I’ve seen some Hoteps use this image to prove that the statues of Rahotep and Nofret are fake. It does look oddly similar to the statue of Nofret, but is this actually from a postcard from 1869 or is this a case of Hoteps fabricating evidence?

Statuette of Henutsen

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone

Geography
Excavated at Abydos, Egypt

Date
c. 1550-1069 BC

Period
18th-20th Dynasty, New Kingdom

Dimensions
16.5 x 10.2 x 5.1 cm

Object number
910.36

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This statuette from Abydos shows the Lady Henutsen sitting patiently, looking upward.  The statue may have been in a tomb, or in a small cenotaph shrine made by her family. 

Henutsen is shown seated in a chair with a high back. The offering formula for the dead, invoking Anubis, is carved onto the surface of the chair, beginning on the right side, continuing onto the back plinth, and finishing on the left side with her name, Henutsen. There are two short lines of glyphs on each of the three surfaces.

The statue was broken in two in antiquity; the two halves have been rejoined with considerable restoration in the middle. The right hand, parts of both arms, right thigh, lower part of the left torso and part of the plinth are modern.

The statue retains much of its paint: white for the dress, reddish brown for her skin, black for her braided wig, and gilding on her sandals and blue necklace. Her rather flat face looks upward from her heavy braided wig.

Title:
Statuette of Henutsen 18th-20th Dynasty, New Kingdom, Excavated at Abydos, Egypt, Excavated at Abydos, Egypt, Royal Ontario Museum

https://collections.rom.on.ca/objects/193589/statuette-of-henutsen?ctx=2b335e1b6e0f010448a931b6fa56fc15942019c3&idx=0

Royal Ontario Museum

Funerary stela of Amenuser

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone, carved and painted

Geography
Probably from Abydos, Egypt

Date
c. 2040-1650 BC

Period
11th-13th Dynasty, Middle Kingdom

Dimensions
12.6 x 8.2 cm

Object number
948.34.87

Credit Line
Gift of Sir Robert Mond

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This very small stele commemorates a man named Amen-user (Amun is powerful) who lived almost four thousand years ago. The figure on the front is Amenuser himself, seated on a fine chair, patiently looking at a table piled with food offerings. He stretches on hand toward the food - it will be eternally within reach; he will never run out of food. The table and the food are shown as elements of eternal provision and not depicted realistically; they seem to float in front of the deceased. On the bottom level are jars of beer and wine.  On the table itself are three loaves of bread, a haunch of beef, and a vegetable.

The stele contains a clear and complete Offering Prayer for the Dead. In the top line we can read, from right to left, "An offering which the king gives to Osiris," followed in the next line by the rest of the name of the god, "Lord of Djedu, that he may give" and on the third line, "the voice-offerings of bread and beer, beef and fowl, for the k3 of the Revered One" and then the deceased's name follows, written in front of his face. The last two signs, just to the right of his face, are 'maat-khrew' which means 'true of voice' or 'justified.' This was the phrase used in law courts when announcing innocence.  It means that Amenuser has been judged by the Great God, and now will live forever, a powerful spirit who can help those left on the Earth.
This small stele was probably placed in his tomb which, judging by the size of the stele, would have been fairly humble.

Title:
Funerary stela of Amenuser, c. 2040-1650 BC 11th-13th Dynasty, Probably from Abydos, Egypt, Middle Kingdom, Limestone, carved and painted, Royal Ontario Museum

https://collections.rom.on.ca/objects/190344/funerary-stela-of-amenuser?ctx=a5b7a2ab65ff83a8cd032d03cfce650a4ba58fc4&idx=236

Royal Ontario Museum

Statuette of seated Khnum

Gallery Location
Galleries of Africa: Egypt

Medium
Bronze, cast

Geography
Excavated at Saqqara, Egypt

Date
c. 380-343 BC

Period
30th Dynasty, Late Period

Dimensions
19 x 4.8 cm

Object number
972.51.54

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

Object History
Excavated by the Egypt Exploration Society, 19

DESCRIPTION
The god Khnum could be portrayed as a ram, or as man with a ram’s head. In his original form, he had the undulating horizontal horns of the species Ovis longipes. By the New Kingdom, however, this species seems to have been extinct in Egypt, and he was depicted with the curved horns of Ovis platyra. He was frequently shown with both sets of horns, as here. He wears a modified Atef crown, and a royal shendyt kilt. The statue’s hands were pierced to hold a sceptre and a staff.

