The Splendors of Ancient Egypt
Phoenix Art Museum
NOTE: Asterisks indicate pauses in narration - one beat per pause.
INTRODUCTION
NARRATOR:
Welcome to the Phoenix Art Museum's exhibition of the Splendors of Ancient Egypt. I'm Belinda Sullivan and I'll be your guide as we explore the fascinating culture of ancient Egypt today. As you enter the gallery, stay to the left. Our first stop will be the large stone panel at the end of the gallery.
Egypt was the birthplace of one of the world's oldest civilizations. The Egyptian culture that blossomed over 5000 years ago, has captured our imaginations more than any other ancient civilization. Not only did the Egyptians leave a vast wealth of artifacts, but extensive written records as well in the form of picture writing called hieroglyphs.
These artifacts and hieroglyphs give us a clear picture of not only the kings and gods of the ancient Egyptians, but intimate glimpses of their daily lives and insight into their beliefs about the afterlife. From this exhibition we can learn about their gods and their ceremonies, as well as their accomplishments in agriculture and the sciences.
[The objects in this exhibition are arranged in roughly chronological order, starting with the Old Kingdom which began about 3000 BC. We will travel through all the eras of Ancient Egypt - almost 4000 years of art and culture - and conclude our tour with the Roman Period which ended about AD 400.] I prefer this, but if time is a factor, go with "Our journey today will cover almost 4000 years of ancient Egyptian art and culture, from around 3000 BC until about 400 AD.
Professor Richard Wilkinson, Egyptologist at the University of Arizona will be accompanying us on this tour to give us his comments on some of the objects in the exhibition.
This audio tour will show you some of the highlights of the exhibition. The objects discussed in the tour are identified on the labels by a small picture of headphones in the lower left corner. You should now be standing in front of a large stone panel on an angled wall. This is our first stop.
OBJECT #1 - False Door of Princess Wen-Shet
NARRATOR:
Most of our knowledge of the ancient Egyptian culture comes from objects that were associated with tombs and temples. This large, carved limestone relief is called a false door. It came from the tomb of Wen-shet, an Egyptian princess whose likeness is depicted on the right panel. The small figure beside her is her daughter, Merit-it-es. * * * Wenshet also appears over the doorway, seated at her funerary meal. * * The other figures carved around the doorway include servants and offering bearers. * * * Wen-shet, who lived around 2460 BC, was also a high-ranking priestess of the goddesses Neith and Hathor
False doors were magical portals between the world of the living and that of the dead. They allowed the Ka, or spirit, of the deceased to leave the burial chamber and enjoy the offerings of food left by the priests and family members. False doors were also used in temples to facilitate contact between mortals and the gods.
This type of carving is called a raised relief because the background is carved away, leaving the figures raised above the surface. Limestone was the most desirable material for relief carvings because of its smooth, fine-grained texture. It was also easily carved. When it was first cut, the surface was relatively soft, but hardened over time in Egypt's arid atmosphere.
Turn to the right. On the adjacent wall is a case holding the fragments of a stone head. Please walk over to it.
OBJECT #2 - Head of Chephren
NARRATOR:
Though only fragments of this head remain, it still conveys the idealized perfection of Chephren, the king, depicted as a god. Notice how the nose, which is remarkably undamaged, dominates the face, yet draws your attention to the serene, dignified expression of the lips. * * Chephren wears the traditional nemes headcloth. The uraeus or cobra, the symbol of the authority of the king, rises up from the headband and undulates over the top of the head.
Do you see the faint trace of paint on Chephren's right eyebrow? * * * It indicates that the statue was once painted in realistic colors. Our modern tastes find beauty in the creamy purity of the stone, but it would seem unfinished to the ancient Egyptian eye.
Chephren was one of the great rulers of the Old Kingdom. The second pyramid at Giza was constructed in his honor, and the Great Sphinx was probably carved in his likeness. In fact, there were more sculptures of Chephren than any other ruler of the Old Kingdom - and almost every one of them is very fragmentary, as if they were purposefully destroyed in defiance of his memory.
The philosophy of restoration has changed in recent years. In the past, the missing areas would have been recreated with plaster to make the head appear complete.
Now turn to the right and go to the very large stone object to your right(WHERE?)
OBJECT #3 - Granite Sarcophagus of Kai-em-nofret
NARRATOR:
This enormous stone box is a sarcophagus. A mummy, or preserved human body, would have been placed within one or more coffins, then sealed inside the sarcophagus. The sarcophagus protected the body of the deceased and provided it with an eternal home.
