Ancient Egyptian homes were built from mud-brick, an inexpensive and impermanent material. As a result, few ancient Egyptian domestic sites still exist today. The workers’ village of Deir el-Medina is a notable exception. Located on the west bank of the Nile near Thebes, it is within walking distance of the Valley of the Kings (to the north), various funerary temples (to the east), and the Valley of the Queens (to the west). It is one of the rare locations where items of daily life can be found outside of a funerary context.
Deir el-Medina was home to the artisans who worked on royal tombs during the New Kingdom. The residents included masons, draftsmen, painters, and other craftsmen, as well as scribes, administrators, and service workers, such as washermen and midwives. Preserved tools, sacred objects, and other artifacts uncovered at Deir el-Medina provide a glimpse into the way ordinary people lived and died in this ancient land.
Scribes and Their Studies
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These sketches, called ostraca, have been found by the thousands in Deir el-Medina. The few featured here depict religious subjects or figurative scenes.
The ostraca displayed in the cases in the center of this gallery depict a range of subjects, including figural scenes, animals, architectural details, and administrative documents recorded in hieratic script (a cursive form of hieroglyphic writing).
Ostracon with Column Sketch
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Painted limestone
S. 06269
[No artwork description.]
Vase Fragment
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Clay
S. 07283/01
[No artwork description.]
Ostracon Depicting a Duck
Deir el-Medina New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Painted limestone
S. 06287
[No artwork description.]
Dummy Vase
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Painted limestone
Cat. 3325
[No artwork description.]
Ostracon Depicting a Cat
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Painted limestone
S. 06304
[No artwork description.]
Ostracon Depicting a Sphinx
Deir el-Medina New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Limestone with black ink
S. 06280
[No artwork description.]
Ostracon Depicting a Woman Swimming
Deir el-Medina New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Painted limestone
S. 09547
[No artwork description.]
Sculptor’s Bust
Excavation site unknown Beginning of the Ptolemaic period, 300s–200s bce
Limestone
Cat. 7048
Sculptural models like this bust were used in workshops to aid in the mass production of artistic objects. On the back is a grid, which was used to determine the size of the statues being produced.
[Artwork description: Bust carved in a dark tan stone material. The base of the bust is rectangular – depicting the chest and shoulders. A head wrap or wig is worn that starts at the forehead, covers the back of the head, and cascades down the shoulders onto the chest. A raised line runs from the center of the forehead to the back of the head and has two hook-like shapes at the front. The bust has large ears, a large nose, almond-shaped eyes, and plump lips that are gently closed. Multiple scratches, dents, pits, and areas of discoloration cover the surface.]
Sculptor’s Model of Nekhbet and Wadjet
Excavation site unknown
Ptolemaic Period (about 332–32 bce)
Limestone
Cat. 7055
This plaque depicts Nekhbet, the vulture goddess of Upper Egypt, and Wadjet, the snake goddess of Lower Egypt, on two baskets. Together, they are the protectors of the two unified lands. They often appear on royal headdresses.
[Artwork description: Small reddish brown limestone cup. The middle is slightly independent and the edges on the top and bottom flare out slightly. Multiple scratches, dents, pits, and areas of discoloration cover the surface.]
Ostracon with Geometric Sketches
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Painted limestone
S. 06285
The geometric patterns shown here are typical of ceiling decorations used in tomb chapels.
[No artwork description.]
Ostracon with Hieratic Inscription
Deir el-Medina New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Limestone with black ink
S. 09592
Administrative documents were primarily recorded in hieratic script, a cursive form of hieroglyphic writing, on limestone fragments called ostraca. This ostracon records items transported for a royal burial.
[No artwork description.]
Fragment of a Work Journal
Probably from Deir el-Medina New Kingdom, 20th dynasty, reign of Ramesses V and Ramesses VI (about 1149–1139 bce)
Papyrus with ink
Cat. 2073, Cat. 1923, Cat. 2083, Cat. 2088
Paper made of papyrus was precious, so it was often used on both sides. This document records progress on the tomb of Pharaoh Ramesses VI, adding up the volumes of the rooms excavated so far and estimating how much work remains to complete the tomb.
[No artwork description.]
Records of Daily Life
In Deir el-Medina, an unusually high number of people were literate. Incidents of daily life—births and deaths, comments about their neighbors, and even jokes—were recorded in various ways. Hundreds of papyri and more than thirty thousand limestone or pottery fragments (ostraca) have been preserved; they document the names of most of the workers and their families. Tomb paintings and administrative records also reveal details about farming, harvesting, making clothes, and other notable aspects of life in ancient Egypt.
Inscribed Ostraca
Valley of the Queens New Kingdom, 20th dynasty, reign of Ramesses III (about 1186–1155 bce)
Limestone with ink S. 05664 & S. 05654
These ostraca contain a record of the interrogation of a worker named Nekhuenmut, a note about the consumption of oil for lamps, and short reports about the work completed in several princes’ tombs in the Valley of the Kings.
