奇美-埃及法老之王

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Learning Worksheet：Spot the Ancient Egyptian Symbols

學習單：尋找古埃及符號

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This lintel from Amenemhat III exemplifies the harmony and symmetrical aesthetics pursued in Egyptian temple design. The right side of the lintel bears visible restoration marks. The overall composition centres on an elliptical cartouche bearing the pharaoh's birth name, flanked symmetrically by inscriptions extending to either side. These inscriptions are arranged according to heraldic principles and thus cannot be interpreted as complete sentences.Sobek, the deified crocodile god, safeguarded the populace from the Nile's calamities, with his cult centred at the City of Crocodiles – Shedet. The name "City of Crocodiles" is translated from the Greek name of Shedet..Depictions uniting Sobek with royal authority frequently appear in structures erected by Amenemhat III, ruler of the Twelfth Dynasty. Flanking the central royal name-box on the lintel, falcons perched upon Shedet's walls embody the concept of ‘Horus of Shedet’.Immediately following, Sobek reclines upon the shrine niche. The crocodile's head faces outward towards an inscription bearing the king's title: ‘King of Upper and Lower Egypt, Lord of the Two Lands’. The overall composition forms a concrete scene: Sobek, the crocodile-headed patron deity of the temple, seated upon the shrine and facing the king's title, appears as though the deity bestowing life and power is embracing the king.

109-Lintel of King Amenemhat III

109-阿蒙涅姆赫特三世的門楣

​The British Museum number:EA986​ Before you stands a bust of an ancient Egyptian king, carved from green siltstone. Though bearing no inscriptions, the facial features identify it as Pharaoh Thutmose III of the Eighteenth Dynasty.He wears the “White Crown” symbolising Upper Egypt, with the banded lines above his brow marking its edge. At the centre of his forehead rests the sacred serpent emblem of kingship; though the serpent's head is lost, its body remains discernible. Traces of a false beard are visible on the left side of his chin. The lines around his cheeks and mouth lend the face a sense of depth. A fragment of a backing column preserved behind the statue indicates this was originally a full-length sculpture.Thutmose III was born in the 15th century BC and co-ruled with his stepmother Hatshepsut for many years. Upon assuming sole power, he demonstrated exceptional military prowess.The 17 campaigns he led were unparalleled in their victories and meticulously recorded on the walls of Karnak temple. These formidable military achievements ultimately expanded Egypt's borders to their greatest extent in history.His legacy reached beyond the military, leaving a profound impact on the arts. The prosperity of his reign enabled royal workshops to produce works of exceptional quality. This portrait head captures not only his likeness but also the refined aesthetics of the era.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

103-Head of a royal statue, probably Pharaoh Thutmose III

103-可能是圖特摩斯三世的頭像 

The British Museum number:EA26​ This sandstone statue depicts the seated figure of Pharaoh Seti II of the Nineteenth Dynasty, rendered with dignified posture and slender proportions. He wears a shoulder-length false hairpiece and adorns his forehead with the sacred serpent ornament. The ram's head atop the small shrine resting on his knees symbolises the creator god Amun. The bull's tail hanging between his legs alludes to his extraordinary strength.The oval face, with full cheeks tapering down to a broad chin, conveys an expression of solemnity and concentration. The straight nose and level lips are finely chiselled, with even the corners of the mouth showing slight indentations, lending greater vitality to the countenance. Broad shoulders, a well-defined chest and arms, slender fingers arranged parallel with meticulously carved nails, clearly delineated knees and muscular contours, and feet clad in thick-strapped sandals with pointed soles – all rendered with exquisite detail and lifelike precision.The low-backed throne is exquisitely crafted, adorned on both sides with intertwined papyrus and lotus motifs symbolising the union of Upper and Lower Egypt.Traces of a backrest remain on the statue's reverse, while the pharaoh's name and titles are inscribed upon the shoulders and base, affirming his royal authority and status.The masterful ancient Egyptian craftsmen combined the pharaoh's royal authority and religious beliefs in this statue. Despite some damage, it remains one of the most complete pharaonic statues preserved in the British Museum. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

104-Statue of Pharaoh Sety II wearing emblems marking his royal status

104-塞提二世王權坐像

​​The British Museum number:EA1006​ The black granite statue you now behold depicts Ra-Horakhty, the falcon god and guardian deity of Ramses II. Ancient Egyptian mythology and deities often evolved according to regional customs or ruling dynasties. Ra-Horakhty emerged from the fusion of Ra, the sun god, and Horus, the sky god, signifying ‘the great god, lord of the heavens.’ The statue's base bears an inscription of Ra-Horakhty's name, while its front displays the royal name of Ramses II, embodying the concept of ‘the deity safeguarding the sacred name of Ramses II’.Ramses II ascended the throne in his twenties and reigned until his death in his nineties, making him one of Egypt's longest-reigning pharaohs. His victory at the Battle of Kadesh against the Hittites cemented his reputation as a formidable warrior, immortalising his name throughout the ages. Domestically, he pursued ambitious construction projects, including monumental buildings and colossal statues. The Temple of Abu Simbel stands as one of the grandest temples built by Ramses II.This statue, excavated from near another temple of Ramses II in the Delta, is one of numerous divine representations created during his reign. The statue exhibits well-balanced proportions and a dignified posture, with no traces of polychromatic decoration remaining on its surface. Although the beak section is fractured, the overall state of preservation is remarkably good. The exquisite craftsmanship conveys Ramses II deeply identified with his role as a divine intermediary, as the gods' representative on earth and as intermediaries between gods and humans.&nbsp;As Abu Simbel is a highly recognizable Egyptian landmark in Taiwan, we aim to feature it to deepen the audience's connection and impression.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

