Unpublished Ptah-Sokar-Osiris figure of DHwtj-msj son of Hp-anx(.w) at Cairo Museum

The Islamic Art Museum in Cairo is regarded as one of the most important and oldest museums specializing in Islamic art worldwide. It houses the largest and most exquisite collection of movable Islamic artifacts, comprising approximately 103,000 artifacts that represent all branches of Islamic art across various Islamic eras. Many scholars have conducted in-depth research on several of the masterpieces within the museum. These diverse artifacts include wooden, glass, ceramic, metal, textile, jewelry, coins, weapons, stone, and marble objects, as well as manuscripts. The museum also contains sections dedicated to astronomy, mathematics, science, and medicine. The significance of this study lies in the use of technology and digitization for the preservation and documentation of both stored and displayed artifacts within the museum and in external exhibitions. The main aim of this paper is to highlight the importance of digitization in inventorying, recording, documenting, identifying, and preserving the masterpieces housed in the Islamic Art Museum situated in Cairo, whether on display or in storage. The study also aims to provide comprehensive sources of information and images for researchers and scholars inside and outside Egypt. Moreover, it aims to protect these movable objects from theft and counterfeiting. The paper depends on a descriptive and analytical approach by detailing the overall state of digitization in museums and specifically in the Islamic Art Museum in Cairo, examining digitization projects, tools, and technologies, and subsequently analyzing their efficacy in preserving, safeguarding, and studying movable archaeological artifacts.

This paper deals with the exterior decorations and texts on the inner coffin of PA-dj-imn in Cairo Museum as representation of the Judgment of the Dead. Scenes on the lid of the coffin will be related to the ritualized Judgment of the Dead, while the case decorations will be considered as representation of the Hall of the Judgment. The scenes will be arranged in a sequence and will be dealt with as a single unity. The inner coffin of PA-di-imn dates to the reign of the High Priest Pinudjem II. Recently Niwiniski has provided a primary publication of the coffin in Cairo Museum.

The research aims to shed the light on an unpublished rare terracotta statuette at Gallery No. 39 in the Egyptian Museum in Cairo, Registry No. 27367. This terracotta statuette was never studied before, therefore the researcher discuss, by descriptive and analytical study, the figurine which to represent boy servant who is holding a hydria vase and is emptying it in a large amphora vase. So, this research paper discusses the profession of this boy, his identity, and his position in the Egyptian society at that time. The study also aims to try to search for the source of this distinguished piece of art and interpret it artistically according to the accompanying utensils as well as its technical attributes, and then try to date it accurately according to these attributes

The study emphasizes the significance of swimmer figurines in the Egyptian Museum in Cairo collection, highlighting their intricate craftsmanship and use of precious materials. By comparing these artifacts to similar items in international museums, the research aims to fill gaps in provenance and dating. Many of the excavated spoons were inadequately documented before being incorporated into museum collections, resulting in a loss of valuable historical information regarding their original use. The research investigates the difficulties in documenting ancient Egyptian female swimmer spoons and explores the role of glass negatives in preserving these artifacts for archival purposes. The use of glass negatives offers a higher resolution and more detailed representation of these artifacts, preserving their image quality for future research. This paper aims to study the function, history, and features of the female swimmer spoons from the Egyptian Museum.

The study highlights one of the most significant periods through the ancient Egyptian history. The research deals with two divine Statuettes from the twenty-sixth dynasty in the Egyptian Museum in Cairo. Furthermore, the definition of the late emphasizes that the reason for the use of term Late period is due to the late of the time not the late of the Civilization because during this period, there were strong dynasties in Art, Civilization and the Policy. Moreover, the research represents a full explanation of the two divine Statuettes, their positions, materials, their natures, jewelers and their insignias.

Rituals against enemies, including the execration rituals and texts, have been studied at some length. However, the gaps in knowledge about the rituals, and the potential sources that must remain unexcavated in the field or unrecognized in museum storerooms have been lamented by scholars. Often overlooked in storage or even on display, many execration figures lack the definitive provenance that might make them more appealing to researchers. The Egyptian Museum in Cairo holds a significant collection of execration figurines. The present contribution is the result of research undertaken at the EMC concerning three groups of execration figurines and associated objects. The three groups feature one or more figurines contained inside a distinctively shaped Egyptian alabaster container, thus making them unique among execration deposits. This paper aims to place the material studied within the larger scope of the study of execration figurines through a detailed examination of possible find spots, dating, and parallels for the figurines and associated objects.

