A unique wooden panel from Fayoum Region

A unique wooden panel from Fayoum Region 1 A unique wooden panel from Fayoum Region, 2017

This paper will investigate and focus on studying a unique painted wooden panel JE. 38250. Indeed, the main aim of this study precisely will be to examine and identify these figures which are depicted on the wooden panel, to recognize the religious significance, to find an approximate dating, and to find out the main function of this object. Provenance: The main provenance of this object is Fayoum Region, probably came from Tebtynis "Tell umm Breigat" (fig.1). Dimensions: Height: 55cm; Width: 26 cm. Current Status: A large part of this object was totally destroyed, but recently the remaining part of it was retorted. There is a very small part is missing in the lower part of the panel. There are some parts of the painted stucco layers that are chipped off the surface of the wood. s. This panel is made with tempera, which uses an egg-yolk medium. Using small brushes dipped in a mixture of pigment and egg-yolk, the paint was applied in very small, almost transparent, brushstrokes. Thin layers of paint would be used to create volumetric forms 1. wooden panels generally were used in many purposes like mummies' portraits, personal portraits and votive panels etc... Actually this panel is a votive one. Physical Description (fig.2 a&b): This panel consists of two gathered panels; one of them is still preserved in our hands. The scene represents a bust of young lady in the frontal pose but her face is in the three-quarters pose, she moves her head and her consideration towards her proper right a little. She wears a black Chiton with folds over her chest which is covered by long red Himation. She wears a long spiral red necklace around her neck ends with a small standing figurine. The neck seems fairly big and contains two or three folds. The head seems relativity large and the cheeks are chunky and painted in pink. The chin is pointed and short. She wears earrings consist of one bead of pearl in each ear. The head is surrounded by transparent veil headdress. It is wrapped around it in

The author analyzes four wooden female statuettes from the collection of the Egyptian Museum in Cairo. All of them represent nude females and have many features in common. They were rendered in a way that emphasized their sexuality and fertility. Due to the lack of inscriptions their dating and function could be reconstructed only on the basis of analogies.

Clay Figurines in Context: Miniatures as Crucibles of Nile Valley Societies in the Second Millennium BC (Egypt and Nubia), 2022

Iran, 2002

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he Gayer-Anderson Museum in Cairo is full of the objects and furnishings that Major 'John' Gayer-Anderson collected from many countries in the Islamic world. It also contains a small group of Pharaonic objects. One of the masterpieces of this collection is a statue fragment in the Amarna style (GA3838: figs. 1-*). Gayer-Anderson gathered pharaonic artefacts from the length and breadth of Egypt, and gave or sold them to museums all over the world (Ikram forthcoming). His collection included a particularly large group of objects originally from el-Amarna, most of which are now in the Fitzwilliam Museum in Cambridge. Only one piece of sculpture, the subject of this article, remains in Egypt.

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