Download Map of Ancient Egypt ANCIENT EGYPT

Art of
Ancient Egypt
Art of
Ancient Egypt
The materials in this curriculum packet are designed to be used by students of all ages and their teachers.
The curriculum packet contains
• Posters of twelve artworks from the collection of the Saint Louis Art Museum.
Each poster has information about the work of art and suggested questions for discussion with
younger and older students.
• CD of the twelve images and additional supplementary material
• Teacher’s guide with maps, images, teaching suggestions, an annotated list of source materials on
ancient Egypt, and a glossary of terms used in the guide
We encourage classes to visit the Saint Louis Art Museum to view the works in this curriculum packet.
Tours are free and may be scheduled for school groups (prekindergarten through college) as well as for
other institutions. All groups, whether led by a Museum docent or self-guided, must preregister with
the Museum to arrange a tour or reserve a time in the galleries. Allow at least four weeks’ notice.
To schedule a tour, complete the tour request form on the Museum’s website at www.slam.org or telephone
the Tour Hotline at (314) 655-5484.
Written by Louise Cameron, Marianne Cavanaugh, Mariel Gonzalez,
Emily Horton, Andréa Morrill, Anne Treeger, Lisa Stelling-Jokisch
With assistance from Sid Goldstein, Ann Burroughs
Edited by Kate Weigand
Designed by Lauri Kramer
© 2005 Saint Louis Art Museum
Cover Image:
Mummy Mask; Egyptian, Dynasty 19 (1307–1196 B.C.); plaster, linen, resin, glass, wood, gold, and pigment;
21 1/16 x 14 9/16 x 9 3/4 inches; Friends Fund and funds given by Mr. and Mrs. Christian B. Peper,
Mrs. Drew Philpott, the Longmire Fund of the Saint Louis Community Foundation, The Arthur and
Helen Baer Charitable Foundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M. Getty,
by exchange, Florence Heiman in memory of her husband, Theodore Heiman, Ellen D. Thompson,
by exchange, Dr. and Mrs. G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory of Donna and
Earl Jacobs, Friends Fund, by exchange, and Museum Purchase 19:1998
Table of Contents
Introduction
Introduction
3
Map of Ancient Egypt
5
Vessels
6
Striding Man
7
Hippopotamus
8
Figure of a Woman
9
Mummy Mask
10
Mummy Case of Amen-Nestawy-Nakht
11
Butchering Scenes, Tomb of Prince Mentuemhat
12
God Horus
13
Set of Canopic Jars for the Royal Scribe Khera
14
Shabti of Keb-It
15
Nefertem
16
Cat
17
Social Studies Teaching Suggestions
18
Fine Arts Teaching Suggestions
19
Kinetic/Performing Arts Teaching Suggestions
20
Science and Math Teaching Suggestions
21
Communications Arts Teaching Suggestions
23
Glossary of Egyptian Terms
24
Suggested Resources
25
Useful Websites
26
Notes
27
2
The dependable inundation of the Nile, along with the
area’s physical geography and its centralized political
control, gave Egypt stability that was unique in the
ancient world. Some historians believe this stability
produced a ponderous artistic tradition with little
variation; others perceive Egyptian art as a dynamic
tradition that accepted external influences and adapted
them to its use.
During Egypt’s prehistory, a thousand years before
the invention of writing, smaller tribes consolidated in
two major kingdoms that followed the flow of the Nile
from south to north. The kingdoms were Upper Egypt,
which occupied the long narrow Nile Valley, and
Lower Egypt in the Nile Delta area. Around 3200 B.C.,
King Menes united the two areas under his rule and
established a system of divine kingship that lasted several
thousand years until Cleopatra’s death in 31 B.C. The
Old Kingdom (3200–2195 B.C.) was a time of political
stability during which the guidelines and formulas that
governed Egyptian art were established.
Dating back to the Pre-dynastic period, Vessels
(poster 1) are among the oldest and most numerous
finds in Egyptian burials. As an important element
in early tombs, stone vessels held foodstuffs and liquids
for the soul of the deceased. These objects of daily life,
unearthed from graves and shrines in ancient cemeteries,
show the skill and fine sensibilities of ancient artisans.
Sculpted figures from the Old Kingdom follow a formula.
They are idealized, and even small figures project a
monumentality of form. Wooden figures were often
placed in tombs so that the ba (soul) and ka (vital force
of the deceased) could identify the tomb. The small
wood sculpture of Striding Man (poster 2) in his starched
kilt seems to be frozen in motion. His features reflect
a skillful sculptor’s use of the formula to produce an
image that is not a portrait but rather the generic image
of a court official.
About a century and a half of instability followed the
demise of the Old Kingdom. The rise of a royal ruler
from Thebes ushered in the Middle Kingdom around
2000 B.C. The art of the Middle Kingdom is characterized
by meticulous craftsmanship, brutal strength, and a
more naturalistic approach. Hippopotamus (poster 3)
is a realistic rendering of a huge animal that lived in
the Nile marshes. Modeled of faience, this hippo is
accurate in every detail, from its face to its posture
and the Nile plants drawn on its body. The Figure of
a Woman (poster 4), also from the Middle Kingdom,
has a stern expression, and her linen gown suggests
hips and knees underneath the cloth.
The invasion of the Nile Delta by the Hyksos brought
an end to the Middle Kingdom and caused another
intermediate period of Egyptian decline. By 1570 B.C.
Thebes again produced a royal family strong enough to
expel the Hyksos and introduce a new period of power
and prosperity. During this New Kingdom, Egypt
engaged in military campaigns that extended its influence
well beyond previous borders. The arts flourished, and
they displayed sophistication, elegance, and luxury. The
tombs in the Valley of Kings were carved out of rock
walls, and monumental temples were built at Luxor
and Karnak. The New Kingdom included the reigns
of Pharaohs Akhenaten, Tutankhamen, and Rameses
the Great. The Mummy Mask (poster 5) was created
to fit over the head of a noblewoman possibly from
the court of Rameses the Great. The mask portrays
her youth and beauty for eternity.