Technical and analytical investigations were carried out on an overhead mask of woman cartonnage from the Egyptian Museum in Cairo (catalogue 33279), which dated back to the Greco-Roman Period. Various non-invasive techniques were used in this study such as: AutoCAD program, multispectral imaging with Ultraviolet and Infrared Rays, optical microscope, X-ray fluorescence spectrometry (XRF), and Fourier transform infrared spectroscopy (FTIR). The structure of the cartonnage was unique and consisted of three distinctive layers, from the bottom to the top; a double layer from linen, a calcite-based plaster layer, and finally a polychrome paint layer. The study of the paint layer revealed the presence of blue, red, white, yellow, orange, brown and black pigments. Yellow color was identified as orpiment (As2S3) and yellow ochre (goethite α-FeO.OH + clay minerals) and blue as Egyptian blue (CaCuSi4O10). Two red shades were also detected of which the lighter is red lead (Pb3O4) and the darker is a mixture hematite (α-Fe2O3), red lead (Pb₃O₄) and calcite (CaCO3). Orange was identified as a mixture of orpiment (As2S3) and red lead (Pb3O4), white as white lead (PbCO3)2•Pb(OH)2,and black as magnetite (Fe3O4). The brown pigment, made up of red hematite, red lead, and black manganese, was detected for the first time in the pigment palette of ancient Egyptian cartonnage. The binding medium in linen layer was identified as Arabic gum. The study showed that cartonnage dated back to the Graeco-Roman Period because of the appearance of red lead, orpiment, and Egyptian blue. Moreover, the presence of lead in the components of Egyptian blue is considered evidence that ovens contain lead resulting in changing the manufacturing techniques of Egyptian blue.

This paper aims to study some unpublished lanterns, preserved in the Islamic Art Museum in Cairo through analytical, historical and artistic study. In general, the lanterns are oil lamps and usually with a large round bulbous body, reaching to a narrower center, where above it is the flaming top section. These lanterns can be placed on a surface, however they were commonly suspended by chains and in these chains there were some loops on the outer surface of the body of lanterns that were used to light mosques or any other architectural buildings during Islamic times and in order to light large areas in groups of lanterns, hanging from a metal frame that had the form of a circle, these circular frames continued to be used in many mosques till nowadays. In researching for the collections and antiques, preserved in the Islamic Art Museum in Cairo, it is observed, that there are some unpublished lanterns, have not been discussed and have not been concentrated and strongly investigated by researchers. This study seeks to discuss these unpublished lanterns that include a significant layout of artistic styles, this is besides the historical and archaeological value of these lanterns. The methodology of this study will be addressed through descriptive, historical, artistic and analytical study; this will be revealed through discussion, investigation, analysis that can be detected through detailed interrogation of the objects, elements and structure of the content of this study.

This study aims to investigate enameled office crew collections from the Faculty of Applied Arts' Museum in Cairo, Egypt. It is a unique collection that is widely distributed in several international museums. Most recent studies have emphasized the importance of studying this type of metal and learning about ancient decoration techniques, causes, and common deterioration manifestations. The collection was embellished with various opaque and transparent enamel colors, as well as champlevé and painting enamel methods. This study explores a rare collection dating back to the Ottoman era, particularly the eras of Sultan Abdul Hamid II (1293-1327 AH/1876-1909 AD) and Khedive Abbas Hilmi II (1320-1333 AH/1892-1914 AD, which is characterized by a unique decorative style. Various analytical techniques were used to determine and investigate the office crew collection. The enamel, metal, and degradation properties were ascertained by analytical methods, such as visual assessment, portable digital microscope, portable X-ray fluorescence, and scanning electron microscope with energy-dispersive X-ray spectroscopy (SEM/EDX). The findings indicated that the metal substrate of each piece in the collection is an alloy of copper and silver, with iron making up a portion of two of the pieces. Also, gold remains were found on the obverse and in a few additional spots, which were not visible due to the black layer covering all parts of the pieces. Furthermore, the examination helped identify the deterioration manifestations of the office crew, including tarnish throughout the metal surface, enamel scratches, pits, fissures, and microcracks. The enamel investigation revealed the presence of silica, potassium, sodium, calcium, and lead; nevertheless, the color tone was attributed to the extremely low quantities of Cu and As and some special cases for each enamel color with the discovery of a unique technique for applying red enamel to the surface of the pieces. The results of the elemental analysis affirmed the authenticity of this collection.

