Wonderful Things Art
Contemporary Reproductions of Ancient Egyptian Art
ARTWORK
My reproductions are all based on real ancient Egyptian sites or objects in museums around the world.
​
Each piece is created digitally using detailed photographs and drawings of the original artwork to ensure they are as authentic as possible.
Using my background as a heritage professional, I create an informative article for each piece. These detail the history of the original artwork, decipher the symbolism and provide translations for the hieroglyphics.
Tutankhamun and Ankhesenamun Amongst the Vines
Tomb of Tutankhamun (KV62), Valley of the Kings
Reproduction of a scene from the lid of a casket found in the tomb of Tutankhamun, dating to 1324 BC.
On the casket's lid is a glorious scene depicting the royal couple in a pavilion bedecked with festoons of flowers, fruit and creeping vines bearing bunches of grapes. The king, leaning slightly on his walking-staff, accepts bouquets of lotus and papyrus flowers from his wife, Ankhesenamun.
Seti I Beneath the Persea Tree
Great Temple of Seti I, Abydos
Reproduction of a wall painting from the Great Temple at Abydos dating to the reign of Seti I in c. 1290-1279 BC (Dynasty 19).
​
​The kneeling figure of Seti holds a jewel out to the god Ptah, who sits in a golden shrine. The symbolism in the cunningly wrought jewel is asking for Seti to be granted millions of jubilees and unending life. Both Ptah and Re-Horakhty are giving their approval for Seti, and writing his name into the leaves of the Persea Tree to grant him eternal life and power.
The Wedding Guests
Tomb of Ramose (TT55) Valley of the Nobles
Reproduction of a wall relief from the Tomb of Ramose dating to the reigns of Amenhotep III and Akhenaten in c. 1380-1360 BC (Dynasty 18).
​
The famous scene shows guests attending Ramose's wedding to his niece Meryt-Ptah. They are all seated in couples upon cushions on lion-footed chairs. They wear fine linen clothes and elaborate wigs suitable for the important occasion.
Isis and Nephthys Protect Tutankhamun
Tomb of Tutankhamun (KV62), Valley of the Kings
Reproduction and colourisation of a scene from the rear panel of the second golden shrine of Tutankhamun, dating to 1324 BC.
The sister goddesses Isis and Nephthys stretch out their protective wings to encircle the dead king. They recite spells that emphasise the rejuvenation and protection of Tutankhamun in the afterlife, whose names are given in cartouches.
Inherkhau and his Grandchildren
Tomb of Inherkhau (TT359), Deir el-Medina
Reproduction of a Dynasty 20 painting showing grandchildren playing at the feet of their grandparents from the Tomb of Inherkhau (TT359).
Inherkhau is seated beside his wife Wabet whilst four of their grandchildren play with birds around them. The three girls and a boy are naked with shaved heads and sidelocks of hair, characteristics used in ancient Egyptian art to symbolise youth.
Antelope Hunt in the Desert Valley
Unprovenanced, Metropolitan Museum of Art
Reproduction of a Naqada II period pottery jar decorated with rows of antelope in the mountainous valleys of ancient Egypt.
​
This is taken from an unprovenanced jar in the Metropolitan Museum collection dating to around c. 3650 to 3300 BC.
Nebamun Hunting in the Marshes (Reconstructed)
Tomb-Chapel of Nebamun, Theban Necropolis
Reproduction of a tomb painting from the 18th Dynasty tomb chapel of Nebamun, with a reconstruction of the missing elements.
Nebamun is shown twice, hunting birds in small reed boats in the marshes of the Nile with his wife Hatshepsut and their young daughter.
The Creation of the World:
Nut, Geb and Shu
Greenfield Papyrus, Brtish Museum
Reproduction of a vignette from a copy of the Book of the Dead belonging to a woman called Nestanebetisheru, dating to c. 950-930 BC (Dynasty 21-22).
​
Nut, the sky goddess, is supported by the god of the atmosphere, Shu, who is aided in his task by two ram-headed deities. Her elongated body arches over the reclining figure of Geb, the earth god, with her feet touching the ground at the eastern horizon and her fingers at the western horizon.