Spindle
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Wood
S. 09978/3
Spinning flax fibers into thread was a common activity in Egypt. A spinner would gather flax fibers together, twist them with the spindle to create thread, and wrap the thread around the handle of the spindle.
[No artwork description.]
Stela of Nakhi
Probably from Deir el-Medina New Kingdom, late 18th dynasty (about 1300 bce)
Painted sandstone
Cat. 1586
The top register of this stela shows the deceased, a craftsman named Nakhi, making an offering to the two main deities of the afterlife: Osiris, the god of the underworld, and the jackal-faced Anubis, the god of the dead, who guides the deceased in the afterlife. Both gods symbolize rebirth and resurrection. The middle register depicts Nakhi and his wife receiving offerings of food and drink, seen on the table in front of them, from their children. Their son is dressed in a panther skin, indicating that he is a priest. The bottom register illustrates Nakhi’s other children holding lotus blossoms, symbols of resurrection.
[No artwork description.]
Hammers
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Wood
S. 07519 & S. 07523
Ancient Egyptian stonemasons and sculptors used wooden mallets and metal chisels to shape soft stones, like limestone and sandstone. Similar tools were employed for carving wood.
[No artwork description.]
Draftsman’s Stick
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Wood with vegetal fibers
S. 09985
Draftsmen created grid patterns on tomb walls to ensure the decorations were proportional. They tied strings to sticks like these, applied pigment to the strings, and snapped them against the wall to create straight lines.
[No artwork description.]
Chisels
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Copper alloy
Cat. 6299, S. 07513, & S. 07516
Chisels were made by sharpening the ends of copper or bronze bars. The shape of the sharpened end dictated its use—either for cutting into material or flattening its surface.
[Artwork description: Large chisel with a round, flat head at the top, a thick round body, and a tip that comes to a flat point at the bottom. The surface is a dark burgundy color with areas of black and specks of tan.]
Furniture Fragments, probably a seat
Probably from Deir el-Medina New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Wood
Cat. 2457 & Cat. 2458/1
These panels show Queen Ahmose-Nefertari and her son, Amenhotep I, seated on thrones in front of an offering table. They were considered founders and protectors of Deir el-Medina, where they were worshipped as gods. These fragments may have belonged to a sedan chair used to carry a statue of the deified queen during processions.
[Artwork description part 1: This carved furniture fragment features a scene of two central figures flanked by another figure at left and additional decoration at right. The overall shape of the fragment is a long rectangle. It is quite thin, and some areas are carved away to create an openwork or filigree effect. At center two figures sit in profile on boxy, striped, low backed chairs. The first figure is a female with black painted skin, wears a long light-colored skirt and nemes headcloth. She holds an staff-like object in her hand. To the right, sits a male figure wearing a long skirt, and a helmet shaped headdress. His skin is painted red and his pose echoes the woman’s with his left arm crossed over his chest clutching a staff-like object and his right on his lap. His eyes are still outlined in black paint.At far left, a figure kneels with outstretched arms wearing a garment that makes the arms appear like wings. They wear a nemes headdress and hold an ahnk, a cross with a loop instead of a top arm. This figure has very little paint remaining on it and is a light brown color and has round hole at the shoulder. The area around the ankh is also cut away to reveal its shape. At far right, a low table holds three vessels and other decorative objects which are difficult to discern. They appear to be more vessels and are stacked haphazardly. On top of the vessels an oval cartouche or plaque shape has red symbols still visible. Two vases stand below the table and are painted in black, red and grayish blue. The fragment is worn and paint appears in only some places.
Artwork description part 2: This carved furniture fragment features a scene of two seated figures at right flanked at left by a larger figure that seems to be enveloping the couple with large, outstretched wings. The overall shape of the fragment is rectangular, and portions are carved away creating an openwork effect. The two seated figures are posed in three quarter view. One at far right shows traces of brown paint on the face and body and the other black. Both wear elaborate headcloths and hold implements in their hands. A large ankh, about half the size of the seated figures site between them and the winged figure. The fragment appears worn and rough is mostly devoid of paint.]
Bowl
Deir el-Medina; New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Ceramic
S. 07073
Paint was produced by mixing pigments with water and a binder, such as acacia gum, in a bowl like this.
[No artwork description.]
Stela of Pendua
Probably from Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Painted limestone
Cat. 1565
On this stela, a Deir el-Medina craftsman named Pendua and his family, depicted in the lower register, worship two goddesses, shown in the upper register. The hieroglyphic inscription identifies the goddesses as Nefertiti, mistress of the sky and of all the gods, and Irytnefret, ruler of the sky and mistress of the Two Lands. They wear modius crowns, the characteristic headdress of queens during the New Kingdom, and hold ankh symbols and was scepters, symbols of power that identify them as goddesses.
