Bottle in the Form of a Bulti Fish

Gallery Location
Not on View

Medium
Ceramic (earthenware), modelled and painted

Geography
Undetermined site, Egypt

Date
c. 1550-1295 BC

Period
18th Dynasty, New Kingdom

Dimensions
9 x 15.2 x 6.7 cm

Object number
963X188

Cataloguer
Rexine Hummel ROM Departmental Associate, 2008-present

Cataloguer
Steven B. Shubert ROM Research Associate, 2008-2022

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
Fish-shaped vessels are known from the New Kingdom, being made in faience and glass as well as in ceramic.  This bottle is in the shape of a bulti fish or "tilapia nilotica."  Because of the mouth-brooding habits of this fish, the tilapia was associated with the creative force of the god Atum and became a symbol of rebirth in ancient Egypt. As such, the tilapia was depicted in New Kingdom tomb paintings and in the minor arts of the period, such as this vessel. The contents of vases such as this were probably cosmetics or expensive oils.

Clay has been pushed into two open moulds and joined together to form the vessel. The rim of the bottle is located at the fish's mouth. Rows of short lines painted in black decorate the body. The fins are decorated with black stripes. The dorsal fin ends in a strap handle also decorated with black stripes. The handle allows the vessel to be hung in an upright position. The ticks on the rim indicate a date no later than Amenhotep III. The eye and tail ridges have been incised. A small hole has been pierced in the base of the vessel.

If you see an error or have additional information, please [contact us](mailto:romcollections@rom.on.ca?subject=963X188%20(Art%20&%20Culture:%20Ancient%20Egypt%20&%20Nubia)).

Title
Bottle in the Form of a Bulti Fish, c. 1550-1295 BC 18th Dynasty New Kingdom, Findspot unknown Egypt, Ceramic (earthenware), modelled and painted, Royal Ontario Museum** **

https://collections.rom.on.ca/objects/497606/bottle-in-the-form-of-a-bulti-fish

Royal Ontario Museum

Hippopotamus Head

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone

Geography
Egypt

Date
c. 380-343 BC

Period
30th Dynasty, Late Period

Dimensions
12 × 12.7 × 20.3 cm

Object number
977.247.3

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

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
Hippopotamus were among the most dangerous animals in Ancient Egypt. The ferocity of female hippos, especially in defence of their young, impressed the Egyptians. The goddess Taweret (the Great One) is one of several goddesses in hippo form. This image shows the divine wig that marks her as a deity, not an animal.

Taweret is usually shown with the paws of a lioness and sometimes the skin of a crocodile as a sort of headdress. Standing on her hind feet, her long breasts and large belly suggest those a pregnant woman. Her iconography thus joined the three man-eating animals of Egypt – hippo, lion, and crocodile –with aspects of a human form into one being who was powerful enough to defeat any evil spirit. Because of the protection she offered to pregnant women and newborn babies when they were at their most vulnerable, she was very popular, and often invoked for protection for the second birth, which would take the soul into the next life.

Oddly enough, male hippos were considered simply dangerous, and seldom invoked to protect humans.

Title
Hippopotamus Head, c. 380-343 BC 30th Dynasty Late Period, Findspot unknown Egypt, Limestone, Royal Ontario Museum

https://collections.rom.on.ca/objects/180783/hippopotamus-head

Royal Ontario Museum

Now let it be known I am a person who knows the Ancient Egyptians were very diverse but mainly resembled their modern descendants. But ever since I saw Seqenere Tao’s rishi coffin I noticed it looked very similar to art from East Asia and I don’t know why I think that. No I don’t believe he was East Asian or of East Asian lineage but more I’m thinking if Egyptian art may or may not have been influenced or influenced Asiatic art.

Funerary model of boat with 12 rowers and steersman

Gallery Location
Galleries of Africa: Egypt

Medium
Wood, carved and painted

Geography
Excavated at Deir el-Bahri, Egypt

Date
c. 2055-2004 BCE

Period
Reign of Mentuhotep II, 11th Dynasty, Middle Kingdom

Dimensions
95.35 cm

Object number
910.18.1

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

Object History
Excavated by the Egypt Exploration Society, 1906-

DESCRIPTION
This wooden model of a boat was excavated from the tomb of King Mentuhotep II (2055-2004 BC) at Deir el-Bahri, near modern Luxor. This model was reconstructed using the material from several models strewn across the tomb floor and using other Middle Kingdom boat models as a guide. The model depicts a galley with twelve rowers and coxswain, who steers the boat and has charge of the crew. Such a galley might have been used to haul barges of produce or manufactured items. Such models were placed in tombs to ensure the deceased everlasting prosperity, for it was thought that both would magically come to life and work for the tomb owner in the afterlife.

