奇美-埃及法老之王

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學習單：尋找古埃及符號

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大英典藏編號：EA986 在您眼前的，是一尊以綠色粉彩砂岩雕刻而成的古埃及國王頭像。雖然沒有任何銘文，但從五官可以辨識出是第十八王朝的法老圖特摩斯三世。他頭戴象徵上埃及的「白冠」，眉毛上方額頭處的帶狀線條是白冠的邊緣。額頭中央有象徵王權的聖蛇飾，雖然蛇頭已不復見，但依舊可看出它的身軀。下巴左側有假鬍鬚的痕跡。兩頰與嘴角周圍的線條讓臉部產生立體感。根據雕像背後殘留的一截背柱，可以得知這原是一件全身雕塑。圖特摩斯三世生於西元前十五世紀，曾與繼母哈特謝普蘇特共同執政多年。在他掌權後，便展現出過人的軍事長才。他曾率領十七次戰役皆大獲全勝，並詳細刻在卡納克神廟的牆壁上。種種傲人的戰績，終將埃及的版圖推到歷史上最遼闊的規模。但他的貢獻不僅止於軍事，在藝術領域也留下深遠影響。他統治時期國力強盛，讓王室作坊能創作出品質卓越的作品。透過這尊頭像，不僅看見了他的容貌，更能感受當時的藝術美學。＊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。​

103-可能是圖特摩斯三世的頭像 

​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

大英典藏編號：EA26​ 這尊以砂岩雕刻而成的雕像，上頭坐姿端正、比例修長的人像，正是第十九王朝法老—塞提二世。他頭戴及肩長假髮，額頭配戴著聖蛇飾品。膝上小神龕頂端的公羊頭象徵創造神阿蒙。雙腿間垂掛著公牛尾巴，則暗喻著他非凡的力量。橢圓形的臉龐、飽滿的雙頰向下延伸至寬大的下巴，帶出他嚴肅與專注的神情。筆直的鼻樑與水平的嘴唇精細雕琢，唇角甚至留有小小凹陷，讓表情更加生動。寬大的肩膀，胸膛與手臂線條分明，手指修長且平行，指甲刻畫細膩，膝蓋與肌肉輪廓清晰，雙腳穿著厚帶尖底涼鞋，雕刻細緻、栩栩如生。低椅背的寶座做工精緻，寶座兩側以交纏的莎草和蓮花作為裝飾，象徵著上、下埃及的統一。雕像背面保留了背柱痕跡，肩膀與基座上刻有法老姓名與頭銜，顯現出法老的王權與身份。鬼斧神功的古埃及工匠，將法老的王權和宗教信仰結合在這尊雕像上，即便略有破損，卻仍是大英博物館保存最完整的法老雕像之一。 ​​＊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。​

104-塞提二世王權坐像

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

大英典藏編號：EA1006​ 您現在看到的是黑色花崗岩雕像，雕刻的正是拉美西斯二世的守護神—隼神「拉-哈拉胡提」。古埃及的神話與神明，經常會隨著埃及各地風土或統治者變化，而「拉-哈拉胡提」，便是埃及的太陽神「拉」和天空之神「荷魯斯」結合而來，代表「偉大的神，天空之主」的意思。雕像的底座刻著拉-哈拉胡提名字的刻文，正面則刻著拉美西斯二世的王名，展現出「神明守護拉美西斯二世聖名」的意象。拉美西斯二世在二十多歲便即位，直到九十幾歲才去世，是埃及歷史上在位非常悠久的法老之一。他與西臺帝國的卡疊石戰役，樹立了他驍勇善戰的形象，名留千古。而國內內政則積極興建巨型建築與神像，例如阿布辛貝神廟是他所興建最宏偉的神廟之一。這尊雕像出土於尼羅河三角洲另一個拉姆西斯二世神廟附近，也是在他統治期間製作的眾多神像之一。整尊雕像的比例端正、姿態穩重，表面沒有任何彩繪痕跡。雖然鳥嘴的部分有斷裂，但整體保存的狀況算是十分良好。精美的做工，傳遞出拉美西斯二世對自己所擔任的神聖中介者、作為眾神在人世的代表，負責人神之間的橋樑的身份深感認同。​​＊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。​