[No artwork description.]
Ostracon with Geometric Sketches
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Painted limestone
S. 06335
[No artwork description.]
Brushes
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Vegetal fibers
S. 07659, S. 07660 & S. 07661
Brushes were made from bundles of plant fibers—like palm tree bark, reeds, or grasses—tied together with a long, thin cord that provided rigidity and a textured grip. One brush still shows traces of paint.
[No artwork description.]
Scribe’s Palette
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Wood and reed
Cat. 6222
Scribes carried their supplies in portable wooden palettes like this one. A symbol of administrative power, the writing kit included reed brushes for precision writing and inkwells to hold colored pigments. Scribes used only red and black ink, whereas painters used a wider variety of colors.
[Artwork description: Scribe’s pallet made of dark wood. The pallet is long and thin. The top has ten small round depressions used to hold ink and paint. First line has three, second line has one, third line has two, fourth line has one, fifth line has two, and sixth line has one. The first two lines have black pigment debris in the indents and the third has teal pigment. A long thin rectangular piece extends down the middle after the last circle, is depressed into the wooden frame, and has a small hole at the bottom. There are three thin wooden skewers laying on the indent. There is a horizontal support piece and then a second long thin strip that is sunken slightly from the sides and extends to the end. Knots, wear, and pigment stains cover the surface.]
Pigment
Heliopolis
New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Egyptian blue
S. 03603
The earliest known use of Egyptian blue pigment was in the 4th dynasty (about 2540 bce). This pigment, the first artificial pigment ever made, was produced by heating sand, copper, and natron (a compound of sodium salts) in a furnace and then grinding it into a powder. The blue color comes from the copper.
[Artwork description: These two small objects are a brilliant blue with splotches of brown stone showing through. The object on the right is triangular, like a segment of a disc with a rounded edge on the left side. It has striations running vertically across the surface. Unlike the thin flat object on the right, the second object is a lump with one end broken off to reveal a rough surface while the other end is smooth. There is a horizontal slit in the upper half of the object, occupying the far-right quarter.]
Draftsman’s Stick
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Wood and vegetal fibers
S. 05621
Draftsmen created grid patterns on tomb walls to ensure the decorations were proportional. They tied strings to sticks like these, applied pigment to the strings, and snapped them against the wall to create straight lines.
[Artwork description: A thin, rounded wooden stick with carvings on it’s surface and a small hole drilled through it close to the right end of the stick. The right end of the stick has a jagged end while the left is a smoother, more rounded end.]
Religious Practices in Deir El-Medina
Due to the isolation of the workers’ village, inhabitants of Deirel-Medina developed religious practices and cults that differed from the rest of Egypt. A few deities were worshipped only in the village, such as Pharaoh Amenhotep I and Queen AhmoseNefertari, who, after their deaths, were venerated as protector gods. Their likenesses often appear on stelae and other religious objects. The snake goddess Meretseger was also worshipped here, primarily to protect workers from snakebites.
Sculptures known as ancestor busts have been found in Deir elMedina houses. They were placed in a niche of the house’s main room and worshipped daily to ensure the ancestor’s protection of the household.
Building the Tombs
When a new pharaoh came to power, a large group of about sixty people began to dig his tomb and decorate its walls, preparing his “residence of a million years” after his death. The workers in Deir el-Medina used tools, such as those seen in the cases in the center of this gallery, to construct tombs in the Valleys of the Kings and Queens. First, stonemasons excavated the tomb using hammers and chisels. After the walls were smoothed with stucco, draftsmen drew grid lines using sticks and string. They made preparatory sketches of the tomb’s decoration, then painters applied the decoration using brushes and pigments.
Stela of Amenemipet
Probably from Deir el-Medina
New Kingdom, mid–18th dynasty (about 1450– 1400 bce) Painted limestone
Cat. 1515
This text on this stela is incised, but the figure was carved in relief. The figure and name of Amenemipet were hammered away at some point, expunging his memory.
[No artwork description.]
Amphorae with Floral Decoration
Deir el-Medina
New Kingdom, late 18th dynasty (about 1350 bce)
Ceramic
Cat. 3539 & Cat. 3537
Amphorae are distinctively shaped storage jars with tapered bases. They often have two handles at the neck.
[Artwork description part 1: A tall thick vase with a broken top. The body is thick and round with two small handles on the sides made up of thumb sized loops. The vase thins at the neck and then gets broader again near the top. Part of the neck is broken off revealing the reddish clay. The reddish clay can be seen through the thin coat of white paint on the base of the vase. Detailed designs stretch downward from the neck in a round pattern, like wreaths laid around the vase. A thick stripe of dark teal paint with thin vertical black hashes lies between two thin stripes of reddish brown paint. Above this a white circle is filled with 12 shapes painted in teal and brown and outlined in black that resemble feather shaped flower petals. Another thick stripe of dark teal paint with thin vertical black hases lies between two thin stripes of reddish brown paint at the base of the neck. Above it is a checkered pattern with thicker black lines and squares painted white, teal, and reddish brown.