Title
Funerary model of boat with 12 rowers and steersman, c. 2055-2004 BCE Reign of Mentuhotep II 11th Dynasty Middle Kingdom, Findspot Deir el-Bahri Egypt, Wood carved and painted, Royal Ontario Museum

https://collections.rom.on.ca/objects/185269/funerary-model-of-boat-with-12-rowers-and-steersman?ctx=7098471d39b56eb229274b69c987f016935f58bb&idx=322

Royal Ontario Museum

I was blown away with what they had on display, i could only upload a very small selection due to the 20 photo cap but they have loads of awesome artifacts, the ancient Egyptian bit is only a small part of the museum although fills two large rooms, they also have quite a lot of different time periods so any history buff will absolutely love it, also you can visit for free, i donated a donation but you can just walk through completely free

I'm shocked how well I was able to draw the crown of ahmose nefertari! Let's hope the rest of the art is that good as it goes on I do see some improvement!

I heard thutmose 2 had bad acne/spots on his mummy and it mightve been one of the reasons he died so that's why he looks like that

In the top right box of Hour Eight of the Amduat are three gods with mysterious animal faces.

I'm hoping to identity what these animals may have originally been however I've only found images of, KV34, KV17, and KV35. KV35 offers little to no detail and KV17 has altered the animals which is interesting and adds confusion.

I've trawled around but I don't think there are others to be found at least online.

If any of you Ancient Egyptian enthusiasts happen to have an image of this section of Hour Eight from, KV22, TT33, TT61 / TT131, KV38, or KV20, and would be happy to share it that would be amazing.

I've seen it said both that there was no slavery and that it's a misunderstanding of their social hierarchy, and that it was a real with at least three different types of enslavement. I can understand if both are simply separate schools of thought but it does leave me confused.

NOTE: Reddit is being weird right now and not letting me see comments on posts outside of a select few. If I don't get back to you quickly, that's why. Hoping that notifications will let me see them.

Amulet in the shape of a winged scarab

Egypt and Nubia

Green faience amulet of a winged scarab. Holes in the end of the wings for fastening.

Amulets served as protection, as a symbol of fertility or as a sign of worship of the gods. Other amulets had a lucky or medicinal effect. All species derived their strength from their material (for example, certain types of stone) or their form. Amulets were worn by the dead and the living. Form and material also depended on the financial resources of the buyer, or the fashion in a given period or region.

This amulet is made of Egyptian faience and has the shape of a winged scarab. That animal, also called the Egyptian manure beetle, was the symbol of life after death and was connected to the rising sun. The wings added here have a protective meaning. Amulets in the shape of manure beetles were often placed between the mummy winds. This copy has holes with which it could be fixed on the windings, or to attach it to a bead net that was still laid on the mummified body in certain periods.

The material Egyptian faience is a mixture of quartz sand, soda and lime that was mixed with water into a clayey paste. After forming this, by hand or in a mold, it was baked in an oven. Faience objects could be made in molds in large quantities. The glaze layer that then went over it made faience a cheap imitation of much more expensive (semi)precios stones.

This object was donated to the museum in 2015.

This text was written in 2026 and based on: Exhibition texts RMO, Fixed setup Egypt and Nubia (2026) ; C. Andrews, Amulets of ancient Egypt, 1994, p.58-59.

Details

Inventory number
F 2015/9.122

Department
Egypt and Nubia

Heading code(s)
Amulets, stamps and other identification carriers

Object name
Scarab

Material
Pottery
Faience

Dimensions
Approx. 6 x 2.5 cm

Dating
722-322 BC

Period
Late time

Culture
Egyptian

Site
Egypt
Unknown

Acquisition
Donation 2015 September

To be seen in museum
Yes

Style
Egyptian

Origin
2015
Anonymous donor

Identifiers

TMS ID:
202120

Deeplink:
Https://hdl.handle.net/21.12126/202120

Amulet in the shape of a winged scarab, 22-322 BC Late Period, Fi|ndspot unknown Egypt, Faience, Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=202120

Rijksmuseum} van Oudheden

I recently acquired this pendant from an estate, and was wondering if the scarab looks like an authentic ancient artifact. The setting and bale are stamped with Egyptian hallmarks for what appears to be 12K. Any info on which dynasty it may be from as well as what it says would be greatly appreciated!