105-拉美西斯二世的守護神「拉-哈拉胡提」隼雕像

​​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

大英典藏編號：EA35714​ 這件有著上寬下窄造型的古文物，是那爾邁調色板。調色板的用途原本是研磨化妝粉，但像這樣精細雕飾的調色板，多用於宗教或儀式場合。在這件調色板的正反兩面刻著埃及第一王朝的那爾邁國王統一上、下埃及的場景。在調色盤的兩側頂部，都可看見兩個女神「巴特」（Bat）的牛頭簇擁著皇家的名諱，象徵庇護與豐饒。在背面圖飾的中央，那爾邁戴著象徵上埃及的白色王冠，一手高舉權杖，另一手抓著跪在地上的俘虜；象徵荷魯斯的隼，一爪抓住敵人與法老相對。正面的圖紋中，那爾邁戴著代表下埃及的紅色王冠，與侍從和官員一起前往荷魯斯神廟，檢視兩排被斬首的敵軍；中間層則是兩隻有著蛇頸的四腳獸被侍從拴住的畫面；最下方，則是那爾邁化身為公牛，踩踏敵人、摧毀堡壘的場景。公牛代表埃及國王強大的力量，自古埃及前王朝末期，國王便配戴牛尾裝束，作為一種彰顯王者威權的表現方式。精細、具神話故事色彩的圖樣不僅彰顯出古代埃及法老統治的權力，也強化著王室統治的正當性與權威性。​​＊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。​

106-那爾邁調色板（複製品）

​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

大英典藏編號：EA37639​ 隨著統治者的改變，用來彰顯統治權的雕像，有時會有「佔用」的跡象。就例如第十八王朝的法老圖坦卡門死後，許多他的雕像都被繼任者透過刪改銘文，或重新雕刻的方式重新利用，將先王的遺跡轉化為自己權威的象徵。這尊小型的法老雕像，頸上配戴串珠寬領項鍊，短裙以腰帶纏繞束起，短裙前片下方有一個長方形缺口，顯示可能曾鑲嵌過其他裝飾。圖坦卡門的王位名，則清楚地刻在了腰帶中央；人像的左手原本可能握有一根王室旗幟，旗桿 上的文字內容大致已缺失，但在旗桿上胸部高度的位置，和裙擺腰帶殘存的一段文字中，也依稀可辨識出圖坦卡門的名字。這些痕跡都代表著，這座雕像曾經屬於圖坦卡門。法老的王名，通常會刻在橢圓形的王名框內。在這件雕像背後可以看到刻有銘文的柱子，中間的銘文有被抹去的痕跡，並刻著後繼者之一霍朗赫布的部分名號。不過雕刻師似乎在中途注意到象形文字方向錯誤，最終沒有完成，也使得這座雕像保留了王權變更的痕跡。​​＊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。​

107-被霍朗赫布佔用的圖坦卡門雕像

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

大英典藏編號：EA9​ 您眼前看到的這件由紅色花崗岩雕刻而成的左拳塑像，來自拉美西斯二世的巨型雕像。它在1798年被拿破崙遠征埃及的隊伍發現，並在法軍戰敗後以當時英國國王喬治三世的名義，捐贈給大英博物館，成為館藏的一部分。埃及新王國時期的第十九王朝，有了拉美西斯一世與塞提一世兩位法老所打下的基礎，在拉美西斯二世接棒後，迎來了全盛期。在國際間，埃及的國力是可以與當時的強國西臺相提並論。雄才大略的拉美西斯二世喜愛建造宏偉的建築，在埃及領土各處都留下了刻有自己印記的大量神廟與雕像。對古埃及人而言，神廟是眾神在人間的居所，神廟裡的雕像是眾神化身，而偉大的法老則像是大祭司一樣，負責侍奉神明。普塔(Ptah)是創造之神，也是工匠的守護神。原本只是孟非斯的地方神，但自從孟非斯成為埃及的首都後，普塔的信仰也隨著政治地位的提升而擴展至全埃及。這座巨型雕像原本可能豎立於埃及孟非斯普塔神廟的入口，不僅向埃及人民展現法老的權威，也象徵著身為祭司的法老，必須侍奉神明、保護神廟建築的職責。 ​​＊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。​

108-拉美西斯二世巨像的拳頭

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

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。​

109-阿蒙涅姆赫特三世的門楣

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

大英典藏編號：EA16/EA73​ 在傳說中，掌管破壞、戰爭和瘟疫的女神塞赫麥特，為了消滅反叛太陽神拉的人民，展開一場大規模的屠殺。或許是為了安撫女神，尋求庇護，第十八王朝的法老阿蒙霍特普三世在底比斯的祭廟中所製作的塞赫麥特雕像可能多達七百三十座。一尊站姿和一尊坐姿象徵一年的每一天。您眼前的正是其中的六座。　編號EA16、EA73的這座雕像，女神端坐於方形寶座上，寶座正面刻有兩排象形文字，當中包含了法老阿蒙霍特普三世的王名框，象徵這座雕像與法老的密切關係。即便祂曾經過多處修復，但整體散發的氣勢威嚴與神聖，仍能令人想像這尊雕像當年在神廟中的氣勢。​​＊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。​

