a scene depicting the
Feast of the White Hippopotamus", which is very rare.
Only one other example of this ceremony is known, from a
fragment of a Saite period artifact now in the Brussels
Museum. Here, the king wears the red crown and holds a baton
and the white club in his hands. He wears a long
ribbon hanging from his left shoulder.
In back of the king are the two half-heavens that accompany
the scene of the "great stride". Before him are two
small dancing figures surmounted by the name of a city, and
above that is a hammered-out hippopotamus with a brief
caption recording the "Feast of the White
[Hippopotamus]. It should be noted that the red, male
Sethien hippopotamus, who was an enemy of Horus, must
be distinguished from the white,…
Within one of the chapels on its southern wall is recorded the temple foundation ceremony and the consecration of the temple with natron
(salt). Here, the king buries a stake in the earth with a
mallet. This scene depicts "stretching the cord between
the two stakes", but unfortunately it is now missing. In
the second scene, the king, wearing the atef crown, digs
out a furrow using a hoe and then refills it with the
contents of a bushel basket. The king also molds a
brick and then offers a series of briquettes, which
were often made of precious material, for the four
corners of the temple. We are informed by a stela
that: "My majesty ordered that
the foundation ceremony should be prepared at the
approach of the day of the F…
the famous "Botanical Room", with its
representations of exotic flora and fauna encountered
during Tuthmosis III's
foreign military campaigns. we find birds going toward the west. Two of
the birds include the lapwing (Vanellus cristatus) and
the red casarca (Asarka rutila). Another bird is
almost certainly an ibis, while two others are not
identified. Pomegranates surmount the depictions of
On the northern corner of the east wall is an inscription that states:
"Year 25, under the majesty of the king
of Upper and Lowwer Egypt, Menkheperre, forever
living, plants that His Majesty has found in the
land of Retenu (Syria).
Here, various plants are depicted in various stages. They
include Dracunculus vulg (Arum dracunculus), a type of
This pair of obelisks was produced from granite on the island Sehel at Aswan
under the supervision of the steward Amen-hotep.
Their transport by ship and the erection of both obelisks at
Karnak is shown in detail in the so-called "Hall of O" in the first portico of the temple of Hatshepsut at Deir el-Bahari. A relief in her Red Chapel also provides a report about the donation of these two obelisks.
The standing, northern obelisk of Hatshepsutt must be considered one of the most famous single monuments within the whole of the Karnak
complex. Originally, she erected four obelisks at Karnak, but only this
one remains. However, at approximately 29.56 meters
tall, it is the largest standing obelisk in Egypt.
Built of red granite, it w…
we have a contemporary description of the image of the barque .That does not seem to exaggerate the
beauty of this boat, and even omits the delicate
reliefs the decorate its hull and still retain some
traces of the yellow paint that was used to depict the
vessel's gold coating. We know from the Harris
papyrus that the barque Userhat was around 68 meters
We see in the center of the boat the naos which contained the sacred barque of Amun,
which is placed on a pedestal preceded by a staircase
holding up the masts and the obelisks. Before this
pedestal are three jackal headed figures and seven
Nile gods who worship Amun. In the rear behind the naos the
king is navigating the boat by holding the steering oar
himself. The king also appears in the front…
This is the so called magic image of Amun.
Here, the pharaoh is referred to as per-aa in the two
cartouches, and he is making libation in the presence of a
very strange image. The representation has the head of
Amun, wearing a crown topped by a solar disk surmounted by
two large feathers, which emerge from a goatskin bottle
embraced by the extended wings of Ma'at. In turn, this depiction surmounts a pedestal crowned by a uraeus,
in front of which is a lion whose chest comes up to the
level of the shafts. It would seem that this "magic image
of Amun" was perhaps paraded during processions. This scene
then sits upon a table fronting a series of lotuses, each of which is giving birth to a new lotus framed by two buds.
There are only three registers that are visible today. The two lower
registers begin at the western edge with acts of conquest, after which
the king begins his return journey home as the scenes move toward the
temple entrance, where he presents his defeated enemies to Amun.
