Death and Afterlife in Ancient Egypt

Pictures of Egyptian Mummies

In this gallery you can enjoy further selection of pictures of Egyptian mummies and related
items. All mummy images are copyright of The Mummies Exhibition or Tutankhamun
Exhibition in Dorchester U.
The head the mummy of Tutankhamun. !een in the background is the magnificent golden
funeral mask of the boy ing. The majority of the death masks "ere made of gilded
cartonage# ho"e$er some pharaohs ha$e had solid gold masks made for them. %nly t"o
such examples ha$e sur$i$ed & that of Tutankhamun and 'susennes.
Mummy of Tutankhamun.
(olden Mummy mask of an unnamed princess of the Middle ingdom around )*++ ,-E.
!he "ears a "inged $ulture headdress. This mask is a rare example of the gilded
cartonage items of this period. It "ould be placed o$er the head of the bandaged mummy
before being placed in the coffin. These pictures of Egyptian mummies is a short pre$ie"
of "hat is displayed in our Exhibition.
(olden coffin of king .ebukheperre Inyotref /II. )0th dynasty# )1++ ,-E. It is a rare type
of rishi coffin# made of gilded and painted "ood.
The ,ritish Museum of 2ondon# England# has the largest and most comprehensi$e
collection of ancient Egyptian material outside of -airo. Its spectacular collection consists
of more than )++#+++ objects. Displays include a gallery of monumental sculpture and the
internationally famous collection of mummies and coffins.
Egyptian objects ha$e formed part of the collections of the ,ritish Museum since its
beginning. The original start of the Museum "as to pro$ide a home for objects left to the
nation by !ir 3ans !loane "hen he died in )045# about )4+ of "hich "ere from Egypt.
European interest in Egypt began to gro" in earnest after the in$asion of .apoleon
,onaparte in )0*6# particularly since .apoleon included scholars in his expedition "ho
recorded a great deal about the ancient and mysterious country. After the ,ritish defeated
the 7rench in )6+)# many anti8uities "hich the 7rench had collected "ere confiscated by
the ,ritish Army and presented to the ,ritish Museum in the name of ing (eorge III in
)6+5. The most famous of these "as the 9osetta !tone.
After .apoleon# Egypt came under the control of Mohammed Ali# "ho "as determined to
open the country to foreigners. As a result# European officials residing in Egypt began
collecting anti8uities. ,ritain:s consul "as 3enry !alt# "ho amassed t"o collections "hich
e$entually formed an important core of the ,ritish Museum collection# and "as
supplemented by the purchase of a number of papyri.
Anti8uities from exca$ations also came into the Museum in the later )6++:s as a result of
the "ork of the Egypt Exploration 7und ;no" !ociety<. A major source of anti8uities came
from the efforts of E.A. =allis ,udge ;eeper )661 &)*>?<# "ho regularly $isited Egypt and
built up a "ide&ranging collection of papyri and funerary material.
In May of >++5# the ,ritish Museum signed a landmark fi$e&year collaborati$e agreement
"ith the ,o"ers Museum of !anta Ana# -alifornia# to sho"case its incredible collections
and to pro$ide a ser$ice to $isitors and especially students "ho aren@t able to tra$el to
,ritain. In April >++4# the ,o"ers Museum thus presented AMummiesB Death and the
Afterlife in Ancient EgyptA featuring a spectacular collection of )?+ objects from the ,ritish
Museum. 7or your enjoyment# The 3istory 'lace presents a slide sho" highlighting )?
items from the ,o"ers Museum exhibition.
About Egyptian Mummies
Mummies are one of the most characteristic aspects of ancient Egyptian culture. The
preser$ation of the body "as an essential part of the Egyptian funerary belief and practice.
Mummification seems to ha$e its origins in the late 'redynastic period ;o$er 5+++ ,-<
"hen specific parts of the body "ere "rapped# such as the face and hands. It has been
suggested that the process de$eloped to reproduce the desiccating ;drying< effects of the
hot dry sand on a body buried "ithin it.