110-塞赫麥特女神雕像

​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

大英典藏編號：EA649​ 西元前305年成立的埃及托勒密王朝，雖然是由希臘人所建立的，但他們大肆興建埃及傳統神廟，並將希臘統治者以傳統法老的形象繪製、雕刻在各種儀式、神廟或雕像中，這也讓埃及數千年來的宗教儀式不被中斷。這塊石灰岩浮雕，出自埃及孔阿布比洛的哈索爾神廟，呈現埃及風格的神廟藝術。浮雕上刻劃的正是托勒密一世，向掌管歡樂和豐饒女神——哈索爾(Hathor)獻祭的場景。托勒密一世頭戴假髮，頸上掛著串珠項鍊。他手持兩株植物，呈現百合花狀的蓮花代表著上埃及，如煙火般綻放的莎草則象徵下埃及。兩者代表著上下埃及的統一。哈索爾女神手持象徵女神的莎草權杖，頭上所戴的禿鷲冠上有一個基座，承托著祂的標誌：母牛角與太陽圓盤。浮雕中的兩位人物面容豐腴、神情愉悅，流露出彼此滿意與和諧的互動。表面仍可見彩繪的痕跡，為整個場景增添了生動色彩。 ​​＊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。​

111-托勒密一世的浮雕

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

大英典藏編號：EA11496、 EA11497 、 EA11498​ 眼前這組青銅像，我們可以藉由頭部的造型，辨別出它們分別是國王與兩位神祇。國王身穿短裙呈跪姿，頭戴著有橫條紋的標誌性頭巾。擁有豺狼首的銅像，象徵著上埃及尼肯古城的靈魂，而另一尊有著隼首造型的銅像，則代表著下埃及古城佩的靈魂。他們一手握拳置於胸前，另一隻呈九十度、握拳向上舉的這種手勢，代表著「讚美」或「歡騰」，是一種熱烈的歡呼和問候的姿勢。這三尊雕像都是以失蠟法製作。即先以蠟製作出成品的造型，再用耐火材料包裹成模具，接著將模具加熱，蠟加熱融化後，再倒入金屬液體，等冷卻後就能獲得精緻又複雜的銅器。這種鑄造方式不僅節省材料，也展現了古埃及晚期高超的工藝技巧。您可以看見這三組銅像造型精細、肌肉線條形塑的相當具有力與美。而他們的五官、假髮等較深的凹陷處原本可能鑲有寶石或貴金屬，表面鎚刻的紋理也許曾鍍金，可惜如今已不復見。 ​＊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。​​

112-國王和神祇歡慶的塑像

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

​大英典藏編號：EA1102這塊以紅色花崗岩雕刻而成的凹雕浮雕出自埃及布巴斯提斯，上面同時刻著辛努塞爾特三世的部分王名框，和拉美西斯二世的局部王名框。大多數的法老會透過擴建、裝飾既有神廟，或新建神廟等手段，來宣揚自己對神明們的貢獻，並同時向世人彰顯自己的權力。而以廣建神廟聞名的拉美西斯二世，就在埃及和努比亞建造了許多座神廟。為了確保讓自己的名號無所不在，拉美西斯二世自然也會命令雕刻師，以他的名字覆蓋住已經刻在浮雕上的前任法老王名。這是當時常見的「佔用前朝碑石」的手法。仔細看，浮雕上的兩個王名框大小不同，拉美西斯二世的王名框稍大，但雕刻手法較為粗糙，閱讀的方向是從右至左；而辛努塞爾特三世名字的閱讀方向則是由左至右。辛努塞爾特三世的王名框它在石板左側上所殘留的部分，是這塊浮雕曾被覆蓋的歷史痕跡。浮雕的右側已經缺失，顯現紅色填料的地方為現代修復所加，雖然已不太完整，但仍能感受到古埃及法老利用建築與雕刻來表達權力與神聖的用心。 ​​＊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。​

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: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