The Abydos King List
Great Temple of Seti I, Abydos
Reproduction of a wall relief from the Great Temple at Abydos dating to the reign of Seti I in c. 1290-1279 BC (Dynasty 19).
​
The King List records the names of 76 rulers inside cartouches from the previous 1,600 years. The hieroglyphics describe the prayers that Seti and his son Ramesses are reciting for the past kings. Besides providing the order of the Old Kingdom kings, the Abydos King List is the sole source to date of the names of many of the kings of Dynasty 7 and 8.
The Triad of Memphis
Great Harris Papyrus, British Museum
Reproduction of a vignette from the Great Harris Papyrus which recorded the deeds of king Ramesses III in c. 1150 BC (Dynasty 20).
​
​Ramesses stands before the holy family of the ancient city of Memphis: Ptah, the patron of craftsmen, his consort the lion-headed goddess Sekhmet, and their child, Nefertum, god of the lotus. The king is shown making offerings to the resident deities, with hieratic text identifying each of the figures and recording his address to Ptah and the Memphite Triad.
Queen Nefertari Making Offerings to the God Ptah
Tomb of Nefertari (QV66), Valley of the Queens
Reproduction of a wall painting from the tomb of Queen Nefertari, Great Wife of Ramesses II, in the Valley of the Queens dating to Dynasty 19.
​
​In this scene from the west wall of the first eastern annexe, Nefertari is making offerings of linen to the god Ptah, the creator god of weaving and crafts. Whilst it does not feature in the Book of the Dead, this depiction was included to ensure Nefertari would be well provisioned in the afterlife, with the blessing of the god.
Userhat and Nut Beneath a Sycamore Tree
Tomb of Userhat (TT51), Thebes
Adapted reproduction of a painting from the Tomb of Userhat in Thebes, Egypt dating to c. 1270 BC.
In this scene, the deceased Userhat sits with his wife and mother in the shade of a colourful sycamore tree and drink from three golden vessels. Before them is a table laden with offerings of fruit, vegetables and flowers, whilst their souls in the form of Ba-birds fly above their heads.
A Craft Workshop from the Tomb of the Two Sculptors
Tomb of Nebamun and Ipuky TT181, Sheikh-Abd-el-Gournah
Reproduction and partial reconstruction of a wall painting showing a bustling craft workshop from the tomb of Nebamun and Ipuky dating to Dynasty 18.
​
The top register shows a group of woodworkers building a catafalque. The middle register shows craftsmen working with gold and precious stones to create beautiful vessels, statues, and jewellery. The bottom register shows craftsmen making and working with metal, as well as specialist tasks such as drilling and carving beads and alabaster.
Anubis Guarding the Entrance to the Tomb of Pashedu
Tomb of Pashedu, Deir el-Medina
Reproduction of a 19th Dynasty tomb painting from the tomb of Tomb of Pashedu in the worker's village of Deir el-Medina.
The corridor to the burial chamber is guarded by a large painting on either wall of the god Anubis in the form of a black jackal, sitting alert on a shrine with cavetto cornices. Since the first dynasty of Egypt’s history in c. 3100 BC, Anubis was being depicted as a protector of graves
The Goddess Hathor and Seti I
Tomb of Seti I, Valley of the Kings
Reproduction of a 19th Dynasty bas-relief from the tomb of Seti I, showing Hathor welcoming the dead pharaoh.
This beautiful relief was part of the decoration of the tomb well-preserved tomb of King Seti I (KV17) in the Valley of the Kings. It depicts the Pharoah, Seti, walking towards the still figure of the goddess Hathor, who played an important role in welcoming the dead to the underworld and accompanying them into the afterlife.
The Feast of Nebamun
Tomb-Chapel of Nebamun, British Museum
Reproduction of a feasting scene from the 18th Dynasty tomb chapel of Nebamun in Thebes.
​
The plastered walls of the scribe's tomb were richly and skilfully decorated with lively fresco paintings, depicting idealised views of Nebamun’s life and activities. An entire wall shows a banquet in his honour. Naked serving-girls and servants wait on his friends, colleagues and relatives, who are entertained by musicians and dancers.