The best literary account of the mummification process is gi$en by the Ancient (reek
historian 3erodotus# "ho says that the entire process took 0+ days. The internal organs#
apart from the heart and kidneys# "ere remo$ed $ia a cut in the left side. The organs "ere
dried and "rapped# and placed in canopic jars# or later replaced inside the body. The brain
"as remo$ed# often through the nose# and discarded. ,ags of natron or salt "ere packed
both inside and outside the body# and left for forty days until all the moisture had been
remo$ed. The body "as then cleansed "ith aromatic oils and resins and "rapped "ith
bandages# often household linen torn into strips.
In recent times# scientific analysis of mummies# by C&rays# -T scans# endoscopy and other
processes has re$ealed a "ealth of information about ho" indi$iduals li$ed and died. It has
been possible to identify medical conditions such as lung cancer# osteoarthritis and
tuberculosis# as "ell as parasitic disorders such as schistosomiasis ;bilharDia<.
Mummification
The earliest ancient Egyptians buried their dead in small pits in the desert. The heat and
dryness of the sand dehydrated the bodies 8uickly# creating lifelike and natural :mummies:
as seen here.
2ater# the ancient Egyptians began burying their dead in coffins to protect them from "ild
animals in the desert.
3o"e$er# they realiDed that bodies placed in coffins decayed because they "ere not
exposed to the hot# dry sand of the desert.
%$er many centuries# the ancient Egyptians de$eloped a method of preser$ing bodies so
they "ould remain lifelike.
The process included embalming the bodies and "rapping them in strips of linen. Today#
"e call this process mummification.
Egyptian Amulets
Egyptian amulets ;ornamental charms< "ere "orn by both the li$ing and the dead. !ome
protected the "earer against specific dangers and others endo"ed him or her "ith special
characteristics# such as strength or fierceness.
Amulets "ere often in the shape of animals# plants# sacred objects# or hieroglyphic
symbols. The combination of shape# color and material "ere important to the effecti$eness
of an amulet.
'apyri ;Egyptian scrolls< sho" that amulets "ere used in medicine# often in conjunction
"ith poultices ;a medicated dressing# often applied hot< or other preparations# and the
recitation of spells. !ometimes# the papyri on "hich the spells "ere "ritten could also act
as amulets# and "ere folded up and "orn by the o"ner.
%ne of the most "idely "orn protecti$e amulets "as the "edjat eyeB the restored eye of
3orus. It "as "orn by the li$ing# and often appeared on rings and as an element of
necklaces. It "as also placed on the body of the deceased during the mummification
process to protect the incision through "hich the internal organs "ere remo$ed.
!e$eral of the spells in the ,ook of the Dead "ere intended to be spoken o$er specific
amulets# "hich "ere then placed in particular places on the body of the deceased.
The scarab ;beetle< "as an important funerary amulet# associated "ith rebirth# and the
heart scarab amulet pre$ented the heart from speaking out against the deceased.
Gods and Goddesses of Ancient Egypt
The ancient Egyptians belie$ed in many different gods and goddesses && each one "ith
their o"n role to play in maintaining peace and harmony across the land.

!ome gods and goddesses took part in creation# some brought the flood e$ery year# some
offered protection# and some took care of people after they died. %thers "ere either local
gods "ho represented to"ns# or minor gods "ho represented plants or animals .
Ancient Egyptians belie$ed that it "as important to recogniDe and "orship these gods and
goddesses so that life continued smoothly .
Egyptian Shabti Figures:
Servants in the Afterlife
!habti figures de$eloped from the ser$ant figures common in tombs of the Middle ingdom
;about >+?+&)06> ,-<. They "ere sho"n as mummified like the deceased# "ith their o"n
coffin# and "ere inscribed "ith a spell to pro$ide food for their master or mistress in the
afterlife.
7rom the .e" ingdom ;about )44+&)+0+ ,-< on"ard# the deceased "as expected to take
part in the maintenance of the :7ield of 9eeds#: "here he or she "ould li$e for eternity.
This meant undertaking agricultural labor# such as plo"ing# so"ing# and reaping the crops.