Artwork description part 2: A large thick vase with a flat bottom, vertical loop handles on either side, and a broken neck. The reddish brown vase has intricate designs painted on it. A deep teal band between two bands of reddish brown runs around the base of the neck then down the vase like a wreath draped over it. Semi-transparent thick white stripes that are narrow at the top and white on the bottom cover the bands – evenly spaced out. In the middle of the center of the wreath-like band is a smaller, but thick strand of teal with black vertical hash lines over it. A large blemish in the middle of this strand obscures some of the paint. Below the large wreath-like band are dark teal petals and leaves that are outlined in black. They face the bottom of the jar and are fanned out.]
Vase with Floral Decoration
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Ceramic
S. 07012
Flower petals imitate wreaths of real flowers and symbolize rebirth.
[No artwork description.]
Beer Jars
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Painted terracotta
S. 06961 & 06987
Beer jars have a distinctive shape: oval bodies, narrow necks, and no handles. Beer was the most common beverage in ancient Egypt. Made from mashed loaves of barley bread, it was thick, nutritious, and far less alcoholic than modern beer.
[No art description.]
Amphora
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Ceramic
S. 07024
[No artwork description.]
Amphora
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Ceramic
S. 12526
[No artwork description.]
Beer Jar
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Painted terracotta
S. 06973
[No artwork description.]
Painted Vase
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Ceramic
S. 07036
The simple geometric polychrome decoration on this vase is typical of Nubian production, which indicates that the vase was imported from the south of Egypt. Nubia was an ancient kingdom south of Egypt that had become part of the Egyptian Empire during the New Kingdom.
[No artwork description.]
Dummy Vase
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Painted ceramic
Cat. 3323
In ancient Egypt, it was believed that an image had the power to become what it represented. “Dummy” or false vases were not proper containers, but imitations of vases made of more precious materials like stone, gold, or silver. Ancient Egyptian craftsmen developed numerous techniques for producing cost-effective objects that looked like more precious ones.
[No artwork description.]
Food and Drink in Deir el-Medina
The fertile mud deposited by the annual Nile flood allowed farmers to grow barley and emmer wheat. These crops became bread and beer. Egyptians enjoyed fruits and vegetables as well as meat, poultry, and fish. Cakes were sweetened with dates or honey, and grapes produced wine. Food and drink were stored in a variety of vessels and containers, often decorated. One of the most widespread decorative motifs used on these vases was horizontal rows of flower petals, which imitated wreaths of real flowers—symbols of rebirth.
Ancient Egyptian craftsmen developed numerous techniques for producing cost-effective objects that looked like more valuable ones. “Dummy” or false vases were imitations of vases made of more precious materials like stone, gold, or silver.
Dummy Vase
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Painted ceramic
Cat. 3607
[Artwork description: Teal vase that is short, wide at the bottom, and gently slopes inward towards the top. The lip at the top is a reddish brown and is chipped in multiple places. The pot is painted teal with a thick strip of light brown near the top of the vase with black symbols on it in two rows. The shapes are difficult to make out with the chipped paint, but are a variety of lines and dots. Dark brown lines that resemble dripping water flow from the top of the vase to the bottom. The paint is chipped throughout the vase, revealing the reddish brown surface beneath it.]
Jar Supports
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Ceramic
S. 07055 & S. 07056
Jar supports were common in ancient Egypt to hold storage vessels, vases, and amphorae, which do not have flat bases and cannot stand on their own.
[No artwork descriptions.]
Stela of Amenmose
Probably from Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1189 bce)
Carved limestone
Cat. 1520
Amenmose’s name is written in the upper register, alongside symbols such as two wedjat eyes (for protection), a shen ring (the symbol of cyclic eternity), and images of water and a vase (which refer to purification).
[No artwork description.]
How to Read a Stela
In ancient Egypt, a stela was a decorated slab, usually made of stone, most commonly taking a vertical, rounded shape. Stelae could be carved, painted, or both. Some of these stone slabs were commemorative or contained official decrees, but, for the most part, stelae were funerary, depicting the deceased receiving offerings to sustain them in the afterlife or bestowing offerings to gods and goddesses to attain eternal life. Offerings could include food and drink or lotus blossoms, symbols of resurrection. A stela is usually organized according to different registers—separated by horizontal lines—that depict different scenes. The accompanying text lists the name and titles of the deceased.
Stela of Webkhet
Deir el-Medina
New Kingdom, 19th dynasty, reign of Ramesses II (about 1279–1213 bce)
Carved and painted limestone
Cat. 1542
[No artwork description.]