This beautiful example from the Old Kingdom resembles the facade of a royal palace that was built from unbaked mud brick. Notice the hieroglyphic inscription on the right corner of the sarcophagus. * * It tells us that its occupant was "The Chamberlain Kai-em-nofret". He was a high official who lived at Giza about 2480 BC.
It is carved from a single block of red granite and weighs over 6000 pounds. The original block from which it was carved would have weighed much more before it was hollowed out - and yet it was transported more than 400 miles down the Nile from Aswan. No less amazing was the enormous task of carving this hard, tough stone with bronze tools.
In spite of the efforts of archaeologists and researchers, much of the ancient Egyptians' scientific and engineering skills remain a mystery. The exact method of constructing the pyramids, for example, is still a matter of debate among experts.
Now turn to the right and walk to the case at the end of the gallery where you will meet the man responsible for the construction of the Great Pyramid at Giza. Unfortunately, he remains silent on the details of its construction.
OBJECT #4 - Statue of Hemi-iu-nu
CHARACTER VOICE:
You are my favorite nephew and into your hands I commend the building of my tomb. It will be the greatest monument the world has ever seen and it will last through all eternity and beyond.
NARRATOR:
This beautifully carved statue of Hem-iu-nu is one of the greatest works of art to survive the centuries since it was carved nearly five thousand years ago. Professor Richard Wilkinson comments,
RICHARD WILKINSON:
In many ways, the half ton statute of Hemi-iu-nu is the centerpiece of The Splendors of Ancient Egypt Exhibition. Hemi-iu-nu was the nephew of King Kufu or Cheops, the king who built the great pyramid of Giza, the greatest wonder of the ancient world. As vizier or chief minister, Hemi-iu-nu apparently was the person responsible for the actual building of this pyramid. His statue is one of the great masterpieces of Egyptian art.
It shows a calm and extremely realistic face, no doubt made as an actual portrait. Hemi-iu-nu's body is depicted as quite portly, which may have been an accurate representation, but more importantly for the Egyptians, it also shows him as mature and successful. Often Egyptian tomb paintings actually show two views of the tomb owner. One in young adulthood, signifying youth and vigor. And the other showing a middle-aged figure with rolls of flesh, signifying the kind of maturity and success which is personified by Hemi-iu-nu in this work.
NARRATOR:
Turn to the left and past the statue of Nefer-ihi in the center of the gallery As you enter the next gallery, you will see three cases against the wall to your right. Our next stop is the case in the middle containing two statues.
OBJECT #5 - Funerary Statues of Iru-ka-ptah and his wife
NARRATOR:
The artists of ancient Egypt followed a rigid set of rules in the depiction of their subjects. The purpose of their work was not to make art for art's sake, but to honor the gods and praise the royalty with the timeless images they made. Relative size, color and position all carried a message - and the more important the person, the more strictly the rules had to be obeyed.
These rules are called conventions. Professor Wilkinson has more to say about the sculptural conventions used in these two statues:
RICHARD WILKINSON:
The Funerary statues of Iru-ka-ptah and his wife were produced at the end of the Old Kingdom and they show the somewhat stylized kind of faces and odd bodily proportions that were characteristic of that time period. However, when you look at these, the two statutes were excellent examples of Egyptian sculptural conventions.
And in this way the man is usually distinguished through his wig style, the darker skin coloration, greater height and also in his stance, with the left foot forward as though he is striding out into the world in a more active manner.
On the other hand, the woman is usually stood with her feet side by side. Her palms are open, whereas his are clenched, made to suggest that he is holding objects, such as a staff or a baton, which were the signs of his authority.
NARRATOR:
Notice the dress that Iru-ka-ptah's wife is wearing. * * Its timeless style would be equally at home in the wardrobe of a fashionable woman of today.
Be sure to read the large label for more information about these sculptural conventions or standard ways of representing people. And remember to take the opportunity to look at some of the other objects in this gallery. You can turn off your player at any time by pressing the red stop button. When you are ready to rejoin the tour, press the green play button.*
When you are ready, meet me at the wall-mounted case just to the right of the doorway into the next gallery.
OBJECT #6 - Stele of Nemti-ui and his wife, Hepi
NARRATOR:
This limestone slab is called a stela. A stela is a stone slab that was painted or carved with inscriptions and images to memorialize the dead, to commemorate an important event, or to honor the gods. Often they served all of those purposes.
RICHARD WILKINSON:
The stele of Nemti-ui and his wife Hepi dates from the First Intermediate Period and shows the less refined artistic style of much of the work that was done at that time. Nemti -ui was a military commander and he also, in this stele wears the leopard skin of a type of priest.
