.” Therefore, it depends on the food and subsistence of an entire people, a whole country… This can explain the reason for the spread of its cult towards the north, notably to Deir el-Medineh, where it was probably introduced “by the workers who worked in the granite quarries of Aswan.

“Two-faced” emblem of Anouket (Anoukis) – painted wood (tamarisk and shea) – 19th dynasty (around 1295 – 1186 BC)
from Deir el-Medineh – Department of Egyptian Antiquities of the Louvre Museum – N 3534
by acquisition of the Salt Collection in 1826 (Salt n°559) – © 2006 Musée du Louvre / Christian Décamps

Between the high walls of “Set Maât her imenty Ouaset” (“the Place of Truth to the west of Thebes”, today’s Deir el-Medineh), they lived between 60 and 120 families dedicated to digging and decorating tombs of royal necropolises. They had stone houses covered with palm leaf roofs, their own necropolis, and places of worship. Amon, Ptah, Meretseger, and Hathor were celebrated there, but other divinities also had their place. Indeed, as Guillemette Andreu points out in “The Artists of Pharaon”, “Khnoum and his two consorts, Satis and Anoukis, enjoyed great favour in the community, without us knowing if a particular sanctuary was built for them. Likely, one of the numerous devotional chapels located north of the site was occasionally used as a place of worship, but these cults appear essentially private and domestic.

“Two-faced” emblem of Anouket (Anoukis) – painted wood (tamarisk and shea) – 19th dynasty (around 1295 – 1186 BC)
from Deir el-Medineh – Department of Egyptian Antiquities of the Louvre Museum – N 3534
by the acquisition of the Salt Collection in 1826 (Salt n°559)
published here by Dominique Valbelle in BIFAO 75, 1975

This “two-faced” emblem of Anouket made “For the ka of the servant in the Place of truth, Pached, acquitted”, testifies to this cult. On the other hand, in their “Guide to Deir el-Medina”, Guillemette Andreu and Dominique Valbelle recall that “the procession of the emblem of Anouqet is represented in the chapel of the tomb of the team leader Neferhotep”.

Two things are striking in the representations of Anouket: her very particular headdress, we will come back to it, and, more strikingly, her resemblance to Hathor. “As D. Valbelle has shown, this object, whose appearance evokes that of a hathoric sistrum, illustrates a syncretism between Ânouket of Elephantine and Hathor of Diospolis Parva in the context of a local cult in Deir el- Medineh” recalls Christophe Barbotin in “Egyptian statues of the New Kingdom”.

“Two-faced” emblem of Anouket (Anoukis) – painted wood (tamarisk and shea) – 19th dynasty (around 1295 – 1186 BC)
from Deir el-Medineh – Department of Egyptian Antiquities of the Louvre Museum – N 3534
by acquisition of the Salt Collection in 1826 (Salt n°559) – © 2006 Musée du Louvre / Christian Décamps

It is made from tamarisk wood, is 27.5 cm high and 13.5 cm wide, and rests on a shea tree base. The support, comparable to a fluted column, is surrounded by horizontal lines. The head surmounts it – in fact, two heads, reproduced identically, “back to back” – of the Goddess. Her face takes the shape of a diamond with rounded contours. The widest part is at the level of the cow’s ears and the thinnest at the chin level. Her large eyes, stretched with a line of makeup, are painted black with a large dark iris, which leaves little space for the white of the eye. They are topped over their entire length by very arched eyebrows, hollow and encrusted with a black material. The nose is flat, and the mouth with drooping corners displays a slight difference on the two sides, one of the upper lip being thinner. The left side of one of the two faces is marked with a long and painful scar.

“Two-faced” emblem of Anouket (Anoukis) – painted wood (tamarisk and shea) – 19th dynasty (around 1295 – 1186 BC)
from Deir el-Medineh – Department of Egyptian Antiquities of the Louvre Museum – N 3534
by acquisition of the Salt Collection in 1826 (Salt n°559) – © 2006 Musée du Louvre / Christian Décamps

Anouket’s main attribute, which makes her immediately identifiable, is her high and generous headdress made of ostrich feathers. Christophe Barbotin precisely describes this: “The mortar, painted red with vertical white lines, is topped with feathers with traces of blue and red paint (seven feathers on each side, three on each edge). It is placed on a black-painted cap visible at the top of each face but not on the sides. The top of the feathers constitutes a perfectly flat surface.

“Two-faced” emblem of Anouket (Anoukis) – painted wood (tamarisk and shea) – 19th dynasty (around 1295 – 1186 BC)
from Deir el-Medineh – Department of Egyptian Antiquities of the Louvre Museum – N 3534
by acquisition of the Salt Collection in 1826 (Salt n°559) – © 2006 Musée du Louvre / Christian Décamps

This Anouket emblem dates from the 19th dynasty (c. 1295 – 1186 BC). It arrived at the Louvre Museum in 1826 through the acquisition by Charles X – for the sum of 250,000 francs – of the collection of the British consul Henry Salt. Jean-François Champollion will also go to Livorno to draw up a descriptive inventory of the 4014 objects, this one bearing the number 559. In his “Descriptive note of the Egyptian monuments of the Charles X Museum” (1827), he will present it under A.136, “Painted wood. Symbolic head of the goddess Anouké”. Today, it is exhibited in the Sully wing, in room 336, dedicated to the Nile, under inventory number N 3534.

Marie Grillot

Sources:

Anouket Emblem https://collections.louvre.fr/ark:/53355/cl010024883              Jean-Pierre Corteggiani, Ancient Egypt and its gods – Illustrated dictionary, Fayard 2007
Sylvie Guichard, Jean-François Champollion, Descriptive notice of the Egyptian monuments of the Charles 87-88, illus. p. 88, A. 136
Guillemette Andreu, The artists of Pharaon. Deir el-Medina and the Valley of the Kings, RMN; Brepols, 2002, p. 273, ill. p. 272, no. 221a                                 -Andreu, Guillemette; Valbelle, Dominica, Guide to Deir el-Medina. A village of artists, Cairo, French Institute of Oriental Archeology (IFAO), 2022, p. 150, fig. 131                     – Barbotin, Christophe, Egyptian statues of the New Kingdom, 1, Royal and divine statues, [Louvre Museum, Paris], Paris, Louvre éditions / éditions Khéops, 2007, p. 146-147, figs. 1-15 p. 238-241, no. 85
Dominique Valbelle, Testimonies of the New Kingdom on the cults of Satis and Anoukis at Elephantine and at Deir el-Médineh, Bulletin of the French Institute of Oriental Archeology (BIFAO), 75, 1975, p. 123-145,                                           https://www.ifao.egnet.net/bifao/75/7/, p. 141-145, figs. 7, pl. XXI-XXIIII, Doc. 10          Jean-François Champollion, Descriptive notice of the Egyptian monuments of the Charles X Museum, Paris, Imprimerie de Crapelet, 1827, p. 7, A.136      https://gallica.bnf.fr/ark:/12148/bpt6k1040365n

Publié il y a 15th October par Marie Grillot

Libellés: 1826 Anoukis bois Collection Salt Deir el-Medineh Emblème; Anouket karité Louvre N 3534 Salt n°559 tamaris