“The Hand to the Mouth”. Suckling the Dead in Ancient Egypt.


Funerary practice in the mastaba of Qar with lector priest, embalmer and mourner Drt; the scene is closed by two images of an ox. V-VI Dynasty. Giza. Ancient Egypt. Image: W.K. Sympson.

Funerary practice in the mastaba of Qar with lector priest, embalmer and mourner Drt; the scene is closed by two images of an ox. V-VI Dynasty. Giza. Image: W.K. Sympson.

The assiduousness of the icon in the icnongraphy of Ancient Eypt of the mother bringing closer her breast with the aid of her hand to her baby’s mouth seems to be plenty of sense in the ancient Egyptian belief related to the new life. For that reason it does not seem too crazy to think that the expression “Djat Ra” (“the hand to the mouth”) from the tomb of Qar was related somehow to the dead’s resurrection. Let’s also remember that this gesture “Djat Ra” was closely related to the Opening of the Mouth ceremony and the resurrection of Qar’s corpse.

how-to-breastfeed-your-babyThat quotidian gesture of bringing the breast to the baby’s mouth is, in fact, a very basic way of opening the baby’s mouth, for allowing him to nurse. The first tip given to mothers at the beginning of the breastfeeding is to open well the baby’s mouth and to point the nipple to the middle part of the baby’s palate.

In the context of Ancient Egypt this idea would fit in the following way:  

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“The Hand in the Mouth”: Nursing the Baby in Ancient Egypt.


Funerary scene in the tomb of Qar. VI Dynasty. Ancient Egypt

Funerary scene in the tomb of Qar. VI DynastyPhoto: Hair and Death in Ancient Egypt

The ancient Egyptian expression “Djat Ra“appears in a resurrection scene in the tomb of Qar; according to the inscription the mourner and the embalmer are making the “Djat Ra“. It could be a way of indicating  literally the gesture that both were making.

However, the expression “Djat Ra” also meant “feeding” [Wb V, 514] as the gesture of taking the mouth to the food. It could be related to the funerary offerings, which would grant the food for the dead in the Hereafter. But, it could also refer to gesture of the mother taking her breast to her baby’s mouth for nursing him. In fact the mother approaches her hand to her baby’s mouth for moving her breast closer.

Statuette of nursing woman. XII Dynasty. Ancient Egypt. Brooklyn Museum

Statuette of nursing woman. XII Dynasty. Ancient Egypt. Brooklyn Museum

The woman nursing her baby is a very common icon in Egyptian art. We can find many examples in the private sphere of reliefs and statuettes of nursing women.

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The Dead: An Observer in the Egyptian Art.


Perspective in Egyptian art was special. For us, perspective is the representation on a flat surface of reality how it is seen by human eye. That means that observer is an important element when the artists paints or draw something.

Coffin of Khonsu. XIX Dynasty. From Deir el-Medina. Ancient Egypt.

Coffin of Khonsu. XIX Dynasty. From Deir el-Medina. Photo: Metropolitan Museum of Art of New York.

In Egyptian art the artists had to represent reality, not how it was seen, but how it was.  The Egyptian artisan did not think about depth or vanishing point when drawing, because ancient Egyptian art was not made for being contemplated, but it had a religious purpose.

However in some moment Egyptian art kept in mind the observer’s concept. When the anthropoid coffin appeared in Ancient Egypt, a new surface, with a new shape had to be decorated. This new object offered to the Egyptian artist different spaces for the iconography in the same object.

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Hair was essential in Aztec Mourning like in Ancient Egypt.


Mourning is a extended practice in funerals of many cultures all over the world. Not just in Ancient Egypt, but also in some other African cultures, in the ancient Assyria or in Archaic Greece.

Recently I wrote a short text about mourning in Ancient Egypt for www.mexicolore.co.uk, an on-line platform for the diffusion of Aztec culture. My contribution was just a small text included in an article about the mourning among the Aztecs.