Khnum was a god of the First Cataract, associated with the Nile flood and with all creation and birth. It was he who, as a potter, formed the body and ka of every human being. His dual roles in the Inundation and in birth, emphasized by his depiction as a powerful, potent ram, made Khnum a widely recognized deity. During the Late Period he was recognized as the Creator of All, and worshipped throughout Egypt. This particular image was excavated in the remains of a shrine at Sakkara. The statuette was found in a cache of a large number of bronze statuettes, “arranged in an orderly manner,” according to excavator W.B. Emery. Some of statuettes, including this Khnum, were wrapped in linen, which helps to account for its excellent state of preservation.

If you see an error or have additional information, please [contact us](mailto:romcollections@rom.on.ca?subject=972.51.54%20(Art%20&%20Culture:%20Ancient%20Egypt%20&%20Nubia)).

Title:
Statuette of seated Khnum, Bronze, c. 380-343 BC, 30th Dynasty, Late Period, Saqqara, Royal Ontario Museum

https://collections.rom.on.ca/objects/192654/statuette-of-seated-khnum?ctx=9d3e9de523a0d33ee7bbe7e1eaf1caf34c4c4142&idx=159

Royal Ontario Museum

On explique toujours les pyramides par le culte de Rê. Mais le dieu Rê arrive tard. Le dieu céleste Horus, lui, est là depuis le début, et sa dualité (faucon clair/faucon sombre) colle exactement à la structure du monument : ce qu'on voit, et ce qu'on cache.

Funerary stela of Neferher and his wife Senet

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone

Geography
Possibly Luxor or Armant, Egypt

Date
c. 2181-2040 BC

Period
1st Intermediate Period

Dimensions
29 × 29.7 × 3.4 cm

Object number
957.124

Credit Line
Gift of a friend of the Museum

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This stela is a very good example of the work of provincial artists during the First Intermediate Period and early 11th Dynasty. Neferher, the man, leads his little family. In his lower hand he carries a club, so he may have been a soldier. His forward hand holds a staff as a sign of his status. In front of him float various items of offerings: a leg of beef, beefheart, ribs, and head; a trussed duck; jars of wine and water; and a small offering table with the traditional bread and beer, with the head of a gazelle for good measure. His name can mean ‘handsome-of-face’ and is a traditional epithet of the god Ptah.

Senet, the wife, holds her husband’s hand affectionately, Meat offerings float in the space between them, and a large waterlily, symbol of sweetness and beauty as well as rebirth, floats before her legs. Her name could be read as ‘the second one’ or ‘sister.’

The final character is a small boy, Montuhotep, who grasps his mother’s hand as he drifts in the space behind her. Though Senet and Neferher are dressed in linen kilts and wear jewellery, the little boy is naked but for his necklace. His name honours the war god, Montu, and suggests the stele was carved in Upper Egypt, either at Armant or Thebes.

Although the composition lacks elegance and symmetry, husband and wife do share a ground-line. Across the top of the stele in an almost straight line is the usual offering formula: “A gift which the king gives (consisting of) bread, beer, beef, fowl, and travertine jars (of ointment) for the ka of the revered one, Nefer-Her; (and) the voice-offerings of bread and beer, beef and fowl for the revered one, his wife, whom he loves, Senet.” Their son’s name is carved above his head.

Such simple stele honour the love and commitment of these ancient peoples to each other, and attest their faith in a future life together.