This paper aims to publish the inner coffin of a woman named Irtiru, which was found in Sheikh Abd el-Qurna, Thebes, perhaps in a tomb in the west of the Ramesseum, and dates to the second half of the 26th Dynasty according to the typology and criteria of the decorations. It is currently on display at the Egyptian Museum in Cairo (JE 20031). The coffin was perhaps part of a coffin set along with outer and intermediary anthropoid coffins, which are now missing. Iritiru belongs to the lower elite according to the coffin’s decorations and its crude, banal, repeated inscriptions; Irtiru held the title “singer of the interior of the temple of Amun”. The coffin depicts scenes related to Bd 125, 138, and 154, along with other scenes that describe the deceased’s journey from death until her resurrection.

The Ancient Near East:History, Texts, etc Christopher T. Begg and Isaac M. Alderman 31. [The Stela of Lady T-rp(yt)] Abdelrahman Ali Abdelrahman, "The Stela of Lady T-rp(yt) in the Egyptian Museum in Cairo," AO 39 (2, 2021) 161-66. This article studies the stela of a woman named Ta-repit, which is now housed in the basement of the Egyptian Museum in Cairo. I provide a brief description of the scene depicted on the upper part of the stela and then present a transliteration and translation of the hieroglyphic inscriptions on its lower part. I conclude with some philological comments, including a proposed emendation of the name of the mother of the owner of the stela. [Adapted from published abstract—C.T.B.] 32. [A "Literary" Fragment from the Istanbul Sippar Archive] Selim Ferruh Adali and Eckart Frahm, "The Slave-Girl's Child: A 'Literary' Fragment from the Istanbul Sippar Archive," AO 39 (1, 2021) 5-17. In this article, we publish a fragmentary clay tablet from the Sippar Collection in the Cuneiform Tablets Archive of the Istanbul Archaeological Museums, inventoried under the museum number Si 735. The tablet seems to record, in literary language, the ruminations of a man about a female slave who had given birth to his son. Due, however, to the tablet's poor state of preservation, many aspects of this unusual text remain unclear. After introductory remarks on the nature of the tablet and a brief discussion of the above-cited "Sippar Collection," we provide an edition of the text, together with notes on its orthography, language, structure, and genre, as well as a philological commentary. [Adapted from published abstract—C.T.B.] 33. [Charles Clermont-Ganneau and the Mesha Stela] Isabel Bonora Andijar, "Charles Clermont-Ganneau et la redécouverte de la stèle de Mésha," Stèle de Mésha/Mescha-Stele, 97-138 [see #922]. A.'s historical study complements that of S. Willert (see #93) concerning the tangled story of how the Mesha Stela made its way from Dibon in ancient Moab, where it had stood for some two and a half-millennia, to its current resting place in the Louvre during the years 1868–1873. Basing herself on the archives of several Parisian institutions, A. highlights the involvement of the French consular official and epigraphist Charles Clermont-Ganneau (1846–1923) in this process, first in acquiring the pieces of the stone which had been smashed by Bedouins shortly after its discovery in situ by A. F. Klein and selling these to the Louvre and then working himself at the Louvre on the reconstruction of the stela (a project he brought to successful completion in 1875) on the basis of drawings and a tracing of the still intact artifact which he had commissioned several Arab workers to carry out prior to its destruction.—C.T.B. 34. [Babylonian Bird Omen Collections, Astral Observations and the Manzāzu] Netanel Anor and Yoram Cohen, "Bird in the Sky—Babylonian Bird Omen Collections, Astral Observations, and the Manzāzu," Revue d'assyriologie et de'archéologie orientale 115 (2021) 51-80. The purpose of our paper is to discuss Babylonian bird omen collections in order to determine how a sacrificial bird's outer physical organs might have been interpreted by the diviner as signs of potential celestial events. On this basis, we argue that the well-known term manzāzu refers to the concrete appearance of a deity as an astral body during the [End Page 10] course of an extispicy ritual. Our discussion concludes with a full edition of a bird omen compendium (YOS 10.51, YOS 10.52, and J. Nougayrol, 1967). [Adapted from published abstract—C.T.B.] 35. [The Late Babylonian Medical Compendium Tablet, BM 32277+] András Bácskay, "Medical Treatments against Respiratory Diseases, Ear Complaints and Migraine: An Edition of a Late Babylonian Medical Compendium Tablet, BM 32277+," Revue d'assyriologie et d'archéologie orientale 115 (2021) 159-74. My paper presents an edition and analysis of a previously unpublished Late Babylonian medical tablet from...