105-Statue of the falcon god Ra-Horakhty, protector of Pharaoh Ramses II

105-拉美西斯二世的守護神「拉-哈拉胡提」隼雕像

​The British Museum number:EA35714​ This ancient artefact, featuring a tapered shape wider at the top and narrower below, is the Narmer Palette. While palettes were originally used for grinding cosmetic powders, such intricately carved examples were predominantly employed in religious or ceremonial contexts. Both sides of this palette depict scenes from the unification of Upper and Lower Egypt by King Narmer of the First Dynasty.At the top of both sides of the palette, two Bat goddesses with bovine heads flank the royal name, symbolising protection and fertility. At the centre of the reverse decoration, Narmer wears the white crown symbolising Upper Egypt, one hand raised holding the sceptre, the other grasping a kneeling captive. A falcon representing Horus, one talon clutching an enemy, faces the pharaoh.On the front, Narmer, wearing the red crown representing Lower Egypt, is depicted proceeding with attendants and officials towards the Temple of Horus to inspect two rows of decapitated enemy soldiers. The middle tier shows two mythological quadrupedal beasts with serpentine necks being restrained by attendants. At the base, Narmer is depicted in bull form, trampling foes and demolishing fortifications. The bull embodies the potent might of the Egyptian king; since the late Predynastic period, monarchs wore bull-tail adornments as a manifestation of sovereign authority.These intricate, mythologically charged motifs not only underscored the authority of ancient Egyptian pharaonic rule but also reinforced the legitimacy and authority of royal governance.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

106-Cast of the Narmer palette

106-那爾邁調色板（複製品）

The British Museum number:EA37639​With changes in rulers, statues used to symbolize sovereignty sometimes bear signs of “appropriation”. For instance, after the death of Pharaoh Tutankhamun of the Eighteenth Dynasty, many of his statues were repurposed by his successors through the erasure or alteration of inscriptions, or by re-carving, transforming the predecessor's relics into symbols of their own authority.This small pharaoh statue wears a beaded wide-collared necklace around its neck. Its short skirt is gathered and fastened by a belt, with a rectangular gap beneath the front panel suggesting it may have once held further decoration. Tutankhamun's throne name is clearly inscribed at the centre of the belt; The figure's left hand may originally have held a royal standard, though the text on the pole is largely lost. However, at chest height on the pole and within a fragment of text surviving on the skirt's belt, traces of Tutankhamun's name remain faintly discernible. These marks indicate the statue once belonged to Tutankhamun.The pharaoh's royal name was typically inscribed within an oval cartouche. On the reverse of this statue, an inscribed pillar is visible; the central inscription shows signs of having been erased, while portions of the name of Horemheb, one of Tutankhamun's successors, are carved. However, the scribe appears to have noticed midway that the hieroglyphs were oriented incorrectly and ultimately abandoned the work, thus preserving traces of the change in royal authority upon this statue. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

107-Statuette of Pharaoh Tutankhamun, usurped by Horemheb

107-被霍朗赫布佔用的圖坦卡門雕像

The British Museum number:EA9​ The red granite sculpture of a clenched left fist before you originates from the colossal statue of Ramses II. Discovered in 1798 by Napoleon's expeditionary force in Egypt, it was subsequently donated to the British Museum in the name of King George III following the French defeat, becoming part of its collection.During the Nineteenth Dynasty of Egypt's New Kingdom period, building upon the foundations laid by Pharaohs Ramses I and Sety I, the era reached its zenith under Ramses II. On the international stage, Egypt's power rivalled that of the contemporary superpower, the Hittite Empire. The visionary Ramses II took great delight in constructing monumental edifices, leaving behind a vast array of temples and statues bearing his mark across Egyptian territories.For the ancient Egyptians, temples served as the earthly abodes of the gods, with statues within representing divine incarnations . The great pharaohs functioned as high priests, responsible for ministering to the deities. Ptah, a god of creation and patron god of craftsmen, was originally a local deity of Memphis. However, after Memphis became Egypt's capital, Ptah's cult expanded throughout Egypt alongside the city's rising political status. This colossal statue likely once stood at the entrance of the Temple of Ptah in Memphis, Egypt, not only to demonstrate the Pharaoh's authority to the Egyptian people, but also to symbolize the Pharaoh's duty as a priest to serve the gods and protect the temple buildings. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

108-Fist of a colossal statue of Pharaoh Ramses II

108-拉美西斯二世巨像的拳頭

​The British Museum number:EA16/EA73​ In legend, Sekhmet, goddess of destruction, war, and plague, unleashed a great slaughter to eliminate the people who rebelled against the Sun God Ra.Perhaps to appease the goddess and seek her protection, Pharaoh Amenhotep III of the Eighteenth Dynasty commissioned statues of Sekhmet for the temple at Thebes, possibly up to 730 of them, one seated and one standing for each day. Before you stand six of these.The statue numbered EA16, EA73 depicts a goddess seated on a square throne.Its front face carved with two rows of hieroglyphs. Among these is the cartouche bearing the name of Pharaoh Amenhotep III, signifying the statue's close association with the ruler. Though the parts of the statues have been restored, the overall aura of majesty and sanctity still allows one to imagine the imposing presence she commanded within the temple in days gone by. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