NARRATOR:
This painted limestone stela shows us more of the artistic conventions Egyptian artists used in their work. Human figures were usually shown with the faces in profile, a frontal view of the upper torso and a return to the profile for the lower torso and legs. While it seems awkward to our eyes, the use of multiple viewpoints made perfect sense to the ancient Egyptians.
RICHARD WILKINSON:
The stele shows the man and his wife in very equal representations, almost as mirror images of each other. Both the man and the woman wear collars and similar bracelets, so they are done very similarly in that sense. They are seated at an offering table, which shows sliced loaves of bread in a very stylized way, to make them look like reed leaves as symbols of what the Egyptians called the Field of Reeds, which was part of the Egyptian afterlife beliefs. Beneath the chairs of Nemte-ui and his wife are various chests and containers of goods that would be used in the afterlife.
NARRATOR:
Now go through the doorway. Continue walking past the case containing a little blue hippopotamus. Bear to the right and stop at a group of three cases containing painted wood models. The center case is our next stop.
OBJECT #7 - Model of a Granary
NARRATOR:
The ancient Egyptians believed that the afterlife was very much like the present life. The spirit would require food, clothing, and servants, just as the person did in life. All these needs had to be supplied in the tomb in the form of both real offerings and by representational images. The images were magically endowed to provide the required necessities throughout eternity. Beginning in the Middle Kingdom, around 2000 BC, painted or carved relief images were replaced by three-dimensional models.
This model of a granary is carved out of wood and realistically painted. In the center, the overseer stands with his staff of office and a writing tablet. * * At his side, a laborer kneels with a basket for measuring the grain. * * Four laborers wait with their bags of grain to be measured and stored. * * In the second room, two more laborers are filling the silos. * The third man in the room is probably a scribe who records the amount of grain delivered.
One of the primary reasons for the growth and duration of the Egyptian civilization was the fertility of the Nile valley. Annual floods deposited fresh silt on the land and the abundance of water for irrigation gave rise to a great agricultural society. Grains were the staple food in the ancient Egyptian diet and were cultivated extensively in the Nile valley. They were ground and baked into bread or mixed with water and fermented to make beer - as much a favorite beverage in the arid climate of Egypt as it is in the American southwest today.
Turn off your player and look at the other fascinating models in this gallery. * * When you are ready, meet me at the case against the angled wall beside the doorway and turn your player back on.
OBJECT #8 - Mummy Masks
NARRATOR:
The models you just saw introduced you to the daily life of the workers. Now we will take a look at the aristocracy.
These masks are made of cartonnage - a material similar to paper mache that was composed of linen or papyrus, plaster and glue, then coated with a thin layer of plaster and painted. They were placed over the head and shoulders of the mummy to present a more lifelike appearance.
Notice the elaborate jewelry represented on these masks. * * * This tells us that these two individuals were from the affluent upper class. Both wear elaborate beaded collars with terminals in the form of falcons which represented the god Horus.* * On their heads they wear floral circlets decorated with Lotus flowers, the symbols of rebirth. * The faces of both, as well as the woman's breasts, are stylized, formal representations, while the adornments are depicted in realistic detail.
It is interesting to note that the man's mask was found on the finely wrapped mummy of a child. Perhaps the sudden, unexpected death of his son forced the man portrayed here to use the funeral adornments which had been created for his own burial.
Turn to the left, then turn right and go through the doorway. Follow the wall to see some of the other peoples of ancient Egypt. * * Our next stop is the case in the middle of the room containing a dark stone head.
OBJECT #9 - Head of Rameses II
NARRATOR:
This carved granite head represents Rameses II, one of the most powerful rulers of the New Kingdom. In ancient Egypt, the king was believed to be a greater being than ordinary humans. In life, he was an intermediary between the people and the gods, and upon his death, he was transformed and became a god.
RICHARD WILKINSON:
This head of the king shows him in an idealized form as a perfect, god-like being. His face is calm and expressionless, and he wears the royal headcloth surmounted by the protective divine cobra which represented the sun god.
NARRATOR:
Notice the slight smile which gives this sculpture a peaceful, benign expression. * * Rameses II was noted for signing the world's first peace treaty - with the Hittites - and as a result Egypt was at peace for the last fifty years of his reign.
RICHARD WILKINSON:
Rameses II or Rameses the Great, as he is known, was truly one of Egypt's greatest pharaohs. Not only did this king reign for an incredible sixty-six years, but he also set the standard by which all later kings were judged. He is known to have had five or six great wives, numerous concubines, and over a hundred children.