The decline of the New Kingdom was followed by
another time of unrest. The Mummy Case of AmenNestawy-Nakht (poster 6) was created during this
interim period. The style of painting used on the
case invokes the beautiful images popular in New
Kingdom tombs.
The Late Period began in the eighth century B.C, when
the African kings of Nubia ruled all of Egypt. As if to
3
restore Egypt’s traditional greatness, the art of the Late
Period harked back to Old Kingdom styles. The imitation
of earlier styles can be seen in Butchering Scenes, Tomb
of Prince Mentuemhat (poster 7). These relief carvings
are in a style that was popular two thousand years earlier.
Mentuemhat’s tomb provides the first example of the
combining of styles of Egyptian art.
After the short renaissance of the Late Period, Egypt
was invaded several times, with periods of self-rule
interspersed. In 525 B.C. the Persians annexed Egypt
to their empire, and they maintained power until the
arrival of Alexander the Great in 332 B.C. Alexander’s
empire was divided among his followers after his death,
and Ptolemy Lagus, one of his generals, claimed Egypt
in 305 B.C. The Ptolemaic dynasty ruled Egypt until the
death of Cleopatra in 31 B.C.
Throughout all the kingdoms and periods in the history
of ancient Egypt, the pharaoh was the unifying force
politically, economically, and religiously. As king and
god, he wielded power over the natural world and
annual cycles such as the flooding of the Nile. Preserving
the pharaoh’s body for eternity guaranteed that the
cycles would continue. The God Horus (poster 8) is
closely identified with the pharaohs, who were thought
to rule as Horus on earth. This statue of the god in the
form of a falcon wears the pharaonic symbol of unification, the double crown of Upper and Lower Egypt.
Before a body could be mummified the abdominal
organs had to be removed. Each organ was dried,
washed, and wrapped. Certain organs were placed in
jars. The Set of Canopic Jars for the Royal Scribe
Khera (poster 9) dates from the Late Period. Each jar
has one of the four sons of Horus as its protector god.
Imsety guards the liver, Hapy the lungs, Duamutef the
stomach, and Qebhesenuef the intestines.
Gods oversaw every aspect of life for the ancient
Egyptians and were often the protective deities of cities.
Nefertem (poster 11) was the god of the city of Memphis.
The Delta town of Bubastis had Bastet as its patron
goddess. The cat was the sacred animal of Bastet, and
huge cat cemeteries have been found around the city.
The Saint Louis Art Museum’s Cat (poster 12) is a
large hollow-core bronze statue. Similar figures were
used as sarcophagi for mummified cats that honored
the goddess. This one was probably a votive dedication
for her temple.
In his writings on Egypt, Herodotus, a Greek historian
who lived in the fifth century B.C. and traveled all over
the ancient world, noted that no other country possessed
so many wonders or had so many traditions that defy
description. The objects selected for this curriculum kit
are not only important works of art that can be enjoyed
in their own right, they also provide information on the
Map of Ancient Egypt
MEDITERRANEAN SEA
Nile Delta
Bubastis
LOWER
EGYPT
Memphis
ANCIENT
EGYPT
Map shows sites
referred to in the text
RED SEA
r
ve
Ri
ile
N
The Egyptians understood the process of decomposition.
The practice of mummification quickly spread through
the upper class to the middle class, resulting in the
development of vast tomb complexes. The majority of
artifacts that survive from ancient Egypt exist because
they were installed in elaborate tomb structures built
to ensure the deceased comfort in the afterlife. The
Shabti of Keb-It (poster 10) was placed in a tomb to
answer for the deceased when called to work in the
fields in the next world. With legions of shabtis to
provide labor for the deceased, he or she could enjoy
the pleasures of this life extended into eternity.
social structure and religion of ancient Egypt. By tracing
the timeline of Egyptian history through these works
from the Museum’s collection, students and their teachers
can become involved first hand in the exploration of a
fascinating ancient culture.
Europe
Atla
n
Oce tic
an
Asia
Egypt
Valley of the Kings
Africa
Karnak
Thebes/Luxor
Indian
Ocean
UPPER
EGYPT
4
5
1
2
Vessels
Egyptian, Pre-dynastic period (3100–2920 B.C.)–Middle Kingdom (2040–1640 B.C.)
Striding Man
Egyptian, Dynasty 6 (2323–2150 B.C.)
stone, slate, breccia, and calcite
tallest dimension: 6 11/16 inches; widest dimension: 9 1/2 inches
Museum Purchase 296:1916, 209:1924, 26:1924, 208:1924, 142:1921
wood, ebony, plaster, and paint
height: 16 inches
Friends Fund 1:1986
Ancient craftsmen made these elegant stone containers
with hand-powered tools. Drills, hammers, chisels,
and files were used to form the containers from blocks
of hard stone. To smooth the surfaces, craftsmen
rubbed them with something rough like sand. The
variety and complexity of the containers’ shapes and
their polished finish tell us that these ancient craftsmen were very good at their jobs. For thousands of
years Egyptians placed stone bowls and jars similar
to these examples in tombs. They filled the containers
with foods, drinks, and oils so the ka, or life force, of
the deceased would not go hungry in the afterlife.
6
For younger students
What colors do you see on these containers?
If you were going to use these containers, what food
or drink would you put in each?
For older students
Compare one of these vessels to a modern example
from your home or classroom. How are the two similar?
How are they different? Consider materials, shapes,
colors, and usage.
Leaving food for the deceased was an important
funerary custom for ancient Egyptians. What are some
of the customs associated with funerals in our society?
How do these customs compare to those of the
ancient Egyptians?