Stela of Huy
Probably from Deir el-Medina
New Kingdom, early 19th dynasty (about 1292–1250 bce) Carved limestone
Cat. 1609
The top of this stela is not rounded but rather topped by a pyramid, evoking the shape of the mountain near Thebes. In the upper register, Huy, his wife, Tanehesi, and two of their grandchildren worship the gods Osiris, Hathor, and Anubis. In the lower register, Huy, Tanehesi, and one of their grandchildren receive offerings from the rest of their family. Here, Webkhet, one of several women by this name known from Deir el-Medina, receives offerings of food. The lotus flower she is smelling is a symbol of resurrection. The inscription calls her an “able spirit of Ra,” a designation for the glorified dead. Workers in Deir el-Medina kept such stelae in their homes or chapels to worship and make offerings to their deceased family members.
[No artwork description.]
Stela of Wennefer
Probably from Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1189 bce)
Carved and painted limestone
Cat. 1543
In the upper register, the deceased Wennefer offers a brazier, a portable heater, to a god. In return, the god gives Wennefer an ankh, the symbol of life. Behind the god, four ears indicate that he listens to prayers and can be addressed directly by the faithful. In the lower register, Wennefer’s family also worships the god. While the god’s head is not visible, the inscription reveals his identity as Sopdu, the god of Egypt’s eastern regions.
[No artwork descriptions.]
Statue of Nebanen as a Staff-Bearer
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 bce) Wood
Cat. 3050
The statue depicts Nebanen, a worker in Deir elMedina. He carries a staff topped with an image of the god Amun who serves as a protector. Intended for a small chapel, the statue was dedicated by Nebanen’s son Thothnefer, also a worker in Deir el-Medina. Cultic objects like this became widespread in the New Kingdom, particularly in the Theban area.
[Artwork description: This is a wooden statue of a standing male figure holding a standard against his left shoulder. He stands with his arms at his sides, the fingers of his left hand extend straight downward while his right hand makes a loose fist. The figure’s wig is depicted by finely carved braids or coils styled like a nemes headcloth covering the forehead, exposing the ears and falling past the shoulders. The upper body, arms and face of the figure are smoothly carved. The kilt-like garment shows fine pleats and gathers at the front and sides. The figure appears to be in mid stride as the right leg, is set back behind the left. The standard is a long staff as tall as the figure itself and is incised with hieroglyphics from almost the top to the bottom. A small, seated figure tops the staff. The figure stands on a square wooden plinth in the same warm brown wood color. A small paper label is attached to this base and reads “cat. 3050”]
Ostracon Depicting a Vulture
Deir el-Medina New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Painted limestone with paint
S. 05696
This vulture wearing a crown is probably the goddess Nekhbet.
[No artwork description.]
Ostracon Depicting a Sacred Barge
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Limestone with paint
P. 0855
Processional boats, like the one depicted here, were carried by priests during religious festivals. The shrine in the middle of the boat housed a deity’s statue. The rams’ heads that decorate the boat’s prow and stern identify this as the boat of Amun. Every year the barge of Amun was carried through the Theban Necropolis and past Deir el-Medina as part of the “Beautiful Festival of the Valley.” It is possible that this ostracon is an illustration of this festival witnessed by the artist.
[No artwork description.]
Ostraca
Scribes held important status in Egyptian society. Some wrote texts, while others, called draftsmen, drew tomb paintings. Both learned their trades through apprenticeships, which largely consisted of making copies and studies on pieces of limestone or pottery. These sketches, called ostraca, have been found by the thousands in Deir el-Medina where these artisans would have learned their craft.
The ostraca displayed in the nearby cases depict a variety of subjects: sacred animals—
a vulture (the goddess Nekhbet), a sphinx with the head of a ram (the sacred animal of the god Amun), and a bull (a symbol of protection); the god Horus and goddess Hathor; and the image of a sacred barge used during a religious festival.
Ostracon Depicting a Bull
Deir el-Medina New Kingdom, 19th–20th dynasty (about 1292–1075 bce)
Limestone with black paint
S. 06293
This image of a running bull may have been used for prayer or protection.
[No artwork description.]
Ostracon Depicting the God Horus
Deir el-Medina New Kingdom, 18th–20th dynasty (about 1539–1075 bce)
Painted limestone
S. 06277
A man with his hands raised in worship faces a falcon wearing the double crown of Upper and Lower Egypt, identifying him as Horus, god of the sky.
[No artwork description.]
Ostracon Depicting the Goddess Hathor
Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1191 bce)
Painted limestone
S. 06340
The goddess Hathor is identifiable by her protruding cow ears, wig, and low modius crown.
[No artwork description.]