NARRATOR:
Turn around and look for a case against the wall identified with the audio logo.
OBJECT #10 - Stele of the officer Mose
NARRATOR:
This carved stone object is another stela. It was created for an officer of Rameses II whose name was Mose or Moses, a common abbreviation for names ending in "mose", meaning "son of..." This stele tells the story of how Mose was rewarded by the king. Three scenes are depicted here . In the upper left, the king - Rameses II - offers a statue of the goddess Ma'at to the god Ptah, who is also shown as a statue. In return, Ptah grants his divine benevolence to the king and his subjects . * * * In the upper right, Rameses leans on a pillow at his "window of appearances" and presents awards of gold and silver to Mose. * * *
The bottom scene depicts a colossal statue of Rameses wearing a double crown and ceremonial beard. * * Next to it is a smaller image of Rameses, himself, as a magical, divine manifestation of the statue. Rameses is showering gifts upon his faithful officer, Mose, while his troops look on and
OBJECT #11 - Standing figure of Sekhmet
NARRATOR:
This large granite statue of a woman with a lion's head represents Sekhmet, one of the most powerful and feared gods of the ancient Egyptians. She was the protector of all Egypt and the avenger of the god Ra, and she had the power to destroy all mankind if she was angered. o A benevolent goddess of motherhood and a healer of the sick, Sekhmet was also the fire of destruction and the fire of life.
The story of Sekhmet is one of the most fascinating in Egyptian mythology:
CHARACTER VOICE:
The sun god, Ra, was displeased with the people of Egypt because they were failing to properly worship the gods. He created Sekhmet from the fire of his eyes and sent her to destroy those who failed to honor him. But once she had begun her destruction, Ra became appalled at her ferocity and feared she would destroy all humanity. He covered a field with beer, mixed with pomegranate juice to look like blood, and when Sekhmet drank it, she became elated, then fell into a drunken sleep. Thoth, disguised as a monkey, carried her back to Aswan and threw her into the Nile to quench the fires of her vengeance. When she emerged from the water, cool and sober, she felt compassion for mankind and renounced her destructive nature. She had become Hathor, the great mother, the goddess of joy, the protector and healer.
NARRATOR:
Her dual nature as both destroyer and healer represents the balance of power. While Sekhmet is depicted with a lion's head to symbolize her ferocity, she is usually shown with the ankh , the symbol of life, in one hand and the lotus flower, the symbol of rebirth, in the other, to signify that new life would spring forth from her destruction.
Now turn sharply to the right and go to the large case in the center of the room.
OBJECT #12 - Sarcophagus of Paser
NARRATOR:
This painted and gilded wood coffin dates from the beginning of the New Kingdom, about 1420 BC It is believed that the gold decorations on a black background symbolize the night sky through which the spirit traveled on its way to the next life.
The figure wears an elaborate bead and gold pectoral with terminals in the form of Horus, the falcon.* * On its chest, the goddess Nekhbet spreads her wings to protect the deceased. * * The gold bands on the body are a stylized representation of mummy wrappings and they bear hieroglyphic inscriptions identifying the occupant as Paser and invoking the protection of the gods.
Coffins like this were often placed within a stone sarcophagus for further protection.
Now continue on to the small, free-standing case with the statue of a man sitting cross-legged.
OBJECT #13 - Statue of the scribe Heti
NARRATOR:
This is the scribe, Heti, a high-ranking overseer of scribes in the judicial branch of the government.. He sits cross-legged with his kilt stretched across his knees to form a support for his scroll. His hand - which once held a reed pen - is poised and ready to write. His head is raised and his expression attentive, as if he has just looked up from his writing.
The ability to read and write was held in high regard in ancient Egypt, for only a small proportion of the people were literate. It was the key to advancement and could lead to an important position in government or in the service of the King.
One of ancient Egypt's great contributions to civilization was the development of papyrus, a forerunner of paper. It was made from the stalks of the papyrus plant that grew in abundance along the Nile. To make papyrus, the stalks were peeled and sliced into strips, then laid together in a criss-cross pattern and beaten until they were thin and adhered to each other. Papyrus was light, durable, and inexpensive to produce.
Turn to the left and go to the long case mounted on the wall. By the way, if you'd like to make people think you can read hieroglyphs, begin at the right end and read toward the left, since these hieroglyphs were written from right to left.
OBJECT #14 - Book of the Dead
NARRATOR:
This is a scroll called The Book of the Dead. The Book of the Dead was a collection of texts that provided instructions for the spirit on its journey through the afterlife and gave answers to questions that the gods were likely to ask the deceased. It also contained invocations to the gods, and various magical spells to protect the spirit.