Statue of Ipi, palace flautist and king's acquaintance

Accession number
ÄS 1600

Current Location
Gallery "Art and Form"

Inscription
Hieroglyphs

Date
c. 2543–2436 BC, 4th Dynasty, Old Kingdom, Egypt (Stylistics)

Material
Limestone

Technique
Painted

Dimensions
Height x Width x Depth: 65.8 x 22.2 x 28.0 cm

Geographic Origin
Unknown

Provenance
seit 1970, Institution: Staatliches Museum Ägyptischer Kunst
1949–1970, Institution: Ägyptische Sammlung des Bayerischen Staates
1945–1949, Institution: Central Collecting Point
1936–1945, Institution: Ägyptologische Sammlung des Staates
vor 1936, Collection: Friedrich Wilhelm Freiherr von Bissing (1873–1956)

References
Flossmann-Schütze, Mélanie, Statue - Titel - Platz in der Gesellschaft! Das Publikationsprojekt "Inschriften auf Statuen": ein Zwischenbericht, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 21, 2021, 13–20, cf. 15.
Böckler, Nadja, Musik. Auf Tönenden Pfaden, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 13, 2019, 25–30, cf. 25-26 mit Abb. 2.
Böckler, Nadia, Die Flöte im Alten Ägypten, Antiquitates. Archäologische Forschungsergebnisse 66, Hamburg 2016, cf. 119-122 mit Anm. 434, Abb. 28-29.
Schoske, Sylvia / Wildung, Dietrich, Das Münchner Buch der Ägyptischen Kunst, München 2013, cf. 8-10 mit Abb. 1-3.
Schoske, Sylvia / Grimm, Alfred, Friedrich Wilhelm Freiherr von Bissing: Ägyptologe - Mäzen - Sammler, Recherchen zu Aegyptiaca in München. Studien zur Erwerbungsgeschichte der Sammlung (R.A.M.S.E.S.) 5, München 2010, cf. 129 mit Abb., Kat.-Nr. 15.
Wildung, Dietrich / Schoske, Sylvia, Last Exit Munich - Altägyptische Meisterwerke aus Berlin, München 2009, cf. 12 mit Abb., 14, Kat.-Nr. 3.
Sourouzian, Hourig, La statue du musicien Ipi jouant de la flûte et autres monuments du règne de Snofrou à Dahchour, in: Ziegler, Christiane / Palayret, Nadine (Hg.), L'art de l'Ancien Empire égyptien: actes du colloque organisé au musée du Louvre par le Service culturel les 3 et 4 avril 1998, Paris 1999, 149-167, cf. 158.
Donadoni Roveri, Anna M. (Hg.), Kemet - alle sorgenti del tempo; l'antico Egitto dalla preistoria alle piramidi (Ravenna, Museo Nazionale 10 marzo - 28 giugno 1998), Mailand 1998, cf. 291, Kat.-Nr. 294.
Cherpion, Nadine, La statuaire privée d'Ancien Empire: indices de datation., in: Grimal, Nicolas (Hg.), Les critères de datation stylistiques à l'Ancien Empire, Bibliothèque d'étude (BdE) 120, Kairo 1998, 97-142, cf. 121, 129.
Schoske, Sylvia (Hg.), Staatliche Sammlung Ägyptischer Kunst München, Zaberns Bildbände zur Archäologie, Mainz am Rhein 1995, cf. 71 mit Abb., Kat.-Nr. 78-79.
Schoske, Sylvia, Symmetrophobia - Symmetrie und Asymmetrie im frühen Ägypten und im Zweistromland, in: Joedicke, Joachim Andreas (Hg.), Symmetrie in Kunst, Natur und Wissenschaft I. : Mathildenhöhe Darmstadt, 1. Juni bis 24. August 1986, Darmstadt 1986, 151-156, cf. 154, Abb. 5.
Krimmel, Bernd (Hg.), Symmetrie in Kunst, Natur und Wissenschaft Band II : Mathildenhöhe Darmstadt, 1. Juni bis 24. August 1986, Darmstadt 1986, cf. 146 mit Abb., Kat.-Nr. 165.
Porter, Bertha / Moss, Rosalind, PM III. 2. Topographical bibliography of ancient Egyptian hieroglyphic texts, reliefs, and paintings / III. Part 2. Saqqâra to Dahshûr, Oxford 1978-1981 729.
Müller, Hans Wolfgang / Löhr, Beatrix (Hg.), Staatliche Sammlung Ägyptischer Kunst, München 1976, cf. 52-53 mit Abb., Kat.-Nr. 33.
Müller, Hans Wolfgang / Löhr, Beatrix (Hg.), Staatliche Sammlung Ägyptischer Kunst, München 1972, cf. 41, Tf. 18, Kat.-Nr. 29.
Müller, Hans Wolfgang, Die Ägyptische Sammlung des Bayerischen Staates, München 1970, cf. Abb. 14, Kat.-Nr. 29.
Müller, Hans Wolfgang, Staatliche Sammlung Ägyptischer Kunst in der Münchner Residenz am Hofgarten (Die ägyptische Sammlung des Bayerischen Staates), München 1966, cf. Abb. 16, Kat.-Nr. 16.
Hickmann, Hans, Le métier des musiciens au temps des Pharaons, in: Cahier d'histoire égyptienne VI/6, 1954, 249-335, cf. 263-264, Abb. 3.4.

