This beautiful 𓄤 bracelet 𓂝𓏠𓆑𓂋𓏏𓇛 belonged to the princess Sithathoryunet, who is thought to be the daughter of the 12th Dynasty (c. 1887–1813 B.C.E) Pharaoh 𓉐𓉻 Senwosret II 𓄊𓋴𓂋𓏏𓊃𓈖. She is thought to be his daughter because her tomb 𓇋𓐫𓊃𓉐 is linked to his. Flinders Petrie was actually the one to discover her tomb 𓇋𓐫𓊃𓉐. Despite being robbed in antiquity, the tomb robbers left a chest full of beautiful 𓄤 jewelry behind! The bracelet 𓂝𓏠𓆑𓂋𓏏𓇛 is made out of gold 𓋞𓃉𓃉𓃉 and other beautiful stones like turquoise! I just love how the red 𓂧𓈙𓂋𓅟, gold 𓋞𓃉𓃉𓃉 and blue 𓇋𓁹𓏏𓄿𓏸𓏥 colors all look together!
Despite most likely being the daughter of Senwosret II 𓄊𓋴𓂋𓏏𓊃𓈖, the bracelet displays the cartouche of the pharaoh 𓉐𓉻 Amenemhat III 𓇳𓈖𓐙𓌳𓂝𓏏.
Let’s read some hieroglyphs 𓊹𓌃𓏪!
𓊹𓄤 – Great God 𓎟𓇿𓇿 – Lord of the Two Lands 𓇳𓈖𓐙𓌳𓂝𓏏 – Amenemhat III 𓏙𓋹 – Given Life
What’s exciting about this inscription 𓏟𓏛𓏥 is that these are all phrases that we have covered in the past! A lot of the same titles and phrases pop up on various types of objects!
There are over 200 𓏲𓏲 ushabti 𓆷𓄿𓍯𓃀𓏏𓏮𓀾 figures that belonged to Akhenaten 𓇋𓏏𓈖𓇳𓅜𓐍𓈖. It seems strange that Akhenaten 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 would be buried with ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 because he completely changed the Egyptian religion from the traditional polytheistic worship 𓇼𓄿𓀢 to the monotheistic worship 𓇼𓄿𓀢 of the Aten 𓇋𓏏𓈖𓇳. This shows that while he did completely change Egypt’s 𓆎𓅓𓏏𓊖 religion, some aspects of the old religion, such as belief in the afterlife 𓇼𓄿𓏏𓉐, did remain and persist throughout his rule 𓋾.
While most ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 contain standard inscriptions 𓏟𓏛𓏥 known as the “shabti spell” or “shabti text,” Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 only contain inscriptions 𓏟𓏛𓏥 of his name 𓂋𓈖 and titles. This would make sense, since the “shabti spells” would be part of the traditional religion, and not the new one. Most of Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 are in various states of disarray, so this particular piece pictured 𓏏𓅱𓏏 does not have any visible inscriptions 𓏟𓏛𓏥.
I love how blue 𓇋𓁹𓏏𓄿𓏸𓏥 this ushabti 𓆷𓄿𓍯𓃀𓏏𓏮𓀾 is! I’ve seen many of Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 in museums around the world, and this one is my favorite because of the color! Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 were probably made in different workshops throughout his reign, which is why there are so many different variations instead of a singular and uniform style.
I also love how the Ankhs 𓋹𓋹 in his hands 𓂧𓏏𓏦 are white 𓌉𓆓𓇳 and stand out against the blue 𓇋𓁹𓏏𓄿𓏸𓏥 faience 𓋣𓈖𓏏𓏸𓏼. The ushabti 𓆷𓄿𓍯𓃀𓏏𓏮𓀾 also shows the traditional Amarna-era artistic style that is seen on most of the work from this time period.