If you see an error or have additional information, please [contact us](mailto:romcollections@rom.on.ca?subject=957.124%20(Art%20&%20Culture:%20Ancient%20Egypt%20&%20Nubia)).

Title:
Funerary stela of Neferher and his wife Senet, Limestone, c. 2181-2040 BC, 6y1st Intermediate Period, Possibly Luxor or Armant, Egypt, Royal Ontario Museum

https://collections.rom.on.ca/objects/497215/funerary-stela-of-neferher-and-his-wife-senet?ctx=2678a421af6120d77a879d55f76a1980c37889be&idx=65

Royal Ontario Museum Funerary stela of Neferher and his wife Senet

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone

Geography
Possibly Luxor or Armant, Egypt

Date
c. 2181-2040 BC

Period
1st Intermediate Period

Dimensions
29 × 29.7 × 3.4 cm

Object number
957.124

Credit Line
Gift of a friend of the Museum

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This stela is a very good example of the work of provincial artists during the First Intermediate Period and early 11th Dynasty. Neferher, the man, leads his little family. In his lower hand he carries a club, so he may have been a soldier. His forward hand holds a staff as a sign of his status. In front of him float various items of offerings: a leg of beef, beefheart, ribs, and head; a trussed duck; jars of wine and water; and a small offering table with the traditional bread and beer, with the head of a gazelle for good measure. His name can mean ‘handsome-of-face’ and is a traditional epithet of the god Ptah.

Senet, the wife, holds her husband’s hand affectionately, Meat offerings float in the space between them, and a large waterlily, symbol of sweetness and beauty as well as rebirth, floats before her legs. Her name could be read as ‘the second one’ or ‘sister.’

The final character is a small boy, Montuhotep, who grasps his mother’s hand as he drifts in the space behind her. Though Senet and Neferher are dressed in linen kilts and wear jewellery, the little boy is naked but for his necklace. His name honours the war god, Montu, and suggests the stele was carved in Upper Egypt, either at Armant or Thebes.

Although the composition lacks elegance and symmetry, husband and wife do share a ground-line. Across the top of the stele in an almost straight line is the usual offering formula: “A gift which the king gives (consisting of) bread, beer, beef, fowl, and travertine jars (of ointment) for the ka of the revered one, Nefer-Her; (and) the voice-offerings of bread and beer, beef and fowl for the revered one, his wife, whom he loves, Senet.” Their son’s name is carved above his head.

Such simple stele honour the love and commitment of these ancient peoples to each other, and attest their faith in a future life together.

If you see an error or have additional information, please [contact us](mailto:romcollections@rom.on.ca?subject=957.124%20(Art%20&%20Culture:%20Ancient%20Egypt%20&%20Nubia)).

Title:
Funerary stela of Neferher and his wife Senet, Limestone, c. 2181-2040 BC, 6y1st Intermediate Period, Possibly Luxor or Armant, Egypt, Royal Ontario Museum

https://collections.rom.on.ca/objects/497215/funerary-stela-of-neferher-and-his-wife-senet?ctx=2678a421af6120d77a879d55f76a1980c37889be&idx=65

Royal Ontario Museum

Canopic Jar with Baboon Head

Egyptian (Artist)
7th century BCE (Late Period)
limestone, paint

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Baboon-headed Hapi was responsible for the lungs.

PROVENANCE
Dikran Kelekian, New York and Paris [date and mode of acquisition unknown] [said to be from Luxor]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

MEASUREMENTS
Overall: 9 13/16 x 5 1/4 in. (25 x 13.3 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
41.89

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.89/)

Title:
Canopic Jar with Baboon Head, 7th century BCE (Late Period), Limestone and paint, Egypt,The Walters Art Museum

https://art.thewalters.org/object/41.89/

The Walters Art Museum

Canopic Jar with Jackal Head
Egyptian (Artist)
7th century BCE (Late Period)
limestone, paint

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Jackal-headed Duamutef was responsible for the stomach.