110-Statues of the Goddess Sekhmet

110-塞赫麥特女神雕像

The British Museum number:EA649​ The Ptolemaic dynasty of Egypt, established in 305 BC, though founded by Greeks, undertook extensive construction of traditional Egyptian temples. They depicted and sculpted the Greek rulers in the traditional pharaonic style within various rituals, temples, and statues, thereby ensuring the continuity of Egypt's millennia-old religious ceremonies.This limestone relief, originating from the Temple of Hathor at Khon-Abu-Bel in Egypt, exemplifies Egyptian temple artistry. It depicts Ptolemy I offering sacrifices to Hathor, the goddess of joy and fertility. Ptolemy I wears a wig and a beaded necklace around his neck. In his hands, he holds two plants, preparing to offer them to the goddess. The lotus, here in a lily-like form, represented Upper Egypt, while the papyrus, depicted as a bouquet of flowers with a radiant, firework-like shape, represented Lower Egypt. The offering of them together symbolises the union of Upper and Lower Egypt. The goddess Hathor holds the papyrus sceptre symbolising her divinity. Her vulture crown bears a pedestal supporting her emblem: the cows horns and solar disc. The two figures in the relief possess full-cheeked faces and joyful expressions, conveying mutual satisfaction and harmonious interaction. Traces of polychromatic decoration remain visible on the surface, lending the entire scene a vivid colouration. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

111-Relief showing Pharaoh Ptolemy I

111-托勒密一世的浮雕

The British Museum number:EA11496、 EA11497 、 EA11498​ This group of bronze statues before us can be distinguished by their head designs as representing a king and two deities. The king, clad in a short skirt and kneeling, wears his characteristic headdress adorned with horizontal stripes. The statue with the jackal head symbolises the soul of the Upper Egyptian city of Nekhen, while the falcon-headed statue represents the soul of the Lower Egyptian city of Pe. Both figures adopt a gesture of praise or jubilation: one hand is clenched and placed over the heart, while the other is raised at a 90-degree angle, palm facing upwards. This posture conveys fervent acclamation and greeting.All three statues were crafted using the lost-wax casting technique. This involved first modelling the final form in wax, then encasing it in refractory material to create a mould. The mould was heated, causing the wax to melt away, after which molten metal was poured in. Upon cooling, this yielded exquisitely detailed and complex bronze pieces. This casting method not only conserved materials but also demonstrated the exceptional craftsmanship of Late Period Egypt. You can observe the exquisite detailing and powerful yet graceful musculature of these bronze figures. Their facial features and wig sections, with their deeper recesses, may originally have been inlaid with gemstones or precious metals. The hammered textures on their surfaces may once have been gilded, though these finishes are now lost. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

112-Figures of a king and two gods in jubilation

112-國王和神祇歡慶的塑像

The British Museum number:EA1102​ This red granite relief, carved using sunken relief , originates from Bubastis in Egypt. It bears partial cartouches of both Senusret III and Ramses II.Most pharaohs would proclaim their contributions to the gods and demonstrate their power to the world through expanding and decorating existing temples or constructing new ones. Ramses II, renowned for his extensive temple-building, erected numerous sanctuaries across Egypt and Nubia. To ensure his name was ubiquitous, he naturally commanded sculptors to overlay his name upon those of his predecessors on already existing monuments. This practice of “appropriating earlier monuments” was commonplace at the time.Observe closely: the two royal name frames on the relief differ in size. Ramses II's frame is slightly larger, but the carving is rather rough, and it is read from right to left; while Senusret III's name is read from left to right. The remaining portion of Senusret III's name frame on the left side of the slab is a historical trace of when the relief was covered. The right side of the relief is now missing, with areas of red filler indicating modern restoration work. Though incomplete, one can still sense the ancient Egyptian pharaohs' dedication to expressing power and sanctity through architecture and sculpture.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

113-Relief with cartouches of kings Senusret III and Ramses II

113-刻有辛努塞爾特三世和拉美西斯二世王名框的浮雕

The British Museum number:EA36​ This finely carved statue depicts a man and woman seated side by side. The legs of their chair are sculpted in the shape of lion's paws. The man wears a curly wig reaching to his shoulders, a short, wide-sleeved, finely pleated tunic, and sandals. The woman on his right wears a long dress and an ornate wig. As the statue bears no inscriptions, scholars can only estimate its date to around the late Eighteenth Dynasty based on the clothing styles.It was not until the 1970s, when a fragment of a hand was discovered in the private tomb of Horemheb at Saqqara that perfectly matched this statue, that it was finally confirmed to depict Horemheb before his accession and his wife, probably his first wife, Amenia. This discovery resolved the long-standing mystery. Horemheb was a military commander, serving as Tutankhamun's general and commander-in-chief. Following the deaths of both Tutankhamun and Ay, he ascended to become the final pharaoh of the Eighteenth Dynasty.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

114-Statue of future king Horemheb and his wife

114-未來的國王霍朗赫布和妻子雕像

The British Museum number:EA12367、EA12368、EA12347 、EA12345、EA12967​ This exhibit is a glazed ceramic wall tile crafted by Ramses III to demonstrate Egypt's power and might to the diplomatic delegation. It depicts foreign prisoners of war adorned in characteristic attire, symbolising the pharaoh's absolute sovereignty over other regions.In ancient Egyptian art, distinct ethnic groups are typically differentiated through specific stylistic conventions. For example, People from the Near East were typically rendered with beards, long hair tied back with a headband and wore kilts decorated with elaborate foreign motifs; Libyans were typically rendered with light skin, sometimes with geometric tattoos, and hair divided into sidelocks and crowned with ostrich feathers.Another tile depicts a small bird spreading its wings with human arms raised in praise, known as a ‘rekhyt’in Egyptian.This image of a small bird was originally a migratory bird. Later, the rekhyt came to represent the common Egyptian people.The rekhyt sat upon a basket actually forms a hieroglyphic sequence, which can be interpreted as ‘All subjects of the Pharaoh,’ once again emphasising the Pharaoh's supreme authority over all Egyptians.During the Nineteenth Dynasty under Ramses III, Egypt continually faced challenges from foreign groups. Although he commissioned artisans to create numerous textual and pictorial records of victories over invaders, the problem of foreign incursions was never truly resolved during his lifetime. Instead, these regions gradually developed into local power bases, leaving behind latent threats.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