Aztec ritual weeping; Florentine Codex, Book 1.

 Aztec ritual weeping; Florentine Codex, Book 1. Photo: http://www.mexicolore.co.uk

 

American cultures prove, not only that crying for the dead in funerals is a practice inherent to human being, but also that hair is an essential element during the “ritual weeping”.

According to Katherine Ashenburg, Aztecs (central Mexico) had also, as in Ancient Egypt, professional mourners for crying for to dead kings and noblemen and for those who died in war.  Those Aztecs professional mourners did, together with the widows and the children of the deceased ones, a public lament, in which they cried and showed their long and disheveled hair as a proof of their sadness. In addition, during 80 days the widow (s) entered in a period of real dirty, since they could not wash themselves, nor their bodies, nor their hair…After that a ritual washing happened for concluding the mourning.

Native woman from Michoacan

Native woman from Michoacan plaiting her hair.

On the other hand, it is said that native women from Michoacan (in the south of Mexico) plaited her hair for catching in it pain and sadness.

Summing up, also in American cultures women’s hair was a very important element related to the mourning practices, as it was in the ancient Egyptian culture.

 

The Ancient Egyptian Goddess Serket. The Water Scorpion that Helped the Dead Breathe.


Serket from the tomb of Nefertari. XIX Dynasty. Ancient Egypt.

Serket from the tomb of Nefertari. XIX Dynasty. Valley of the Queens. Photo: www.jfbradu.free.fr

It has been always thought that the ancient Egyptian deity Serket was the Scorpion Goddess, whose power was in her stings.

 

Scholars considered that, due to the quality of killing with the poison, Serket was in Ancient Egypt an effective divine protection against poisonous bites.

 

Nowadays it is widely considered that in fact Serket was not a scorpion, but a nepid, that is a water scorpion.
Water scorpion

Water scorpion. Photo: www.geoffpark.wordpress.com

The water scorpion is an insect which lives in the marshes and, whose appearance remembers the one of scorpions. The water scorpion looks like an earth’s scorpion due to the shape of its two forelegs and to a long breathing-tube at the end of the abdomen that looks like a sting.

Although morphologically they seem to be very close, the nepid is a harmless insect, while the scorpion is harmful and in some cases can cause death. The bite of a scorpion produces many damages, among them the asphyxiation; on its behalf the waterscorpion presents a breathing-tube at the end of the abdomen which allows t take air while the animal is under the water. So, Ancient Egyptians could have considered the water scorpion as the positive counterpoint of the lethal scorpion. They would be the both side of the same matter:

Serket. scorpion versus nepid

Serket. scorpion versus nepid

Serket.Hieroglyph. Ancient EgyptOn the other hand, Serket is a name which comes from the verb srk:Serket. Name in Hieroglyps. Ancient Egypt

which means “breathe”, “make breathe” (Wb IV, 201). And Serket is the short version of the name of this goddess. Her complete name was srkt Htw:

Serket. complete name. Ancient Egypt

This ancient Egyptian name meant: “she makes breathe the windpipe”.

Among the faculties the dead (assimilated to Osiris) needed for coming back to his new life, was the breath. According to the belief of ancient Egypt, it was Isis the goddess who blew air to the nostrils of Osiris by beating her wings. And Serket was eventually assimilated to Isis.

Isis as a kite flaps wings and put herself over her husband.  Relief from the temple of Seti I in Abydos.  XIX Dynasty. Photo: www.passion-egyptienne.fr

Isis as a kite flaps wings and put herself over her husband. Relief from the temple of Seti I in Abydos. XIX Dynasty. Photo: http://www.passion-egyptienne.fr

This exposure makes us think of the posibility that ancient Egyptians included Serket in the team for protecting the corpse thanks to her faculty for allowing the breathing.

The Ancient Egyptian Goddess Serket, a Dead Protector.