The shabti figure became regarded as a ser$ant figure that "ould carry out hea$y "ork on
behalf of the deceased. The figures "ere still mummiform ;in the shape of mummies<# but
no" held agricultural implements such as hoes. They "ere inscribed "ith a spell "hich
made them ans"er "hen the deceased "as called to "ork. The name :shabti: means
:ans"erer.:
7rom the end of the .e" ingdom# anyone "ho could afford to do so had a "orkman for
e$ery day of the year# complete "ith an o$erseer figure for each gang of ten laborers. This
ga$e a total of ?+) figures# though many indi$iduals had se$eral sets. These $ast
collections of figures "ere often of extremely poor 8uality# uninscribed and made of mud
rather than the faience "hich had been popular in the .e" ingdom.
MUMMY MASK
Cartonnage, painted and gilded
Late Ptolemaic Period or early Roman Period
A very important part of the outer trappings of a mummy was a mask, placed over the head to
provide an idealized image of the deceased as a resurrected being. These masks were
frequently fashioned from cartonnage, a cheap and lightweight material made from layers of
linen stiffened with glue and plaster. The mask played a crucial symbolic role, for it signified
the elevation of the dead person to a higher plane of existence in the afterlife. He or she was
believed to attain a status of equality with the gods, and this association was conveyed in
particular through the symbolic use of color and precious materials. This mask exemplifies all
the classic features of such funerary trappings. The face, collar and wig are extensively
covered with gold leaf, and the wideopen eyes convey a sense of vitality and alertness
appropriate to one who has entered upon a new life. !t is, however, a purely idealized image
and is in no sense a true likeness of the deceased.
COFFIN OF A CHILD
Wood
Probably early Ptolemaic Period, about 300 B
Infant mortality "as high in ancient Egypt# and probably affected the families of the
"ealthy no less than those of the poor. During the pharaonic period relati$ely fe" children
seem to ha$e been buried "ith the full paraphernalia of mummification and elaborate
coffins# probably because of the great expense this "ould ha$e in$ol$ed. In this instance#
ho"e$er# the child of a "ealthy couple "as sent into the afterlife "ith a finely car$ed
"ooden coffin. In its shape and proportions this small coffin resembles the full&siDe
anthropoid sarcophagi of the 2ate 'eriod and 'tolemaic 'eriod. These "ere usually made of
stone# and the present coffin is exceptional in that it:s made of "ood.
WOODEN MODEL FUNERARY BOAT
Sycamore fig wood
!"th Dynasty, about !#00 B
This painted "ooden model represents a funerary boat bearing a mummy on a bier
beneath a canopy. To the port side of the mummy stands the small figure of a man#
holding in his left hand a partially unrolled papyrus. 3e is presumably a lector&priest# "ho
"ould read the ritual text "ritten on the papyrus o$er the body. There are actually some
traces of a text on the papyrus# but it has not been possible to read it. 7ore and aft of the
mummy stand t"o female mournersE these "omen are usually representations of Isis and
.ephthys# the sisters of %siris and archetypal mourners. At the rear# bet"een a pair of
steering oars# the helmsman is s8uatting. %n the deck are also a small offering table and a
couple of pots. Actual siDeB 2ength 00.4 cmE =idth )5.? cmE 3eight 1 cm.
STELA OF BESENMUT
S!a"ore #ig $ood, paint on pla%ter
Middle 26th Dynasty about 6!! "#
This round&topped stela is di$ided into three sections. At the top is a large cur$ed
hieroglyph representing the sky# belo" "hich is a "inged sun&disc from "hich hang a pair
of uraeus serpents. The hieroglyphs identify this as a representation of Ahe of ,ehdet#A a
term for the ;originally< sky god 3orusE this decoration is extremely common in the semi&
circular AlunetteA at the top of stelae. The second and third parts are di$ided into left and
right sides# "ith a scene abo$e and a text relating to that scene belo". %n the left#
,esenmut stands in adoration of the god Atum# represented in his usual form of a man
"earing the double cro"n of Upper and 2o"er Egypt .