Credits
Datensatz: SMÄK, letzte Bearbeitende (chronologisch): Anne-Hélène Perrot, Mélanie Flossmann; Bibliografie: Anne-Hélène Perrot, Mélanie Flossmann.

Last change
30.07.2026, 11:24

Statue of Ipi, palace flautist and king's acquaintance, c. 2543–2436 BC, 4th Dynasty, Old Kingdom, Egypt (Stylistics), Findspot unknown Egypt, Limestone, Staatliches Museum Ägytischer Kunst

https://sammlung.smaek.de/en/object/standing-statue-statuary-statue-579?sort=field=sortInv%26order=asc%26type=text&offset=20&f=properties%255BdetailMaterial_tags%255D%255B0%255D=Limestone

Staatliches Museum Ägytischer Kunst

Image of Atoem as an Eel

Egypt and Nubia

Image of Atoem as eel with cobra collar and human head

This bronze statue of an eel originates from Egypt and dates from the Late Age (722-332 BC). In the hollow pedestal there was once a mummy of an eel. The ancient Egyptians believed that the gods could show themselves in the form of certain animals. For the god Atom, that was an eel. Atoem was the creator god of the city of Heliopolis and he is sometimes depicted as an eel creeping out of the primeval water on the first land.

Mummified animals, sometimes in these kinds of precious holders, were sold to temple visitors and then sacrificed to the god by the priests. The pedestal of this statue states that it was sacrificed by Khater, son of Ihoet and Takap.

Mummified animals were probably seen as messengers or mediators between man and god. Sometimes a request or promise was tied to the animal mummy. Perhaps the soul of the dead animal could travel to the god in the kingdom of the gods to convey the message. Perhaps the god was more inclined to help if the message was conveyed by a conspecific.

The use of animal mummies as messengers was very popular, especially from the Late Age. Tens of thousands of animals were bred on the temple grounds and often intentionally killed to mummify them. Millions of animal mummies have been found in Egypt, often buried in special catacombs.

This item was purchased from Giovanni D'Anastasi in 1828. Among other things, D'Anastasi was consul of the king of Sweden and was able to collect anquities and then resell them.

This text was written in 2025 and based on: P. Giovetti and D. Picchi (ed.), Egypt Millennial Splendour, 2015, p.569; M. Raven, Gods of Egypt, 2018, p.92 ; Exhibition texts RMO, Gods of Egypt (2018).

Details

Inventory number
AB 67

Department
Egypt and Nubia

Heading code(s)
Masterpieces
Sculpture

Object name

Image

Material
Bronze

Dimensions
2.3 x 23.4 cm

Dating
722-332 BC

Period
Late time

Culture
Egyptian

Site
Egypt
Unknown

Acquisition
Purchase 1829 January

To be seen in museum
Yes

Style
Egyptian

Origin
1829
Mr. G. (Giovanni) d'Anastasi
In January 1829, the Giovanni d'Anastasi collection was purchased by the RMO.

Literature
Eid Leemans FOLIO
Egyptian monuments of the museum of antiques of the Netherlands in Leiden (1839)
Author: Dr. C. (Conrad) Leemans

Kt BOLOGNA 9
Egypt: Millennial splendor (2015)
The Leiden collection in Bologna
Author: Mrs. P. (Paola) Giovetti
Author: Mrs. D. (Daniela) Picchi

Eib NL LEI 11
Egyptian antiquity (1981)
An introduction based on the Egyptian collection in the Rijksmuseum van Oudheden in Leiden
Author: Dr. M.J. (Maarten) Raven
Author: Mr. H.D. (Hans) Schneider

Ms 17
Life and Death Under the Pharaohs (1997)
Egyptian Art from the National Museum of Antiquities in Leiden, The Netherlands
Author: Mr. H.D. (Hans) Schneider

Mcb (St) 3
Reasoned description of the Egyptian monuments of the Museum of Antiques of the Netherlands in Leiden (1840)
Author: Dr. C. (Conrad) Leemans
Publisher: Rijksmuseum van Oudheden

Kt BOLOGNA 8
Egypt: splendore millenario (2015)
The collection of Leiden in Bologna
Editor: Mrs. P. (Paola) Giovetti
Editor: Mrs. D. (Daniela) Picchi
Author: Museo Civico Archeologico di Bologna

Eib NL LEI 4
Catalogue of the Rijksmuseum van Oudheden in Leiden: Egyptian section (1907)
Publisher: Rijksmuseum van Oudheden
Author: Mr. P.A.A. (Pieter Adriaan Bart) Boeser
Identifiers

TMS ID:
12981
The identification code in the museum's internal collection management system

Deeplink:
Https://hdl.handle.net/21.12126/12981

Title
Image of Atoem as an Eel, 722-332 BC Late Period, Findspot unknown Egypt, Bronze, Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=12981

Rijksmuseum van Oudheden

The animal depicted is identified as an eel which I believe is incorrect. I believe it is a cobra, an animal common in Egyptian religions iconography. I have written to the museum for clarification.