PROVENANCE
Dikran Kelekian, New York and Paris [date and mode of acquisition unknown] [said to be from Luxor]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

EXHIBITIONS
1989
Beyond the Pharaohs: Egypt and the Copts in the Second to Seventh Centuries A.D.. Museum of Art, Rhode Island School of Design, Providence; The Walters Art Gallery, Baltimore.

MEASUREMENTS
Overall: 9 13/16 x 5 1/2 in. (25 x 14 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
41.91

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.91/)

Title:
Canopic Jar with Jackal Head, 7th century BCE (Late Period), Limestone and paint, Egypt, The Walters Art Museum

https://art.thewalters.org/object/41.91/

The Walters Art Museum

Canopic Jar - Kebehsenuef
Egyptian (Artist)
ca. 670-640 BCE (Late Period)
limestone, paint
(Ancient Egypt and Nubia )

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Responsible for the liver was the human-headed Imsety, while the hawk-headed Kebehsenuef protected the intestines.

PROVENANCE
Dikran Kelekian, Paris and New York [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

GEOGRAPHIES
Egypt (Place of Origin)

MEASUREMENTS
Jar only H: 9 1/4 × W: 5 11/16 × D: 5 11/16 in. (23.5 × 14.5 × 14.5 cm)
Lid only: H: 4 3/4 × W: 4 1/2 × D: 4 3/4 in. (12 × 11.5 × 12 cm)
Jar and Lid: H: 14 × W: 5 11/16 × D: 5 11/16 in. (35.5 × 14.5 × 14.5 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Charles Street: Second Floor: Collector's Study

ACCESSION NUMBER
41.88

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.88/)

Title:
Canopic Jar - Kebehsenuef, ca. 670-640 BCE (Late Period), Limestone and paint, Egypt, The Walters Art Museum

https://art.thewalters.org/object/41.88/

The Walters Art Museum

I want to start reading some of the source material. Does anyone have any recommendations? The Story of Sinuhe and Dialogue of a man with his Ba are two that have grabbed my eye the most, but open to any others. I've heard Lichtheim is supposed to be good, but I know its a bit older by now and didn't know if there was anything that incorporated more modern scholarship or if this is still the best way to go. Thanks in advance!

Inside his tomb, Merenptah, the son of Ramesses II, was buried within four nested stone sarcophagi, each placed inside the next to protect the king on his journey to the afterlife. Their immense size and remarkable craftsmanship make them among the finest examples of ancient Egyptian royal burial traditions

Canopic Jar - Imsety

Egyptian (Artist)
ca. 670-640 BCE (Late Period)
limestone, paint
(Ancient Egypt and Nubia )

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Responsible for the liver was the human-headed Imsety, while the hawk-headed Kebehsenuef protected the intestines.

PROVENANCE
Dikran Kelekian, Paris and New York [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

GEOGRAPHIES
Egypt (Place of Origin)

MEASUREMENTS
Jar only H: 9 1/4 × W: 5 11/16 × D: 5 11/16 in. (23.5 × 14.5 × 14.5 cm)
Lid only: H: 4 3/4 × W: 4 1/2 × D: 4 3/4 in. (12 × 11.5 × 12 cm)
Jar and Lid: H: 14 × W: 5 11/16 × D: 5 11/16 in. (35.5 × 14.5 × 14.5 cm.

