Museu Egipcio de Barcelona
After visiting La Sagrada Família we decided to spend our second day in Barcelona (early July 2019) visiting a small museum.
Barcelona has a vast range of museums, from the Fundació Joan Miró, through the Centre d'Art Santa Mònica, to the Museu Nacional d'Art de Cataluya. But finally we decided to visit Museo Egipcio de Barcelona.
This museum is what might be called a little gem. It scored a 4/5 with Trip Advisor and 73% of the 345 reviews thought it was excellent or very good. After our full immersion in a tourist experience with La Sagrada Família, we now turned to a small museum offering a quiet and restful experience.
I suppose one of the most interesting features of the museum is that it tries to provide an overview of an ancient civilisation through a variety of artefacts, giving space to many everyday items that might be lost is a bigger more prestigious collection. What I hope to do below is focus on some of the less well known aspects of ancient Egypt.
The museum has about 1,100 pieces, and permanently shows about 300 artefacts over 2 floors. An additional basement floor is used for temporary exhibitions.
The permanent exhibition
The permanent exhibition is divided into a number of themes ranging from the Pharaoh's to funerary beliefs.
https://www.museuegipci.com/en/the-collection/positions-and-characters/
The Pharaoh [edit]
Pharaoh was a character of great power in the Egyptian state; He governed and directed the country, so he was in the highest level of the social pyramid: he was the guarantor of the cosmic order.
Some outstanding pieces in this field are:
The statue of Pharaoh Ramses III3 (1194-1163 a.C.): In this beautiful statue, Ramses III holds a divine standard, which could have been crowned with the representation of the ram of Amun. The hieroglyphic texts show the different names of the king.
The statue head of Pharaoh Nectanebo I4 (380-362 BC): Nectanebo I was the founder of Dynasty XXX, the last native dynasty. Egypt will not again enjoy a situation of independence, with indigenous leaders, until the twentieth century. The identification with Nectanebo is based on the comparison with statues that preserve the name of this pharaoh.
The ushebti of Senkamanisken (643-623 BC): After the abandonment of Egypt by the pharaohs of the XXV Dynasty, their descendants continued to rule in Nubia. In the pyramid of Senkamanisken (Nuri), more than a thousand ushebtis of the monarch were found.
The Donation Stele in which Cleopatra VII5 (51-30 BC) appears: The queen and the king make offerings to the divinities Heka and Sekhmet. From the study conducted by Dr. Jean Yoyotte, the queen has been identified with Cleopatra VII and the king as Ptolemy XIII or Ptolemy XIV.
Charges and private characters [edit]
Egypt represents one of the oldest state models of humanity: centralized in the figure of Pharaoh and surrounded by a large number of officials; many of them we can know them thanks, in part, to pieces like those found in this collection.
Some outstanding examples:
The cube statue of Huy6 (1307- 1196 BC): Beautiful and complete representation of Huy, of which we do not know his titles, if he had them. It is a very emotional piece, since the hieroglyphic texts with the expressive phrase "... of his son, who makes his name live ...", which was dedicated by a son (the scribe Huy) to his late father. In the same way, on the piece appears the name of another son, the scribe Iny.
The statue of the guard of the room and inspector of the gardens of Amón7 (1550-1307 a.): The personage, kneeling, maintains a wake with a hymn directed to Re-Haractes. Behind him, another stele contains a hymn addressed to Osiris and Amun. This type of statues were inside a niche pierced on the door of private Theban tombs.
The carton belonging to the Lady of the House Dyed-Montu-iues-anj8 (945-715 BC): From the Middle Kingdom, the title of Lady of the House was one of the most common to refer to women of the elite. In the noble houses, the Lady of the House was responsible for most domestic activities, such as brewing and brewing, cooking, weaving, grain storage, animal care and handicraft production . In the cardboard, numerous protective deities are represented, as well as the hieroglyphic texts that enunciate a characteristic formula of request of offerings and provide the name of the lady and her husband.