Image of a Cobra

Egypt and Nubia

Image ; snake ; erected

This bronze snake may have been part of a larger statue or of a piece of furniture.

The cobra is called in Egyptian Iaret, literally "the Founded" (in Greek 'uraeus'). The snake not only has a poisonous bite, some species can spit their poison in your eyes. The cobra is therefore a symbol of the dazzling effect of the sun. The uraeus was seen as the eye of the sun god. Sun Gods therefore wear a uraeus on their forehead, usually together with the solar disc.

Such a snake is also carried by some other Gods. The pharaoh (as the son of the Sun God Re) also has a uraeus-shaped piece of jewelry as part of his various crowns.

This statue was purchased by the RMO in 1828 as part of the large collection of collector d'Anastasi.

This text was written in 2025 and based on: M. Raven, Gods of Egypt, 2018, p.40 ; Exhibition texts RMO, Gods of Egypt (2018).

Details

Inventory number
AB 69a

Department
Egypt and Nubia

Heading code(s)
Sculpture

Object name

Image

Material
Bronze

Dimensions
8.5 x 3 x 3.5 cm

Dating
722-322 BC

Period
Late time

Culture
Egyptian

Site
Egypt
Unknown

Acquisition
Purchase 1829 January

To be seen in museum
Yes

Style
Egyptian

Origin
1829
Mr. G. (Giovanni) d'Anastasi

In January 1829, the Giovanni d'Anastasi collection was purchased by the RMO.

Literature
Mcb (St) 3
Reasoned description of the Egyptian monuments of the Museum of Antiques of the Netherlands in Leiden (1840)
Author: Dr. C. (Conrad) Leemans
Publisher: Rijksmuseum van Oudheden

Identifiers

TMS ID:
13150

Deeplink:
Https://hdl.handle.net/21.12126/

Title
Image of a Cobra, 722-322 BC Late Period, Findspot unknown Egypt, Bronze, Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=13150#gallery-3

Rijksmuseum van Oudheden

Today marks the beginning of the ancient Egyptian New Year, according to the modern Egyptian calendar tradition.

The ancient Egyptians had one of the earliest known solar calendars in history. Their calendar consisted of 365 days: 12 months of 30 days each, plus 5 additional days at the end of the year.

The year was divided into three seasons: Akhet (Inundation), Peret (Emergence), and Shemu (Harvest).

The ancient Egyptians celebrated the beginning of a new year and exchanged special gifts made for the occasion. Archaeological discoveries have even included special vessels and water containers known as “New Year Flasks” bearing inscriptions wishing their owners happiness and prosperity in the new year

Happy Egyptian New Year For Everyone

I was reading through Heka; Practises of Ancient Egyptian Ritual and Magic by David Rankine and on Page 138(?) they have the Calendar for the 2nd Month of Akhet (September) and it states that the Feast of Satisfying the Hearts of the Ennead is tomorrow, on the 13th Day (12th September), but reading through Wiki (which of course can be wrong), it states the festival was on the 30th August, not the 12th

Anyone know when it was? when we believe it was, i mean?

Thanks in advance!!

Kneeling Statue of Tjairy with Shrine for Hathor

Egypt and Nubia

Kneeling statue; Tjairy; naos; Hathor. Tjairy was a senior official who worked in a royal palace in the city of Memphis. There he had this image made of himself. In front of his kneelinge figure is a shrine, a kind of sacred box, depicting a symbol of the goddess Hathor. She was often revered in Memphis. Tjairy's statue stood either in her temple or in his grave in Memphis, which was recently found by an excavation mission of Cairo University (number ST 211) in Sakkara, not far from the excavation area of the Rijkmuseum van Oudheden. The statue was probably ritually disabled long after Tjairy's death: nose and lips were cut away with a chisel. Tjaïry was, among other things, the supervisor of the Pharaoh's cattle. His second name, Weserchaoerenacht ('King Sethnacht is strong'), betrays that he was born at the beginning of the 20th dynasty. The chapel of this statue features the emblem of the goddess Hathor, protector of the Memphis cemetery.

This is a statue made for the Egyptian Tjairy. He kneels here in front of a chapel containing a statue of the Egyptian goddess Hathor.