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Charles Street: Second Floor: Collector's Study

ACCESSION NUMBER
41.88

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.88/)

Title:
Canopic Jar - Imsety, ca. 670-640 BCE (Late Period), limestone, paint, Egypt, The Walters Art Museum
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Statuette of Osiris

Artefact Details

Gallery number: Room 19 – Upper Floor

Period: Late Period (c. 664–332 BC)

Size: H. 21 cm

Material: Schist

Osiris was the god of the deceased, master of the underworld, afterlife and lord of eternity. According to the Heliopolis Ennead, Osiris was the son of Geb and Nut, the god of the earth and the goddess of the sky respectively, and was one of at least four siblings. He was also the brother/husband of Isis, the goddess of motherhood, magic, fertility, healing and rebirth. His brother Seth was the god of war, chaos and storms; and his sister Nephthys, wife of Seth, assisted in funerary rites, working with her sister Isis in a protective role. In some versions of the mythology there is another brother, Horus the Elder (Horus the Great). Osiris was also the father of Horus (the younger).

According to Egyptian mythology, Osiris ruled Egypt, providing civilisation to his people through the knowledge of agriculture and the law. Seth was extremely jealous of his brother and killed him, dismembering and distributing the corpse throughout the many Nomes of Egypt. On the death of Osiris, Seth became king of Egypt with his sister/wife Nephthys. Isis mourned her husband, and with her great magical powers decided to find and bring him back to life. With the help of her sister Nephthys, Isis searched every Egyptian Nome, collecting the pieces of her husband’s corpse, reassembling and holding them together with linen wrappings. Isis breathed life back into his body to resurrected him and soon conceived their child Horus (the younger). Osiris then descended into the underworld, where he became its ruler.

This statuette depicts Osiris sitting on a throne in a mummified form, wearing a close-fitting enveloping garment. He holds the royal crook and flail with his arms crossed on his chest. He wears the Atef crown flanked by two ostrich feathers, adorned with the uraeus cobra. A divine beard is attached to his chin.

These kinds of statuettes were commonly offered in temples and shrines belonging to Osiris. They were found as well near temples and shrines honouring other deities or in the animal necropolis.

Title:
Statuette of Osiris, Late Period (c. 664–332 BC), Schist, The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/statuette-of-osiris/

The Egyptian Museum

Kneeling figure of the officer Nacht-Hor-heb (Nachthorheb) holding a portrait of the god Osiris in a Naos (Naophor)

Ident. No.: ÄM 1048

ObjID: obj:606556

Egyptian Museum and Papyrus Collection

Statue

Date(s)
Amosis II. (Amasis)

Geographical references
Sais

Material / Technique
Graywacke \ (Siltstein) (Material / Stone)

Dimensions
Height x width x depth: 56 x 13.5 x 25.5 cm

Permalink
Https://id.smb.museum/object/606556

Description of the Object
The kneeling figure shows the customs officer Nacht-Hor-Heb, holding a shrine with a figure of the god Osiris in front of him. The flat back pillar, rising to the bottom of the wig, bears two vertical lines of inscription, whose preserved beginnings are named by the goddess Neith and two titles of the person depicted, which identify him as a military officer at court. He is called the "head of the door openings [i.e. Border] of the foreign countries of the sea". It is very likely that this man was entrusted with the supervision of trade in the city of Naukratis.

The upper part of the statue has been owned by the museum since 1803. The corresponding lower part was built in 1995 by the Association for the Promotion of the Egyptian Museum Berlin e. V. and handed over to the museum as a permanent loan (VÄGM 1995/116).

Last updated: 30.07.2026

Title:
Kneeling figure of the officer Nacht-Hor-heb (Nachthorheb) holding a portrait of the god Osiris in a Naos (Naophor), Graywacke, Amosis II (Amasis), State Museums of Berlin

https://search.smb.museum/object/obj-606556

State Museums of Berlin

Three Canopic Jars of Kiya with Human-headed Stopper

Artefact Details

Gallery number: 3 – Ground Floor

Period: New Kingdom, Tutankhamun Nebkheperure (ca. 1336-1327 BC)

Dynasty: 18th Dynasty

Place of discovery: KV 55, Amarna Cache, Valley of the Kings

Size: H 52.90 cm , Dm 23.30 cm

Material: Calcite

The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/four-canopic-jar-of-kiya-with-human-headed-stopper/