Last week we knew that the ancient Egyptian goddess Neith had her reasons for being part of that team of four goddesses-mourners (Isis, Nephtys, Neith and Serket) protecting the dead.

Serket as scorpion. Statue from Late period. Musée du Louvre. Ancient Egypt

Serket as scorpion. Statue from Late period. Musée du Louvre. Photo: www.museumsart.de

Serket was also a very important divinity in the Egyptian pantheon. She had a great healing power and for that reason she was invoked in ancient Egyptian remedies against scorpion bites.  

 

 

In the funerary sphere of Ancient Egypt Serket helps the Egyptian solar god in his daily rebirth. Re, during his journey in the darkness of the night has to fight against his enemy, the serpent Apophis, which is facing the solar bark.

Serket killing Apophis. Detail from the tomb od Seti I. XX Dynasty. Ancient Egypt

Serket killing Apophis. Detail from the tomb od Seti I. XX Dynasty. Photo: www.bibelwissenschaft.de

The Egyptian the Book of the Amduat from the New Kingdom tells how in the seventh hour, which takes place in the Cavern of Osiris, the power of Serket becomes a great help for defeating Apophis. This great serpent had drunk all the water and the solar bark juts could move thanks to the magic of Isis (the magic of Isis helped also Anubis in the mummification process of Osiris). So, Apophis was in the solar sphere of Ancient Egypt the image of chaos. And among the gods who helped Re against his enemies, was Serket, whose power helped in capturing Apophis and dismembering his body.

Serket from the tomb of Khaemwaset. Valley of the Queens. XX Dynasty. Ancient Egypt.

Serket from the tomb of Khaemwaset. Valley of the Queens. XX Dynasty. Photo: www.corbisimages.com

But Serket appears also associated to the Myth of Osiris. According to a version of the legend Serket helped Isis and Horus the Child when both had to hide from Seth in the marshes. Maybe for that reason Serket appears already mentioned in the Pyramid Texts of Old Kingdom associated with Isis, Neith and “The Two Harmonious Ones” (Pyr. 308).

However, is this link of the goddes with the protection of the dead, which comes from ancient times, related just to these two things we have mentioned?

Next week we will tackle an aspect of goddess Serket, which could make easier to understand her association with the protection of the corpse.

Why Became the Ancient Egyptian Goddess Neith a Protective of the Dead?


In Ancient Egypt Isis, Nephtys, Neith and Serket formed a team of four goddesses, who protected the caponic jars containing the organs of the dead.

Canopic shrine of Tutankhamun. Serket. Ancient Egypt.

Canopic shrine of Tutankhamun with Serket on the left and Isis on the right. XVIII Dynasty. Cairo Museum. Photo: www.globalegyptianmuseum.org

For that reason Egyptians depicted these four goddesses in the canopic chests and sometimes also in sarcophagi.

We know that the link of Isis and Nephtys with the corpse is related to the Osiris Legend and to their mourning rite for helping him in his final resurrection. But, which attributes did Neith and Serket have for being part of that divine quartet?

In the case of Neith maybe the link would also be related to the Myth of Osiris, and concretely to the incident of the battle between Horus and Seth. This Ancient Egyptian myth tells how Horus had to revenge the death of his father Osiris at the hands of Seth. In the most popular version Horus and Seth battled, with the resulting bloodshed, which ended with the victory of Horus.

Canopic chest of priest of Montu Pady-Imenet. Neith pouring water on Qebehsenuef, the son of Horus who protected the intestines. XXII Dynasty.Luxor Museum. Ancient Egypt.

Canopic chest of priest of Montu Pady-Imenet. Neith pouring water on Qebehsenuef, the son of Horus who protected the intestines. XXII Dynasty. Luxor Museum. Photo: www.ancient-egypt.co.uk

According to another version, a court trial had to resolve the conflict. The gods were assembled in Heliopolis and Horus stated againt Seth. But, due to a lack of information the gods decided to write to Neith, an ancient Egyptian goddess of wisdom, and ask her for advice. The answer of Neith was clear: Seth was an usurper; Horus was Osiris’ legitimate heir, so he had to be in the throne of Egypt.