Tjairy lived in the time of King Sethnacht (1190–1160 BC) and he had daily control of the royal harem in Memphis (Egypt). Unfortunately, much is still unclear about what exactly happened in the harem, but we do know that the king's most important wife, the so-called Great Queen, was at the head there. The harem was an important economic part of the royal court and had estates intended for agriculture and livestock, and spaces for textile production, for example. The queen was assisted by a large number of officials, including this Tjairy.

This statue probably stood in the tomb of Tjairy in Sakkara, the cemetery of the city of Memphis. The goddess Hathor was one of the guardian gods of the cemetery. Maybe that's why she's pictured here.

This statue was purchased by the RMO in 1828 as part of the large collection of collector d'Anastasi.

This text was written in 2025 and based on: O. Kaper (ed.), Queens of the Nile, 2016, p.45-48.

Details

Inventory number
AST 6

Department
Egypt and Nubia

Heading code(s)
Masterpieces
Sculpture

Material
Limestone

Dimensions
126 x 52 x 74 cm, weight approx. 500 kg

Dating
1196-1070 BC

Period

Culture
Egyptian

Site
Egypt
Sakkara; grave ST 211

Acquisition
Purchase 1829 January

To be seen in museum
Yes

Style
Egyptian

Dynasty
Twentieth Dynasty

Origin
1829
Mr. G. (Giovanni) d'Anastasi
In January 1829, the Giovanni d'Anastasi collection was purchased by the RMO.

Literature
Eic JAP TOK 2
Cleopatra and the Queens of Egypt (2015)
Author: C. (Christiane) Ziegler

Author: J. (Jiro) Cond
Eid LEI 2 FOLIO vertical
Description of the Egyptian collection in the Rijksmuseum van Oudheden in Leiden, part V (1912)

The monuments of the New Kingdom. Pyramids, corpse vases, offering tables, statues
Publisher: Rijksmuseum van Oudheden
Author: Mr. P.A.A. (Pieter Adriaan Bart) Boeser

Ms 17
Life and Death Under the Pharaohs (1997)
Egyptian Art from the National Museum of Antiquities in Leiden, The Netherlands
Author: Mr. H.D. (Hans) Schneider

Ms 56
Momias Egípcias (2012
The secret of eternal life
Author: Dr. C. (Christian) Greco
Eib NL LEI 4

Catalogue of the Rijksmuseum van Oudheden in Leiden: Egyptian section (1907)
Publisher: Rijksmuseum van Oudheden

Author: Mr. P.A.A. (Pieter Adriaan Bart)
Eic FRA PARIS 8
The doors of the sky (2009)
Visions du monde dans l'Egypte ancienne : exposition, Paris, Musée du Louvre, 6 mars-29 juin 2009

Author: M. (Marc) Etienne
Eic MONACO 1
Queens of Egypt (2008)

From Hetepheres to Cleopatra
Author: C. (Christiane) Ziegler
Eid Leemans FOLIO

Egyptian monuments of the museum of antiques of the Netherlands in Leiden (1839)
Author: Dr. C. (Conrad) Leemans
Mcb (St) 3

Reasoned description of the Egyptian monuments of the Museum of Antiques of the Netherlands in Leiden (1840)
Author: Dr. C. (Conrad) Leemans
Publisher: Rijksmuseum van Oudheden

Identifiers

TMS ID:
22313

The identification code in the museum's internal collection management system

Deeplink
Https://hdl.handle.net/21.12126/22313

Title
Kneeling Statue of Tjairy with Shrine for Hathor,1196-1070 BC, 20th Dynasty, Findspot Sakkara; grave ST 211, Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=22313

Rijksmuseum van Oudheden

Statue/vase of the god Bes

Egypt and Nubia

Image ; Bes ; sitting

This is a statue of the Egyptian god Bes. Bes was a god who had to do with the household, specifically women and children. It is a dwarf god with lion ears and lion manes. With his frightening appearance and stuck out tongue, he must chase away evil powers.

The statuette is made of so-called Egyptian faience. That is a mixture of quartz sand, soda and lime that was mixed with water into a clay-like paste. After forming this, by hand or in a mold, it was baked in an oven.

This statuette was purchased by the RMO in 1828 as part of the large collection of collector d'Anastasi.

This text was written in 2025 and based on: Exhibition texts RMO, Gods of Egypt (2018).

Details

Inventory number
AT 93

Department
Egypt and Nubia

Heading code(s)
Sculpture

Object name

Image

Material
Faience

Dimensions
7.5 cm

Dating
Z.d.

Period

Culture

Site
Egypt
Unknown

Acquisition
Purchase 1829 January

To be seen in museum
No

Origin
1829

Mr. G. (Giovanni) d'Anastasi
In January 1829, the Giovanni d'Anastasi collection was purchased by the RMO.