FI&U'INE OF ISIS AND HO'US
Faien!e
30th Dynasty or early Ptolemaic Period, $th%3rd entury B
Many figurines sho"ing Isis and 3orus "ere made to be dedicated to one or both deities as
$oti$e offerings. A large number of examples in bronDe are kno"n# but specimens in
faience such as this are less common. 3ere the "orkmanship is detailed and fine. The rich
blue&green color of the glaDe has been offset by a purplish coloring applied to the "ig of
Isis. The goddess "ears on her head the image of a seat or throne ;the hieroglyphic sign
for her name<. !he clasps her right breast "ith one hand and "ith the other hand supports
the head of her son to suckle him. 3orus sits passi$ely on his mother:s kneeE his head is
sha$en but for the curled sidelock of hair# denoting his youthfulness.
&OLD COB'A WEA'IN& THE 'ED C'OWN OF
LOWE' E&Y(T
S)eet &old
$ate %eriod after 6!! "#
The cobra "as a much feared and respected creature in Egypt. It possessed many different
associations# particularly "ith royalty# and use of the symbol meant that the dangerous
po"er of the cobra "as al"ays magically turned to the benefit of the user. Thus the king:s
uraeus# "orn on his bro"# is referred to in some battle texts as destroying his enemies and
gi$ing the king po"er o$er them. Images of Egyptian gods also bear the rearing cobra.
This cobra could be interpreted as either 3athor "ho# in the guise of the eye of 9e# "as
sent to destroy mankind for being disrespectful# or as !ekhmet "ho "as the fiery "eapon
of the god 9e and "ho could also be sent out to destroy the enemies of the gods. 9e
be8ueathed this gift of potential destruction# represented by the rearing cobra# to his
descendants# the kings of Egypt. Actual siDeB 2ength )5.1 cm.
UPPER PART OF THE STATUE OF A MAN
Limeso!e
Mid &'th Dynasty about &(!! "#
The name of the o"ner of this statue is regrettably not preser$ed# as only the $ery
beginning of an inscription has sur$i$ed. This text "ould in full ha$e expressed a "ish for
offerings to be left for the o"ner# perhaps in a temple. It sho"s a man seated "ith
;originally< both his hands placed on his lap. The style of the statue "ith its long simple
"ig# short formal beard# and faint confident smile is typical of the middle of the )6th
Dynasty# perhaps of the reign of Thutmose III or thereabouts. .ote the so&called :negati$e
space: bet"een the upper arms and the body# as the arms and legs of Egyptian statues in
stone are rarely separated from the main block "hich forms the body of the object.
Although statues such as this "ere usually brightly painted# there are no traces of color
sur$i$ing .
WOODEN FOLDIN& STOOL
Wood inlaid $it) i*or, $it) leat)er %eat
)e* +ingdom probably &'th Dynasty about &(!! "#
The s8uat folding stool is a piece of furniture kno"n from tomb&paintings in Egypt from
before the .e" ingdom. This beautifully made example is of a type "hich appears to
ha$e been restricted to the )6th and )*th Dynasties# characteriDed by legs terminating in
duck heads. It is composed of three elements. The "ell cut and finished base rails are
cylindrical and "ithout further decoration. The folding legs are the most attracti$e part of
the stool# for they each terminate in a head of a duck or goose. These heads are carefully
car$ed# "ith the eyes and nostrils inlaid "ith i$oryE there are also long thin triangular
pieces of i$ory inlaid into the neck of the bird.
LA'&E WED+AT EYE, &LA,ED COM(OSITION
Faien!e
,hird -ntermediate %eriod &!6./(2( "#
A "edjat eye of polychrome faienceB the eye and the highly styliDed eyebro" are of blue
faience# "hile the area bet"een the angled bar of the eye and the eye itself is filled "ith
red faience. The cornea and iris are "hite and black respecti$ely. !ome of the larger
examples of such amulets exhibit ornate decoration in the exaggerated area bet"een the
eye and the eyebro"E in the present instance there are three ro"s of tiny cats. This large
amulet re8uired t"o rings for suspension at the top. Actual siDeB 2ength 6.* cmE =idth 0.>
cmE Thickness ).+ cm.