The sculptural group composed of three male characters9 (715-332 BC): This is a good example of a late statue in which stylistic elements from earlier times have been applied. Despite the hieroglyphic texts written on the back and on one of the sides, its state of conservation does not allow to identify the characters.
The Jewelry [edit]
In creative activities such as jewelry, the Egyptians managed to reach unimaginable levels, their products being the most evident samples of a sophisticated culture and an exemplary domain of the various techniques used.
In the museum you can see some examples such as:
The head in gold of the god Osiris10 (715-332 BC): gold, silver and electrum were the favorite metals for the manufacture of jewelry. Gold, with its brightness and incorruptibility, was related to the sun and the concept of immortality (thus, the flesh of the gods was gold). Silver was related to the moon; of silver were also the bones of the gods. The electrum, in its natural state or artificially produced, is a compound of gold and silver, so it assumed the symbolic functions of both.
In creative activities such as jewelry, the Egyptians managed to reach unimaginable levels, their products being the most evident samples of a sophisticated culture and an exemplary domain of the various techniques used.
In the museum you can see some examples such as:
The head in gold of the god Osiris10 (715-332 BC): gold, silver and electrum were the favorite metals for the manufacture of jewelry. Gold, with its brightness and incorruptibility, was related to the sun and the concept of immortality (thus, the flesh of the gods was gold). Silver was related to the moon; of silver were also the bones of the gods. The electrum, in its natural state or artificially produced, is a compound of gold and silver, so it assumed the symbolic functions of both.
The gold ring belonging to a character named Sa-Neith11 (664-525 BC): This is a very unique piece, of which there are no more than half a dozen in the world (in terms of size and quality of execution). The titles of Sa-Neith are the following: 'Prophet and divine father', 'Director of the chapels (of the goddess Neith)', 'Priest of Horus',' He whose two diadems are great ',' Priest wen-ra of Ptah, who loves him ',' Lord of the city of Letópolis (in the delta, possibly the city of origin of the owner of the ring).
Pectoral of esteatita12 (1550-1070 a.): Pieces like this could substitute the beetle of the heart, assuming the function of propitiating a fair judgment for the soul of its owner. The dung beetle was one of the animals that provided the greatest symbolism to the Egyptian culture. It was associated with the sun and was considered a symbol of regeneration or self-creation.
The work of stone and ceramics [edit]
Since the Predynastic Period, the treatment of stone and ceramics reached a very high technical and aesthetic level, barely surpassed during the Pharaonic era. It was in the creations in stones of all kinds that the Egyptians learned and practiced the techniques of work that they applied on a large scale in their sculptural and architectural works. It is possible to be affirmed that the productions in stone appear like the luxury tableware par excellence, relegating the ceramic to a secondary paper.
It is worth highlighting:
The alabaster vessel (2465-2150 BC).
The bowl of granodiorite (2920-2575 BC).
Cosmetics and eroticism [edit]
The attention and care that the Egyptians devoted to their bodies is evident in the use of a large number of objects and products related to cosmetics. This aesthetic sense, intended essentially to increase the attractiveness of men and women, would not be free of a certain load of eroticism.
In spite of everything, figurative representations or written texts of erotic sexual character are not common in Egyptian art and literature, at least in a too direct way. For example:
A mirror with the representation of the gods Osiris, Isis and Nephthys13 (715-332 BC): The Egyptian mirrors had metal surfaces, usually copper, bronze or silver. Because of their shape and brightness, they were associated symbolically with the sun. Many of these pieces were given to female deities as an object of worship.
An alabaster headrest14 (2040-1440 BC): Some objects such as the headrest are surprising and it is even difficult to understand that they were used as a cushion to make resting more comfortable. Under the headrest can be seen the representation of two open hands to receive the head between them.
A container of kohol wood, ivory and ebony15 (1550-1307 BC): Ointments, perfumes and eye paint were products widely used by the Egyptians. Medical papyri list long lists of substances for various purposes (elimination of body odor, hydration of the skin, treatment of wrinkles and freckles, prevention of hair loss ...). The most widespread product was kohol (in Egyptian, mesdemet).