The Marsh Bowl
National Museums Liverpool, World Museum
Reproduction of a blue faience bowl found with a large group of vessels in a tomb in Abydos dating to Dynasty 18, c. 1550-1292 BC.
​
It shows a marsh scene with water, fish, and plant motifs that symbolise the themes of fertility, rebirth, and regeneration. Lotus flowers, lotus buds, and papyrus plants are shown being circled by tilapia fish, whilst the wall of the bowl is decorated with swirling water-like patterns.
​
Nebamun Hunting in the Marshes in the Afterlife
Tomb-Chapel of Nebamun, Theban Necropolis
Reproduction of a tomb painting from the 18th Dynasty tomb chapel of Nebamun (now on display in the British Museum).
Nebamun is shown hunting birds in a small boat with his wife Hatshepsut and their young daughter, in the marshes of the Nile. The hieroglyphic caption says Nebamun is "taking enjoyment (and) seeing good things".
The Goddesses Isis and Nephthys Praising Osiris
The Papyrus of Ani, British Museum
Reproduction of a vignette from a 19th Dynasty copy of the Book of the Dead.
​
The motif symbolises rebirth and the sunrise and shows the sun disc of the god Ra raised into the sky by an ankh-sign (signifying life) and a djed-pillar (signifying stability and the god Osiris). It is being adored by the sister goddesses Isis and Nephthys, and baboons.
The Sky Goddess Nut and the Earth God Geb at the Creation of the World
Papyrus of Nespakashuty, Louvre Museum
Reproduction of a scene from a 21st Dynasty mythological papyrus.
The vignette illustrates the story of the separation of the sky (Nut) and earth (Geb) and the creation of the world. The solar boat, with its rudder, sails across the space between the two deities.
The Winged Goddess Isis from Tutankhamun's Sarcophagus Shrine
Tomb of Tutankhamun, Valley of the Kings
Reproduction of the ancient Egyptian goddess Isis, with protective wings outstretched, taken from the golden shrine of Tutankhamun dating to 1324 BC.
​
The hieroglyphics surrounding the goddess are spells from the Book of the Dead and Tutankhamun’s various names and titles are given in cartouches.
The Weighing of the Heart in the Presence of the Gods in the Underworld
Papyrus of Ani, British Museum
Reproduction of a scene from the Book of the Dead, taken from the Papyrus of Ani dating from c. 1250 BC.
It depicts Ani during the Weighing of the Heart before the gods in the underworld and contains the spells he’d need to safely pass this judgement.
The Judgement of the Dead by Osiris
Papyrus of Hunefer, British Museum
Reproduction of a vignette from the Ancient Egyptian Book of the Dead, taken from the Papyrus of Hunefer from c. 1450 BC.
It shows the god of the underworld Osiris, flanked by his sisters Isis and Nephthys, listening to the evidence from Hunefer’s judgement and granting him admittance in the afterlife.
Ramesses II as a Child
Bas-relief, Louvre Museum
Reproduction of a bas-relief depicting the Ramesses II in the pose of a child from the New Kingdom.
Ramesses is depicted in the traditional pose of a child, seated on a soft cushion, his finger to his lips, and his head bare except for a braid of hair falling to one side. The cushion reproduces the hieroglyphic sign of the akhet, or horizon.
Anubis Overseeing The Opening of the Mouth Ceremony
Papyrus of Hunefer, British Museum
Reproduction of a vignette from the Ancient Egyptian Book of the Dead, taken from the Papyrus of Hunefer from c. 1450 BC.
The mummy of Hunefer is supported by the god Anubis (or a priest wearing a jackal mask) whilst Hunefer's wife and daughter mourn, and three priests perform rituals. The two priests with white sashes are carrying out the Opening of the Mouth ritual (Spell 22).
The Creation God Atum Repels the Snake God of Chaos Apep
Tomb of Ramesses I, Valley of the Kings
Reproduction of a scene from the ancient Egyptian Book of Gates showing the creation god Atum repelling the serpent of chaos, Apep (Apophis).
The Book of Gates is a funerary text that narrates the passage of a newly deceased soul into the next world, corresponding to the journey of the sun through the underworld during the hours of the night.
