Cartonnages in Ancient Egypt were used over the wrapped mummy mainly for mummy masks and some important parts of the body.
The cartonnage of Irtirutja in the Metropolitan Museum of Art of New York dates from the Ptolemaic period. In it one can see how the artist of Ancient Egypt dedicated this technique for covering some special parts of the mummy.
The fact of choosing those parts of the anatomy could reveal an intention of including the essential elements in the belief of Ancient Egypt for the dead’s resurrection.
Obviously the mummy mask was obligated, since, among the many faculties the dead had to recover, there were the faculties of seeing and breathing.
The feet of the mummy were covered with two images of Anubis. It seems as if they were inverted, but they are actually dressed to the deceased’s eyesight.
Two images of the scarab with the solar disk were also a grant of the mummy’s rebirth. In Ancient Egypt, the Osiriac resurrection and the solar rebirth were united, in the iconography and in the religious texts.
Image of Nephthys mourning in the mummy of Irtirutja. Photo: Metropolitan Museum of Art of New York.
The four sons of Horus (two at each side of the body) were also included in the composition, They were a personification of the canopic jars, which contained the dead’s viscera, so they accompanied always the deceased.
Finally, the ancient Egyptian artist could not omit two of the most important figures in the dead’s resurrection: Isis and Nephthys, the two professional mourners, who making a mourning ritual gave the faculties back to the mummy…
It seems that in Ancient Egypt there were a relationship between the hair element and some rites of Heliopolis.
The funerary texts show that the hair, the lock of hair and the cut of this lock of hair were somehow connected with religious practices of this ancient Egyptian city.
In chapters 167 and 674 of the Coffin Texts the deceased receives the offers of bread for the snwt festivity and the bier for the dnit festivity in the moment when the two mourners prepare their hair for him. Both were important lunar celebrations in Heliopolis during the Old Kingdom.
Detail of the eye of Horus from the tomb of Roy. XIX Dynasty. Photo: Mª Rosa Valdesogo
The festivity of snwt was celebrated in Ancient Egypt the 6th day of the month (Wb IV, 153, 4) and dnit was the festivity of the first and third crescent (Wb V, 465, 6 and 7). During these days ancient Egyptians celebrated in Heliopolis the process of recovery of the lunar eye, and the following day was called “day of Horus’ festivity” (Derchain, 1962, p. 30). So in Heliopolis, the lunar cycle was celebrated with the hair element as a process of rebirth, as it was in the funerals of Ancient Egypt.
Tha artist in Ancient Egypt followed the rule of depicting children with the side lock of hair.
However, this archetype so common in the Old and Middle Kingdom, had some changes from the New Kingdom on.
Common mourners from the tomb of Ramose. XVIII Dynasty. Photo: wikipedia
It is specially evident in the mourning scenes. Among the mourners usually some young girls can be seen taking part in the mourning performance, crying and rising arms as their adult companions. These young girls could be depicted in a smaller scale or nudes, showing this way their lower status. Also, according to the canon of Ancient Egypt, they should be represented with the side lock of hair. But from the New Kingdom it did not always follow the rule and some variations were introduced in the way of drawing the chiildhoodin Ancient Egypt.
For instance already in the tomb of Ramose, dating from the XVIII Dynasty, there is a group of common mourners in the funerary cortège. Some of them could be young girls due to their smaller size in the depiction, although they appear with the same long hair and the same clothes as the adults. One of them, however, was really a very young girl, due to the samller scale, her nudity and her different hairstyle: a middlelong hair, fringe and sidelock of hair.
In the tomb of Ameneminet (TT277) from the XIX Dynasty…
Ancient Egypt gives us again a good document. The tomb of Amenhotep, the Gater’s keeper of god Amun, has been discovered in Gourna.
Although it is still too soon for seeing the whole decoration, some images of the walls can help us to imagine how could be some complete scenes.
Funerary procession of Amenhotep, the gatekeeper of god Amun in Gourna. XVIII Dynasty. Photo www.thecairopost.com
This is the case of a part of the funerary procession, which can be seen on the right wall of the funerary chapel. Walking to an image of the ancient Egyptian god Osiris there is a depiction of a typical funerary procession of Ancient Egypt: In the upper register two oxen with ropes attached to their horns are moving forwards the West, one man stimulates the animal with a kind of branches (a natural whip), some men are holding the rope, two men are raising their arms, another one is burning and pouring; behind him there is a standing man with a long stick and dressed with a kind of shroud…
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The most evident proof of the importance in Ancient Egypt of Isis and Nephthys in a rebirth process is in the Books of the Day and Night, which describe the journey of the sun god through the sky.