The length and quality of these funerary scrolls reflected the wealth and power of their owners. This one belonged to Djed-hor, a priest in the temple of Min. While it is over 18 feet long, it is considered medium sized. The scrolls of royalty could be nearly 100 feet long.
On this scroll, the band across the top illustrates the story of the journey through the underworld of Horus, the falcon-headed sun god, . The texts describing each episode appear in the vertical columns. * * * The other illustrations depict various scenes from the life of Djed-hor as he petitions the gods * poles his boat through a marsh * and works in the fields sowing and reaping grain. * * *
One of the most famous images from the Book of the Dead is a scene in which the heart of the deceased is weighed against the goddess Ma-at's feather of truth. This act judged the amount of good and evil the heart contained. Can you find this scene on the scroll? * * * Djed-hor stands with his arms raised as Horus and Anubis weigh his heart while Osirus, Isis and Nephthys look on. If the heart is heavy with evil, it will be devoured by the monster perched on the shrine.
This concludes the first floor segment of this tour. Be sure to take time to view other objects related to communication in this area. To continue the tour, turn to the right, then go left through the doorway and up the inclined walk to the second floor. Please turn your player off now and turn it back on when you reach the entrance to the second floor.
PLAYER OFF
* * * * * * * * * * * * * * * * * * * * * * * * * *
PLAYER ON
Are you ready to continue? You should now be in the next section of the exhibition on the second floor. Let's continue our tour. As face the length of the gallery, you'll see a large wall relief to your left. Walk over to it now.
OBJECT #15 - Reliefs from the Chapel of Thoth
NARRATOR:
This limestone relief was carved during the Ptolemaic period, the last dynasty before the Roman conquest. The rulers of this dynasty were Greek, and while they brought new influences to Egypt, they accepted and assimilated the Egyptian culture as well. In the first panel on the left, Ptolemy I, the founder of the dynasty, is shown making an offering to Thoth, the god of wisdom, who appears in the form of a baboon. * * In the center , Ptolemy makes another offering to Thoth, this time shown with the head of an Ibis. The Baboon and the Ibis were the sacred animals of Thoth.
The small cases to the left of the relief contain two coffins and a standing figure representing these divine mascots. * * In the third panel, Ptolemy makes an offering to Sokaris, one of the gods of the afterlife.
These carvings are called sunken reliefs because the outline was cut deeply into the limestone, then the figure within was carved to add dimension and detail. Look carefully at these reliefs and you can see a grid of faint red lines. * * These are the guidelines the artist used to lay out the composition. Usually these guidelines were sanded away when the carving was complete, but on these reliefs - for reasons we shall never know - the lines remain.
Now turn to the right a few steps and walk down the center of the gallery. Take a moment to stop and look at the free-standing case containing a painted coffin. Then, turn right and go to the case containing 4 white stone jars with animal head lids.
OBJECT #16 - Canopic Jars
NARRATOR:
If you stopped to look at the painted coffin, you saw illustrations of the mummification process, including pictures of four jars similar to these. They are called Canopic jars, and they were used to hold the internal organs of the mummy. Removing these organs helped prevent the decay of the body.
The organs were under the protection of the four sons of Horus, and the lids of these canopic jars are carved in their likeness. (NOTE: In the final draft, the descriptions of these four gods should be arranged in the order in which they appear in the exhibit case) Imsety, shown with a human head, guarded the liver. The Jackal headed Duamotef watched over the stomach. The Baboon-headed Hapy protected the lungs, and Qebhseneuf, the falcon-headed, protected the intestines. The heart was considered the seat of the soul and the conscience, and was left in the body. The brain, considered of no importance, was discarded.
The canopic jars you see here, however are only partially hollowed out and were never used to contain the organs. By 1000 BC, mummification practices had changed, and the organs were removed, treated, and returned to the body. The tradition of canopic jars continued, however, and when these jars were carved in the Late Period, they served only a symbolic purpose.
Now turn around and go to the case directly behind you.
OBJECT #17 - Scale Weights in Animal Form
NARRATOR:
These little bronze animals are weights. They were used to balance scales when weighing gold or other valuable small commodities. Weights and measures were standardized in ancient Egypt. The basic unit of weight was the deben, which was the equivalent of 91 grams or about 3 ounces. The deben was subdivided into 10 kite.
The large weight in the form of a cow is inscribed with gold hieroglyphic signs for 20 deben - the equivalent of about 1.8 kilos or 4 pounds.