On each side of the doorway the scenes expand in height so that they
take up the first two registers, and represent the "ritual massacre of
the vanquished". At the east end of the southern wall is carved the
narration of the Battle of Kadesh in a long text of vertical columns
below a large scene in which the king and the princes are bringing a
bound group of prisoners
In addition to the reliefs concerning the Battle of Kadesh,
there is also, on the wall protruding from the exterior
southern wall of the Hypostyle hall, reliefs that depict the
surrender of the fortress of Askalon. This was a city
about ten mi…
the king is wearing the blue helmet and a long coat. He stands before the barque
of Amun, which terminates with a ram's head crowned with a
disk, spraying incense. The barque is supported by a stretcher
that is carried on the shoulders of three groups of five
falcon-headed figures in the front and thirteen
jackal-headed figures in the back. These are the
spirits of Pe and Nekhen,
though some Egyptologists have suggested that these
are real priests wearing jackal and sparrow hawk
masks, a notion that has been hotly debated. If indeed
priests wore masks in some of the ceremonies, they
must be clearly distinguished from the depictions in
the sanctuaries where animal headed figures are
"functional principles" and certainly not masked officials.
The king facing the b…
of bird hunting with nets. The image represents a pool in
the midst of a papyrus thicket out of which seven
ducks are flying. The net had been open, but on the
signal given by Thoth
with his scarf, they are now closed over the captured birds.
This scene is interesting in that it is repeated in many
private tombs, where peasants close the net under the
watchful eye of their master. Here, the texts
describes Thoth as the "master of the city of Eight"
who presides in Hesret at the heart of the "temple of
nets". This refers to the sanctuary located in
Heliopolis and therefore named in memory of the place
was captured in a net by Horus. Furthermore, Thoth administers
the "snaring" operation and it is said that he …
In the next series of scenes on this wall, in the upper register and
clearly defined, we find the king kneeling on the sma symbol. He is
flanked by Thoth, master of the city of the Eight (Heliopolis) on the left and Horus,
great god, master of Mesen.t. Hence, the king is joining the Two Lands
of the North and South "under his feet", and the gods are assuring him
of the monarchy. The horizontal bar on which the king is kneeling always
indicates a significant measurement.
In the lower register, the barque
of Amun is resting in a large naos (of which only a small part of the
uraei frieze of the dais can be seen). Before it sits
the barques of Khonsu and Mut.
All of these wall sculptures are rendered in sunk
relief, with the exception of the naos of the barque.
the Race of the Apis Bull which is often associated with the king's sed festival. This well known ceremony is for the first time found mentioned on the Palermo Stone in regard to several archaic kings, and afterwards, on a cylinder of Horus Den, the fourth king of the 1st Dynasty, we have the first known testimony of the Apis race.During the inauguration of a monument, the sacred bull Hap, at times
accompanied the king during his race, as in the image on the second
register at this point on the wall. Some inscriptions provide that "the
king gives the land four times", implying that this ritual race was made
around the area of the temple, once for each direction. Here, this is a
double scene that is often found on the lintels of doorways that
provide access to the sanctuaries of temples. On one side the king wears
the red crown and on the other side, the white crown. Clearly visible,
the king on the right holds two libation vessels. Behind him the two
the king, wearing a blue war
helmet, kneeling in a persea tree. He has just been directed toward the
sanctuary of his father Amun, by Atum, the master of Heliopolis, and by Montu, the master of Thebes.
The king holds the hek and nekhakha scepters over his shoulder with one
hand. With his other hand, he prop up the symbols of the sed festival that have been extended to him by Amun, who is seated in his naos.
Behind the king stands Thoth,
who announces various renewals to him and inscribes the throne name on
one of the fruits that he holds up in his left hand. Above this scene,
in a cartouche on the left surmounted by the symbols of Upper and Lower
Egypt, is the throne name of Ramesses II Usermaatre. Here, a winged disk
gives his cartouche life.
coronation as king of Upper and Lower Egypt is
depicted. Usermaatre, Son of Re, Ramesses (II) Meryamun is here seated
on a throne and wearing the double crown
representing the duality of his kingdom. In his hands he holds two,
uncrossed scepters. He is flanked by two seated, female gods who grasp
his shoulders. The goddess that he faces, to the east, is Nekhebet,
mistress of the South. She assures him of her protection by "joining
with his limbs" and of "his rejuvenation in the image of the Aten disk in heaven". Behind her, Horus of Behedet reaches over Nekhebet to present Ramesses II with the white crown set on a basket.