Thoth in Baboon Form, Holding the Eye Of Horus
Great Harris Papyrus, British Museum
Reproduction of a detail from a 20th Dynasty hieratic papyrus found in a tomb near Medinet Habu.
Thoth, the god of wisdom and writing, is shown in his baboon form holding an Eye of Horus symbol. This refers to an ancient myth describing a battle between Horus and Set in which Horus´ right eye was torn out. Thoth magically restored Horus' eye, at which point it was given the name “Wadjet” meaning “whole”.
Tree of Life
Tomb of Khnumhotep II, Beni Hassan
Reproduction of a tomb painting showing the Tree of Life, a potent symbol and icon in Egyptian mythology. The fruit of the tree was thought to provide eternal life and knowledge of the cycles of time.
This painting can be found in the tomb of provincial governor Khnumhotep II in at Beni Hasan and dates to 1900 BC. It is part of a much larger scene depicting Khnumhotep hunting in the marshes and netting birds.
The Winged Goddess Isis from Tutankhamun's Outer Sarcophagus
Tomb of Tutankhamun, Valley of the Kings
Reproduction of the ancient Egyptian goddess Isis, with protective wings outstretched, taken from the golden shrine of Tutankhamun dating to 1324 BC.
​
The hieroglyphics surrounding the goddess are spells from the Book of the Dead and Tutankhamun’s various names and titles are given in cartouches.
The Weighing of the Heart and Judgement by Osiris
Papyrus of Hunefer, British Museum
Reproduction of a vignette from the Ancient Egyptian Book of the Dead, taken from the Papyrus of Hunefer from c. 1450 BC.
It depicts Hunefer during the Weighing of the Heart before the gods in the underworld and contains the spells he’d need to safely pass judgement by Osiris and the gods of the Ennead.
Thoth, Atum and Seshat Celebrating Rameses Under The Persea Tree
Ramesseum, Theban Necropolis
Reconstruction of a partially destroyed wall relief from the Ramesseum, the mortuary temple dedicated to Ramesses II in Thebes dating from the 19th Dynasty.
The scene depicts the deities Atum, Seshat and Thoth inscribing the name of Rameses into the fruit of the persea, the sacred tree of Heliopolis. By doing this the gods are guaranteeing Rameses an everlasting reign and innumerable jubilees.
The Offering Table of Watetkhethor
Mastaba of Mereruka, Saqqara Necropolis
Reproduction of a wall painting in the tomb of Watetkhethor, daughter of king Teti, dating to Dynasty 6 (around 2290 BC).
​
It shows Watetkhethor seated in front of a table of offerings, whilst servants bring her legs of meat and birds to add to her piles of bread and gifts of flowers. The offering scene was the most important piece of art in an Ancient Egyptian tomb, as it provided the spells necessary for the deceased to continue eating and drinking in the afterlife.
​
The Pharaoh Seti with Horus, Thoth and the Two Ladies
Temple of Seti I, Abydos
Reproduction of a relief from a chapel in the Temple of Seti I, dating to Dynasty 19 (around 1290–1279 BC).
​
The king sits between the Two Ladies, the vulture goddess Nekhbet of Upper Egypt, and the cobra goddess Wadjet, her counterpart in Lower Egypt, surrounded by symbols relating to the concept of unity. The ritual unification of the Two Lands is also symbolised by the sema-tawi symbol, combining a knotted papyrus plant representing Upper Egypt and a reed plant representing Lower Egypt.​
​
The Heb-Sed Festival of King Den
Tomb of Den, Uum el-Qaab (Abydos)
Reproduction of a label depicting one of the earliest known pharaohs, the Dynasty 1 king Den, as well as some of the earliest hieroglyphs.
It was found in his tomb in Abydos and dates to around 3000 BC. The top register depicts the king running in his Heb Sed festival as well as seated on a throne, whereas the lower register depicts the destruction of enemy strongholds and the taking of captives.
​
The Scribe Nebqed with Offerings
Papyrus of Nebqed, Musée du Louvre
Reproduction of a vignette from the Book of the Dead created for the royal scribe Nebqed, scribe of Ma'at in the house of Ma'at during the reign of king Amenhotep III around 1400 BC.
