This jug is the finest faience vessel surviving from the Hellenistic world. It takes the form of Eros, the Greek god of love, clinging to the neck of a duck on whose back he is riding.
The combination of traditional Egyptian techniques with a purely Greek theme is characteristic of the products of the faience industry at Alexandria. The court of the Ptolemies (the Hellenistic Greek rulers of Egypt) at Alexandria was a great artistic centre. It became the focus for cultural exchange between the Greek and Egyptian worlds and their distinctive artistic traditions.
Reproduction of relief from the tomb of Prince Amenherkepeshef
This beautiful reproduction (made by Nina de Garis Davies) shows the Prince behind his father Ramsess III, they are both standing behind the goddess Hathor. The goddess can be recognized by her cow’s horn and the sundisk in between,
Relief is in Upper Egypt, Valley of the Queens (Thebes), tomb QV 54
Egyptian, New Kingdom, 19th dynasty, Reign of Ramsess III, 1184 - 1153 BC.
This portrait was placed on his mummy after his death. It was made from wood, beeswax mixed with pigments. These portraits were made during his lifetime and used after his death as funerary portrait. It is 38cm high and 21.5cm wide ( 15 x 8 1/2 inch.)
The scene to which this block once belonged probably showed a desert hunting party. The hunters, Akhenaten and his entourage, would have appeared in chariots bearing down on their helpless prey. Their approach has not gone unnoticed: the ears of the two bubalis antelopes perk up at the sound of danger. The back of a third antelope may be seen in the lower right corner. Such isolated blocks provide a hint of the complex decorative schemes that once existed in the palace at el Amarna.
The Egyptians associated the female cat’s fertility and motherly care with several divinities. The base of the statuette of Cat with Kittens is inscribed with a request that Bastet grant life, directly linking the cat pictured here with the goddess Bastet. The kittens here point to the benevolent aspect of this feline divinity, while her pointed ears emphasize the feline’s attentive vigilance and ability to protect its young.
The upraised face in this statue depicts Padimahes observing a temple procession and reveals that the statue was meant to represent him in a temple after his death. His ba-soul could travel from the tomb and inhabit the statue, allowing him to share in the offerings made to the god in the temple. His ba would then return to the tomb.
Brian Zimerle of the Oriental Institute at the University of Chicago demonstrates and explains the techniques that would have been used by potters in the Egyptian predynastic period (c. 6000-3000 BC). 2/3.