The goddess to the west is Wadjet, mistress of the North. Behind her, Thoth is presenting the red crown
to the king, while confirming his divine origin and the righteousness
of his rule over the Two Lands. The three thrones of the king and the
two goddesses rests upon a single pedestal, while Thoth and Horus stand on the ground.
western facade of the third pylon was inscribed with five registers of
scenes surmounted by a frieze of khakeru that represent the different
phases of the Ritual of the Daily Divine Worship, during the reign of Seti I.
On the lower register, for example, the king breaks the clay seals,
draws back the bolt, and opens the two sections of the door to heaven.
In the second register, we find the king wearing a headband, a long,
pleated linen robe, and a large scarf. In his right hand, he holds a
key-of-life shaped vessel, while in the left hand he grasps a bundle of
tied straw, which he uses to eradicate the marks of his footprints while
turning his back to the neter (god). While the text of this scene is
lost to us, we may interpret its meaning from the a temple at Abydos and from the Berlin Papyrus, which in sixty-six chapters, describes the Ritual of the Daily Divine Worship.
In this type of depiction, the king is always represented as
officiating in the temple reliefs, thou…
the king is kneeling, and his right leg is stretched behind him in
the position known as the "silver statue", a posture that is very
specific to Karnak. He bows before Re, who is seated in his naos. The
king wears a headband and the atef crown, flanked by two uraei on disks, all surmounting the horns of Khnum. The king holds the hek and nekhakha scepters in his right hand. In the king's left hand, he supports the symbols of the sed festival
and longevity that hand beneath the "palm of the years" that Re holds
with the was in his right hand. With Re's left hand, he reaches out to
the horn of the king's crown.
Behind Seti I's image we find a good example of the lion headed Sekhmet,
who is here named "the great magician". She also holds, in her right
hand, the "palm of the years, from which dangles some of the same
symbols we find in the depiction of Re. Her left hand is raised.Amun-Re Kamutef, the prince of the Great E…
the king is once again
depicted as he stands facing the west. He bows, while offering a lotus
and papyrus bouquet. In this scene, he wears a wig that is finely
portrayed with lines that end in curls radiating from the crown of his
head. Two long, folded ribbons drop behind him from the nape of his
neck. Covering his shoulders is the user necklace, consisting of seven
rows of stones such as lapis lazuli, carnelian, turquoise and a row of
beads, separated by gold wire. Above the king in the second cartouche we
find the jackal-headed Seth animal used to write his Seti name. It follows the name of Horus and the cartouche of Menmaatre.
the king entering the temple. He faces the east, towards the temple
sanctuaries. Here, his first action is to "Give the House to Its
Masters". The "house" is of course, the temple itself, which is depicted
by a sanctuary, above which the king holds an ankh in his left hand. Before him, and facing the king is Amun-Re, presi…
the king wears the blue khepresh helmet. He is on his knees and is making offerings to Montu, who is in the heart of Thebes.
The king offers three papyrus stems in his right hand and a bouquet of
budding and flowering lotuses in his left. Montu, holding the was
scepter with his right and and the ankh in his left, is standing..
The King makes offerings such as bread before Amun (standing)
king kneeling, this time before Amun. Above the king is the vulture god, Nekhebet.
In this scene, the king offers breads, plucked and trussed geese and a
bouquet of lotus buds and flowers on a platter to Amun. In return, Amun
gives him "all life, stability, strength, and all enlargement of the
heart, as Ra" The lower register is in very poor condition, but we can make out the upper part of a naos in which the sacred barque of Amun rests.
Amun-Re is seated on his throne; standing behind the god is the goddess Mut,
who is ordinarily enfeoffed (subservient) with him. A second
enfeoffed goddess [our of whose horns the solar disk emerges] holds a [sistrum] and flowers in her right hand raised before Amun-Re;
with the left hand she holds the hand of pharaoh with a scratched-out
figure of enfeoffment, who is holding [the hek scepter and the
nekhakha scepter] on his shoulder and is bowing as he approaches
Behind the king, the god [Khonsu]
is standing, disk and crescent, the enfeoffment of the prince,
necklace, body clad in a girdle, the one hand holding a panegyric
scepter, the other designating a notch with the gnomon. He is
performing the duties of Thoth here, for whom he is the prototype."