​大英典藏編號：EA36這尊一男一女比肩而坐的雕像，雕刻精細，他們坐著的椅腳雕刻成獅爪的造型，男子戴著捲曲的及肩假髮，身穿短寬袖的細褶衣與涼鞋；右邊的女子則身穿長洋裝並配戴著華麗假髮。由於雕像上沒有任何銘文，所以學者只能根據服裝風格，推估雕像可能屬於第十八王朝末左右。直到1970年代，在薩卡拉、霍朗赫布的私人陵墓中，發現一件雕像的手部殘跡與這座完美契合，才終於確認這尊雕像所雕刻的，正是登基前的霍朗赫布及可能是他的第一任妻子——阿美妮亞，解開一直以來的謎團。霍朗赫布是位軍人，是圖坦卡門的將軍與總司令，並且在圖坦卡門和阿伊兩位法老過世後，成為第十八王朝的最後一位法老。 ​​＊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。​

114-未來的國王霍朗赫布和妻子雕像

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

大英典藏編號：EA12367、EA12368、EA12347 、EA12345、EA12967​ 這件展品是拉美西斯三世向使節團彰顯埃及權力與強盛的壁磚，以彩釉陶手法製成。上面描繪的外國戰俘所穿著的服飾很具特色，暗喻法老對其他地區擁有絕對的主權。在古埃及的藝術作品中，不同族群的人通常可以從特定表現手法區分，例如近東地區人士通常以蓄鬍、長髮束帶、身著飾有繁複異域紋樣的短裙形象呈現；利比亞人則多描繪為膚色較淺，有時帶有幾何紋身，髮髻分兩綹垂落兩側，頂端飾有鴕鳥羽毛。。另一片磁磚上是一隻展翅的小鳥，以人類手臂擺出讚頌的姿勢。此小鳥圖像在埃及中稱為「雷基特」。原為一種候鳥，後來雷基特鳥逐漸成為埃及平民的象徵。當雷基特在籃框時，所形成的象形文字可以解讀為「法老的所有臣民」，再次強調法老對於所有埃及人民最高的統治權。在拉美西斯三世掌權的第十九王朝時代，埃及不斷面臨外族的挑戰，雖然他要求工匠留下許多擊敗入侵者的文字與圖像紀錄，但在他的有生之年卻從未真正解決外人入侵的問題，反而讓這些地區逐漸形成地方勢力，留下隱患。 ​​＊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。​

115-有囚犯和雷基特鳥圖樣的壁磚

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

​大英典藏編號：EA48​ 這尊以花崗閃長岩製作的典型「方塊雕像」，特徵是身披斗篷、雙膝屈起、雙臂交疊於膝上的蹲坐姿式，寬廣的斗篷上可以刻下大量的銘文。您可以看到，衣袍的正面刻有十四行橫向銘文；基座正面刻有五行橫向文字，而兩側各有一列縱向文字，刻著官員塞內弗祈求在他死後能獲得祭品供奉。塞內弗是法老圖特摩斯三世的財務大臣，負責掌管財務，也有人稱呼他是「印鑑總管」。此外，他還擔任過指導王子的工作。在古埃及，想製作出高品質的雕像是相當昂貴的，並非是一般的普通埃及人民可負擔的。只有像塞內弗這樣地位顯赫或是富裕的人才負擔得起。整尊雕像除了臉部與雙手之外，沒有刻畫過多細節，讓觀者的目光自然集中在他寧靜而莊嚴的臉上。軀幹部分雕工細緻，拋光精美，跟衣袍與基座上銘文的粗略刻劃形成鮮明對比。除了基座下方的輕微損壞與磨損之外，整體雕像與文字都保存得極為完好。 ​​＊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。​

116-官員塞內弗的雕像

​​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

大英典藏編號：EA718​ 古埃及人的墳墓，是用來安葬死者，並促成生者與亡者之間的聯繫。有些墳墓除了地下墓室外，還會有上層建築，並在內部設有裝飾精美的祭堂。烏里倫普塔是太陽神廟的書吏總管兼祭司，侍奉在國王內弗爾卡拉的太陽神廟。您現在看到的正是他墳墓中祭堂的牆面。這面由十八塊石灰岩組成的淺浮雕牆面，由兩道假門作為祭堂的重點。假門象徵連結生死世界的通道，親屬或祭司會在假門前獻上祭品，而亡者能通過假門來享用祭品。烏里倫普塔的形象多次出現在整面牆的場景中。在上方左側，烏里倫普塔端坐於供桌後，下方則是他和妻子坐在地上；右側上方也是夫妻對坐在放滿祭品的桌子前。根據中間主假門上的銘文所記載，供品的種類豐富，從麵包、啤酒到香料就多達九十六種。細看牆面，您可以發現有屠牛、搬運食物的侍從或樂師演奏著類似長笛和豎琴的樂器等不同場景。這些豐盛的祭祀宴饗，象徵亡者在來世同樣能享有豐收與富足。上面的顏色雖然歷經千年，仍可見紅、黃、藍與綠的痕跡。​＊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。​