Stela of Penbuy
Probably from Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1189 bce)
Painted limestone
Cat. 1449
The craftsman named Penbuy, his wife, Iy, and their son Kasa kneel and raise their hands in homage to the deified Queen Ahmose-Nefertari. Behind the queen goddess, two large ears indicate that she is “one who listens to prayers” and that the faithful can address her directly
[Artwork description: The profiles of four people are etched into a stone tablet. The stone is in the shape of an arched doorway. It is divided in half horizontally. The upper half shows two people. The person on the left sits on a chair facing a person who is kneeling. Between them is a table holding an urn-like object. The seated person has a tall headdress composed of a circle and two columns. Her ear shows on the side of her head. Her left arm is crossed in front of her chest and is holding a curved object. Her right arm is on her lap and points toward the other person. It is holding a short, pointed object. Her thighs come straight out from the chair and her calves form a right angle to the floor where her feet rest flat on the floor. Two large ear shapes are carved on the wall behind her. The person facing her has hair that comes straight down to his shoulders. He is kneeling with both arms raised to face height with the left palm facing forward. The right hand is holding a stemmed glass with two triangle shapes at the top. He is bare chested and is wearing flowing trousers. On the wall beside the figures are incised designs. The lower section shows two figures. Both are on their knees facing in the same direction as the kneeling figure above. The figure on the left has hair that comes to his shoulders and is bare chested. His hands are held palm forward at the level of his face. The figure on the right has hair that comes to waist level and a bow shape on the top of her head. She is wearing a long flowing dress. She is holding a stemmed glass with three sharp points on the top in her right hand. Her left palm is facing forward. Designs on the wall are at the left and center.]
Stela Dedicated to Pharaoh Amenhotep I and Queen Ahmose-Nefertari
Probably from Deir el-Medina
New Kingdom, early 19th dynasty (about 1292–1250 bce) Limestone
Provv. 0864
This stela honors Pharaoh Amenhotep I and his mother the deified Queen Ahmose-Nefertari, who is identified by the cartouche near her head. Two different methods of carving have been employed: the hieroglyphs are carved in sunken relief (the inside of each glyph is hollowed out), while the figures are carved in bas-relief (the surface around the figures is carved out so that their shapes stand out).
[No artwork description.]
Stela Depicting an Offering Scene
Probably from Deir el-Medina
New Kingdom, 20th dynasty (about 1189–1075 bce) Limestone
Cat. 1453/bis
This offering scene is dedicated to the royal protectors of Deir el-Medina, the deified Queen Ahmose-Nefertari and her son, Pharaoh Amenhotep I. A representation of the daily journey of the sun is carved at the top of the scene. A scarab, carved inside the solar disc, evokes the god of the rising sun known as Khepri, appearing above the hieroglyphic sign for “sky.”
[Artwork description: Three figures appear to be in conversation on this clay tablet. The central figure is the tallest and has a decorative hat that is high and rounded in the front with a point at the back. His legs, feet and head are facing to the right, but his torso is facing straight ahead. His left foot is stepping forward. He is wearing a knee length skirt with a decorative sash. He is holding a club-like object across his chest in his left hand and an object that might be an arrow in his right. The arrow is pointing toward the man that he is facing. This man is much shorter. His head and feet are in profile with one foot in front of the other. His chest is facing slightly to the front. He is wearing a long skirt that comes to mid-calf. He has hair that comes behind his ears to his shoulders. He is holding his hands up at face level with his palms facing out. The person on the left is about the same height as the central figure. He is in full profile with his feet next to each other. He is holding a staff straight up with both hands. He appears to be standing at attention. His clothing is indicated by a round neck and an “X” design on the torso. His head is smooth and rounded. All three figures have pleasant expressions with slight smiles.]
Ostracon Depicting a Criosphinx
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 bce) Painted limestone
S. 09545
This ostracon, possibly an object of worship, shows a standing criosphinx—a sphinx with the head of a ram, the sacred animal of the god Amun.
[No artwork description.]
Shabti of Iyemwaw
Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1250 bce) Painted limestone
Cat. 2586
Iyemwaw was probably the wife of a tomb worker named Amennakht. The statuette is inscribed with the shabti spell.
[No artwork description.]
Two Shabtis of Henuttaneb
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 bce) Painted limestone
Cat. 2707 & Cat. 2708
The inscription on these shabtis reads “the Osiris, the lady Henuttaneb, justified.
[Artwork description part 1: A small limestone statuette depicting a standing female figure with thick black long hair with short bangs, black lined eyes and eyebrows wearing a white garment that covers the entire body. She stands with her carved arms crossed over her chest and holds a painted-on hoe in each hand. Her skin is a reddish terracotta color as is her hands. The white painted garment covers from neck to over the feet and to the wrists. Black and brown stripes, both vertical and horizontal decorate the chest suggesting a necklace or breast plate. Down the center of the solid lower portion of the figure hieroglyphics run vertically between two brown lines from under the crossed arms to the feet. These are painted in black. The statuette bears areas where paint has been worn away.