115-Tiles showing prisoners and rekhyt birds

115-有囚犯和雷基特鳥圖樣的壁磚

​​The British Museum number:EA48​ This typical ‘block statue’ crafted from granodiorite features a seated posture with a cloak draped over the figure, knees bent, and arms crossed upon the knees. The broad cloak provides ample space for extensive inscriptions. As you can observe, fourteen lines of horizontal inscriptions adorn the front of the robe; the base bears five lines of horizontal text on its front, flanked by vertical columns on either side, inscribed with government official Sennefer's supplication for posthumous offerings.Sennefer was the treasurer of Pharaoh Thutmose III, in charge of finances, and was also known as the "Chief Keeper of the Seal." He also served as an advisor to princes. In ancient Egypt, creating high-quality statues was extremely expensive, beyond the reach of ordinary Egyptians. Only those of high status or great wealth, like Sennefer, could afford it.The statue exhibits minimal detailing beyond the face and hands, naturally directing the viewer's gaze towards his serene and dignified countenance. The torso exhibits meticulous carving and exquisite polishing, forming a striking contrast to the more cursive inscriptions on the robe and base. Apart from minor damage and wear beneath the base, both the sculpture and inscriptions remain exceptionally well preserved. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

116-Statue of government official Sennefer

116-官員塞內弗的雕像

​The British Museum number:EA718The tombs of the ancient Egyptians served to inter the deceased and foster a connection between the living and the departed. Some tombs featured above-ground structures alongside the underground burial chambers, housing elaborately decorated sanctuaries within. Urirenptah served as chief scribe and priest of the Temple of the Sun of King Neferkare.What you now behold is a wall from the sanctuary above his tomb. This bas-relief wall, composed of eighteen limestone blocks, features two false doors as its focal point. These false doors symbolise the passage connecting the worlds of the living and the dead. Relatives or priests would offer sacrifices before them, enabling the deceased to partake of the offerings through these doors.The figure of Urirenptah appears repeatedly throughout the wall's scenes. At the top left, Urirenptah is seated behind an offering table, while below him he and his wife are seated on the ground. At the top right, the couple are again seated facing each other before a table laden with offerings. According to the inscription on the central main false door, the variety of offerings was extensive, numbering as many as 96 types ranging from bread and beer to spices.Upon closer inspection of the wall, one may discern various scenes: the slaughter of cattle and sheep, attendants transporting food, and musicians playing instruments resembling flutes and harps. These lavish sacrificial feasts symbolise the deceased's continued enjoyment of abundance and prosperity in the afterlife. Though the colours have faded over millennia, traces of red, yellow, blue, and green remain discernible. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

117-Wall belonging to the funerary chapel of Urirenptah

117-烏里倫普塔墓室的祭堂牆面

​​The British Museum number:EA10554、89​ Nestanebetisheru was the daughter of High Priest Pinedjem II. The exhibit you see now comes from her burial goods—the Book of the Dead of Nestanebetisheru. Black lines delineate two solemn scene, and two columns of hieroglyphs above indicate the identities of the dead in the paintings.The left half of the scene depicts the deceased in a sacrificial ceremony, while the right half depicts the deceased offering sacrifices to the gods. Osiris, the lord of the underworld, sits high on his throne, holding in his hands a scepter and a flail, symbols of his power.Within ancient Egyptian religious practice, priestesses often served as singers or musicians, using song to appease deities or possibly the priests. Nestanebetisheru, hailing from a distinguished lineage, likely presided over musicians and singers while fulfilling multiple priestly duties within the temple.This Book of the Dead was unearthed in the Royal Chamber of Deir el-Bahari, Thebes. The original manuscript measured thirty-seven metres in length, making it the longest known papyrus funerary text. Within their faith, the Book of the Dead served as a guide and protection for the soul's journey to eternity. Given the unique collection of spells, hymns and prayers it contains, some scholars speculate that it may have been personally prepared by her. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

118-Papyrus showing Nestanebetisheru offering to the god Osiris

118-描繪「內斯塔內貝蒂舍魯向冥界之神歐西里斯獻供」的莎草紙

​The British Museum number: EA12779、 EA22015、 EA59852、EA64191​ These artefacts comprise sets of writing implements used by ancient Egyptian scribes from different eras. Within the ancient Egyptian governmental system, all levels relied upon written communication to convey messages. Scribes, responsible for recording and transmitting such communications, bore this crucial responsibility. Though scribes were not necessarily social elites, in an era of widespread illiteracy, those possessing literacy were already quite exceptional. Scribes employed various writing implements, the most common being the portable “pigment palette”, typically containing ink and reed pens. This palette bears two rows of inscriptions on its left and right sides.The text is a funerary offering formula. The king presents offerings to Thoth, the Egyptian god of wisdom; Seshat, the goddess of writing; and Osiris, the king of the underworld, in order that these gods ensure the deceased receives eternal offerings and access to his senses (such as breathing and smelling) in the afterlife.A palette typically has two inkwells, one for the most frequently used black ink and the other for red ink used for writing titles, spells, corrections, or sketches.Small ink bottles were also provided for refilling.The smooth stone included served to grind pigments or polish the writing surface, ensuring papyrus, wood, or pottery surfaces were smooth and ready for writing.Some writing implements bear blank spaces for engraving inscriptions or the owner's name. For instance, the grinding stone belonging to the scribe Benermerut bears his name and his title: “Chief Overseer of all Royal Works” ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