UPPER PART OF A STATUE OF OS"R"S
#ra!odiorie
%tolemaic %eriod 0!(/0! "#
This fragment# representing the head and upper body of %siris# probably formed part of a
standing statue of the deity. The god is dressed in the usual en$eloping and close&fitting
robe# and holds his arms crossed on his chestE in his fists are the symbols of kingship# the
crook and the flail. %n his chin is the con$entional di$ine beard# the end of "hich is broken
off. 3e "ears the atef cro"n# "hich resembled the "hite cro"n of Upper Egypt# "ith a
feather on both sides# and a pair of ram:s horns jutting out at the base. In artistic
depictions this cro"n is most fre8uently "orn by %siris# although it can be sho"n "ith
other gods and appears on the head of the king at timesE its associations are "ith rebirth
and rene"al .
&OLD 'IN& OF SHESHON-
26th Dynasty 6th #entury "#
This large gold ring of !heshon8 is of a shape common for such rings in the 2ate 'eriod# a
shape "hich more or less totally replaced the earlier stirrup&shaped type. The loDenge
shaped beDel is so thick that the back had to be cut a"ay to accommodate the finger of
the "earerE the shank and the beDel "ere made in separate molds and joined together. It
is incised "ith the name of !heshon8 and his title A-hief !te"ard of the di$ine adoratrice.A
The beDel could be pressed into mud to seal documents and objects. ,esides this
functional aspect# the ring "as no doubt as much ;if not more< "orn as a mark of
!heshon8:s status and "ealth. The name !heshon8 is of 2ibyan origin# belonging to se$eral
kings of the 2ibyan 'eriod# but it became popular among Egyptians from that time on"ard.
Actual siDeB Diameter 5.+ cmE 2ength 5.? cm.
$ORN MUMMY "N WOODEN $OFF"N
Li!e! wra%%i!gs& wa'& %ai!ed wood
$ate %eriod 661/0!( "#
%siris# supreme god of resurrection# "as closely associated "ith the life&gi$ing forces of
nature# particularly the .ile and $egetation. Abo$e all# he "as connected "ith germinating
grain. The emergence of a li$ing# gro"ing# plant from the apparently dormant seed hidden
"ithin the earth "as regarded by the Egyptians as a metaphor for the rebirth of a human
being from the lifeless husk of the corpse. The concept "as translated into physical form
by the fashioning of images of %siris out of earth and grain. These Acorn&mummiesA "ere
composed of sand or mud# mixed "ith grains of barley. As in this instance# the AmummyA
is sometimes "rapped in linen bandages and may possess a finely detailed mask of "ax#
representing the face of %siris.
SHABT" OF AMENWAHSU
Seaie
&.th Dynasty about &2.(/&&'6 "#
In the later )6th Dynasty there "as a mo$e a"ay from the fashion of depicting the dead
as mummies and to"ards representing them as li$ing beings dressed in formal clothes.
This led to the creation of coffins# sarcophagi and shabtis in this form# although the more
traditional shrouded image continued to be used at the same time. This shabti of the
%$erseer of the (ranary# Amen"ahsu# exemplifies this trend. 3e "ears the curled double
"ig and the pleated kilt "ith prominent apron that "ere fashionable dress for high officials
at the time. 3is arms and legs are free from the confining mummy&"rappings. 3e holds a
hoe in each hand and has a grain&basket slung o$er his left shoulder .
FA$E OF A $OFF"N
Wood& ee% o# o.%idian and i*or %et in .ron/e
%o!0et%
&'th Dynasty c2 &1!! "# or later
The chief purpose of ancient Egyptian funerary rituals ;including mummification< "as to
enable the indi$idual to pass from the earthly life to a ne" existence# in "hich he or she
"ould possess the attributes of di$ine beings. The out"ard appearance of the transfigured
dead "ould reflect their ne"# god&like status. 7or this reason all images of the dead#
"hether mummy&masks# anthropoid coffins or free&standing statues# "ere idealiDed#
representing the indi$idual as eternally youthful and free from all physical disabilities or
blemishes. This face once formed part of the lid of a mummiform coffin .