Ancient Egyptians believed in an afterlife that mirrored
life on earth. Images of the deceased, his family, and
his servants were often included among items placed in
graves. This statue of the deceased is unusual because
it is in such fine condition, even though it is more
than four thousand years old. Wooden statues from
Egypt’s Old Kingdom were usually severely damaged
by rot and insects, or they were destroyed by tomb
robbers. This figure, probably a nobleman or official,
was a survivor. He strides forward while grasping the
loose end of his pleated kilt. The detailed workmanship
includes hands with delicately carved fingernails.
For younger students
Use adjectives to describe how this man looks.
Where do you think he is going?
For older students
Describe the Striding Man’s costume and hairstyle.
If you didn’t know how old this figure is, would you
guess it is ancient or modern? Why?
7
4
3
Hippopotamus
Egyptian, Dynasty 13 (1794–1648 B.C.)
Figure of a Woman
Egyptian, Dynasty 12 (1991–1783 B.C.)
faience
3 3/4 x 7 1/4 x 2 7/8 inches
Funds given by Miss Martha I. Love 242:1952
limestone
height: 6 1/2 inches
Museum Purchase 30:1924
We think of hippos as cute and playful, but our
impression comes from what we see at the zoo.
In ancient Egypt, herds of hippos were a threat to
farmers’ crops. Hippos became associated with chaos
and evil, and the first pharaohs hunted them in the
marshes. Small sculptures of hippos were placed in
tombs as reminders of the Egyptians’ love of hunting.
At least one leg was broken on each tomb hippo in
order to make the animal harmless in the afterlife.
The Saint Louis Art Museum hippo was molded in
faience, a glazed crushed quartz. Copper salts in the
glaze created the bright blue or blue-green color when
the piece was fired. On the hippo’s body the craftsman painted lily plants that appear as a giant tattoo.
8
For younger students
Make a list of words that describe this hippo.
If you were going to name this hippo, what name
would you choose?
For older students
What other animals are symbols of evil in art
or literature?
How big do you think this hippo statue actually is?
Check your answer against the measurements above.
How close were you?
Itef, whose name is inscribed on this sculpture’s base,
stands at attention with her long, delicate arms held
at her sides. She wears a lightweight linen dress with
wide straps over her shoulders. An enormous wig
frames her delicate face. Two bound tresses that tuck
behind her ears end in spirals. The stern face probably
is not a portrait of Itef since Egyptian sculptures
from this time did not portray women as individuals.
From the inscription we conclude that this is most
likely a funerary sculpture commissioned by a mother
for her daughter.
For younger students
Show with your hands how big you think this sculpture
is, then check the measurements in the information
above. Were you correct?
Itef’s mother wanted to remember her. What are some
ways we remember people today who have died?
For older students
Compare this figure of a woman with the Striding Man
(poster 2). How are they alike; how are they different?
What can you deduce about the appearance of women
in ancient Egypt from looking at this sculpture?
9
5
Mummy Mask
Egyptian, Dynasty 19 (1307–1196 B.C.)
6
plaster, linen, resin, glass, wood, gold, and pigment
21 1/16 x 14 9/16 x 9 3/4 inches
Friends Fund and funds given by Mr. and Mrs. Christian B. Peper,
Mrs. Drew Philpott, the Longmire Fund of the Saint Louis
Community Foundation, The Arthur and Helen Baer Charitable
Foundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M.
Getty, by exchange, Florence Heiman in memory of her husband,
Theodore Heiman, Ellen D. Thompson, by exchange, Dr. and Mrs.
G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory of
Donna and Earl Jacobs, Friends Fund, by exchange, and Museum
Purchase 19:1998
This mask, which would have covered the head and
shoulders of a young woman’s mummy, is amazingly
lifelike. The combination of glass inlaid eyes, a face
covered with gold, and a realistic wig is startling. The
skilled craftsman who fashioned the wig out of thick
resin carefully cut and modeled the plaits of hair in
the latest style. The colored glass used in the eyes and
to decorate the diadem, or hair ornament, was costly
and rare and demonstrated the young woman’s
wealth. In each hand she holds a wooden amulet to
signify strength and welfare. A delicate scene carved
in relief on her arms shows her successful ascent into
the afterlife on the boat of the Great God Osiris.
10
For younger students
What colors do you see on this mask?
Make up a story about this woman based on what
you can see.
For older students
If you could talk with the woman portrayed in this
mask, what would you say to her or ask her?
This object, like almost everything known to us from
ancient Egypt, came from a tomb. How do you feel
about displaying tomb objects in a museum?
Mummy Case of Amen-Nestawy-Nakht, c.900 B.C.
Egyptian, Dynasty 22
linen, plaster, and pigment
67 x 16 x 14 inches
Gift of Mr. and Mrs. Barney A. Ebsworth for the children
of St. Louis 109:1989
X-ray of Amen-Nakht
Amen-Nestawy-Nakht, a priest of Amun, was buried
in this cartonnage, or painted plaster case. The resinsoaked linen strips that wrapped his body and the
hard, shell-like cartonnage provided protection. The
painted decorations, which contain both pictures and
hieroglyphic writing, illustrate the deities who would
escort the deceased into the afterlife and protect him
for eternity. In the top register, or strip of painting,
Amen-Nakht is led by the gods Thoth and Horus to
meet Osiris, god of the underworld. In the bottom
register, Amen-Nakht has passed the tests of piety
and purity and is being anointed by Horus and
Anubis as he is received into the next life.
For younger students
The pictures on this case tell a story. Use the pictures and
your imagination to tell the story in your own words.
If you could open this case what would you find inside?
For older students
The pictures on this case tell a story. How many
different characters can you find? Who are they and
what are they doing?
Compose a list of questions you have about mummies
and a list of places you would go to find the answers.
11
8
7
God Horus, 664–30 B.C.
Egyptian, Late Period–Ptolemaic dynasty
Butchering Scenes, Tomb of Prince Mentuemhat, c.680–650 B.C.