119-Scribe’s palette inscribed with funerary texts

119-書吏的筆盒調色板，刻有葬儀文字

The British Museum number:EA10683、3​ From the artefacts left behind by the royal tomb craftsmen residing in the Egyptian village of Deir el-Medina, glimpses into their daily lives emerge. This papyrus exhibit is precisely a document from the archive of a renowned scribe family within Deir el-Medina. Both sides bear the handwriting of different scribes.On the reverse side, scribe Qenherkepeshef transcribed a famous historical text chronicling the Battle of Kadesh between Ramses II and the Hittites from Anatolia. Qenherkepeshef was renowned for his distinctive handwriting, described by some as “scrawled and frenzied”. Yet it is precisely this style that enables archaeologists to identify his work among numerous documents. On the front, another scribe with exceptionally neat handwriting transcribed an ancient Egyptian text interpreting dreams as auspicious or inauspicious. Several columns of large vertical script read, ‘If a man dreams that he...’ followed by two extensive lines of smaller text detailing various dream scenarios. Those marked in red ink signified ill omens. For instance, dreaming of eating eggs or drinking blood was deemed an inauspicious dream. His neatly arranged text formed a stark contrast to the script on the document's front.Following Qenherkepeshef’s wife's remarriage, the document passed to her new husband and son, resulting in four distinct handwritings within the text. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

120-Document from a family archive

120-家族檔案文書

The British Museum number:EA49717​ Most ancient Egyptians wore jewellery, which served as a symbol of status and was believed to ward off evil spirits and misfortune. Before you lies a gold ring from the Eighteenth Dynasty. Such rings bearing the king's name symbolised authority. Not only could they be used to seal important documents, but they also indicated a connection between the wearer and the monarch. For instance, the wearer might be a royal official, or the ring might bear the name of a previous king. To the ancient Egyptians, the king's name was imbued with power, so even after the monarch's death, these names continued to be used on jewellery.The gold setting of this ring features an enameled scarab beetle in turquoise hues, its back intricately engraved with the throne name of Queen Hatshepsut: ‘The Good Goddess Maat-Kara, May She Live Forever.’ The ends of the gold foil band are each shaped by coiled gold filigree. Gold thread passes through holes on the sides of the ring face, connecting to the opposite end, allowing the face to rotate – a practical and ingenious feature. This ring served not only as a seal but also held amulet-like significance. By turning the inscribed side to rest against the skin, the exposed scarab would protect the wearer. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

121-Finger ring with the inscription, ‘The good goddess Maatkara (Hatshepsut), may she live’

121-戒指銘文「善良的女神瑪特卡拉（哈特謝普蘇特王位名），願她永生」

The British Museum number:EA59194​ Ancient Egyptian artisans possessed extraordinary skill, transforming diverse materials into exquisite jewellery and artworks through their deft hands, developing unique techniques and specialised tools.Just like the sacrificial plaque in front of you, this gold ceremonial offering plaque using the openwork technique. This is a very delicate technique, where the craftsman must carve each pattern directly onto a single, thin sheet of gold, and then connect them by the subtle details between the images.On the right side of this inscription panel stands Amenemhat IV, king of the Twelfth Dynasty. He wears a wig adorned with sacred serpents, a short skirt with a ceremonial bull’s tail , and a distinctive knot tied at his waist. His hands hold vessels brimming with ointment, ready to be offered to the gods. To the left stands Atum, the patron deity of Heliopolis in Lower Egypt, god of creation and the setting sun. Atum wears the double crown adorned with the sacred snake, holding the Ankh amulet of life in his right hand and the Was sceptre of power in his left. The hieroglyphs between them describe this ritual as ‘the offering of ointment’. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

122-Plaque showing an offering scene

122-阿蒙涅姆赫特四世向亞圖姆神獻祭的銘牌

The British Museum number:EA691​ The relief you now see originates from the Maghara Valley in Egypt's Sinai Peninsula, dating back to 2686–2613 BC. It is the oldest exhibit in this display. Depicted here is the scene of King Sanakht of the Third Dynasty of Ancient Egypt slaughtering his enemies.The hieroglyphic inscription preserved on the right side of the relief reads ‘turquoise’. The ancient Egyptians believed materials and colours themselves possessed symbolic and magical properties. For instance, turquoise and other green materials signified “renewal” and “rebirth”. Kings continually sought riches from neighbouring desert regions and other nations, with turquoise from the Sinai Peninsula being one of the rarest gems. They dispatched numerous expeditions deep into the treacherous desert terrain.At the centre of the scene is the falcon symbolising Horus, beneath which is the serekh bearing the name of King Senakht. To the left, the king wears the Red Crown, signifying his sovereignty over Lower Egypt. Before him once stood a flagpole representing the god Wepwawet, the “opener of ways”, though this is now absent. This sandstone relief likely commemorated a victorious campaign while also asserting the king's authority over the desert peoples of the region. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