Nebqed can be seen standing before a pile of funerary offerings, including bundles of lotus flowers, baskets of fruits and grain, bread, fowl and cuts of meat. He wears a wig with triangular stepped sides, a white linen robe, and a scribal palette tucked into his belt.
Queen Nefertari and Isis
Tomb of Nefertari QV66, Valley of the Queens
Reproduction of a painting from the tomb of Queen Nefertari, Great Wife of Ramesses II, in the Valley of the Queens dating to Dynasty 19.
​
In this scene from the northeast wall of the vestibule, Nefertari is being led by the goddess Isis, who says: “By my hand, come, Great Wife of the King, Nefertari Meritenmut, true of voice, to a place in the sacred land”.
The Boy-King Tutankhamun and His Young Wife Ankhesenamun
Tomb of Tutankhamun KV62, Valley of the Kings
Reproduction based on a small panel found on a golden statue shrine known as a Noas found in the treasury room of Tutankhamun’s tomb. It depicts Princess Ankhesenamun sitting with her husband the boy king Tutankhamun, who is pouring fragrant perfume into her hands.
Queen Nefertari, Goddess Isis and Beetle-Headed Sun God Khepri
Tomb of Nefertari QV66, Valley of the Queens
Reproduction of a painting from the tomb of Queen Nefertari in the Valley of the Queens dating to Dynasty 19. The Great Wife of Ramesses II is being led by the hand of the goddess Isis towards Khepri, the beetle-headed sun god.
Musicians at the Feast of Nebamun
Tomb-Chapel of Nebamun, British Museum
Reproduction of a feasting scene from the tomb chapel of Nebamun in Thebes, Egypt, now on display in the British Museum.
It shows a group of female musicians playing instruments, singing and clapping as they perform a song for the feast-goers. The words of the song dedicated to the gods Ptah and Geb are written above their heads.
Singers at the Feast of Nebamun
Tomb-Chapel of Nebamun, British Museum
Reproduction of a feasting scene from the tomb chapel of Nebamun in Thebes, Egypt, now on display in the British Museum.
It shows a group of female musicians playing instruments, singing and clapping as they perform a song for the feast-goers.
Baboons Praising the Morning Sun
Unknown findspot, Metropolitan Museum of Art
Reproduction of a relief panel dating to 400–200 BC.
It depicts two baboons offering wedjat eyes to the god Khepri, the newborn sun represented by a beetle. In his front legs, Khepri holds a disk with a star, which is the sign for the Duat or Underworld, and beneath him, there is a sun with rays. The baboons are similar to the baboons often shown heralding the sunrise by dancing and screeching, but here they are associated with the god Thoth by the wedjat (eye) signs they hold.
Scribe Nebqed Praising Osiris and Nekhbet in the Afterlife
Papyrus of Nebqed, Musée du Louvre
Reproduction of a vignette from the Book of the Dead created for the royal scribe Nebqed, scribe of Ma'at in the house of Ma'at during the reign of king Amenhotep III around 1400 BC.
Nebqed can be seen standing before a pile of funerary offerings with his mother and wife. They are overseen by Osiris in a white shrine, who is flanked by the goddesses Isis and Nephthys. The inscription on the shrine gives the names of the Four Sons of Horus.
A Prehistoric Hippo Hunt
Unknown findspot, Metropolitan Museum of Art
Reproduction of a prehistoric white cross-lined ware bowl from the Naqada period (c. 3700-3450 BC).
A man wearing a penis-sheath and an animal’s tail can be seen holding two cords attached to harpoons now embedded in the face of the large hippo that faces him. A second smaller hippo, behind the first, shares the same fate. The zig zag patterns represent the landscape the hunt is taking place within.
The Vulture Goddess Nekhbet
Mortuary Temple of Hatshepsut, Deir el-Bahri
Reproduction of the Goddess Nekhbet in vulture form taken from the Mortuary Temple of Hatshepsut at Deir el-Bahri.