Egyptian, late Dynasty 25–early Dynasty 26
bronze
height: 6 1/4 inches
Gift of Miss Cornelia Scott in memory of her brother,
George Eaton Scott 27:1939
limestone
66 7/8 x 16 inches
Museum Purchase 1:1958
This grisly butchering scene is carved into limestone
in crisp detail. While butchers are cutting up bound
cattle, an assistant carries off hearts and entrails in
a large bowl. One butcher draws a sharpening stone
from his belt and uses it on his machete-like knife.
All of the elements in these scenes read as clearly
as the hieroglyphs, or writing, which inform us that
the choicest bits of meat are being prepared for
Mentuemhat. Ancient Egyptians prepared food, both
real and represented through art, for the deceased,
and Mentuemhat would have appreciated having a
good supply of meat in his next life. The subject
matter of this relief sculpture tells us that
Mentuemhat was very important.
12
For younger students
How many people do you see in this scene?
How many cattle?
Make up a story about what will happen next.
For older students
Why do all the people in the scene look alike?
If the ancient Egyptian afterlife was a copy of life
on earth, what else would the deceased need in his
or her tomb?
The ancient Egyptian god Horus, represented as a
falcon in this sculpture, stands motionless with his
wings perfectly folded at his sides. He stares into the
distance with a deep, intense gaze. On his head, he
wears the double crown of Upper and Lower Egypt
as a symbol of his power and close association with
the pharaoh. Gods in Egyptian mythology are often
represented as animals. Horus is shown as a falcon
because he is the god of air and sky. In ancient Egypt
many small, bronze statues of gods, such as this one,
were produced as votive statues. Votive statues were
dedicated to the gods and kept in homes or in chapels
to worship a particular god.
For younger students
Make a list of adjectives that describe this falcon.
Use your imagination to create a story about his life:
What is he doing? Where did he come from? Where
will he go next? Where does he live?
For older students
There are other images of animals in this packet, each
symbolizing different aspects of ancient Egyptian life or
mythology. Compare one of them to the image of the
falcon, and discuss the similarities and differences in
the way they are represented and the purposes for
which they were created.
Many cultures associate animals with leaders or gods.
What are some of these animals?
13
9
10
Set of Canopic Jars for the Royal Scribe Khera
Egyptian, Late Period (712–332 B.C.)
Shabti of Keb-It
Egyptian, Late Period, Dynasty 25 (712–657 B.C.)
alabaster
tallest dimension: 16 inches; widest dimension: 7 inches
Museum Purchase 210–213:1924
glassy faience
height: 6 3/8 inches
Museum Purchase 29:1924
These canopic jars were found in the tomb of a scribe
named Khera. The jars still hold some of the internal
organs that priests or embalmers removed when they
mummified Khera’s body. To keep these organs from
decay, the priests or embalmers dried, washed, and
wrapped them. The organs were then placed in these
jars and encased in resin—a tar-like material. If you
could look inside the jars today, you would see only
the solid, black resin that surrounds the wrapped
organs. The ancient Egyptians believed that the gods
known as the sons of Horus would protect the
organs for eternity. The tops of the canopic jars show
these gods. The jackal-headed god, Duamutef, guards
the stomach. Hapy, the baboon-headed god, protects
the lungs. The human-headed god, Imsety, watches
over the liver, and Qebhesenuef, the falcon-headed
god, guards the intestines. The hieroglyphs on the
front of the jars are prayers to the gods.
14
For younger students
Choose one jar and compare it to the others.
Include similarities and differences in your comparison.
How do you think these jars were made?
(See the back of the Vessels poster [poster 1] for clues.)
For older students
Hieroglyphic writing contains pictures of objects that
ancient Egyptians saw around them everyday. What
objects can you recognize in the hieroglyphs?
Using what you already know about the ancient
Egyptians’ beliefs regarding the afterlife, make up
a statement that could appear on the front of these
canopic jars.
Would you do chores if you could have a substitute
do them for you? Ancient Egyptians thought that in
the next world they would be required to work in the
fields to help provide an everlasting supply of food.
They also believed that shabtis, small figures placed
in tombs, could substitute for them. Some tombs had
hundreds of shabtis, one to work each day of the
year. Shabtis hold farm tools and usually bear a
hieroglyphic inscription from the Book of the Dead
that reads in part “O shabti, if the deceased is called
upon to do any of the work required . . . you shall
say ‘Here I am, I will do it.’” The mottled colors on
this shabti’s surface were caused by the firing of the
faience material from which it is made.
For younger students
See if you can pose exactly like this shabti.
Describe some chores you are expected to do. What
tools would a shabti need to do each of those chores?
For older students
Describe this shabti to a friend who is not looking at it.
Then show them the image and ask if you did a good
job of describing details.
Shabtis were substitutes in the next world. Give some
examples in our culture today of people who substitute
for others.
15
12
11
This silver figure strides forward, his left arm clutching
a sickle-shaped sword to his chest. His head tilts
upward, balancing his outrageous lotus and feather
crown. This crown was the emblem of Nefertem, major
god of the ancient city of Memphis. Nefertem’s image
was often painted on mummy cases along with other
gods. When represented in sculpture he wears a kilt
and a false beard and holds a scepter or sword, all
signs of a king. Nefertem was one of the forty-two
deities who sat in judgment in the hall of truth to
review the life of the deceased. This group witnessed
the weighing of the heart against the feather of truth.
The silver used to make this small sculpture was a
very precious material in the ancient world, just as
it is today.
16
Nefertem
Egyptian, Dynasty 25–26 (712–525 B.C.)
Cat
Egyptian, Dynasty 25–26 (712–525 B.C.)
silver
height: 9 3/4 inches
Museum Purchase 223:1924
bronze
14 3/8 x 5 3/4 x 11 1/8 inches
Museum Purchase 5:1938
For younger students
See if you can stand in the same pose as Nefertem.
Nefertem’s crown shows that he is an important figure.
What people in our culture wear headdresses or hats
that help identify who they are?