Artwork description part 2: A small limestone statuette depicting a standing female figure with thick black long hair with short bangs, black lined eyes and eyebrows wearing a white garment that covers the entire body. She stands with her carved arms crossed over her chest and holds a painted-on hoe in each hand. Her skin is a reddish terracotta color as is her hands. The white painted garment covers from neck to over the feet and to the wrists. Seven brown horizontal stripes, decorate the chest suggesting a necklace or breast plate. Down the center of the solid lower portion of the figure hieroglyphics run vertically between two brown lines from under the crossed arms to the feet. These are painted in black. The statuette bears areas where paint has been worn away.]
Shabti of Amennakht
Deir el-Medina
New Kingdom, 19th dynasty (about 1292–1198 bce)
Painted wood
Cat. 2528
More than 30 men named Amennakht worked in Deir elMedina. This shabti belonged to one of them.
[Artwork description: This wooden statuette is carved and painted to resemble the workman Amennakht. The standing figure wears a black painted wig with short bangs across the forehead that gradually slope down to the sides and ends at chest length in thick ropes of hair. The arms are crossed over the chest and each hand holds a hoe depicted in relief and painted brown. The face and hand s of the figure are painted a deep copper color. Eyebrows and eyes are lined in black. The ears are visible, and the figure wears a small black, goatee beard. Blue and green stripes on the chest under the hair suggests necklaces or a decorative breastplate. The lower half of the body is solid and provides space for eight rows of hieroglyphics in black separated by brown horizontal lines. The body under the decoration is painted off white and appears worn in places showing the wood underneath.]
Shabti of Amenemheb
Deir el-Medina
New Kingdom, 19th dynasty (about 1279–1213 bce)
Painted wood
Cat. 2524
Amenemheb was a worker involved in the construction of the royal tombs during the reign of Ramesses II.
[No artwork description.]
Three Shabtis of Amennakht
Deir el-Medina
New Kingdom, 20th dynasty (about 1145– 1139 bce) Stuccoed and painted wood
Cat. 2531 (182), Cat. 2535 (089), & Cat. 2539 (074) Amennakht was a scribe who was responsible for the administration of the workforce and the village of Deir el-Medina during the reign of Ramesses VI.
[No artwork description.]
Worker Shabtis
Shabtis were ritual objects placed in the tombs of all Egyptians, rich and poor alike. These small statuettes were shaped like the mummy of the deceased and were intended to perform manual labor on their behalf in the afterlife. Shabtis were believed to be animated by a spell contained in the Book of the Dead, a funerary text placed in the tomb that contained many spells to assist the deceased as they journeyed through the underworld. Some burials only contained a few shabtis, while others contained hundreds. Shabtis could be made of stone, wood, or faience and were often depicted holding hoes and carrying baskets on their backs. The shabtis in the case nearby were found in the tombs of Deir el-Medina residents.
Two-Sided Slab
Excavation site unknown
Front: Late Period, 25th dynasty (about 722–655 bce)
Back: New Kingdom, 19th–20th dynasty (about 1292– 1075 bce)
Limestone
Cat. 1397
This stela was carved on both sides in two different time periods about 500 years apart. The front side depicts a character dressed in a long garment decorated with geometric motifs who is worshipping two deities. One deity is unknown; the other one is Ptah, the god of creation and craftsmanship. This scene was carved in the 700s Bce. On the reverse, a scene shows a pharaoh holding two enemies of Egypt by the hair. The royal scene was carved during the New Kingdom period.
[Artwork description: A broken block of stone is carved with three figures. The break is just above the waist of the central figure. His two legs are in profile with bare feet facing to the viewer’s right. A sash hangs down to just above his knees from a belt. He is wearing a transparent skirt. The other figures are complete and much shorter. The man on the left is bending forward toward the central figure with his left foot in front of the right. He is wearing a belted, ankle length skirt. The right arm is in a very strange, uncomfortable looking position. The elbow is pushed backward and then the forearm looks as if it were bent backward and then tied in that position with rope. The left arm is out of sight. His face is looking toward the ground and his head is near the central figure’s thigh. He has a mustache and beard and intricate braids. He has a slight smile. The figure on the right is also in a strange position. She is bending forward with her elbows touching in front of her mid-section. Then her elbows bend backward so that her forearms reach outward to her outer thighs. Her body is facing forward, but her head is looking over her left shoulder away from the central figure. Her mouth is open. She is wearing an ankle length dress with a round neck. Her hair is smooth with a wide scalloped headband. Her feet are facing to her left. A fragment of the broken stone is sitting on top of the block. It shows the lower torso and one arm of the central figure.]