It seems quite probably that this mythical defence of Osiris and his son Horus caused the introduction of Neith in the funerary thought of Ancient Egypt as a protective goddess of the organs of the dead.

And…what about Serket?

 

The Beauty of Hair in Ancient Egypt.


Hair has been from ancient times an important element for preserving a good- looking. Recently in the blog Studia Humanitatis it was published a very interesting post about how the concept of a woman’s beauty is closely related to hair.

He mentioned a passage of The Metamorphoses of Lucius Apuleius, in which he falls in love of Fotis and concretly of her hair. The author notices then that hair is the main point of beauty of women for two reasons: 1)  because it is the first thing that men see and that it is shown to them;2) becasue, if the clothes embellish the body, the hair do the same thing with the head. In fact, Apuleius dedicates a big paragraph for exalting the sensuality of a long hair, the gesture of plaiting it, the hair loose… and he says that a bald women could never be attractive. (Lucius Apuleius, The Metamorphoses, II, 8-9).

Woman with mirror. Turin Papyrus. Ancient Egypt

Woman with mirror. Turin Papyrus. Photo: www.gettyimages.es

This thoutgh can also be applied to Ancient Egypt. For Egyptians the appearance was such a important thing, that cosmetic remedies were included in medical texts. For instance the Edwin Smith Papyrus includes prescriptions for renewing the skin and rejuvenating the face (Pap. Edwin Smith, V. 4, 3-8).

Hair was not an exception in Ancient Egypt among beauty cares. Egyptians were concerned, as nowadays, about grey hair and baldness. The Papyrus Ebers shows many remedies against these two problems, always using the natural components they had.

Man with sparse hair. Painting from the tomb of Horemheb. XVIII dynasty. Louvre Museum. Ancient Egypt.

Man with sparse hair. Painting from the tomb of Horemheb. XVIII dynasty. Louvre Museum. Photo: www.lessingimages.com

For growing hair Ancient Egyptians rubbed the scalp with a mixture of tooth of ass with honey, also they rubbed the bald area with a mixture of fat from different animals (lion, hippopotamus, crocodile, cat, snake and goat).

Ostraca from Louvre Museum with men with alopecia. Ancient Egypt

Ostraca from Louvre Museum with men with alopecia. Photo: www.wikipedia.org

Ancient Egyptians fought against accidental alopecia rubbing the affected area with quills of hedgehog warmed with oil or with a mixture of lead and froth of beer.

Finally, against grey hair men and women from Ancient Egypt applied blood of the gabgu bird (an unknown bird mentioned in the Coffin Texts as a dangerous bird) for dyeing the white hair, or horn of deer mixed with warm oil, or womb of cat mixed with egg of gabgu bird and oil. Grey eyebrows could be dissimulated with a mixture of liver of an ass, warm oil and opium.

Obviously we do not know the efficacy of these beauty remedies for the hair, but our question is: if they were important in Ancient Egypt for the livings, were they also for the dead? Did the Egyptians apply these prescriptions to their mummies? Had their mummies be as beautiful as possible for the Afterlife?

Mummy with wig of queen Henuttawy. XXI Dynasty. Cairo Museum. Ancient Egypt

Mummy with wig of queen Henuttawy. XXI Dynasty. Cairo Museum. Photo: www.commons-wikimedia.org

 

 

 

Hair in Egyptian Art for Respect and Reverence in Women.


Egyptian artisans of the New Kingdom used hair in their drawings for expressing body movements (dance, body bow…).

This technique, adopted from the way of drawing the professional mourners, was applied to the masculine figures in a respectful attitude. The front lock of hair forwards helped the Egyptian artist to represent the respectful bow in front of deities.