For older students
Compare the image of Nefertem to that of the
Figure of a Woman (poster 4) in this packet. Which
do you think is older and why? Check the dates to
verify your answer.
The ancient Egyptians revered cats and made many
sculptures of them. Some hollow cat sculptures were
used as sarcophagi for cat mummies brought as
offerings to the goddess Bastet, whose sacred animal
was the cat. In addition, hundreds of bronze cats
were manufactured as offerings to the goddess.
This cat’s erect ears and taut muscles are very realistic.
Its eye sockets, which were once inlaid with shell,
rock crystal, or glass, are now empty. Some cat
sculptures were decorated with gold jewelry,
particularly necklaces and earrings. Over fourteen
inches tall, this cat is almost life-sized and is one
of the largest examples known today.
For younger students
Do you think this cat looks like a real cat?
Why or why not?
Make up a story about this cat. How did it get to
the Museum?
For older students
Describe this cat to a friend who is not looking at
the image. What adjectives best describe the cat?
What ideas do we have about cats in our modern
society? How are those ideas different from the ones
of ancient Egyptians?
17
Social Studies Teaching Suggestions
Write Like an Egyptian
Hieroglyphs, an ancient Egyptian form of writing, are
small pictures and symbols that are based on objects
and activities found in Egyptian daily life. The word
hieroglyph derives from the Greek hiero, meaning
sacred, and glyph, meaning carving. Ask students to
examine the hieroglyphic writing on the Mummy Case
of Amen-Nestawy-Nakht (poster 6), the Butchering
Scenes, Tomb of Prince Mentuemhat (poster 7), the Set
of Canopic Jars for the Royal Scribe Khera (poster 9),
and the Shabti of Keb-It (poster 10). Have students
look for recognizable images within the hieroglyphs
and research the meaning behind them. Students can
record their findings on a chart.
Egyptian Fashion
Ancient Egyptians paid considerable attention to
physical appearance. Observing fashion trends represented
in artifacts provides a window into the cultural history,
environmental conditions, and social status of ancient
Egyptians. Ask students to look closely at the Striding
Man (poster 2), Figure of a Woman (poster 4), Butchering
Scenes, Tomb of Prince Mentuemhat (poster 7), and
Nefertem (poster 11) and describe the dress, accessories,
and hairstyle depicted in each. Have them compare and
contrast these with contemporary choices in clothing and
personal adornment. Ask students to use their findings
to develop hypotheses about climate, geographical
location, and class structure in ancient Egypt.
Timeline
Objects in this packet range in date from 3100 B.C., the
Pre-dynastic period, to 30 B.C., the Ptolemaic dynasty.
Have students create a timeline spanning these years
and place each object in the packet along the continuum.
Ask them to calculate the age of each object. Have
students divide into teams to research historical events
that took place during these periods and record them
along the timeline. Discuss the social and political
context in which the objects were made and how they
may visually reflect this history.
18
Fine Arts Teaching Suggestions
For younger students
Ask students to draw their ideas for some new hieroglyphs
based on everyday events in their own lives.
For older students
Have students research other forms of ancient Egyptian
writing, such as hieratic and demotic, and compare
and contrast them with hieroglyphs in a written report
or class presentation. As an extension activity, students
may research the writing of other ancient cultures.
MAP Content Standards: SS6, SS7, FA4, CA7
MAP Process Standards: 1.2, 1.4, 1.8, 2.1
Egyptian Comics
The story of Amen-Nestawy-Nakht’s journey to the
afterlife is recorded on the Mummy Case of AmenNestawy-Nakht (poster 6) in four painted panels called
registers. The registers have a narrative composition
similar to a comic strip. Ask students to examine the
characters depicted in the registers and discuss the
scenes in which they participate. Have students design
comic strips illustrating important journeys they have
taken or will take in their own lives.
For younger students
Ask students to examine the animals represented in the
Hippopotamus (poster 3), God Horus (poster 8), and
Cat (poster 12) sculptures and on the Mummy Case of
Amen-Nestawy-Nakht (poster 6). Animals were important
symbols in Egyptian art and often were identified with
gods. Ask students to draw an animal they identify with
and have them explain their choice.
For older students
Ask students to develop written scripts to accompany
their comic strips.
MAP Content Standards: FA1, FA3, FA5, CA6
MAP Process Standards: 1.6, 1.9, 2.5, 4.1
How Was It Made?
For younger students
As a class, make a list of clothing appropriate in our
culture for each season and a list of clothing appropriate
for various jobs. Ask students to make guesses about
weather and jobs in ancient Egypt based on clues they
find in the artifacts. Have students search magazines
for figures whose clothing reflects different seasons
and occupations.
For older students
Have students research and prepare reports on materials
and processes used to make clothes in ancient Egypt.
Encourage students to produce drawings or models to
accompany their reports.
MAP Content Standards: SS5, SS6, CA6, PE2
MAP Process Standards: 1.9, 1.10, 3.5, 4.3
For younger students
Working as a class, arrange the posters in chronological
order from the oldest object to the most recent one.
For older students
Have students research another ancient culture and
create a timeline documenting its history. Ask students
to compare and contrast the cultural histories illustrated
in the two timelines.
The objects in this packet are made from a broad array
of materials. Ask students to use the posters to examine
all the objects and make a chart listing the materials used
to create them. Students can then choose one object and
research how it was made. Using materials available in the
classroom (Model Magic, cardboard, papier-mâché, etc.),
students can make a modern reproduction. Have students
compare and contrast their reproduction with the real
object. These activities could be done in small groups.
For younger students
Ask students to bring in a small object from home to
compare and contrast with an ancient object found
in this packet.
For older students
Ask students to write a narrative or deliver an oral
presentation to the class highlighting the similarities
and differences of the ancient object and their modern
re-creation. They should explain each object’s creation
and possible uses.