Death and Burial in Deir El-Medina
The villagers of Deir el-Medina were buried in tombs dug into the hillsides immediately east and west of the settlement. These tombs typically comprised a small chapel decorated with brightly painted funerary scenes, preceded by a courtyard and topped by a small pyramid. The burial chamber was located deep underground. Funerary stelae (carved or inscribed stone slabs) were often dedicated as offerings in the chapels and courtyards of these tombs. Workers in Deir el-Medina also kept such stelae in their homes or chapels to worship and make offerings to their deceased family members.
Lid from the Coffin of Ankhpakhered
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 bce) Stuccoed and painted wood
S. 05259
This coffin lid belonged to Ankhpakhered, a priest of the fertility god Min. In the middle of the lid, the deceased—shown lying on a bier—is framed by the goddesses Isis and Nephthys. The inside of the lid is decorated with an image of Nut, the goddess of the sky
[Artwork description: The triangular shaped face is a light brown color with almond shaped dark eyes with dark eyeliner that comes to a point at the temples. It has large ears and a large nose with thick lips. Much of the face is discolored with dark brown patches. A headpiece with alternating thick green and thin tan stripes runs horizontally along the forehead and vertically down the face. The tips of the headpiece have a flat brown line. The neckline of the clothing has approximately thirteen horizontal lines with short brown vertical hash marks along each line. Below, a depiction of a goddess with a green face and arms, red clothing, and large, outstretched wings with three sections – the top horizontal rows with brown dots, the second with vertical brown lines with green, red, yellow, and brown coloring, and the bottom with the same lines, but longer with teal, purple, and yellow coloring. The slides of the coffin and the space under the wings has thin columns of hieroglyphics in multiple colors that are too small to decipher. Below, a horizontal row of hieroglyphics in brown is bordered on top and bottom by horizontal rows of multicolored rectangles. Below is a thick row of multiple figures that face towards the center of the coffin. Below another horizontal line of hieroglyphics is bordered on the top and bottom with thick horizontal lines made up of four thin lines that are multicolored – brown, blue, green, and red. Below are several columns of hieroglyphics. In the middle is a large depiction of the body being prepared for burial with a figure on each side and a shape like a bird above. Five vase shaped objects sit under the table. Two columns of multicolored rectangles run on either side of the scene and continue to the bottom of the coffin. Between them are seven columns of hieroglyphics. To the outside of both middle columns are shorter columns of hieroglyphics with depictions of figures in the middle, bordered by the multicolored rectangles. The bottom is missing and has been replaced with plain brown materials. The bottom sits on a rectangular base. Patches of discoloration and scratches cover the surface of the coffin.]
Lid Fragment from a Masculine Anthropoid Coffin
Valley of the Queens, Thebes
Late Period, 25th–26th dynasty (about 722–525 bce) Stuccoed and painted wood
S. 05261
Floral motifs decorate the exterior of this coffin lid, and the interior is as colorfully painted as the outside. However, due to its fragmentary nature, its owner remains unknown.
[Artwork description: Partial sarcophagus lid with the left side missing. The light brownish red face has large almond eyes with the left eye seemingly smaller than the right with significant scratching and discoloration. The long thin nose is also discolored and scratched. The lips are thin and gently closed. There is a large area of tan and red discoloration and scratching on the check and chin. The figure is wearing a wig or head covering that is tan and has hair which flows over the shoulders that is yellow and green striped with a green band with white geometrical decorations on it. The shirt has similar colors and patterns repeated in horizontal stripes which are hard to see with multiple scratches, dents, and large patches of discoloration.]
Ancestor Bust
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 bce) Painted limestone
Cat. 3080
Sculptures known as ancestor busts have been found in Deir el-Medina houses. They were placed in a niche of the house’s main room and worshipped daily to ensure the ancestor’s protection of the household.
[No artwork description.]
Shabti of Nefertemsatet
Deir el-Medina
New Kingdom, 18th–20th dynasty (about 1539–1075 bce) Painted wood
Cat. 2673
Nefertemsatet was probably the wife of a workman named Khaemtir.
[No artwork description.]
Shabti of Taysen
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 bce) Painted wood
Cat. 2768
[Artwork description: This carved wooden statuette of a standing female figure is a warm brown with trace amounts of paint. The face, hair, ears, and hands are carved in relief leaving the rest of the body smooth and solid. There are slight bumps where elbows might appear from crossed arms at the figure’s sides and the legs and feet are treated as a solid column. The face has traces of black lined eyes and eyebrows and the hair is carved to suggest it is tucked behind the figure’s ears. Empty, closed hands are carved on the torso, their position suggesting crossed arms. The center column of the figure bears traces of hieroglyphics from the mid-section to just above the feet. The surface of the statuette appears smooth and rounded.]
Shabti of Wepwawetmose
Deir el-Medina
New Kingdom, 19th–20th dynasty (about 1292–1075 bce) Painted wood
Cat. 2518/bis(a)
Wepwawetmose was a painter or draftsman who drew scenes in the royal tombs.
[No artwork description.]