​
Nekhbet was the protector of Upper Egypt and especially its rulers. She was frequently portrayed as spreading her wings over the pharaoh while grasping in her claw the cartouche symbol or other emblems. Here, she holds a Shen ring, symbolising the concept of eternity.
Musicians at the Feast of Nebamun
Tomb-Chapel of Nebamun, British Museum
Reproduction of a feasting scene from the tomb chapel of Nebamun in Thebes, Egypt, now on display in the British Museum.
It shows a group of female musicians playing instruments, singing and clapping as they perform a song for the feast-goers.
Kay, Head of the Desert Hunters
Possibly Qamula, Thebes North
Reproduction of the Stela of Kay dated to early Dynasty 12 (c. 1976-1912 BC), now in the Neues Museum, Berlin.
Picked out in raised relief is Kay, accompanied by an unnamed woman assumed to be his wife or mother Beshet, and five hunting dogs. The inscription is designed to give offerings to Kay for his afterlife and recounts his service to the king by patrolling the western oases and tracking down fugitives.
Brothers or Lovers? Niankhkhnum and Khnumhotep
Mastaba of Khnumhotep and Niankhkhnum, Saqqara Necropolis
Reproduction of ta tomb painting from the Dynasty 5 Mastaba of Khnumhotep and Niankhkhnum.
On the western wall of the outer hall of their tomb is a striking portrayal of the two men in close embrace, their noses touching in a pose that is the most intimate allowed in Egyptian art. This has led many to speculate on the relationship of the two men; were they brothers? Twins? Lovers? If the latter was true, they would be the first same-sex couple recorded in history.
Tutankhamun and Ankhesenamun in a Floral Pavillion
Tomb of Tutankhamun (KV62), Valley of the Kings
Reproduction of the backrest of the golden throne of Tutankhamun dated to Dynasty 18 (c. 1336-1327 BC), now in the Egyptian Museum, Cairo.
One of the masterpieces of Egyptian art and workmanship, the throne features an evocative image of the young king with his wife, Ankhesenamun, in a floral pavilion. Picked out in a variety of precious metals and gemstones is Tutankhamun, reclining on a throne as Ankhesenamun rubs perfume into his shoulders from the bowl she is carrying.
"A Walk in The Garden"
Neues Museum, Berlin
Reproduction of a relief usually referred to as a “walk in the garden” dating to Dynasty 18 showing an unknown pharaoh and queen now in the Neues Museum in Berlin.
The pharaoh wears a blue curly wig and a white linen kilt tied with red sashes and is leaning on a walking stick. His queen is wearing a flowing white linen robe tied with red sashes and is presenting the king with flowers from the garden.
Akhenaten, Nefertiti and Family Beneath the Aten
Amarna, now Egyptian Museum, Cairo
Reproduction of a Dynasty 18 stela found in a private home in Amarna depicting the heretical king Akhenaten and his family worshipping the sun-god Aten.
​
Akhenaten and his wife Queen Nefertiti are shown seated on cushioned stools bearing the sema-tawy symbol. Between them stands their eldest daughter, Meritaten and the younger daughters Meketaten and Ankhesenpaaten sit on Nefertiti’s lap. Above the royal family is the red disk of the sun god Aten, whose rays reach out towards the family and end in hands holding Ankhs, the symbol of life.
The God Iah-Thoth Receiving the Wadjet
Stela of Neferrenpet and Huynefret,
Muzeo Egizio, Turin
Reproduction of a Dynasty 19 stela dedicated to the deceased spirit of Neferrenpet, a sculptor from Dier el-Medina, the workman’s village c. 1279-1213 BC.
​
The inscription praises the healing power of the god Iah-Thoth, who is shown as an ibis-headed man, riding on the solar barque through the night sky. The god is being presented with a wadjet, or Eye of Horus, by the baboon-form of Thoth, which represents the healing power and protection of the god.
Prehistoric Bowl Featuring Hippos in a Nile Landscape
Tomb 26, No.6, Mesaid (Mesa'eed)
Reproduction of a prehistoric white cross-lined ware bowl from the Naqada I period (c. 3850–3650 BC). It depicts three stylised hippos gathered around a central rosette representing a pool of water with zigzag cliffs beyond representing the horizon.