123-Relief depicting King Sanakht slaying an enemy

123-沙納赫特國王擊殺敵人的浮雕

​​The British Museum number:EA1697&amp;EA1719、EA1694​ Throughout ancient Egyptian history, Egypt endured several periods of foreign rule. Most of these foreign kings endeavoured to present themselves as embodying traditional Egyptian values. Traces of this can be discerned in the two exhibits before you. The less complete piece is the “Stele of Alexander the Great and the Bull of Buchis”, while the more intact one is the the ‘Stele of Ptolemy II Offering to the Bull of Buchis’.In Egyptian mythology, the Bull of Buchis represented the earthly incarnation of the war god Montu. Both Alexander the Great and Ptolemy II, though Greek in origin, appear on the steles clad in traditional Egyptian royal attire. Their hands hold libation vessels brimming with wine, poised to offer them to the Bull of Buchis depicted upon the pedestal. Both bulls on the stelae bear the double-winged sun disc symbolising Montu upon their heads. The lower section of Alexander's stela further bears six lines of hieroglyphis chronicling the sacred bull's life: it lived during the reign of Darius III and died in the fourth year of Alexander's rule.Montu was an ancient Egyptian deity revered by rulers from the Eleventh Dynasty onwards as a symbol of conquest and victory. Pharaoh Thutmose III of the Eighteenth Dynasty, famed as the “Greatest Expander of the Realm”, was honoured in antiquity as “Montu, the Valiant on the Battlefield”. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

124-Stela depicting Alexander the Great and the Buchis bull

124-亞歷山大大帝與布奇斯公牛石碑、托勒密二世向布奇斯公牛獻供的石碑

The British Museum number:EA552​ During the New Kingdom period, Egypt established a vast and complex military organisation, whilst professional soldiers began to rise within the ruling class. Horemheb, originally a career soldier, held an important position and wielded great influence during Tutankhamun's reign. and wielded considerable influence. Following Tutankhamun's demise, he and another regent rose through the ranks amidst political turmoil to become pharaohs., initiating a reign that lasted twenty-eight years.This exhibit originates from his tomb at Saqqara, Egypt, constructed during his tenure as general. Depicted here, Horemheb extends both hands before him in a gesture signifying acclamation and praise. He is attired in typical late Eighteenth Dynasty court attire: a finely crafted double-layered wig adorns his head, while his upper body is clad in layered garments of lightweight linen. His lower body is draped in a multi-tiered, pleated skirt-like kilt, one layer featuring triangular sections symbolising Horemheb's military status. The fan slung over his back signified his position of importance as a royal attendant.After Horemheb ascended the throne, he constructed a new tomb in the Valley of the Kings. Though the Saqqara tomb was subsequently used for the burials of Horemheb’s wives, and access remained permitted. Consequently, a sacred cobra motif, styled like a raised cobra, was carved onto his forehead to emphasise his later pharaonic status. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

125-Door jamb from the tomb of General Horemheb

125-霍朗赫布將軍陵墓的門框

The British Museum number:EA64661、 EA65428、EA16988、EA55585、EA68507​ These commemorative scarabs engraved with significant events were characteristic of Amenhotep III's reign. This ornament features a standardised carving of the scarab on one side, comprising the head, pronotum, elytra, and legs, while the reverse bears an inscription.These scarabs were unearthed not only within Egypt but also as far afield as northern Syria and regions south of Sudan's Second Cataract. Scholars therefore believe they were dispatched like court proclamations to inform officials of royal affairs. The king would also bestow them upon officials as tokens commemorating significant events.The inscriptions chronicle pivotal events in Amenhotep III's reign, including his marriage to Queen Tiye, the arrival in Egypt of Princess Giluhpa of Mitanni accompanied by 317 attendants, and the construction of an artificial lake near the palace. Research indicates these commemorative scarab seals comprise five distinct series. Interestingly, an inscription depicting Amenhotep III personally hunting 102 lions during the first decade of his reign is the most numerous motif among the 170 extant commemorative scarab seals. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

126-Commemorative scarabs produced during the reign of Pharaoh Amenhotep III

126-阿蒙霍特普三世在位時期製作的聖甲蟲印章

The British Museum number:EA54459​ Within the Valley of the Kings lie several well-preserved pharaonic tombs. The rich burial goods unearthed within offer a glimpse into the wealth and status of the pharaohs, as well as the religious culture of the Egyptians concerning eternal life.This gold ornamentengraved with cartouches was unearthed in Tomb No. 56 of the Valley of the Kings at Thebes. Its owner, Tawosret, briefly ruled Egypt for several years following the successive deaths of the previous two pharaohs. She stands as one of the few female rulers in Egyptian history and one of only two female pharaohs interred in the Valley of the Kings. Artefacts bearing her name have been unearthed beyond Egypt's borders, as far north as Lebanon and south to Nubia. Evidence suggests she dispatched expeditions to mine turquoise in the Sinai Peninsula, demonstrating that Egypt under her rule was not merely a transitional phase but a nation of comparable strength.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

127-Ring with the name of Queen Tawosret

127-刻有塔沃絲蕾特女王之名的飾品

​The British Museum number:EA32191、EA22818​ ​These six shabti figures originate from the tombs of New Kingdom kings. One white limestone shabti belongs to Ahmose I of the Eighteenth Dynasty. Its face is not only exquisitely carved with a gentle beauty but also represents the earliest known royal shabti. Another blue-glazed shabti belongs to Seti I of the Nineteenth Dynasty. Though the lower legs are missing, the exquisite details remain discernible. The head of this blue-glazed figurine features alternating blue and black stripes, depicting a pharaoh wearing a headdress, though the sacred serpent ornament on the headdress is damaged. The central section shows the figure holding farming implements crossed over the chest, indicating this figurine represents a servant responsible for agricultural labour. Across the legs of the figure is an inscription from the Book of the Dead describing the shabti's duties, such as digging irrigation canals. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