According to the thought of Ancient Egypt, especially during the New Kingdom, Nut was the goddess of the sky, so the sun made a journey through the goddess’ body.
The dusk happened because Nut swallowed the solar disk and during the night he traveled all over the Nut’s belly. The morning after, the sunrise meant that Nut was giving birth the solar disk. That is the iconography that the artist of Ancient Egypt depicted on the ceilings of tombs from XX Dynasty.
But Nut was also Osiris’ mother and the resurrection of the dead in Ancient Egypt happened because the corpse was assimilated to Osiris, so the new-born was Osiris, son of Nut, who was assisted by Isis and Nephthys.
Isis and Nephthys receiving the solar disk. Book of the Night. Tomb of Ramses IX.Photo: Thebanmappingproject
Taking that into consideration, it make sense that the priests of XX Dynasty included the figures of Isis and Nephthys in the sun disk rebirth. As a consequence the artists of Ancient Egypt had to create a new iconography with the union of the sun rebirth and the Osirian tradition of the two divine mourners.
The religion of Ancient Egypt developed during the New Kingdom sophisticated religious texts, which combined the solar theology with the Myth of Osiris. As a consequence, the art of ancient Egypt included in its corpus of images a new solar-Osirian iconography.
As we saw in the previous posts, the artists of Ancient Egypt started painting during the XVIII Dynasty the solar god Khepri in the company of two human kneeling figures of Osiris in the eleventh hour of the Amduat. In the XIX Dynasty, Isis and Nephthys, the two mourners of Osiris took part of the solar imagery and they were depicted at both sides of Re-Osiris and of the solar disk.
Isis and Nephthys with the rising Ositis and Re. Chapter four of the Book of the Caverns. Tomb of Ramses V-VI. XX Dynasty. Photo: The Theban Mapping Project.
During the following history of Ancient Egypt this tendency was even more evident. In the XX Dynasty the artists of Ancient Egypt created for the Book of the Caverns and The Book of the Earth new icons of the solar rebirth with the assistance of Isis and Nephthys…
The union of Re and Osiris supposed a challenge to the Ancient Egyptian Art, since new iconography was needed for decorating the tomb walls and the papyri.
From the XVIII Dynasty, some passages of the Book of the Dead were introduced in the royal tombs decoration and that meant to depict moments and gods from the Myth of Osiris into a royal space. However the monarchy was assimilated to the sun god, so some Osirian images suffered a solarization. That forced the ancient Egyptian artist to think of an Osiris-Re iconography.
The mourner (left) and Isis the kite (right) in the decorative program of Sethos I.
We saw that in the XVIII Dynasty the figure of Khepri rising up between two images of a kneeling Osiris was the image of the first hour of the Amduat. But the Osirian world was maybe too important in ancient Egyptian belief for reducing it just to this iconography. The conception of the dead god, which resurrected thanks to the action of two women (Isis and Nephthys) was maybe too stablished in the ancient Egyptian thought.
Not for nothing in the XIX Dynasty Sethos I introduced Osirian iconography in royal monuments and he did not forget the two professional mourners…
The union of Re and Osiris in ancient Egyptian culture produced as a result new decorative motives in the ancient Egyptian iconography.
The earth god and the sky god needed to be reconciled in religious scenes and from the New Kingdom artist worked in creating new depictions of this mixed conception of ancient Egyptian religion.
In the Book of the Amduat Re in its journey had to unite with Osiris in the depths of the night and receive the power to be reborn in the morning. This idea written in hieroglyphs needed its iconographic reflection. Here ancient Egyptian artists from XVIII Dynasty started their brainstorming.
One of the main challenges for priests and artists in Ancient Egypt were to combine the osirian and solar cosmogonies in the funerary literature and iconography.
Ram-Headed mummy (Re-Osiris) with Isis and Nephthys. Tomb of Nefertari. XIX Dynasty.
The two main pillars in the belief of resurrection in Ancient Egypt were the myth of Osiris and the solar theory. The central aspect in the first one was the resurrection and new life in its most human version: a human body (Osiris), which needs to be embalmed and revived for the eternity. In the second one the stellar body (the sun-Re) did a cyclic trip through the sky; it died in the night and sailed in the solar bark through the dark sky; in the morning after the sun came back to life renewed plying the clear sky.
In Ancient Egypt both ideologies, due to its importance, were quickly conciliated as two versions of a same concept. In the thinking, ancient Egyptian priests could unite Re and Osiris in the funerary texts through the narrative, that is why, for instance, in chapter 67 from the Book of the Dead the dead Osiris wants to get out from the tomb and get into the solar bark of Re.
What happened in the art of Ancient Egypt?