A wooden bed (2920-2649 BC): In addition to being an indication of the level of comfort that Egyptian elite houses had, the bed was also used as a context related to sexual activities. Proof of this are the female figurines lying on a bed that from the New Kingdom were incorporated into the tombs to promote the regeneration of the deceased.
Funerary beliefs and practices, the myth of Osiris and mummification [edit]
The Egyptians considered that the death was only a temporary interruption, since the human being had the possibility of living eternally. This privilege, which originally affected only the most important members of society, gradually spread to all the inhabitants of the country.
Funerary beliefs and practices, the myth of Osiris and mummification [edit]
The Egyptians considered that the death was only a temporary interruption, since the human being had the possibility of living eternally. This privilege, which originally affected only the most important members of society, gradually spread to all the inhabitants of the country.
From the ritual point of view, the mummification of the body was the process that conditioned the possibility of eternal life to a greater extent. In the same way, the individual had to have a tomb or house of eternity that welcomed his mummy, the necessary equipment for his subsistence and a cult zone.
Vestiges of this fascinating culture can be found in pieces such as:
A Roman mummy of the so-called portraits of El Fayum16 (150-200 BC); This mummy, which has been renamed the 'Lady of Kemet', is a late show of one of the most unique activities practiced by the Egyptians. On his bandages is alluded to by divine representations to the cycle of death-resurrection-continuity of life, ultimate goal that is intended for it.
A bronze statuette of Isis and Osiris17 (715-332 BC): Osiris, who was murdered by his brother Set, was revived thanks to his wife Isis, who was resurrected in the world of the dead. Horus, son of both, became his heir. The possibility of life after death in Osiris was the main basis of religious beliefs and funeral practices.
A wooden box used as a container for viscera18 (302 - 30 BC): Richly decorated with religious scenes and motifs, among which several amulets stand out (udyat eyes, pillar dyed, the Isis knot, the sign of the life anj or the scepter uas). You can also see a 'false door', a scene with the owner of the box before the four sons of Horus and another with the goddesses Isis and Neftis flanking the fetish of Abido, symbol of the god Osiris.
A wooden hawk mummy and coffin19 (715-332 BC): Like humans, certain animals were also mummified as being considered earthly manifestations of the gods. Thus, the cat was the sacred animal of the goddess Bastis; the ibis, of Tot; the crocodile of Sucos, and the hawk, of Horus.
The funeral dependencies [edit]
The Egyptian tombs were considered the eternity houses of the deceased. Therefore, the pyramids, the mastabas or the rock tombs enjoyed great importance.
Pieces related to this area are:
The coffin in stucco and painted wood (715-332 BC): Due to the size and absence of the false beard, it could be a child's coffin. It is worth noting the conservation of the elements used for the assembly of the two parts that make up the piece as well as the presence of remnants of the bandage of the mummy.
The upper part of the coffin casing in limestone (664-525 BC): From the New Kingdom the use of the anthropoid casket was generalized. This fragmentary piece shows in a work of great quality the part corresponding to the face of the deceased. The male sex of the character is deductible from the fastenings for the false beard.
A funerary mask20 (1st century BC): The funeral mask covered directly the head and torso of the mummy. Its most prominent function was to facilitate the identification of the deceased based on the reproduction of his facial features. On them also appear various ornamental elements and protective deities.
The coffin of priest Cnumhotep in wood21 (1991-1783 BC): The parallelepiped coffin is characteristic of the Ancient and Middle Empires and the royal tombs of the New Kingdom. This copy has hieroglyphic texts addressed to Osiris and Anubis asking for a complete offering of offerings for the priest Cnumhotep. The eyes represented on one of its sides allowed the deceased to observe what was happening in the outside world.
The cult chapel [edit]
Unlike burial chambers, the funerary worship area of Egyptian tombs was accessible to those close to them or those responsible for making the necessary offerings to guarantee the subsistence of the deceased.
Replacement statues, "false door" stelae, offering tables and parietal representations of all kinds are some of the most common elements that make up cultural spaces.