Another example of Akhenaten’s ushabtis at the MET
Most of Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 are in various states of disarray, only one of these pieces has part of an inscription 𓏟𓏛𓏥 on it! While most ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 contain standard inscriptions 𓏟𓏛𓏥 known as the “shabti spell” or “shabti text,” Akhenaten’s 𓇋𓏏𓈖𓇳𓅞𓐍𓈖 ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 only contain inscriptions 𓏟𓏛𓏥 of his name 𓂋𓈖 and titles. Let’s take a look at the partial inscription 𓏟𓏛𓏥!
You can see the inscription of “𓆥,” which as we have learned previously can translate to “He of the Sedge and the Bee” or “King of Upper and Lower Egypt.” As we know, this is a very popular title to be seen before a cartouche!
The “𓇳” in the cartouche is probably part of one of Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 throne names, which would most likely be “𓇳𓄤𓆣𓇳𓏦𓌡𓈖,” since that is the only one of Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 name 𓂋𓈖 variants that begins with a “𓇳.”
Even though 𓇳𓄤𓆣𓇳𓏦𓌡𓈖 translates to “The Beautiful One of the Manifestations of Ra, the Unique one of Ra,” this variant was only seen after the name 𓂋𓈖 change from Amenhotep IV 𓇋𓏠𓈖𓊵𓊹𓋾𓌀 to Akhenaten 𓇋𓏏𓈖𓇳𓅜𓐍𓈖!
As I stated previously, Akhenaten’s 𓇋𓏏𓈖𓇳𓅜𓐍𓈖 ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 were probably made in different workshops throughout his reign, which is why there are so many different variations instead of a singular and uniform style. This picture shows a couple of the styles of ushabti 𓆷𓄿𓍯𓃀𓏏𓏮𓀾 . While all of the ushabtis 𓆷𓄿𓍯𓃀𓏏𓏮𓀾𓏪 look different, they all show the traditional Amarna-era artistic style that is seen on most of the work from this time period.
The large red granite 𓅓𓌳𓏏𓎶 statue 𓄚𓈖𓏏𓏭𓀾 of Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 in comparison to me! This statue 𓄚𓈖𓏏𓏭𓀾 is tremendous in size and it so gorgeous 𓄤 to look at! Hateshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 really does look regal in it!
Nicole (me) with the large red granite statue of Hatshepsut at the MET
Here’s some family history about Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪: Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 was the only child 𓐍𓇌𓀕 of her father 𓇋𓏏𓀀, Thutmosis I 𓇳𓉻𓆣𓂓 and his principal wife 𓇓𓏏𓏏𓈞 Ahmose.
After the death 𓅓𓏏𓏱 of Thutmosis I 𓇳𓉻𓆣𓂓, Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 married her half brother, Thutmosis II 𓇳𓉻𓆣𓈖 who had become the pharaoh 𓉐𓉻. While Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 was unable to produce a male heir, Thutmosis III 𓇳𓏠𓆣 was born to one of Thutmosis II’s 𓇳𓉻𓆣𓈖 lesser wives.
Thutmosis II 𓇳𓉻𓆣𓈖 died while Thutmosis III 𓇳𓏠𓆣 was still a child 𓐍𓇌𓀕, so Hatsheput 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 became his co-regent until she declared herself the pharaoh 𓉐𓉻. After Hatshepsut’s 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 death, Thutmosis III 𓇳𓏠𓆣 assumed the role of pharaoh 𓉐𓉻.
One of the many reasons I look up to Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 so much was because she was so intelligent and ambitious. Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 had an extremely prosperous reign because she was more concerned about expanding Egypt’s 𓆎𓅓𓏏𓊖 economy and taking up new building projects as opposed to conquering new lands with her large military.
Amulets 𓊐𓊪𓅆𓏪 of Anubis 𓇋𓈖𓊪𓅱𓃣! One of Anubis’ 𓇋𓈖𓊪𓅱𓃣 titles is, 𓇋𓏶𓅱𓏏𓐎𓊖, “He who is in the mummy wrappings” – which reminds me of amulets 𓊐𓊪𓅆𓏪!