Wild creatures such as hippos and crocodiles are often found depicted on this type of pottery found in graves and it’s thought they were intended to impart their powers on the vessels' owners, granting them success hunting and protection from danger in the afterlife.
Maat, the Winged Goddess of Truth
Tomb of Nefertari QV66, Valley of the Queens
Reproduction of the goddess Maat based on a painting in the tomb of Queen Nefertari in the Valley of the Queens.
The ancient Egyptians believed the balance of the universe was determined by the presence or absence of maat, which had the meaning of rightness, truth, justice and order. Without maat, there was isfet or chaos. Maat wears an ostrich feather on her head, which could be used alone as the hieroglyph for her name, and is often shown with protective wings.
Goddesses Hathor and Opet (Spell 186, Book of the Dead)
The Papyrus of Ani, British Museum
Reproduction of an illustration of Chapter 186 of the Book of the Dead buried with the Royal Scribe Ani c. 1250 BC.
It shows two protective goddesses welcoming Ani to his final resting place, a white pyramidion-topped private tomb nestled within the pink cliffs of the Theban desert. The goddess Hathor can be seen in her cow form emerging from a thicket of papyrus and is joined by the benign hippopotamus goddess Opet.
Trio of Female Musicians
Tomb of Nakht (TT53), Sheikh Abd el-Qurna
Reproduction of a detail from a painting in the Tomb of Nakht in Thebes dating to c. 1410-1370 BC depicting a trio of musicians taking part in the annual "Beautiful Festival of the Valley" celebration.
​
Each woman has unique features that separate her from her companions and are playing different instruments, including a double flute, a lute, and a harp with an elaborate soundbox decorated with animal skin.
The Burial Chamber of Tutankhamun
Tomb of Tutankhamun (KV62), Valley of the Kings
Reproduction of a painting on the north wall of the burial chamber of Tutankhamun dating to Dynasty 18, c. 1325 BC.
It shows how Tutankhamun journeyed into the afterlife in three acts. In the first his mummy is prepared for the afterlife, in the second he meets the goddess of the sky Nut, and in the third he is embraced by Osiris, the god of the underworld.
Inamun Making Offerings to Osiris, God of the Dead
Abydos, now in Bristol City Museum and Art Gallery
Reproduction stone stela from Abydos made in c. 747-656 BC which enabled votive offerings to be given to the deceased spirit of a woman called Inamun Nayesnebu.
​
Inamun stands beneath the text wearing a fine linen dress and her natural hair fastened with a band. Before her is an offering table laden with bread, fowl, oxen and lotus flowers, upon which she is pouring a libation from a small bottle. The offerings are being given to the mummified human-headed god Osiris, who holds a flail and a sceptre and is wearing his distinctive plumed headdress.
Amenhotep I Deified
Thebes, now in the Metropolitan Museum
Reproduction of the interior decoration of a coffin belonging to an unknown person who lived during the Third Intermediate Period, c. 1070-945 BC.
Most of the interior is taken up with the image of King Amenhotep I in the guise of the mummiform Osiris, who is attended by a priest in a panther skin, a human-headed ba-bird representing the spirit of the coffin's owner, and a crouching mourning woman.
Tutankhamun's Golden Death Mask
Tomb of Tutankhamun, Valley of the Kings
Reproduction of the golden death mask of King Tutankhamun, one of the most iconic and captivating artefacts from ancient Egypt.
Crafted during Dynasty 18, around 1323 BC, the intricately detailed mask was discovered in the pharaoh's burial chamber in the Valley of the Kings. The face of the mask represents the young Tutankhamun with delicate features and a serene expression, symbolising the pharaoh's peace in the afterlife.
The Unification of Egypt
Narmer Palette, Cairo Museum
Reproduction of the Narmer Palette, an emblem of ancient Egyptian sovereignty from the time of the first pharaohs.
​
Dating to the Early Dynastic Period, c. 3100 BC, this artefact symbolises the unification of Upper and Lower Egypt under King Narmer. Carved on schist, it depicts scenes of conquest and divine authority, showcasing the pharaoh's role as the intermediary between gods and people.