Most bronze weights had a hollow on the underside that was filled with lead to adjust their precision.
Bronze weights such as these were used for only a short period of time - about two hundred years during the 18th Dynasty. After that, the Egyptians returned to the old practice of using stone weights, perhaps because wear and corrosion could affect the accuracy of the weights.
Our next stop is the left-most case case against the back wall of the gallery.
OBJECT #18 - Mirror and Cosmetic Palettes and Spoon
NARRATOR:
You should be looking at a case containing small jars and a round metal object. Cosmetics and exotic oils were an important part of daily life in ancient Egypt. The Egyptians lavished great care in the design and decoration of cosmetic containers and implements. Careful attention was paid to the symbolism incorporated into the designs.
The cosmetic spoon, in the center, is carved from a hard, fine-grained wood in the shape of an ankh, the symbol for life. The handle is in the form of a column topped with three lotus flowers, symbolizing rebirth. * * The dead fowl bound to the handle is a reference to the marshes and the goddess Hathor, and is another symbol of regeneration.
Dishes and containers for cosmetics were often carved in the form of animals, fish or fruit. The pomegranate, introduced from Asia around 1500 BC, was a popular form because the ancient Egyptians regarded it as an aphrodisiac.
No makeup table would be complete without a mirror, the metal object in the upper right of the case. The handle of this one is the shape of a column and it is appropriately topped with an image of Hathor, the goddess of beauty and fertility. Its circular shape suggested the sun and moon, and thus the cycle of life and death.
In addition to the decorative purpose of cosmetics, they were also considered protection against infection and disease. The copper mineral malachite was ground to a fine powder to make green eye shadow, and black was made from antimony or lead oxide. A similar eye paint called Kohl is still used in the Middle East and India today.
Oils and creams were essential to cleanse the skin and keep it soft and beautiful in the hot, dry Egyptian climate. To scent and add medicinal properties to the oils, they used the same essences we use today - chamomile, rosemary, lavender, cedar and mint as well as aloe for it's healing and rejuvenating properties.
Take an opportunity to look at the outstanding pieces of jewelry in cases along the wall to your left. Our next stop is the last case of the group, identified with an audio logo.
OBJECT #19 - Jewelry Case
NARRATOR:
The ancient Egyptians are well-known for their love of jewelry and in this case you can see several magnificent examples of the ancient Egyptian jewelers art. Gold, of course, was their favorite material, and it was used in combination with beads and inlays of semi-precious stones such as turquoise, carnelian and lapis lazuli, as well as faience - the blue or blue-green ceramic they used for many decorative objects.
The single, tall bracelet at the lower left is made of gold, carnelian and lapis beads, strung on fine gold wire. The symbolic nature of the materials and the colors was to provide protection for the wearer, in both life and the afterlife.
The beautiful pair of bracelets at lower right , and the necklace hanging on the wall were made in Thebes during the 18th Dynasty, around 1450 BC. Both are composed of beads of gold, carnelian and costly lapis lazuli which was imported from far-off Afghanistan. The bracelet features gold bars bearing the likeness of Taweret, the hippopotamus goddess, and the necklace is adorned with gold amulets,. also in the form of Taweret.
Continue to your left. Our next stop is the pair of small cases against the wall.
OBJECT #20 - Amulets
NARRATOR:
The small objects in these display cases are amulets. They were carried or worn for good luck or for protection against everyday dangers, much as we now carry a rabbit's foot, lucky coin or religious medal. Amulets were made of many materials including carved stone, ivory, bronze and faience.
Notice the amulets in the shape of an eye. This symbol is called a wadjet and is one of the most common images that come to mind when we think of ancient Egypt. It represents the Eye of Horus and was a universal symbol of protection. The eye itself is a human eye, but the projection beneath it represents the feather pattern around the eye of the falcon, while the scroll is a stylization of a cheetah's tear duct.
Notice also the amulet in the form of a dung beetle or scarab,another familiar Egyptian motif. The scarab was associated with the Khepri, the god of the morning sun because its act of rolling a ball of dung was likened to the passage of the sun across the sky. Scarabs were usually inscribed on their underside and were often used as seals.
Turn to the left and go around the end of the wall, then turn right. Follow the wall to a case identified with an audio logo that contains several small bronze statues.
OBJECT #21 - Bronze Cat Nursing Kittens, Figure of a Kneeling King, Seated Cat
NARRATOR:
The exquisite little bronze statue of a cat with her nursing kittens is the showpiece of this group of small bronze statues. Notice its informal realism, compared to some of the other more stylized works in this exhibit. * * Statues like this one were made to illustrate the maternal nature of cats. Cats were revered in ancient Egypt and were associated with the goddess Bastet who is represented in the form of a cat. The seated bronze cat is the more usual depiction of Bastet.