Anubis 𓇋𓈖𓊪𓅱𓃣 amulets 𓊐𓊪𓅆𓏪 were quite abundant during the Late – Ptolemaic Period (664–31 B.C.E.). These are made of faience 𓋣𓈖𓏏𓏸𓏼, which was a popular material to make amulets 𓊐𓊪𓅆𓏪 out of because faience 𓋣𓈖𓏏𓏸𓏼 is both easy to work with and very cheap. It was very easy to mass produce these types of amulets 𓊐𓊪𓅆𓏪!
Funerary amulets 𓊐𓊪𓅆𓏪 such as these were often made in the form of deities 𓊹𓊹𓊹 who had various roles in protecting 𓅓𓂝𓎡𓀜 the deceased 𓅓𓏏𓏱. Amulets 𓊐𓊪𓅆𓏪 would be woven into the wrappings of the mummy 𓇋𓁹𓅱𓀾, and placed in specific locations in the wrappings depending on its function. Amulets 𓊐𓊪𓅆𓏪 were magical 𓎛𓂓𓄿𓏜 items whose main role was protection 𓅓𓂝𓎡𓀜!
While some amulets 𓊐𓊪𓅆𓏪 were worn by the living, an amulet 𓊐𓊪𓅆 of Anubis 𓇋𓈖𓊪𓅱𓃣 would have been worn only by the dead 𓅓𓏏𓏱. As Anubis 𓇋𓈖𓊪𓅱𓃣 is the god 𓊹 of embalming/mummification and tombs/cemeteries, he was tasked with protecting 𓅓𓂝𓎡𓀜 the dead 𓅓𓏏𓏱. Since the body of the deceased 𓅓𓏏𓏱 needed to be preserved in order for them to reach the afterlife 𓇼𓄿𓏏𓉐, Anubis 𓇋𓈖𓊪𓅱𓃣 had a significant role in the deceased’s journey – which is where amulets 𓊐𓊪𓅆𓏪 in his likeness came into play! Amulets 𓊐𓊪𓅆𓏪 commonly took the form of the power that they represented!
This is an ointment jar that was found amongst many other artifacts in the foundation deposits of Hatshepsut’s 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 temple 𓉟𓏏𓉐 at Deir el-Bahri. While foundation deposits can be traced all the way back to the 3rd Dynasty, putting ointment jars in them date back to the 12th Dynasty. There are fourteen foundation deposits associated with Hatshepsut’s 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 temple 𓉟𓏏𓉐! In Hatshepsut’s 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 time, the temple was referred to as 𓂦𓂋𓂦𓏥𓉐 or the “Holiest of Holies” (or djeser-djeseru). There are many different hieroglyphic 𓊹𓌃𓏪 variations of the word as well!
Let’s read some hieroglyphs 𓊹𓌃𓏪!
𓏏𓊹𓄤 – The Great Goddess 𓎟𓏏𓇿𓇿 – Lady of the Two Lands 𓇳𓁦𓂓 – Maatkare 𓋹𓍘 – May She Live! 𓇋𓏠𓈖 – Amun 𓅓 – In 𓂦𓂦𓅱𓉐 – Holiest of Holies 𓌺𓏏𓇌 – Beloved
So all together, the inscription 𓏟𓏛𓏥 reads: “The Great Goddess, Lady of the Two Lands, Maatkare, May She Live! Beloved of Amun who is in the Holiest of Holies.”
Fun fact about the word “𓅓!” This one symbol, usually associated with the modern letter “m,” can have many meanings such as: in, as, by, with, from, when, through, and what!
This is a statue 𓄚𓈖𓏏𓏭𓀾 of Senemut 𓌢𓈖𓅐𓀼 holding a sistrum 𓊃𓈙𓈙𓏏𓏣. A sistrum 𓊃𓈙𓈙𓏏𓏣 was a musical instrument (like a rattle/tambourine) that was associated with the goddess 𓊹𓏏 Hathor 𓉡. Sistrums 𓊃𓈙𓈙𓏏𓏣𓏪 usually had Hathor’s 𓉡 head 𓁶𓏤 (complete with her cow 𓄤𓆑𓂋𓏏𓃒 ears) on top of a long handle. It’s interesting to see a statue 𓄚𓈖𓏏𓏭𓀾 of Senemut 𓌢𓈖𓅐𓀼 holding something other than Hatshepsut’s 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 daughter Neferure 𓇳𓄤𓄤𓄤, because he is usually depicted with her.