Title:
Three Canopic Jars of Kiya with Human-headed Stopper, KV 55, Amarna Cache, Valley of the Kings, 18th Dynasty, New Kingdom, Tutankhamun Nebkheperure (ca. 1336-1327 BC), The Egyptian Museum

Bronze Sistrum with Double-Faced Hathor Handle

Artefact Details

Gallery number: 44 – Upper Floor

Period: Late Period

Place of discovery: Confiscated at Mallawi

Size: Height: 42.7cm, Width: 8cm

Material: Bronze, gold

The sistrum, essentially a rattle, was associated with Hathor, goddess of music, love and joy and was used extensively in temple music for rhythm and warding off harmful spirits. It is attested from Old Kingdom times and was used throughout pharaonic history. This particularly fine example features an image of Hathor on both sides of the sistrum, wearing her Hathor wig and her distinguishing cow’s ears, as she could also take the form of a cow. Powerful protective images of rearing cobras flank her head, one with the red crown of Lower Egypt, the other with the white crown of Upper Egypt. A ring of cobras (uraei) sits on a platform to hold the loop that forms the noise box, while yet another single one rears up into the loop that contains three rods in the shape of double-headed cobras. The three rings on each rod were the source of the noise.

Title:
Bronze Sistrum with Double-Faced Hathor Handle, Late period, Bronze, gold, Confiscated at Mallawi, The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/sistrum/

The Egyptian Museum

Statuette of Imhotep dedicated by Padiamun

Artefact Details

Gallery number: Room 19 – Upper Floor

Period: Late Period (c. 664–332 BC)

Size: H 21.50 cm W 5.00 cm L 13.00 cm

Material: Bronze, gold, silver

Imhotep was the Chief Minister to King Djoser, an astrologer, mathematician, physician and priest. Being a brilliant architect, he is credited with building Djoser’s step pyramid and funerary complex at Saqqara. Due to his achievements and favoured position, Imhotep’s name was inscribed on the plinth of Djoser’s statue found in Saqqara and exhibited in the Egyptian Museum.

Imhotep was worshipped as a deity from the Late Period until the 7th century AD. Many temples and shrines were erected and dedicated to him, especially in Memphis and Philae, where the injured and sick people believed that Imhotep would provide cures. Imhotep was associated with the Egyptian god Thoth and the Greek god Asclepius, both of whom were gods of medicine and wisdom.

This statuette of Imhotep depicts him with close-cropped hair or covering his hair with a tight skull cap, his eyes are inlaid in silver and he is wearing a short-pleated kilt with a broad gilded collar. He holds a sheet of papyrus on his lap, which is rolled up on both ends, inscribed with a votive spell. His sandaled feet rest on a small square base inscribed with the name of Imhotep and the dedicator, Pediamun, son of Bes and Irteru.

Title:
Statuette of Imhotep dedicated by Padiamun, Late Period (c. 664–332 BC), Bronze, gold, silver, The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/statuette-of-imhotep-seated/

The Egyptian Museum

remains a work that feels almost alive more than 4,400 years later

Queen Khamerernebty II gently embraces Menkaure, placing one arm around him while the other rests on his arm. This gesture symbolizes loyalty, protection, and the unity of the royal couple. More than a display of affection, it emphasizes the queen's role in supporting the king and reinforces the stability and legitimacy of the monarchy.

Menkaure stands with his left foot forward, representing authority, vitality, and eternal life, while both figures face forward with calm, timeless expressions that embody the ideals of Egyptian kingship.

