Magic wand
Period: Middle Kingdom
Dynasty: Dynasty 12–13
Date: ca. 1981–1640 B.C.
Geography: From Egypt
Medium: Hippopotamus ivory
Dimensions: h. 5.2 cm (2 1/16 in); w. 34 cm (13 3/8 cm)

Wands such as this were a common feature in burials of the late Middle Kingdom. This one shows signs of wear on one tip, suggesting that it was used over a period of time before being placed in the tomb. The wand is decorated on one side with the figures of protective deities most of whom carry knives to ward off evil spirits.Some wands, like this one, and 15.3.197 are inscribed on the front with the words “protection by day” and “protection by night.” Another wand in the collection (08.200.19) has a longer inscription on the back. The texts indicate that the wands were used to defend infants against malign forces, perhaps by scratching a circle in the earth around the area where they slept. Having provided defense against illness during life, after death the wands were placed in the tomb to ensure the continued protection of the deceased’s spirit in its eternal afterlife.

Magic wand

Period: Middle Kingdom
Dynasty: Dynasty 12–13
Date: ca. 1981–1640 B.C.
Geography: From Egypt
Medium: Hippopotamus ivory
Dimensions: h. 5.2 cm (2 1/16 in); w. 34 cm (13 3/8 cm)
Wands such as this were a common feature in burials of the late Middle Kingdom. This one shows signs of wear on one tip, suggesting that it was used over a period of time before being placed in the tomb. The wand is decorated on one side with the figures of protective deities most of whom carry knives to ward off evil spirits.

Some wands, like this one, and 15.3.197 are inscribed on the front with the words “protection by day” and “protection by night.” Another wand in the collection (08.200.19) has a longer inscription on the back. The texts indicate that the wands were used to defend infants against malign forces, perhaps by scratching a circle in the earth around the area where they slept. Having provided defense against illness during life, after death the wands were placed in the tomb to ensure the continued protection of the deceased’s spirit in its eternal afterlife.
Plaque with a griffin eating a palmette
Period: Neo-Assyrian
Date: ca. 9th–8th century B.C.
Geography: Mesopotamia, Nimrud (ancient Kalhu)
Culture: Assyrian
Medium: Ivory
Dimensions: H. 3 1/16 x W. 2 3/8 x Th. 3/8 in. (7.8 x 6.1 x 1 cm)
Classification: Ivory/Bone-Reliefs-Inscribed

Plaque with a griffin eating a palmette

Period: Neo-Assyrian
Date: ca. 9th–8th century B.C.
Geography: Mesopotamia, Nimrud (ancient Kalhu)
Culture: Assyrian
Medium: Ivory
Dimensions: H. 3 1/16 x W. 2 3/8 x Th. 3/8 in. (7.8 x 6.1 x 1 cm)
Classification: Ivory/Bone-Reliefs-Inscribed
Ritual Ewer with Manasa, the Snake Goddess
Period: Pala period
Date: 10th century
Culture: India (probably Bihar),
Medium: Bronze
Dimensions: H. 5 5/16 in. (13.5 cm)
Classification: Metalwork

Ritual Ewer with Manasa, the Snake Goddess

Period: Pala period
Date: 10th century
Culture: India (probably Bihar),
Medium: Bronze
Dimensions: H. 5 5/16 in. (13.5 cm)
Classification: Metalwork
Isis amulet
Period: Macedonian-Ptolemaic Period
Date: 332–30 B.C.
Geography: From Egypt, Upper Egypt; Thebes, el-Asasif, Ptolemaic vaulted graves (Birabi)
Medium: Faience
Dimensions: 4.2 cm (1 5/8 in.)

Isis amulet

Period: Macedonian-Ptolemaic Period
Date: 332–30 B.C.
Geography: From Egypt, Upper Egypt; Thebes, el-Asasif, Ptolemaic vaulted graves (Birabi)
Medium: Faience
Dimensions: 4.2 cm (1 5/8 in.)
Bracelet with Agathodaimon, Isis-Tyche, Aphrodite, and Terenouthis
Period: Roman Period
Date: 1st century B.C.–A.D. 1st century
Geography: From Egypt
Medium: Gold
Dimensions: 1 9/16 x 2 3/16 in. (4 x 5.5 cm)

Powerful talismans of fertility and good destiny are woven into this rich golden composition. The bodies of two snakes intertwine to form a Herakles knot, the centerpiece of this bracelet. The snake on the left represents Agathodaimon, and the cobra on the right Terenouthis, two agrarian/fertility deities associated with Serapis and Isis, respectively. On the platform between them stand two goddesses, Isis-Tyche (or Isis-Fortuna), a deity closely associated with Alexandria, and the nude Aphrodite — Met Museum