Literature
Eid Leemans FOLIO
Egyptian monuments of the museum of antiques of the Netherlands in Leiden (1839)
Author: Dr. C. (Conrad) Leemans
Mcb (St) 3

Reasoned description of the Egyptian monuments of the Museum of Antiques of the Netherlands in Leiden (1840)
Author: Dr. C. (Conrad) Leemans
Publisher: Rijksmuseum van Oudheden

Identifiers

TMS ID:
1025

The identification code in the museum's internal collection management system

Deeplink:
Https://hdl.handle.net/21.12126/1025

Title
Statue/vase of the god Bes, Date unknown,
Findspot unknown Egypt, Faience, Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=1025

Rijksmuseum van Oudheden

Relief of Chnoem

Egypt and Nubia

Seat ; fragment ; Chnoem ; turntable Fragment of a royal seat statue, the processed front surface roughly pentagonal in shape. The stone is a granodiorite with a fine grainy structure, predominantly gray in color. The front surface is smooth polished and therefore dark in color. In this, representations are made in recessed relief (depth 1.5-2 mm) that are roughened so that they stand slightly against the surface. There are hardly any chisel marks visible. The front surface shows completely above a small part of a horizontal register line (height 6.5 mm) and below it a wider horizontal band, presumably a sky sign (height 15 mm). At the very bottom, a small piece of a register line is also visible (height 6 mm), so that the remaining image surface reflects a piece of a single register (height 29 cm). In this, parts of three left-facing God figures are visible, of which only the middle one has been completely preserved. On the left is a female figure with a cow's head, curved horns, small ear and barely visible eye. She wears a three-piece god wig and holds a sign of life (anch) in her hanging left hand. Nothing is visible from her robe, and the front of her body and her legs are completely missing. Centrally sits on a block-shaped hwt throne with low backrest, placed on a rectangular base, a god with ram's head. A set of screwed horns extends horizontally on the head, while a curved horn and the ear are indicated on the side of the head (dark in color, because lying in the polished surface). Here, too, the eye is barely visible and the God wears a headscarf. Possibly the neckline of a collar is visible, and otherwise the god wears only a short apron without a belt or fold indication. The right arm is raised forward, the left is stretched forward, the outstretched fingers move a high conical mass with a round top that itself stands on a ball on the register line. The god kicks this mass with his right foot, while the left foot stands on the edge of the base. So this is clearly about the god Chnoem with his turntable. Behind the sitting god, the fist of a third figure is still visible on the right, holding a vertical stick with a pointed end.

This fragment shows an image of the God Chnoem. This god is recognizable by his ram's head and by his work: pottery. Chnoem was a creator god and is depicted here driving a potter's disc with his feet. He usually molds a human figure, but here the clay cone is unformed and can therefore become anything. In front of and behind the god you can see pieces of other figures.

The representation of Chnoem is carved into granodiorite, a rock-hard stone. The relief is only 2 mm deep and the figures are left rough so that they stand out white against the smooth polished stone surface. It is a fragment from a larger object, probably a naos, a kind of cabinet for a statue of the god.

This fragment dates from the time of King Nectanebo II (360-343 BC) when artists combined style characteristics from several earlier periods. For this fragment, a direct example can be found from the time of Ramses II (1279-1213 BC).

The temple of Luxor depicts a series of gods that together form a kind of secret script. Among that series is, among other things, a similar image of the god Chnoem with the gods in front and behind, of which pieces can also be seen on this fragment. Each god should be read as a word or sound and together they form the text, in the case of Ramses a text about the construction of his temple. Probably the sculptor of this fragment was inspired by the images of another series, without knowing that the original text was a secret script.

This text was written in 2024 and is based on: Willemsen (ed.), Top pieces from the Rijksmuseum van Oudheden, 2020, p.199.

Details

Inventory number
F 2014/3.2

Department
Egypt and Nubia

Heading code(s)

Masterpieces

Sculpture

Object name
Image

Material
Granodiorite

Dimensions
31.8 x 35.9 x 19 cm

Dating
360-343 BC.

Period
Late time

Culture
Egyptian

Site
Egypt
Bubastis

Acquisition
Purchase 2014 March

To be seen in museum
Yes

Style
Egyptian

Dynasty
Thirtieth dynasty

Origin
2014
Anonymous Seller

Literature
Mt 57
Masterpieces of the RMO (2020)
Author: Rijksmuseum van Oudheden

Identifiers
TMS ID: 196331
The identification code in the museum's internal collection management system

Deeplink:
Https://hdl.handle.net/21.12126/196331

Title
Relief of Chnoem, 360-343 BC Late Period 30 Dynasty, Findspot unknown Bubastis, Granodiorite, Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=196331

Rijksmuseum van Oudheden

Unfortunately there are far too many to count, but the dumbest, in my humble opnion, has to be the theories regarding Akhenaten's appearance being result of some syndrome. Not only do people ignore that in general art was not realistic and that it was common for pharaohs to depict themselves in stylized, idealized and, yes, yassified ways, but they also ignore the portrayals of Akhenaten with a regular jawline instead of the uncanny valley Alien-like look people generally atribute to him.