Later on, we find that this same practice was applied also to some femenine figures.

In the Papyrus of Anhai, which dates from XX Dynasty, the dead women was represented  also bending her body to the goods, but her whole mane of hair is shaken forwards. The gesture remembers the one of the mourners covering their faces with their hair.

Papyrus of Anahi. the dead woman with her hair forwards and bending her body as a sign of respect. XX Dynasty. Ancient Egypt . British Museum.

Papyrus of Anahi. the dead woman with her hair forwards and bending her body as a sign of respect. XX Dynasty. Photo: British Museum.

Obviously we are not facing here a mourning rite. The Egyptian artist took the tachnique from the mourning scenes and this way he could stress the gesture of respect of the dead women in front of the goods.

The point here is to see how this practice of the whole mane of hair forwards is applied in Egyptian art to a female figure. While for the dead men the front lock of hair was enough for stressing the respectful attitude. The idea that comes to our mind is that the hair forwards covering the face was in Egyptian art just a female gesture.

Book of the Dead of Henuttawy. XXI Dynasty. Ancient Egypt. British Museum

Book of the Dead of Henuttawy. XXI Dynasty. Photo: British Museum

The Book of the Dead of Henuttawy dates also from XXI Dynasty and shows Henuttawy adoring the rising sun . In this case the body gesture is not just respect, but reverence. She is completely on earth, kneeling and facing the ground, while many locks of hair are falling in front of her head. Here the Egyptian artist utilised this femenine resource of the disheveled hair falling forwards for stressing the reverential attitude of the woman.

Summin up, Egyptian artists used the hair for representing the mourning gestures of women in funerals. This technique was later also adopted in Egyptian art from the New kingdom to express some quotidian body movements (playing music, dancing, bending) and some attitudes related to them (respect and reverence).

 

 

Hair in Egyptian Art for Expressing Respect.


Hair became in Ancient Egypt a resource for expressing things.

The bending hair was used in Ancient Egypt art for drawing body movements.

As some movements were related in ancient egyptian belief to some attitudes, hair was also used for expressing those attitudes. We are referring concretly to “respect”.

The gesture of bending the body forwards was utilised by artists of Ancient Egypt for expressing the respect in front of kings and deities. And the hair forwards became a resource of stressing this gesture of veneration.

Papyrus of Ani. The couple in front of the final judgment. XIX Dynasty. British Museum. Ancient Egypt

Papyrus of Ani. The couple in front of the final judgment. XIX Dynasty. Photo: British Museum.

One good example is the Papyrus of Ani (XIX Dynasty) in the Brisith Museum. In it  we can see the couple bended when coming in front of the final judgment. Ani’s wife appears with her hair slightly forwards, this way the Egyptyian artists emphasized her body movement.

Papyrus of Ani. Ani greeting the Ennead. XIX Dynasty. British Museum. Ancient Egypt

Papyrus of Ani. Ani greeting the Ennead. XIX Dynasty. Photo: British Museum.

This was exagerated in the same papyrus when, after passing the judgment, Ani gets into paradise and greets the gods. In this case Ani is represented with a front lock of hair forwards; the artist stressed the meaning of bending the body as a signof respect.

The papyrus of Ramose (XIX Dynasty) in the Fitzwilliam Museum of Cambridge is too damage, but we can guess the same scene as in the former one. Ramose’s body is greeting the gods, while his body is bended and a front black lock of hair can be discerned.

Book of the Dead (Papyrus of Ramose). Ramose seems to show his front lock of hair. Fitzwilliam Museum. Cambridge. Ancient Egypt.

Book of the Dead (Papyrus of Ramose). Ramose seems to show his front lock of hair. XIX Dynasty. Photo: Fitzwilliam Museum. Cambridge.

Although these examples all date from XIX Dyansty, next week we will see that it was not trendy just at that time,