128-Shabti of King Ahmose

128-雅赫摩斯一世的沙布提俑、塞提一世的沙布提俑

The British Museum number:EA683​ What you are now viewing is the statue of Amenhotep I, the second pharaoh of the Eighteenth Dynasty.In Egyptian mythology, Osiris stands as one of the most significant deities. Of gentle disposition, he originally ruled the mortal realm as a benevolent sovereign. Yet he was slain by his brother Set, who coveted the throne. Later, through his wife's powerful incantations, he was resurrected as a deceased deity and ultimately became ruler of the underworld. According to ancient Egyptian belief, deceased kings would journey to the underworld to unite with Osiris. The curled beard carved beneath this statue's chin symbolises Osiris' divine form, also alluding to the king's rebirth and attainment of eternal life, mirroring Osiris' own resurrection.This statue of Amenhotep I may originally have stood in a small temple near the mortuary temple of Mentuhotep II.&nbsp; Amenhotep I was elevated to the status of popular deity after his death, and chapels were erected in his honour where people could leave offerings and consult the god-king. The traces of red, black, and white pigments still visible on the surface of this colossal statue of Amenhotep I evoke the extraordinary craftsmanship of ancient Egyptian artisans. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

129-Osiride statue of King Amenhotep I

129-歐西里斯造型的阿蒙霍特普一世雕像

The British Museum number:EA22942​ This coffin, crafted from wood and plaster, belonged to Ahmose, a temple guardian. The vivid colours preserved in the wall paintings offer a glimpse into Egyptian beliefs about life and death, alongside their associated funeral rites.The ancient Egyptians believed that after death, the soul embarked upon a journey to the afterlife. To ensure a smooth passage, specific funeral rites were performed after death, and the burial chamber was filled with protective texts and artefacts to assist the soul on this journey. As it was also believed that deified pharaohs could offer protection, even non-royal burial goods featured pharaonic motifs. For instance, from the late 10th to early 9th century BC, the cult of Amenhotep I re-emerged in ancient Egypt. His image adorned coffins of the period, perhaps symbolising the pharaoh's connection to Osiris, god of the underworld.The murals within the coffin of Ahmose depict a lifelike figure wearing a blue crown, perhaps representing one of Amenhotep I's many incarnations. Ahmose's mummy may well have been placed atop the pharaoh's portrait within the coffin, signifying his desire to be associated with the pharaoh and his hope to share in the monarch's achievement of reaching the shores of eternal life. ＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

130-Coffin base belonging to temple doorkeeper Ahmose

130-神廟守門人亞赫摩斯的棺柩底座

Next, we'll introduce you to a very representative ancient Egyptian symbol: the cobra image before us. This symbol is called Uraeus, or "sacred snake" in Chinese.Please look closely. This cobra stands upright, its neck outstretched—doesn't it look majestic? In ancient Egypt, the cobra was considered a sacred animal, and Uraeus was a symbol of royalty, divine power, and protection.You may have seen this symbol in many pharaoh statues and murals. It was usually worn on the pharaoh's forehead as a powerful amulet, like the pharaoh's "third eye." Ancient Egyptians believed that this sacred cobra could breathe fire, repel enemies from all directions, protect the pharaoh and the people, and was the guardian of the royal family.Many sacred snakes are hidden among the artifacts on display; try to find them! It is not only a symbol of royal power but also a loyal guardian, an embodiment of powerful divine force, witnessing the glory and mystery of ancient Egyptian civilization.＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.

201-Uraeus

201-聖蛇

Dear visitors, please turn your attention to this symbol—a light yet solemn feather. This is one of the most important symbols of ancient Egypt—the "Feather of Ma'at."In Egyptian belief, Ma'at is the embodiment of "truth, order, and justice." She is usually depicted as a goddess adorned with a feather, and this feather represents her power. Ancient Egyptians believed that the world's smooth operation depended on the pharaoh maintaining cosmic order.So, what is so special about this feather? In the ancient Egyptian judgment of the underworld, the deceased's heart was placed on one side of a scale, and this feather on the other. If the heart was heavier than the feather, it signified a life filled with lies and injustice, and the soul would be devoured by the monster Amit; but if the heart was as light as the feather, the deceased would enter eternal life. Thus, the feather is not only a symbol of elegance but also a "scale of truth" determining life and death.Now, consider this: if you were standing before the judgment seat today, would your heart be heavier than this feather, or as light as it is?This is the charm of Maat’s feather: seemingly simple, yet it reminds people that truth and justice are the ultimate standards, whether in life or after death. ​＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.​

202-Feather of Ma'at

202-瑪特羽毛

Please turn your gaze to this columnar symbol—the Djed. You'll find that it looks like an upright pillar with several horizontal lines. Take a few seconds to observe it closely; does it resemble a backbone or a decorated pillar more?In ancient Egypt, the Djed symbolized power, stability, and eternity. It was closely associated with Osiris—the king of the underworld and god of resurrection.. Thus, this symbol was also seen as a pillar supporting life and resurrection.Egyptians often depicted deities holding the Djed in their hands in rituals and artworks, representing their power to bring resurrection and eternal life. You'll notice that this symbol is not merely a religious symbol; it also reflects the ancient Egyptians' yearning for "order" and "stability." After all, in a nation dependent on the Nile's cycle and constantly threatened by external enemies, stability was the foundation for the continuation of civilization.So when you gaze at this "unyielding pillar," you might imagine it as the anchor of the ancient Egyptians: whether it was to protect the country, safeguard the souls of the dead, or embody eternal hope, it symbolizes an unshakable force. ​＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.​