MAP Content Standards: FA1, FA2, FA5, CA6
MAP Process Standards: 1.8, 1.9, 2.1, 2.3
Ancient Portraits
Ancient Egyptian artworks often feature stylized portraits
of individuals. Have students observe Striding Man
(poster 2), Figure of a Woman (poster 4), and Mummy
Mask (poster 5) and compare and contrast the facial
characteristics of each. Have students create self-portrait
mummy masks in relief by working on board using
modeling compound, paint, glass, metal, or other
materials inspired by those used in the Mummy Mask.
For younger students
Have students use mirrors to draw self-portraits. Ask
them to render their faces and hair in ways that make
them look like ancient Egyptians.
For older students
Ask students to create three-dimensional self-portraits.
They can model their portrait after any of the threedimensional pieces in this packet.
MAP Content Standards: FA1, FA3, FA5, SS6
MAP Process Standards: 1.5, 1.6, 2.4, 2.5
MAP Content Standards: SS2, SS5, SS7, MA1
MAP Process Standards: 1.6, 1.8, 2.1, 3.1
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Kinetic/Performing Arts Teaching Suggestions
Science and Math Teaching Suggestions
Pose Like an Egyptian
Fruit Mummies!
The Mummy Case of Amen-Nestawy-Nakht (poster 6)
features an array of figures engaged in the rituals of
passage from one life to the next. Assign each student
For younger students
Have one student at a time pose like one of the figures
on the case and ask the class to guess which character
each student is enacting.
a character and have the class create a tableau vivant,
or living picture, of a scene on the case. Have students
break into groups and choose a scene. They should
discuss what might have happened before or after that
scene and then act out that sequence for the class.
For older students
Have students investigate the ancient Egyptian “weighing
of the heart” ceremony. Students could then conduct a
mock trial in which Amen-Nestawy-Nakht’s heart is
weighed against the feather of truth.
MAP Content Standards: CA1, CA5, FA5, SS6
MAP Process Standards: 1.5, 2.1, 2.4, 4.6
What’s My Story?
All of the objects in this packet tell a story. Have students choose an object from the packet that shows at
least one human, god, or animal. Students can assume
the role of that object and prepare a presentation (using
the first person) for the class about the story of that
object. Students might focus on the creation or use of
the object or tell how it was found by archaeologists
and put on display in the Museum. Students can work
in groups.
Ancient Drama
Many of the objects in this packet depict people, gods,
or animals that possess human qualities. Have students
work in teams to choose one of these ancient objects to
investigate. Ask each group to join with the others and
write a script based on the imagined interaction of the
people, gods, and animals represented.
For younger students
Teachers might assign an object and ask students
to focus on a particular part of that object’s story.
For older students
Students should add props or costumes to their
presentations.
MAP Content Standards: CA1, CA5, FA5, SS6
MAP Process Standards: 1.5, 2.1, 2.4, 2.5
For younger students
Play a game in which each student gives voice to one of
the objects and the class guesses which object is speaking.
For older students
Assign parts to students and have the class act out the
script. Have students film a movie from the script, taking
turns directing and shooting scenes.
The Mummy Mask (poster 5) was originally placed
over the head and shoulders of a mummy. The Mummy
Case of Amen-Nestawy-Nakht (poster 6) still contains the
body of a man who lived over three thousand years ago.
Ask students to research and discuss the mummification
process. Then have students experiment with fruit to
learn what happens when organic things decay. Apples
work well for this exercise. They can observe and discuss
how fruit changes shape, size, texture, and density as it
decomposes. Have students compare fruit decaying in the
air to fruit that is buried in salt. Students should chart
their observations. These activities work well in groups.
Measuring Up
In Egyptian art, the relative size of a scene or figure
often indicates its importance. Have students use a ruler
to measure the height of the standing figures, from head
to toe, in the first (top), second, and fourth registers on
the poster of Mummy Case of Amen-Nestawy-Nakht
(poster 6). Students can research the identity of the
figures and then make a chart listing each figure’s
name, the register in which the figure appears, and the
figure’s height.
For younger students
Have your students write or talk daily about the
noticeable changes in four areas: shape, size, texture,
and density.
For older students
Have students chart changes on a graph. Ask the students
to include sketches of the fruit with their charts. Have
the students prepare a written or oral presentation of
their findings. As an extension activity, students could
investigate the preservation properties of salt or natron.
MAP Content Standards: SC3, MA6, SC4, CA1
MAP Process Standards: 1.2, 1.3, 1.8, 2.3
For younger students
The animal-headed gods Thoth and Horus are shown
in the top register on the mummy case. Examine the
whole case. How many times do these gods appear
in total?
For older students
Using their charts, students should work in groups to
determine what relationship, if any, exists between the
sizes of the figures in different registers. (For example,
are the figures in each register always the same size?
Did the artist follow a standard ratio to determine the
different sizes of figures or does the sizing seem random?)
Students should present their findings to the class.
MAP Content Standards: MA1, MA2, CA3, SS7
MAP Process Standards: 1.2, 1.6, 1.8, 2.4
MAP Content Standards: CA1, CA7, FA4, FA5
MAP Process Standards: 1.6, 2.5, 3.6, 4.6
Science and Math continued
on next page
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21
Science and Math Teaching Suggestions (continued)
Communication Arts Teaching Suggestions
Environmental Effects
My Favorite Things
Careful scrutiny of the objects presented in this packet
reveals signs of the accumulated effects of time and
circumstance, such as cracked or worn surfaces or faded
colors. The condition of objects from ancient times often
sheds light on their histories. As a class, observe all the
objects in the packet and make note of any damage.
Have students look for evidence of erosion and present
hypotheses about what caused it based on the age of
the object, the type of material used, and the environmental factors to which the object was exposed.
For younger students
Observe elements of the classroom environment such as
the blackboard eraser, pencils and pens, or the surfaces of
student desks. Discuss what their condition reveals about
how old they are and how much they have been used.