The complex universe of the Egyptian cult is represented with pieces such as:
The stele-false door of the scribe Sebekemheb22 (1391-1353 BC): The wake of 'false door' was conceived as a means of communication between the world of the living and the dead. The represented eyes allow the deceased to see what happens inside the offering chapel and, if necessary, he could leave the recondite sepulchral field. The scenes in this piece show Sebekemheb and his wife before the gods Osiris and Anubis. Under them, various family members contribute offerings for the deceased.
The table of offerings belonging to Inpu23 (1550-1070 BC): The table of offerings was placed in front of the false door so that the deceased could find there the necessary food to survive in the Hereafter. The offerings, normally, were represented on the surface.
The fragment of parietal relief with a noble character decorating his tomb24 (1307 - 1196 BC): From the Old Kingdom, the walls of the cult chapels were occupied by painted or relief representations. In this case, a character dressed in the typical dress of the vizier, is decorating what seems to be his own grave. With the left hand holds an element of difficult identification and under the chair, there is another, interpretable as a container of papyri.
The table of terracotta offerings (1191-1640 BC): The tables of offerings, normally placed inside the chapels of worship in front of the false-door wake, served as support for the solid and liquid foods that the cult funerary assured the deceased.
The funerary cone of the Chief of the Brewers and the Corrales de Amón (1550-1070 BC): The funerary cone is a typically Theban product. Numerous specimens associated with private tombs have been found, their precise function is unknown. The most common texts that they show usually cite the names and titles of important characters.
The cult in the temples [edit]
The Egyptian temple was conceived as the house of the gods, a suitable abode for their worship. The human being had to maintain the cosmic order, showing his gratitude for having been allowed to inhabit the earth.
Featured pieces are:
The parietal relief with the representation of the god Amun (1550-1070 BC): Amun was the god of the invisible, hence it was called 'the hidden'. In this bas-relief appears enthroned and wearing his characteristic headdress formed by two long feathers. During the Middle and New Kingdom, Amun became the legitimating god of the pharaonic state, protecting royal authority and empire.
The representation of a pharaoh in the form of a sphinx in limestone25 (332-30 BC): The Egyptian sphinx is usually interpreted as the result of the integration of two powers: on the one hand the strength and vigor that the body provides of the lion and, on the other, the divine or royal rank contributed by the head of Pharaoh or a deity. This type of pieces used to be used as a votive objective.
The funerary stele in wood26 (1070 BC-715 BC): In this stele you can identify the gods Re-Haractes and Atum, who receive offerings from Lady Taheru. In the text of greater length, some of their relatives are named, their father, the 'divine Father of Amón, in Karnak', called Dyed-Hor, son of Tairy.
Gods of Egypt [edit]
The ancient Egyptians worshiped thousands of gods; perhaps one of the most characteristic aspects was the cult that they rendered to certain animals, clearly reflected in their artistic creations. These divinizations were always related to some process of observation of nature, transforming these beings into the incarnation of the gods. Examples of some pieces of the museum are:
The baboon head in limestone27 (1550-1307 BC): these representations of large baboons frequently adorned the temples, since these animals were considered to be intimately related to the Sun. This belief came from the observation that These monkeys scream at dawn, just when the solar star rises on the horizon.
The representation of the goddess Bastet28 (664-525 BC): The cats were deified and considered protective, given their ability to hunt harmful animals (rodents, snakes ...). However, the goddess Bastet not only had kind and maternal connotations, she could also become an angry and cruel being, so her character was confused with that of Sacmis, the lion goddess of war.
The amulet of the bull Apis29 (664-525 a.): Diverse Egyptian Gods could incarnate in the bull, although Apis got to be the most powerful and famous. Each year the priests selected the animal they considered the incarnation of the god, to finally be mummified and buried with great luxury. The worship of this divinity related to fertility and strength was especially intense in the later epochs.
The statue of the goddess Tueris30 (715-332 BC): This curious deity with hippopotamus body, lion's feet and arms, human breasts and crocodile tail, was the patron of women during pregnancy and childbirth . With his fierce appearance, he protected women and children from evil beings.