Bracelet with Agathodaimon, Isis-Tyche, Aphrodite, and Terenouthis

Period: Roman Period
Date: 1st century B.C.–A.D. 1st century
Geography: From Egypt
Medium: Gold
Dimensions: 1 9/16 x 2 3/16 in. (4 x 5.5 cm)
Powerful talismans of fertility and good destiny are woven into this rich golden composition. The bodies of two snakes intertwine to form a Herakles knot, the centerpiece of this bracelet. The snake on the left represents Agathodaimon, and the cobra on the right Terenouthis, two agrarian/fertility deities associated with Serapis and Isis, respectively. On the platform between them stand two goddesses, Isis-Tyche (or Isis-Fortuna), a deity closely associated with Alexandria, and the nude Aphrodite — Met Museum

Tags: goat Goats

tiny-creatures:

Rabbit kit by Benjamin Joseph Andrew on Flickr.

Tags: rabbit animals

Terracotta statuette of Isis or a follower of her cult
Period: Imperial
Date: ca. 2nd century A.D.
Culture: Roman
Medium: Terracotta; mold-made
Dimensions: H.: 7 5/8 in. (19.3 cm)

Terracotta statuette of Isis or a follower of her cult

Period: Imperial
Date: ca. 2nd century A.D.
Culture: Roman
Medium: Terracotta; mold-made
Dimensions: H.: 7 5/8 in. (19.3 cm)
Magical Stela
Period: Late Period
Dynasty: Dynasty 30
Reign: reign of Nectanebo II
Date: 360–343 B.C.
Geography: From Egypt, Alexandria Region, Alexandria

The top half of this stela was skillfully carved in a hard dark stone. On the part below the central figure panel, rows of hieroglyphs record thirteen magic spells to protect against poisonous bites and wounds and to cure the illnesses caused by them. The stela was commissioned by the priest Esatum to be set up in the public part of a temple. A victim could recite or drink water that had been poured over the magic words and images on the stela. As a mythic precedent, the hieroglyphic inscription around the base describes the magic cure that was worked upon the infant Horus by Thoth, the god of wisdom and writing. On the stela Isis speaks and recounts that while she and Horus were still hiding in the marshes, the child became ill. In her despair, she cried for help to the “Boat of Eternity” (the sun boat in which the god travels over the sky), “and the sun disk stopped opposite her and did not move from his place.” Thoth was sent from the sun boat to help Isis and cured Horus by reciting a catalogue of spells. The spells always ended with the phrase “and the protection of the afflicted as well,” indicating that by using these spells, any type of affliction in human beings would be healed.In this detail of the stela, Horus emerges from the background in such high relief that he is posed as an actual three-dimensional statue, with his left leg striding forward and his head directly facing the viewer. He is portrayed in the conventional Egyptian form for youth; that is, he is nude and wearing his hair in a side lock. The soft, rounded forms of the bodies of Horus and the other deities are typical of the style of the period.To symbolize his magic powers, Horus holds snakes and scorpions as well as an antelope (by its horns) and a lion (by its tail) in his closed fists. His feet rest on two crocodiles. Above him is the head of Bes, the dwarf deity with leonine features who had traditionally protected households but by this time had become a more general protective deity. Horus is flanked by three deities who stand upon coiled snakes. On the right is Thoth, identified by his ibis head, and on the left is Isis. Both protectively hold the walls of a curved reed hut, a primeval chapel, in which the Horus child stands together with a figure of Re-harakhty, god of the rising sun, and two standards in the form of papyrus and lotus columns. The lotus standard supports the two feathers of Osiris’s headdress.The images incised into the stone at the top of the stela portray the perilous nighttime journey of the sun as it passes through the nether world under the earth. Its rebirth each morning is shown at the uppermost point of the stela, where Thoth, four baboons, and the kneeling King Nectanebo II lift their arms in the gesture of adoration and prayer. Nectanebo II was the last indigenous king of ancient Egypt. He struggled valiantly against the Persian empire only to be defeated in the end. After the lost battle, he fled to Upper Egypt, and nothing is known about his end.