For older students
Have students choose a group of objects made of
materials similar to those found in the packet (stone,
wood, papier-mâché, etc.). Place these objects in different
environments, if possible (outdoors, in cold areas, in
warm areas, in damp, etc.). Ask students how they
think the objects will be affected by each environment.
Over a period of weeks, graph the effects of time and
weather on the condition of these materials. Compare
results as a class to see how different environments
affect the same materials.
MAP Content Standards: SC1, SC4, SC7, SC8
MAP Process Standards: 1.8, 2.3, 3.1, 3.5
Fill It Up
Vessels (poster 1) in ancient Egypt came in assorted
shapes and sizes and were used for a variety of purposes.
Have students examine the picture of the jars and bowls
on poster 1, and discuss what they might have been
designed to hold. Bring in an assortment of similar
containers and have students predict which holds the
most and which the least. Have students experiment in
groups with volume and mass by filling containers with
liquid and solid materials and graphing the results.
For younger students
Ask students to describe containers they have at home
and discuss what kinds of things they hold. Fill vessels
similar to those in poster 1 with jelly beans and have
students guess how many beans are in each.
Amen-Nestawy-Nakht would have had objects made
for his tomb like the ones in this packet. Ask students
to imagine that they are Amen-Nestawy-Nakht and
write about three of their favorite objects from this
packet. They should include the reason why they, as
Amen-Nakht, wanted those objects to be included in
their tombs.
For older students
Choose and research one of the objects. Write a report
about the object explaining how, or where, it fits into
ancient Egyptian cosmology and present your findings
to the class.
MAP Content Standards: CA1, CA4, CA6, SS6
MAP Process Standards: 1.2, 2.1, 3.3, 3.6
(After-)Life Stories
Art found in Egyptian tombs often tells us something
about the life and afterlife of the deceased. Examine the
Mummy Mask (poster 5), the Mummy Case of AmenNestawy-Nakht (poster 6), and the Butchering Scenes,
Tomb of Prince Mentuemhat (poster 7) with your students
to look for clues to these life and “after-life” stories.
Have students interview someone they know and then
re-tell that person’s life story in a written paper or oral
class presentation.
For older students
Measure the dimensions of vessels similar to those in
poster 1. Estimate how much liquid each can hold and
then verify the amounts through experimentation.
MAP Content Standards: SC7, MA1, MA2, MA3
MAP Process Standards: 1.6, 1.8, 2.2, 3.7
For younger students
Ask students to choose their favorite object from the
packet. They should explain to the class why they chose
that object.
For younger students
Have students divide into pairs to interview one another
about what is important to them. Each student should
present their partner to the class and then write a short
story about their partner or draw a picture that communicates an important moment in their partner’s life.
For older students
Students should research the life of an ancestor or
someone they admire and then write a biography or
prepare a presentation for the class. Students should
be encouraged to make their final projects multimedia
experiences that could include interview excerpts, film
footage, photographs, original documents, etc.
MAP Content Standards: CA3, CA5, SS6, SS7
MAP Process Standards: 1.3, 2.2, 3.2, 4.6
Being a Scribe
Hieroglyphic writing is visible on the Mummy Case of
Amen-Nestawy-Nakht (poster 6), the Butchering Scenes,
Tomb of Prince Mentuemhat (poster 7), the Set of
Canopic Jars for the Royal Scribe Khera (poster 9), and
the Shabti of Keb-It (poster 10). Ask students to review
the writing on these objects and to compare and contrast
the hieroglyphic system with our writing system. As a
class, discuss the role of scribes in ancient Egypt.
For younger students
Have students imagine that they are in scribe school in
ancient Egypt. Brainstorm together about daily activities
in the school. Ask students to write short stories (or use
pictures and words) to describe their day at scribe school.
For older students
Divide the class into three groups for a debate. Group A
should prepare arguments supporting the ancient
Egyptians’ idea that not everyone needed to be literate
while group B prepares arguments supporting our society’s
emphasis on the importance of literacy. Group C will
listen to the debate and write a summary including the
main points of each group. The summary should indicate
which argument was the most convincing and why.
MAP Content Standards: CA5, CA6, CA7, SS6
MAP Process Standards: 1.5, 1.9, 2.3, 4.3
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Glossary of Egyptian Terms
amulet—a personal ornament thought to provide magical
protection or powers to its owner; ancient Egyptians
wore amulets and buried them with the dead
Anubis (ah NEW bis)—the patron god of embalmers
and protector of the dead; associated with a jackal
Suggested Resources
hieroglyphs—the picture signs used in the hieroglyphic
script; there were hundreds representing both sounds
and ideas; hieroglyphs were used throughout ancient
Egyptian history, primarily on objects meant to last
for eternity
Horus (HORE us)—god of the sky, son of Osiris and Isis,
ba—ancient Egyptian concept roughly equivalent
to the soul of a deceased person
Bastet (bas TET)—a protective goddess; her cult began
in the town of Bubastis but later spread throughout
Egypt; associated with cats
closely tied to the living pharaoh; associated with a falcon
ka—ancient Egyptian concept roughly equivalent
to the vital or life force of a deceased person
Nefertem (NEH fur tum)—a creator god and god of the
town of Memphis; shown as a man with a lotus and
Book of the Dead—a collection of spells that focuses
on life after death; selections from the book were often
buried with mummies and written on or inside coffins,
on tomb walls, on shabtis, and on amulets
canopic (can AH pick) jars—jars that hold certain internal
organs removed from a body during mummification
cartonnage (car tah NAHZH, rhymes with garage)—a
material made from layers of linen, papyrus, or other
pliable elements that are pasted together with resin and
covered with plaster; used also to denote a container
made of this material that protects a mummified corpse
demotic (dem AH tic)—the most cursive script in ancient
Egypt; used for medical, scientific, and literary texts
and for everyday writing such as business documents
and letters
faience (FY ahns)—a low-fired, man-made material
composed of crushed quartz pebbles or sand that has
been glazed; this material can be modeled, cast, and
thrown on a wheel like clay
false beard—a symbol of kingship; pharaohs, including
females, and some gods and goddesses are depicted
wearing these
hieratic (higher AT tic)—as old as hieroglyphic script, this
cursive script was used mostly for everyday writing and
for religious, magical, and mathematical texts; it continued to be used for religious texts after it was replaced
by demotic for everyday use in the sixth century B.C.