203-Djed

203-傑德

The lotus flower before us, a simple yet elegant symbol, has petals that spread outwards, like a flower in full bloom. This is not a randomly chosen design, but one of the most important plants in ancient Egyptian culture.Every day, the lotus performs a wondrous natural drama: at dawn, as the sun rises, its petals slowly open; and as the sun sets and night falls, they close tightly. This rhythm perfectly echoes the cycle of the sun. Egyptians thus regarded the lotus as a symbol of creation and rebirth.In mythology, there is even a version that the world was born from primordial chaos, and the first lotus to bloom was the cradle of the sun god. In other words, without the lotus, there is no hope of sunrise.We can see the lotus in ancient Egyptian murals, reliefs, and even on the pharaoh's throne. It reminds people that although life may experience darkness, it will always bloom again in a new day.Therefore, when you look at this symbol, you might imagine it as a "flower of the sun": sunrise brings new life, sunset represents rest, and the cyclical nature of life is the ancient Egyptians' deepest understanding of the power of life. ​＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.​

204-Lotus flower

204-蓮花

Next, let's turn our attention to this ancient and mysterious symbol—the Eye of Horus. The eye you see here has clean lines, yet carries a touch of mystery. It originates from ancient Egypt and has a history of over three thousand years. Observe carefully; doesn't the curve below the eye resemble the feathers at the corner of a falcon's eye? This is because Horus is the god of the sky and is usually depicted as a falcon.In Egyptian mythology, Horus fought fiercely with Set, the god of chaos, and lost an eye in the process. Later, Thoth, the god of wisdom, restored his eye, and this "reborn eye" thus became a symbol of wholeness, healing, and protection. Ancient Egyptians believed that the Eye of Horus could bring happiness and health, and ward off disease and evil.Beyond its religious significance, this symbol was also widely used in daily life. Egyptians would paint it on coffins, boats, and even personal ornaments, hoping for protection on land, in rivers, and even in the underworld.So, the next time you see this eye, don't just think of it as a mysterious decoration; it is actually a microcosm of the wisdom, faith, and daily life of the ancient Egyptians. This is the Eye of Horus, a symbol that has protected human happiness and peace for thousands of years.​＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.​

205-the Eye of Horus

205-荷魯斯之眼

Please turn your attention to this small, beetle-shaped symbol—the scarab beetle. Observe it; doesn't its shape somewhat resemble a beetle pushing something with its forelegs?In ancient Egypt, this beetle was the dung beetle. It would roll a ball of dung forward, laying its eggs inside. When the larvae hatched, they would be "reborn" from the ball. To the Egyptians, this image of life emerging from darkness was full of mystery and power.Thus, the scarab beetle was imbued with the symbolism of rebirth and transformation. The Egyptians believed it, like the sun rising daily from the horizon, symbolized endless cycles and renewal. The motion of the beetle rolling the ball across the sand was the same as the sun moving across the sky. In fact, one version of the sun god, Khepri, took the form of a scarab. You might notice the scarab beetle on many amulets, seals, and even the jewelry worn on the pharaoh's chest. It was not only a transformation of natural observation but also a sacred symbol for seeking rebirth and protection.Look for it! Here you can find scarab-shaped jewelry, some inscribed with stories of the pharaohs' achievements. When an ancient Egyptian wore a scarab amulet, he wasn't just carrying the image of a small beetle, but rather the hope that "the sun rises eternally and life continues."So next time you see a scarab, consider this: while rolling its tiny dung ball, it actually embodies the ancient Egyptians' profound understanding of life and the universe. ​＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.​

206-Scarab

206-聖甲蟲

The shape you see before you, doesn't it resemble a cross with a ring at the top and extending downwards? Take a second to observe it; it seems simple, but behind it lies the profound imagination of the ancient Egyptians regarding life.In Egyptian, Ankh means "life." It is often today called the "key to eternity" or "key to life," symbolizing vitality and immortality. Ancient Egyptian gods are often depicted holding this symbol, gently offering it to the pharaoh or the dead, as if granting them breath and new life.In ancient Egyptian art and daily life, you will see Ankh appearing on statues, murals, and even ornaments. It reminds people that life does not end with death, but continues in another world. For the Egyptians, death was not the end, but the gateway to eternity.​＊Modern music in the gallery and audio guide, selected by Chimei Museum, complements the theme, immersing visitors in ancient Egyptian civilization.​

207-Ankh

207-安卡

大英典藏編號：EA1072​ 這件阿蒙涅姆赫特三世的門楣，展現了埃及神廟設計中所追求的和諧與對稱美學。門楣右側有明顯的修復痕跡，整體構圖以正中央、刻有法老出生名的橢圓形王名框為核心，向兩側延伸出相對稱的銘文。銘文是以徽章學的概念排列，因此無法解讀成完整的句子。索貝克(Sobek)是鱷魚神格化後的神明，可以保護人民遠離尼羅河帶來的災害，而索貝克的信仰中心正是鱷魚之城——舍德特。而「鱷魚之城」則是從舍德特城的希臘名字翻譯而來的。在第十二王朝的國王，阿蒙涅姆赫特三世所建造的建築中，經常可以看到將索貝克和王權放在一起的圖飾。在門楣正中間的王名框，和左右兩側，站在舍德特圍牆上的隼，便有著「舍德特的荷魯斯」的意涵。緊接著，可以看到趴在神龕上的索貝克。鱷魚頭部朝外，對著的一串銘文，寫著國王的王銜「上下埃及之王、兩地之主」。整體構圖形成了一個具象的場景：擁有鱷魚形象的神廟主神——索貝克端坐在神龕上，面朝國王的名字，就宛如賜予生命與權力的神祇擁抱著國王。 ​​＊展廳及語音導覽使用的現代音樂由奇美博物館精心挑選，搭配主題讓您更沉浸於古埃及文明意境。​