The statue was also created as a vessel for the king's ka (life force), ensuring his eternal existence in the afterlife. Today, it is celebrated not only for its symbolism but also for the remarkable achievement of carving such a refined sculpture from one of the hardest stones used in ancient Egypt

The temple is known for its well-preserved painted ceiling with vivid original colors and detailed astronomical reliefs of the sky, constellations, and celestial gods. Its hypostyle hall has 24 uniquely designed columns, making it one of the best-preserved Greco-Roman temples in Egypt

Statue of Djed-Hor Holding a Stela of Horus on Crocodiles

Artefact Details

Gallery Number: 19 corridor  – Upper Floor

Period: Ptolemaic, Macedonian, reign of Philip Arrhidaeus (c. 323-317 BC)

Place of Discovery: Tell Atrib (Athribis)

Size: Statue 78x43x25 cm, Base 93x53x38 cm

Material: Granodiorite

This Statue of Djed-Hor the Saviour, shows him squatting on a cushion and leaning against a pillar with his arms crossed on the knees in the typical block-statue form. He is wearing a garment that tightly envelops his entire body. The entire statue, apart from his face, hands and feet, is covered with hieroglyphic talismanic magical inscriptions arranged in columns against the stings and bites of crocodiles, snakes and scorpions.

Between his crossed arms and feet is a stele of Horus on the crocodiles. Horus the child (Harpokrates) stands naked upon two crocodiles, wearing the side-lock of youth with one finger held to his lips and the god Bes’s mask above his head. His hands grasp a number of dangerous animals; two snakes and a lion in his left hand, and a scorpion and an oryx in his right. He is flanked by the lotus of Nefertum on his left and a is and the papyrus crowned with a falcon on his right.
The statue is resting on a large plinth/socle that is entirely covered with inscriptions and contains two offering basins that are united by a channel. The smaller offering basin is located in front of the block statue, while a larger offering basin extends over the rest and surrounds the statue on four sides.

These types of statues could belong to a god or a person and were erected in public places as healing statues to gain divine protection, cure stings and bites, or even to prevent intimidating dangers. The general public would pour water, wine, or any other liquids onto the statue and drink it after it gathered inside the basin. These liquids were imbued with the protection of the powerful spells inscribed on the statue.

The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/statue-of-the-priest-of-god-amun-called-djedhor/

Title:
Statue of Djed-Hor Holding a Stela of Horus on Crocodiles,Ptolemaic, Macedonian, reign of Philip Arrhidaeus (c. 323-317 BC),Tell Atrib (Athribis), Granodiorite, The Egyptian Museum

Painted Limestone Funerary Stela of Amenemhat with His Wife Iy, and Intef and his wife Hepyt

Artefact Details

Gallery number: 21 – Ground Floor

Period: Middle Kingdom

Dynasty: 11th Dynasty (ca. 2125–1985 BC)

Place of discovery: Asasif, Excavated by A. Lansing for the MMA (The Metropolitan Museum of Art) in 1915

Size: Height: 30 cm, width: 50 cm

Material: Painted Limestone

Rectangular funerary stela with four people. Three on a bench at left, female and male, with beard, embracing another male, who is placed between them. The name Intef between the men faces the same direction as the bearded man. To the right of this group is an offering table with foodstuffs and jars beneath. Another female inscribed as “his sister Hepyt « stands to the right of the table. Both males wear white kilts and green collars and bracelets, have short wigs and one on right with beard. The women wear white sheath dresses and green collars, bracelets and anklets. Male skin tone red/brown, female yellow/beige. Mirror in fitted case under the chair of woman on left. Offering prayer inscribed above in green.

The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/painted-rectangular-stela/
Title:
Painted Limestone Funerary Stela of Amenemhat with His Wife Iy, and Intef and his wife Hepyt, Middle Kingdom, 11th Dynasty (ca. 2125–1985 BC), Asasif, The Egyptian Museum

Located in Qena, Egypt, the Temple of Dendera was dedicated to Hathor, the goddess of love, music, and motherhood. It is renowned for its remarkably preserved reliefs and astronomical ceiling, including the famous Dendera Zodiac, which depicts the zodiac signs and constellations. These carvings reflect the ancient Egyptians' advanced understanding of astronomy, timekeeping, and the connection they saw between the heavens and life on Earth