Magical Stela

Period: Late Period
Dynasty: Dynasty 30
Reign: reign of Nectanebo II
Date: 360–343 B.C.
Geography: From Egypt, Alexandria Region, Alexandria
The top half of this stela was skillfully carved in a hard dark stone. On the part below the central figure panel, rows of hieroglyphs record thirteen magic spells to protect against poisonous bites and wounds and to cure the illnesses caused by them. The stela was commissioned by the priest Esatum to be set up in the public part of a temple. A victim could recite or drink water that had been poured over the magic words and images on the stela. As a mythic precedent, the hieroglyphic inscription around the base describes the magic cure that was worked upon the infant Horus by Thoth, the god of wisdom and writing.
On the stela Isis speaks and recounts that while she and Horus were still hiding in the marshes, the child became ill. In her despair, she cried for help to the “Boat of Eternity” (the sun boat in which the god travels over the sky), “and the sun disk stopped opposite her and did not move from his place.” Thoth was sent from the sun boat to help Isis and cured Horus by reciting a catalogue of spells. The spells always ended with the phrase “and the protection of the afflicted as well,” indicating that by using these spells, any type of affliction in human beings would be healed.
In this detail of the stela, Horus emerges from the background in such high relief that he is posed as an actual three-dimensional statue, with his left leg striding forward and his head directly facing the viewer. He is portrayed in the conventional Egyptian form for youth; that is, he is nude and wearing his hair in a side lock. The soft, rounded forms of the bodies of Horus and the other deities are typical of the style of the period.
To symbolize his magic powers, Horus holds snakes and scorpions as well as an antelope (by its horns) and a lion (by its tail) in his closed fists. His feet rest on two crocodiles. Above him is the head of Bes, the dwarf deity with leonine features who had traditionally protected households but by this time had become a more general protective deity. Horus is flanked by three deities who stand upon coiled snakes. On the right is Thoth, identified by his ibis head, and on the left is Isis. Both protectively hold the walls of a curved reed hut, a primeval chapel, in which the Horus child stands together with a figure of Re-harakhty, god of the rising sun, and two standards in the form of papyrus and lotus columns. The lotus standard supports the two feathers of Osiris’s headdress.
The images incised into the stone at the top of the stela portray the perilous nighttime journey of the sun as it passes through the nether world under the earth. Its rebirth each morning is shown at the uppermost point of the stela, where Thoth, four baboons, and the kneeling King Nectanebo II lift their arms in the gesture of adoration and prayer. Nectanebo II was the last indigenous king of ancient Egypt. He struggled valiantly against the Persian empire only to be defeated in the end. After the lost battle, he fled to Upper Egypt, and nothing is known about his end.
ihavenohonor:

Isis and Nephthys as serpent goddesses, c. 1300 B.C., Tomb of Seti I, Valley of the Kings, Thebes.

ihavenohonor:

Isis and Nephthys as serpent goddesses, c. 1300 B.C., Tomb of Seti I, Valley of the Kings, Thebes.

ancientpeoples:

Statue of the Egyptian Goddess Isis
120-150 AD
Roman
Found in Rome
(Source: The British Museum)

ancientpeoples:

Statue of the Egyptian Goddess Isis

120-150 AD

Roman

Found in Rome

(Source: The British Museum)

(via pallas-athena)

drakontomalloi:

Harukawa Goshichi - Mirror With the Design of a Nine-Tailed Fox. N.d., Edo period 

drakontomalloi:

Harukawa Goshichi - Mirror With the Design of a Nine-Tailed Fox. N.d., Edo period 

(via pallas-athena)

thetwistedrope:

A Hymn to Wepwawet
Praise & adoration to (you) Wepwawet, Lord of Abydos, heralding the might of Re-setau. Homage to you the bull of sacred offerings, the Lord of provisions. Great of the Ur-uret crown who came forth from the womb (of his mother Nut) to receive the Ur-uret. Elder god who came forth (from his mother Nut, already being) wise, Geb has commanded that he receive his heritance. Great god, Lord of Re-setau, (I pray that) you grant me a place amongst the followers, and the noble gods (who are) among the strong behind you.

thetwistedrope:

A Hymn to Wepwawet

Praise & adoration to (you) Wepwawet, Lord of Abydos, heralding the might of Re-setau.
Homage to you the bull of sacred offerings, the Lord of provisions.
Great of the Ur-uret crown who came forth from the womb (of his mother Nut) to receive the Ur-uret.
Elder god who came forth (from his mother Nut, already being) wise,
Geb has commanded that he receive his heritance.
Great god, Lord of Re-setau, (I pray that) you grant me a place amongst the followers,
and the noble gods (who are) among the strong behind you.

(via anubis-lon)