The paper is an editing four Greek documentary ostraca preserved in Cairo Museum preserved among a large collection, that has been divided into two group ostraca in the third floor of Cairo Museum (D3East). The ostraca have been brought to the museum on January 25th, 1955 from the region of Thebes (specifically from either Elephantine or Syene, as it is sometimes mentioned in some ostraca and as it is mentioned in this paper in O. No. 20b). These four ostraca have been published for the first time. The four ostraca have the same inventory number (S.R.18953). The editor has numbered the two collections into a separate serial number to each group. They date back to: 1- The 23rd year, 21st of Pachon (19 June 158 BCE), 2- the 30th year, the 22nd of Pharmouthi of the reign of Ptolemy IX Soter II (May 3rd 87 BCE), 3- Beginning of 2nd century CE and 4- 2nd century CE in sequence. The first document is O. No. 6b and measures 11.9 cm in width x 12.9 cm in length. It is bilingual and consists of five complete lines (four Greek and one Demotic) that have been written on the recto (convex), while the verso (concave) is blank. It is a Granary Receipt in which two tax-payer acknowledge that they have paid five and one-six artabas of wheat to a sitologos (whose name is illegible). The document has some problematical reading in the proper name in the beginning of line 2 and the proper name in line 4. The second document is O. No. 20b and measures 5.1 cm in width x 8.7 cm in length. It has preserved complete seven lines and the verso is blank. This document mentions clearly in line two that the place to which it belongs (i.e. Syene, modern Aswan). It is uncertain Treasury receipt? Where almost all the parallels with the same or close formula are Treasury receipts. The hand is well-trained and the text is almost legible and clear except for the last word in line 6. In the text, Patapes declares that he paid an amount of money to an official whose name or title is not clear in the text, yet it mostly the banker of the village. The third is O. No. 6a and measures 13 cm in width x 12 cm in length. This potsherd has preserved four complete lines on the recto, while the verso is blank. It is a short Decania List “groups of camel-drivers” which has the number “25” that probably was given to each group of the Decania. The fourth ostracon is O. No. 20a and measures 9.2 cm in width x 6.5 cm in length. It has preserved three complete lines that have been written on the recto and the verso is blank. It is “A person Name!” it is unusual one person's name has been written in ostracon. There are couple of suggestions of the existence of this name: either because of the importance of this person, where he, his patronymic and grandfather’s name were mentioned, or he was a chief of decania “decanos”.

This analytical study aims to investigate ancient Egyptian black‐patinated copper alloys. The study group was selected from the collections of the Egyptian Museum in Cairo and from the Faculty of Archaeology Museum in Cairo University. Examination and analysis were undertaken using optical microscopy (OM), scanning electron microscopy (SEM), energy‐dispersive spectroscopy (EDX), X‐ray diffractometry (XRD), X‐ray fluorescence analysis (XRF) and Fourier transform infrared spectroscopy (FTIR). The analysis results indicated that the black patina contained mainly tenorite (CuO). The study presents evidence of thermal patination and animal glue coating.

This paper aims to study the false door of Netjernefer, who, according to his titles, was from the elite and served the king. The false door is currently exhibited at the Egyptian Museum in Cairo, where it has CG 1447 and JE 28489. It was dated to the sixth Dynasty; however, based on the stylistic and iconographic features displayed on it, the present study suggested its dating to the fifth Dynasty. Different sources mentioned that its provenance was either Abusir or Saqqara. The study concludes that it was mostly found in Abusir. The article deals with the description of the elements of the false door; it also transliterates, translates, and discusses the texts inscribed on it. Furthermore, comments on the artistic features, signs, names, and titles.

This paper is a publication of a votive stela preserved in the Egyptian Museum in Cairo under number CG 34058 (Plates 1, 2). According to the Museum Catalogue, the stela goes back to the New Kingdom, belongs to the so-called Nfr Mnw and was found in Abydos by A. Mariette. It is divided into three registers. The first one depicts the sun-disk with a single wing balanced by a single WDAt eye. The second register represents the owner of the stela Nfr Mnw standing in an adoration position in front of God Osiris, who himself is sitting on his chair in front of an offering table. Whereas the third register portrays his family members: his wife and his three sons sitting in front of an offering table. The stela is in a good condition as well as its colors.