Representation of the divinity Horus de Buto31 (715-332 BC): There are numerous aspects of the god Horus that present substantial differences from the iconographic point of view. This piece is a clear example. The so-called Horus de Buto is represented by a male human body and a lion's head. On the platform there is a text addressed to the goddess deltaica Uadyet.
Temporary and traveling exhibitions [edit]
From its own funds or from other entities, the Egyptian Museum of Barcelona has organized a considerable number of temporary exhibitions of varied themes. Normally they have been realized for the first time in the headquarters of the Museum and have been transferred later to other entities:
About Egypt
Tutankhamun: Images of a treasure under the Egyptian desert, Egyptian Museum of Barcelona. From December 19, 1995 to February 11, 1996 (Itinerancias: 65). It is a photographic exhibition especially aimed at family and school audiences. It aims to transport visitors to the history of the discovery of the tomb of Pharaoh Tutankhamun, presenting its main protagonists: Lord Carnarvon V, an English nobleman who financed the excavation and who had started in archeology as a mere amateur: Howard Carter, the archaeologist who sought Tutankhamun in all corners of the Valley of the Kings and who was the true architect of the discovery.32
Presentation of the Sarcophagus of Djed-Montu-Iues-Anj, the Lady of the House. Saló del Tinell (Barcelona), from April 20 to 24, 1995.
Passion for ancient Egypt: Egypt through the collections, ArteBarna Fair (Barcelona), from February 7 to 15, 1998.
Pharaoh of Egypt: Kings of Eternity, Caja Granada Foundation, from December 9, 1998 to January 23, 1999.
Tauy: The two lands of Egypt, Egyptian Museum of Barcelona, from June 14, 2001 to July 15, 2001.
The golden mummy: The return to life, Egyptian Museum of Barcelona, from October 26, 2001 to April 7, 2002.
Nile: Sacred and profane, Egyptian Museum of Barcelona, from May 13, 2002 to June 30, 2002.
The look of Nefertiti, Egyptian Museum of Barcelona, from February 19, 2003 to April 27, 2003.
Ladies of the Nile: Women and goddesses of ancient Egypt, Egyptian Museum of Barcelona, from May 12, 2004 to November 1, 2004.
Egypt: The passage to eternity (From 2005 to 2009, 4 itineraries: National Museum of Colombia, Caixa Terrassa Cultural Center, Archaeological and Historical Museum of Elx, Center d'Art d'Escaldes-Engordany). Formed by 73 pieces of the Egyptian Museum of Barcelona. It was designed especially for the National Museum of Colombia, being the first exhibition of pharaonic themes held in this country.
Jewels of Pharaohs: Treasures of magic, power and beauty, Egyptian Museum of Barcelona, from March 10, 2005 to September 10, 2005.
Egyptian Goldsmith and Contemporary Design, Egyptian Museum of Barcelona, from June 20, 2005 to September 1, 2005.
Divine words: from hieroglyphs to Egyptology, Egyptian Museum of Barcelona, from November 9
The Secret of Tibet: Unveiling the civilization of the roof of the world, Egyptian Museum of Barcelona, from December 14, 2000 to May 27, 2001 (Itinerancias: 1). The exhibition aims to present Tibet as a town in its different cultural, historical and religious variants, where curiosities completely unknown by the general public can be found. Its main objective is to make known, in a clear and rigorous way, the most relevant aspects of the Tibetan culture, bringing visitors the basic lines in which this fascinating civilization is fostered.33
Looking at the gods: daily life in Amerindia, the Egyptian Museum of Barcelona, from October 21, 2004 to December 15, 2004. (Itinerances: 4).
Roman mosaics of Syria: stone painting, Egyptian Museum of Barcelona, from November 16, 2006 to September 1, 2007 (Itinerances: 6).
Skeletal Illnesses: A Vision of Disease Through Time, Egyptian Museum of Barcelona, from February 5, 2009 to September 30, 2009.
Pre-Columbian funerary art: the passion of Tórtola Valencia, Egyptian Museum of Barcelona, from December 12, 2009 to May 30, 2010. (Roaming: 1).