Senemut 𓌢𓈖𓅐𓀼, although not of noble birth, became an extremely important figure during the reign of Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 Senemut 𓌢𓈖𓅐𓀼 was Hatshepsut’s 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 closest advisor, the tutor for her daughter Neferure 𓇳𓄤𓄤𓄤, and the architect responsible for building her mortuary temple at Deir el-Bahari 𓂦𓂋𓂦𓏥𓉐. Putting a commoner in such a powerful position might have been a strategic move by Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 – it would pretty much guarantee that he remained loyal to her.
There are many differing theories on Senemut’s 𓌢𓈖𓅐𓀼 relationship with Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 Many believe (including myself) that they were having an affair. There’s even graffiti from the tomb builders in some unfinished tombs 𓇋𓐫𓊃𓉐𓏦 that show that they too believed that Hatshepsut 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 and Senemut 𓌢𓈖𓅐𓀼 were romantically involved.
Gossiping about relationships seems to have always been something that people have done!
When the ancient Egyptians 𓆎𓏏𓀀𓁐𓏪 built 𓐍𓂤𓅱𓋴𓀧 any type of structure or building 𓉐, they would put objects in the foundation as a ceremonial practice. Hatshepsut’s 𓇋𓏠𓈖𓎹𓏏𓄂𓏏𓀼𓏪 temple at Deir el-Bahri 𓂦𓂋𓂦𓏥𓉐 had at least fourteen 𓎆𓏽 foundation deposits, and eight 𓏿 of them were found by the MET when the team from the museum was excavating the temple 𓂦𓂋𓂦𓏥𓉐.
Inside the foundation deposits, ointment jars (like from my post earlier this week), pottery containing food, linen 𓍱 cloth, reed mats, model tools, and meat offerings 𓊵𓏏𓊪𓏏𓏔𓏦 were found. The offerings 𓊵𓏏𓊪𓏏𓏔𓏦 were placed at significant points around the perimeter of the building. The picture 𓏏𓅱𓏏 you are looking at is a reconstruction of the foundation deposit as it was found when it was being excavated at Deir el-Bahri 𓂦𓂋𓂦𓏥𓉐.
It’s so cool to have a glance as to how some of these objects were found by archaeologists!
Foundation deposits are so interesting because they contain every-day type objects (usually with royal cartouches inscribed on them) that give Egyptologists a glance into the life of the “regular” ancient Egyptians 𓆎𓏏𓀀𓁐𓏪!
This red 𓂧𓈙𓂋𓅟 bowl with feet 𓂋𓂧𓂾𓏪 amuses me so much! I think it’s adorable!!
During the Predynastic Period (c. 3700–3450 B.C.E.) , ancient Egyptian 𓆎𓏏𓀀𓁐 potters made many different types of stone and clay vessels that had various purposes, however, this bowl with feet is definitely one of the more unique ones! One interesting thing about the bowl is that it is tipped forward almost like it’s ready to pour water 𓈗 out of it! I wonder if this specific design has anything to do with its purpose?!
Egyptologists do not know the context of this bowl as there is no specific writings 𓏟𓏛𓏥 that mention its purpose. However, Egyptologists speculate that it could have been used as an offering 𓊵𓏏𓊪 placed above a tomb 𓇋𓐫𓊃𓉐, or placed at a shrine 𓐍𓊃𓅓𓂜𓉐 of a deity 𓊹.
What I like about this bowl is that it looks like this hieroglyph 𓊹𓌃: 𓏎. This specific hieroglyph 𓊹𓌃 of a bowl with feet 𓏎 means “to bring” and is a phonogram for the sound “jnj.”