117-烏里倫普塔墓室的祭堂牆面

​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

大英典藏編號：EA10554、89​ 內斯塔內貝蒂舍魯是大祭司皮涅吉姆二世的女兒。您現在看到的展件，正出自她的陪葬品——《內斯塔內貝蒂舍魯的亡靈書》。黑色的線條勾勒出兩幅莊嚴的場景，上方兩列象形文字標註了畫中死者的身分。左半部的場景，描繪著死者在祭祀儀式中的場景，而右半部則描繪著死者向神明獻祭的情景。冥界之主歐西里斯手上分別拿著象徵祂的彎杖和連枷。在古埃及的宗教領域中，女祭司通常會擔任歌者或樂師的角色，用音樂來撫慰神祇或祭司。而出身顯赫的內斯塔內貝蒂舍魯，很有可能負責領導樂手和歌者們並在神廟中肩負多項祭司職務。這份亡靈書，出土於底比斯代爾拜赫里的皇家密室，原件全長達三十七公尺，是現今所知最長的莎草紙陪葬品。在他們的信仰裡，亡靈書是靈魂通往永恆的指引與護佑。由於書中收錄的咒文、聖歌與祈禱文合集，內容非常獨特，因此有些學者推測這可能是由她本人親自準備。 ​＊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。​

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: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

大英典藏編號：調色板／EA12779、墨水瓶／EA22015、王名框造型的雙墨水瓶／EA59852、貝內默魯特的磨石／EA64191​這些文物是分別屬於不同時代的古埃及書吏所使用的書寫工具組。在古埃及的政府體系中，不同層級都需要依靠文字來傳遞訊息。而負責記錄、傳遞訊息等文書工作的書吏，便肩負這一重任。雖然書吏不一定是社會菁英，但在當時識字率普遍很低的年代裡，這些擁有讀寫能力的人，已經是很與眾不同的了。書吏們會使用各種不同的書寫工具，其中最常見的就是攜帶方便的「筆盒調色板」，裡面通常會裝有墨水與蘆葦筆。這件調色板左右所刻著的兩排銘文，是一段在葬禮供奉時所用的一段標準儀式文。內容大意是國王向埃及的智慧之神托特、書寫女神塞莎特和冥界之王歐西里斯獻祭，祈求諸神們能確保亡者在來世仍能繼續享有供奉，並恢復呼吸或是嗅覺等感官機能。調色板上通常有兩個墨池，分別盛裝最常用的黑色墨水，和用來寫標題、咒語、修正或繪製草圖的紅色墨水。小墨瓶則是用來裝補充的墨水。內附的光滑石頭是用來研磨顏料，或是打磨拋光要書寫的區域，讓莎草紙、木料或陶器的表面光滑更容易書寫。有些書寫工具會留有空白處可以刻字或主人的名字，就像書吏貝內默魯特的那塊磨石上，就刻著他的名字和他的職稱——「所有王室工程的總監」。 ​＊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。​

119-書吏的筆盒調色板，刻有葬儀文字

​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

​大英典藏編號：EA10683、3從居住在埃及代爾麥地那村莊的皇家陵墓工匠們所遺留下來的物件中，可以窺見他們的日常生活。這件莎草紙展品正是代爾麥地那村裡某個知名書吏家族檔案庫的文件。兩面由不同書吏書寫。文件的背面，是由書吏奎恩赫爾克佩謝夫抄錄了一篇著名的歷史文本，記錄拉美西斯二世與來自安納托利亞的西臺人在卡疊石的戰役。奎恩赫爾克佩謝夫以他獨特的筆跡聞名，有些人甚至形容為「潦草狂亂」，但正是這種書寫風格，讓考古學家們能夠在眾多文件中辨認出他的筆跡。文件正面，則是由另一位筆跡非常工整的書吏抄錄了古埃及一本解釋夢境是吉或凶的書籍。幾列以直式書寫的大字，大意是「如果一個人夢見自己……」緊接著的兩大行小字，則是各種夢境的描述，若有紅色墨水標註的就代表不祥。例如夢見吃蛋或喝血就是不祥的夢。他的文字排列整齊，與文件正面的筆跡形成鮮明對比。奎恩赫爾克佩謝夫的妻子再婚後，這份文件便由她的新丈夫及兒子繼承，因此在這份文書中有了四種不同的筆跡。 ​＊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。​