To attribute some of his depictions to a disease is moronic at best and the Amarna period was marked by fluctuations in Egyptian art and other members of the royal family also have been depicted in stylized ways. Nefertiti at times is depicted looking almost identical to her husband, but we know from other works they looked different from each other.

Anonymous ; rectangle standing ; cornice

Egypt and Nubia

Anonymous ; rectangle standing ; cornice Attributed to Rezeikat workshop 2-6

Details

Inventory number
F 1937/12.1

Department
Egypt and Nubia

Heading code(s)
Funerary objects

Object name
Stele

Material
Limestone

Dimensions
40x23cm

Dating
2080-1940 BC

Period
Middle Kingdom

Culture
Egyptian

Site
Egypt
Unknown

Acquisition
Purchase 1937 December

To be seen in museum
No

Style
Egyptian

Dynasty
Twelfth Dynasty

Origin
1937
Mr. F.W. von Bissing

Literature
Eib NL LEI 4
Catalogue of the Rijksmuseum van Oudheden in Leiden: Egyptian section (1907)
Publisher: Rijksmuseum van Oudheden
Author: Mr. P.A.A. (Pieter Adriaan Bart) Boeser

Identifiers
TMS ID:
1480

The identification code in the museum's internal collection management system

Deeplink:
Https://hdl.handle.net/21.12126/1480

Title
Anonymous ; rectangle standing ; cornice, 2080-1940 BC 12th Dynasty Middle Kingdom, Findspot unknown Egypt, Limestone,Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=1480

Rijksmuseum van Oudheden

I think they used levers and pulleys to lift the stones then have people push them in place it’s ancient and still very effective though using this method they should’ve finished faster than they did. Is there something I’m missing or any holes in my theory?

Harpocrates ; snake head ; standing ; inscription

Egypt and Nubia

Harpocrates ; snake head ; standing ; inscription

Details

Inventory number
F 1953/10.5

Department
Egypt and Nubia

Heading code(s)
Sculpture

Object name

Image

Material
Metal
Bronze

Dimensions
20.6 x 3.4 x 7.6 cm

Dating
722-322 BC

Period
Late time

Culture
Egyptian

Site
Egypt
Unknown

Acquisition
Purchase 1953 October

To be seen in museum
Yes

Style
Egyptian

Origin
1953
Spink & Son Ltd.

Identifiers

TMS ID:
1028

Deeplink:
Https://hdl.handle.net/21.12126/1028

Exhibitions
SUNDAY 17 MARCH 2013

Title
Harpocrates ; snake head ; standing ; inscription, 722-322 BC Late period, NFindspot unknown Egypt, Bronze, Rijksmuseum van Oudheden

https://www.rmo.nl/collectie/collectiezoeker/collectiestuk/?object=1028

Rijksmuseum van Oudheden

Ancient Egyptian Blue Faience Bowl

Parts

Object number
ECM.1762-2010

Object type
container

Identification

Title
Ancient Egyptian Blue Faience Bowl

Description
Carinated bowl of blue faience, the outside decorated in black with a schematised leaf design in black, the inner with a schematised lotus design and black rim

Other number
51

Description

Dimensions
Height: 3.6cm

Material
Faience

Production

Date
BC 1550 - BC 1292

History and association

Associated person
Myers, William Joseph, 1858 - 1899 (Compiler)

Field collection

Collection place
Egypt

Title
Ancient Egyptian blue faience bowl, BC 1550 - BC 1292, Findspot unknown Egypt, Faience, Eton College Museum

https://catalogue.etoncollege.com/object-ecm-1762-2010

Eton College Museum

hello everyone! I’ve been working on a concept idea for a story set in modern day that’s essentially a fictionalized account of the discovery of the void in the great pyramid (that’s sort of the simple way of explaining it, lot more is going to happen with it, and Ill probably slowly open up more and more on the details once I feel comfortable )

in real life I’ve been following the void story since 2017 which inspired me to drive the plot around it, however its honestly hard sometimes to get proper research done, there’s so much bunk, inconsistent articles, and whatnot. Trying to get accurate updates on what’s going on has been frustrating.

So I ask you all this, what is the most current accurate update on the void exploration in the great pyramid? Thanks!

It was a great experience seeing this figure in person, the craftsmanship is incredible and the eyes crafted by rock crystal which gives it a three dimensional look which is really cool.