It also reminds me of 𓃂, which is the ideogram for “clean” or “pure.” Based on the hieroglyphs 𓊹𓌃𓏪, and the fact that the bowl is tipped forward as if it’s pouring water 𓈗, could this little bowl have been part of some religious purification ritual?! The word for purification is is even “ 𓋴𓃂𓈗.”
There are other hieroglyphs 𓊹𓌃𓏪 that are everyday objects with feet 𓂋𓂧𓂾𓏪 attached, such as this knife with feet 𓌬, the door bolt with feet 𓊄 (ideogram for “go away”), beaded collar with feet 𓋟, and the depression with feet 𓈝 (frequently used as “go”). The ancient Egyptians 𓆎𓏏𓀀𓁐𓏪 seemed to have liked this design/symbolism!
While not as artistically decorated as most of the artifacts in the Egyptian 𓆎𓏏𓀀𓁐 collections of museums, these funerary cones were always something my Nonno pointed out to me! He thought they were so interesting and now every time I go to museums, I actively seek these out as a way to remember my Nonno!
Nicole (me) with funerary cones at The Met!
Funerary cones are made of clay and usually found at the openings of tombs 𓇋𓐫𓊃𓉐𓏪 at Thebes 𓌀𓏏𓊖. They were used primarily during the 18th Dynasty (though there are examples that date to the 11th Dynasty or as late as the 19th-20th Dynasties).
The end of the funerary cone is usually circular in shape and usually contains an inscription 𓏟𓏛𓏥 with the name of the tomb 𓇋𓐫𓊃𓉐 occupant as well as a god 𓊹. These objects can also be referred to as “funerary stamps.”
An example inscription 𓏟𓏛𓏥 that is common on a funerary cone would be something like:
“Venerated before Osiris, Son of X, Name of Deceased.”
Here are some faience 𓋣𓈖𓏏𓏸𓏼 amulets 𓊐𓊪𓅆𓏪 of the goddess 𓊹𓏏 Taweret 𓏏𓄿𓅩𓂋𓏏𓆗! More people are now familiar with Taweret 𓏏𓄿𓅩𓂋𓏏𓆗 because of Moon Knight, but let’s dive into some history/information about her!
While the ancient Egyptians 𓆎𓏏𓀀𓁐𓏪 both feared and revered 𓇋𓌴𓄪 hippos 𓌉𓏏𓃯𓏦 due to their strength and power, Taweret 𓏏𓄿𓅩𓂋𓏏𓆗 was a goddess 𓊹𓏏 who was a protector 𓅓𓂝𓎡𓀜 of women 𓊃𓏏𓂑𓏏𓁐𓏪 and children 𓐍𓇌𓀕𓏪! The name 𓂋𓈖 Taweret 𓏏𓄿𓅩𓂋𓏏𓆗 actually means “the great (female) one!” That is certainly a name 𓂋𓈖 that suits her!
While many amulets 𓊐𓊪𓅆𓏪 were usually placed on mummies 𓇋𓁹𓅱𓀾𓏪 to help the deceased 𓅓𓏏𓏱 on their journey to the Duat 𓇼𓄿𓏏𓉐 (afterlife), amulets 𓊐𓊪𓅆𓏪 of Taweret 𓏏𓄿𓅩𓂋𓏏𓆗 were usually found in homes because she was a goddess 𓊹𓏏 who was essential to family 𓅕𓉔𓅱𓏏𓀀𓁐𓏦 life. The family 𓅕𓉔𓅱𓏏𓀀𓁐𓏦 unit was an incredibly important feature not only in daily life 𓋹, but in religious observances as well. The amulets 𓊐𓊪𓅆𓏪 of Taweret 𓏏𓄿𓅩𓂋𓏏𓆗 would provide protection 𓅓𓂝𓎡𓀜 in the home, especially during childbirth, which was quite deadly for mothers 𓄿𓏏𓁐𓏪 at the time. For this reason, Taweret 𓏏𓄿𓅩𓂋𓏏𓆗 was usually worshipped in the home instead of in temples 𓉟𓏏𓉐𓏪!