It is interesting to note that when a cat died, its owners would shave their eyebrows as a sign of mourning. Cats were also honored with the same mummification process used for humans.
Now turn around and walk across the gallery toward the stairs. Enter the room to the right at the top of the stairs and stop at the two free-standing cases.
OBJECT #22a - Figure of Anubis
OBJECT #22b
Figures of Isis and Nephthys
NARRATOR:
The two painted wood statues in this case are the goddesses Isis and Nephthys. In the case to your left you see the statue of Anubis, the god of the underworld. These are all gods associated with the afterlife. Professor Wilkinson comments:
RICHARD WILKINSON:
These small, painted wooden statues from the Ptolemaic period depict three deities associated with Osiris, the god of the afterlife. The kneeling figures of Isis and Nephthys are his wife and sister, who are shown in a position of mourning, each with the hieroglyphic sign for her name on her head.
In Egyptian mythology, Isis mourned at the feet of Osiris and Nephthys mourned at his head. The jackal-headed Anubis was the god of the burial ground and of embalmers and is also frequently depicted caring for the body of the deceased Osiris. The figure of Anubis in this group holds his hands in a gesture of praise, whereas Isis and Nefthis utilize gestures of mourning.
The Anubis statute is particularly finely decorated and is actually one of the finest examples of this kind of statute ever found.
NARRATOR:
Anubis is perhaps the most important god associated with the afterlife. It is he who is the master of the scales upon which the deceased's heart is weighed against the feather of truth.
Continue on through the doorway into the next gallery. Our next stop is the free-standing case directly in front of you.
OBJECT #23 - Relief of Queen Arsinoe
NARRATOR:
In this carved limestone relief, Queen Arsinoe II is shown as a goddess, the position to which she ascended upon her death. She holds a cistrum, a sacred rattle that was shaken as an act of devotion to the gods.
Around 330 BC, the Greeks, led by Alexander the Great, conquered Egypt, and ruled for 300 years. They brought their culture and their language, but adopted many of the Egyptian customs and traditions. Queen Arsinoe was a Greek queen - a strong-minded, influential ruler who shared the throne with her brother, Ptolemy II, whom she ultimately married.
RICHARD WILKINSON:
The Ptolemaic relief of a queen holding a ritual rattle or cistrum, probably depicts Arsinoe II who ruled with her brother, Ptolemy II in the Ptolemaic era of the last three centuries B.C. During that time Egypt was ruled by kings of Greek descent who fully accepted Egyptian culture.
And for this reason Arsinoe is shown wearing the Egyptian Queen's vulture headdress, just like a native queen. It also has a ram's horned crown, symbolic of the god, Amen, above it. There are traces of hieroglyphs still visible on the relief and they refer to the Queen as the daughter of Amen. And the cistrum which she holds has an image of the cow-headed goddess, Hathor.
So there are many divine attributes shown or referred to in this particular art work. Each curl of the Queen's wig...is individually and carefully depicted so the total effect here is one of a very striking relief.
NARRATOR:
Turn around and go to the long case in the center of the room.
OBJECT #24 - Offering Table
NARRATOR:
This carved stone object is an offering table. It was placed in the tomb as a symbolic source of nourishment for the deceased's ka or spirit. Friends, relatives or funerary priests would pour liquid offerings over the images carved into the stone. The liquid magically absorbed the properties of the food pictured on the stone and would feed the spirit.
The ancient Egyptians believed that objects in this life had a parallel reality in the afterlife.. "By creating an image or symbol they made the object or circumstance available to the deceased in the afterlife."
On this table you can see bunches of grapes, a trussed goose, a haunch of meat, four round loaves of bread and two large offering jars. The table is further decorated with lotus bouquets. The two hollowed areas at the bottom of the table retained the liquid and are shaped like the hieroglyphic symbol for eternity.
Turn to your left and head toward a case against the wall containing a white relief. This is our next stop.
OBJECT #25 - Roman Mummy Portrait and Wrapping
NARRATOR:
This painted wood portrait set into a mummy cover is from the Roman Period. In about 30 BC, the Romans conquered the Greeks who were then ruling Egypt. After the Roman conquest, the style of mummy coverings changed from three-dimensional carved wood or molded cartonnage masks to flat, painted portrait panels.