These depictions apparently overlay earlier depictions and in fact, the great disk carved in sunk relief above the face of Seti I
is from one of these earlier scenes. Legrain believed…
Explore Luxor, Aswan and AbuSimbel from a Nile Cruise,combine history and leisure in this memorable journey. Day 1: Luxor Nile Cruise Holiday
Egyptraveluxe representative will meet and assist at Luxor airport,
then transferred by private A/C vehicle to the cruise for embarkation
before lunch. Dinner and overnight aboard the Nile cruise vessel in
Day 2: Nile Cruise Holiday
After breakfast, you will be accompanied for a wonderful tour to
visit East Bank of the Nile in Luxor to the Karnak and Luxor temples.
Sail to Esna. Overnight in Esna.
Day 3: Nile Cruise Holiday
Sail to Edfu. Upon arrival at Edfu, you will be accompanied by your
knowledgeable guide to visit Horus Temple. Sail to Kom Ombo. Dinner and
overnight on board.
Day 4: Nile Cruise Holiday
Pay a visit to the High Dam in Aswan, the Unfinished Obelisk and the
majestic Philae temple with a visit to the Botanical garden by felucca
overnight in Aswan on board the Nile cruis…
Easter offer : 1night Wheals Valley trip from Cairo ....130 USD per person MAGIC OF THE DESERT
Beyond the Nile Valley there is still much to see. On this
comprehensive trip to Egypt we travel through the heart of the Western
Desert, a vast, isolated expanse covering a total of some 2.8 million
square kilometres, visiting the various Oasis towns on our route. We
explore this untamed wilderness in the
company of our Bedouin companions, enjoying a memorable insight into
their traditions and experiencing their amazing hospitality. ITINERARY Day 1 )
We will pick you up in Cairo and depending on where you are staying in
Cairo, give you different route options to arrive at the beautiful oasis
of the Fayoum. We will enter this beautiful oasis via either A: the
modern city of Crocodopolis, so-named by the ancient Greeks because of
the over-abundance of crocodiles or B: the ancient Graeco-Roman city of
Karanis in Kom Ashiem. After our visit we will continue our sojourn to
Egypt 7nights /8 Dayswith a deluxe stay in Mina House Hotel Cairo + 4
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Trip Itinerary 8 Days / 7 Nights From Feb 5th To Feb 12th .
Day 1: .: Cairo
Arrive to Cairo
meet and assist by Egyptraveluxe representative to help you through the
immigration formalities. then start your tour to The Egyptian Museum , enjoy
the legendary treasures of the Egyptian Museum, which houses about 250.000
antique pieces including the statues, sarcophagi & the fabulous treasures
of Tutankhamun, also explore the old Cairo mosques and churches and the Citadels
then Transfer to your hotel at Cairo, check-in hotel. Overnight at your
hotel Mina Housein Cairo.
Day 2: . Cairo / Cairo
After breakfast you will be picked up for exploration of the vast necropolis of
Sakkara containing tombs from almost every
For over a century, archaeologists have argued over the original
purpose of the strange looking object shown above, which was discovered
in 1906 in the tomb of the ancient Egyptian architect Kha. Now, an
Italian physicist claims to have deduced the artifact's true
function:She says it's the world's first known protractor.
If the strange-looking object doesn't
immediately bring to mind a protractor — the flat, metal or plastic,
typically half-disc drawing tool used to measure angles — don't be
alarmed; since its discovery, it hasn't reminded anyone else of one,
either. (Ernesto Schiaparelli, the archaeologist who first discovered
the artifact, believed it to be the case for a balancing scale.)
But Amelia Sparavigna, a physicist at Turin Polytechnic in Italy,
believes that the complex patterns adorning the object – long believed
to serve merely as decoration — actually serve a functional purpose, as
well. Sparavigna describes the patterns, pictured…
The Temple of Osiris at Abydos, The original flower of life (found on
several pillars within "the Osireion" at abydos in Egypt) Egypt.
The "Flower of Life" can be found in all major religions of the world.
It contains the patterns of creation as they emerged from the "Great
Void". Everything is made from the Creator's thought. After the creation of the Seed of Life the same vortex's motion was continued, creating the next structure known as the Egg of Life.
This structure forms the basis for music, as the distances between the
spheres is identical to the distances between the tones and the half
tones in music. It is also identical to the cellular structure of the
third embryonic division (The first cell divides into two cells, then to
four cells then to eight). Thus this same structure as it is further
developed, creates the human body and all of the energy systems
including the ones used to create the Merkaba. If we continue creat…