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flower crown on his head
Osiris (oh SYE ris)—according to myth, the first king of
Egypt and the first mummy, ruler of the dead; shown as a
mummy wearing the tall crown of a pharaoh and usually
holding a crook and a flail, elements of a king’s regalia
pharaoh—an ancient Egyptian king; possibly originating
from the word meaning “great house”
sarcophagus (sar COFF a gus)—a container used to
protect a mummified corpse; usually made of stone
scribe—a literate person who worked within the
government administration in ancient Egypt; thought
to have one of the most important jobs in ancient
Egypt, scribes recorded information, administered
justice, and supervised other workers
shabti (SHAHB tee)—a small figure placed in ancient
Egyptian tombs to serve as a substitute for the deceased
when work was required in the afterlife
Thoth (THAWTH)—god of writing and knowledge, patron
of scribes, overseer at the weighing of the heart ceremony;
associated with an ibis or a baboon
Books for Younger Students
Aliki. Mummies Made in Egypt. New York: T.Y. Crowell,
1979. Reprint, New York: Harper Trophy, 1985.
This book describes the process of mummification
and the reason it was developed. Drawings bring the
information to life.
Chrisp, Peter. Ancient Egypt Revealed. New York:
DK Publishing Inc., 2002.
This book explores themes such as the royal mummy,
temple secrets, and life on the Nile. Personal adornment,
food, and writing are also addressed. Many illustrations
are included and transparent pages give students a look
inside Tutankhamen’s coffin and a boat that would
have traveled on the Nile.
Harris, Geraldine, and Delia Pemberton. Illustrated
Encyclopedia of Ancient Egypt. Lincolnwood, IL: Peter
Bedrick Books, 1999.
Organized by topic, this book is a useful reference tool
and includes many images. “Trails” (themes) that can
be followed throughout the text include everyday life,
myth and magic, the natural world, and work.
Hart, George. Ancient Egypt. San Diego; Harcourt
Brace, 1991. Reprint, New York: Dorling Kindersley
Publishing, Inc., 2000.
This photo essay on ancient Egypt and its people
explores religion, rituals, and daily life.
Ross, Stuart. Tales of the Dead: Ancient Egypt.
New York: DK Publishing, Inc., 2003.
This book mixes a graphic novel with factual information
describing Egyptian life. Detailed drawings illustrate
life in an Egyptian town.
Books for Teachers and Older Students
El Mahdy, Christine. Mummies, Myths, and Magic in
Ancient Egypt. New York: Thames and Hudson, Inc.,
1989. Reprint, 1991.
Arranged thematically, this resource focuses on multiple
themes in three general areas: the road to eternity,
unfolding the past, and myth and magic.
Quirke, Stephen, and Jeffery Spencer, eds. The British
Museum Book of Ancient Egypt. New York: Thames
and Hudson, 1992.
This book covers Egyptian culture from prehistoric
times to late Roman antiquity. It is organized by
themes including funerary customs and beliefs,
language and writing, and art and architecture.
Redford, Donald B., ed. The Oxford Encyclopedia of
Ancient Egypt. Oxford: Oxford University Press, 2001.
This three-volume resource is a reference tool that
provides information in multiple fields including
archaeology, social history, language, and biography.
Reeves, Nicholas. The Complete Tutankhamun: The
King, the Tomb, the Royal Treasure. New York:
Thames and Hudson, 1990.
Richly illustrated, this book describes the discovery
of this famous tomb and the treasures found inside.
Photographs show Howard Carter and his team at
work in the tomb and the artifacts in their original
tomb locations.
Robins, Gay. The Art of Ancient Egypt. Cambridge:
Harvard University Press, 1997.
This book offers an introduction to ancient Egyptian
art including sculpture, coffins, amulets, tombs, and
wall paintings. It is organized chronologically.
weighing of the heart—a ceremony described in the
Book of the Dead in which the heart of the deceased is
balanced against the feather of truth; the vindicated join
Osiris in the next world, while the guilty are condemned
to die the final death and are devoured by an awaiting
crocodile-like beast
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Useful Websites
Notes
The British Museum, Ancient Egypt
http://www.ancientegypt.co.uk/menu.html
This informative and student-friendly site on ancient
Egyptian life includes topics such as geography, gods
and goddesses, mummification, and writing.
Cleopatra: A Multimedia Guide to the Ancient World
http://www.artic.edu/cleo/index.html
Developed by the Art Institute of Chicago, this site
includes QuickTime video clips about art from the
ancient world, an illustrated timeline, maps, and lesson
plans for teachers.
The Metropolitan Museum of Art, The Art of Ancient Egypt
http://www.metmuseum.org/explore/newegypt/htm/a_index.htm
This extensive resource is organized around five themes:
ancient Egyptian beliefs, looking at Egyptian art, the
people of ancient Egypt, the natural world, and the
story of the collection. It includes a glossary, a timeline,
a curriculum connections section, a bibliography, and
a list of additional resources. This site is geared toward
educators or older students.
Odyssey Online
http://carlos.emory.edu/ODYSSEY/index.html
Students can explore the culture and art of the ancient
Near East, Egypt, Greece, Rome, and nineteenth- to
twentieth-century sub-Saharan Africa. This site was
developed by the Michael C. Carlos Museum of Emory
University, the Memorial Art Gallery of the University
of Rochester, and the Dallas Museum of Art.
The Society for Historical Archaeology
http://sha.org/
This website contains information about historical
archaeology and includes a section for kids.
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