RICHARD WILKINSON:
The mummy cover of this beautiful and richly bejeweled woman comes from late in Egyptian history when Egypt had become part of the Roman Empire. The highly realistic portrait is painted on a wooden panel which has been inset into the shaped mummy cover constructed of cartonnage, which is a material made from linen and plaster, sandwiched together.
NARRATOR:
Notice the gold jewelry that adorns this wealthy member of the ruling elite. Her head is crowned with a diadem of thinly beaten gold leaves. Precious stones, perhaps pearls, dangle from her gold earrings, and an elaborate necklace of gold and gems circles her neck. Gold rings adorn her fingers and she wears two bracelets in the form of snakes - a style that is still popular in today's jewelry.
RICHARD WILKINSON:
While the woman's hair and features are shown in Roman style, her jewelry is cosmopolitan, many of the individual jewels she has can be found from different areas around the ancient world and the mummy portrait and wrapping continue the purely Egyptian style of burial. It is an exceptional work of art and this mummy covering shows the fusion of native Egyptian and Roman styles at its very best.
NARRATOR:
The next object in this audio tour is a real mummy. if you feel you would find it unpleasant to view, or have religious reasons for avoiding it, please feel free to view other objects in the gallery and then resume the tour downstairs when you hear me give directions.
If you wish to continue, go to the long case at the end of the gallery. If you don't want to look at the mummy, just listen while you look at other pieces.
OBJECT #26 - Detroit Mummy
NARRATOR:
Walk softly, for you are in the presence of one who has passed over to the afterlife. HE now resides with the gods and they watch over HIS spirit and protect it for all eternity.
RICHARD WILKINSON:
The ancient Egyptian attitude toward death was a very positive one. Many people think that the Egyptians were obsessed with death. But the opposite was really true. The Egyptians loved life and they wished to continue it, so that their stress was really on the afterlife.
Many Egyptians spent great amount of time and resources on preparing for the afterlife and mummification was just one part of that process. By preserving the body, the Egyptians believed that they were then able to preserve the complete person and that the spirit would be able to return to the body and be reunited with it in the afterlife. That was actually the reason for mummification.
NARRATOR:
Mummies can teach us a lot about the people of ancient Egypt. Medical scientists have x-rayed and analyzed them to learn about their health and their sicknesses.
We will now return to the first floor to view the final object in the tour. Go back the way you came. When you exit this gallery, turn right and go down the stairway. If you need to return via the inclined walk, please follow the directions on the sign at the top of the stairs.
Please turn off your player and turn it back on at the bottom of the stairs. against
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OBJECT #27 - Lid and End Panels of the Coffin of Nakht (and conclusion)
NARRATOR:
Are you ready to continue? You should be standing near the stairs on the first floor of the museum. Find the large case on the wall across the hallway. It contains large painted panels, and is our last stop.***
These panels from an 11th Dynasty coffin illustrate every theme of this exhibition: life, the afterlife, art, and scientific contributions. When this coffin was made, it was traditional to paint the insides with not only prayers and spells to protect the spirit, but representations of the objects necessary in the afterlife. Notice especially the rare celestial clock written on the inside of the lid - it is on the top panel where the lines begin with small star-like shapes. It shows the sequential series of rising stars by which the night was measured into 12 equal periods of about 40 minutes.
RICHARD WILKINSON;
Because the Coffin of Nacht incorporates all the major themes of Splendors of Ancient Egypt, it provides a fitting conclusion to this exhibition. Like so many of the pieces in the collection, Nacht's coffin is exceptionally well preserved and it is an excellent example of this type of artifact. These are just two of the factors that make this one of the most important exhibitions of Egyptian art ever shown in the United States. Through its wealth of artifacts and art works, this exhibition gives an exceptional view of ancient Egyptian civilization and it clearly shows why it is regarded as one of the most fascinating civilizations in human history.
NARRATOR:
This concludes the guided tour of Splendors of Ancient Egypt. Feel free to view the other objects in this area. Please return your headset at the cart to your left before visiting the Museum's Egyptian Marketplace.
We hope you have enjoyed your tour today. Beginning this winter, you can enjoy a new audio guide to the Phoenix Art Museum's collection. Stop by the Admission Desk in the Entrance Foyer to learn more.
Splendors of Ancient Egypt is organized by the Florida International Museum from the collections of the Roemer-Pelizaeus Museum, Hildesheim, Germany. In Arizona the exhibition is presented by US WEST, with additional support provided by MAC America Communications, Bashas', The Arizona
Republic, Dillard's and Bank of America. Major funding is provided by The Kemper and Ethel Marley Foundation and The Flinn Foundation.
This has been an Antenna Audio production. Script by Robert Arnold.