120-家族檔案文書

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

​大英典藏編號：EA49717大多數的古埃及人都會配戴珠寶，首飾對他們而言是地位的象徵，也能避邪驅災。在您眼前的是一枚出自第十八王朝的金戒指。這類刻有王名的戒指象徵著權力，不僅能用來封印重要文件，也說明著戒指的主人與國王之間有某種聯結關係，例如配戴者可能是王室官員，也有些刻著過去國王的名字。對古埃及人而言，王名是充滿力量的，所以在國王過世之後，這些王名仍然會被沿用在飾品上。這枚戒指的金托上鑲嵌了一隻綠松石色釉面聖甲蟲，背部刻有精細紋飾，和女王哈特謝普蘇特的王位名「善良的女神瑪特卡拉，願她永垂不朽」。金箔戒圈的兩端，各自用金絲線纏繞形塑出造型。金線穿過戒面側邊的孔洞，連結到另一端，讓戒面可旋轉，既實用又精巧。這枚戒指不僅可作為印章使用，也具有類似護身符的意義。只要將刻有銘文的一側翻轉貼於肌膚，對外露出的聖甲蟲便能守護佩戴者。​＊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。​

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: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’

大英典藏編號：EA59194​ 古埃及的工匠技藝精湛，各種不同的材料在他們的巧手下都能製作出十分精美的珠寶藝品，發展出獨特的技術和製作工具。就如同在您眼前的，這件黃金製成的獻祭儀式銘牌，是用鏤空技法製作的。這是一種非常精細的技法，工匠必須直接在一整片、薄薄地金版上刻下每個圖案，又必須靠著圖像之間細微之處相連。這片銘牌畫面的右側是第十二王朝的國王阿蒙涅姆赫特四世，他戴著裝飾聖蛇的假髮，身著帶有公牛尾巴的儀式用短裙，腰間綁了特殊樣式的結。雙手正奉著盛滿油膏的容器，準備獻給神明。左側站立的是亞圖姆。這位創造之神與落日之神是下埃及太陽城赫利歐波利斯的守護神，也是太陽神阿蒙的化身。亞圖姆頭戴裝飾著聖蛇的雙重王冠，左右手分別拿著代表生命的安卡護符與象徵力量的華斯權杖。他們兩者間的象形文字描述這個儀式為「獻上膏油」。 ​＊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。​

122-阿蒙涅姆赫特四世向亞圖姆神獻祭的銘牌

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

大英典藏編號：EA691​ 您現在看到的這件浮雕來自埃及西奈半島馬加拉谷地，可追溯至西元前2686年至2613年，是本展最古老的展件。描繪的是古埃及第三王朝國王沙納赫特屠殺敵人的場景。在浮雕右側僅存的象形文字刻的是「綠松石」。古埃及人認為材料與顏色本身即具有象徵與魔法效力，例如，綠松石或其他綠色材料有「更新」與「重生」的意涵。國王們不斷尋求來自鄰近沙漠地區與其他國家的財富，其中最稀有的寶石之一，就是產自西奈半島的綠松石。他們曾多次派遣遠征隊深入險峻的沙漠地區。畫面中央有著象徵荷魯斯的隼，而祂的下方正是刻著沙納赫特國王名字。左邊的國王頭戴紅冠，象徵他對下埃及的統治權，在他面前原本有一根旗竿，代表戰神烏普奧特，但現在已不復在。這件砂岩浮雕，不僅可能是用來慶祝征戰成功，也是用來彰顯國王對當地沙漠地區人民的統治權。 ​＊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。​

123-沙納赫特國王擊殺敵人的浮雕

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

大英典藏編號：亞歷山大大帝與布奇斯公牛石碑／EA1697&amp;EA1719、托勒密二世向布奇斯公牛獻供的石碑／EA1694​ 在古老的埃及歷史中，埃及經歷過數次外來者統治。而這些異族國王，大部分都極力地將自己塑造成埃及傳統的樣貌。您可以從眼前的這兩件展品中看到蛛絲馬跡。形狀比較不完整的展件是「亞歷山大大帝與布奇斯公牛石碑」，另一件外觀較為完整的則是「托勒密二世向布奇斯公牛獻供的石碑」。布奇斯公牛，在埃及神話中是戰神蒙都(Montu)在人間的化身。身為希臘人的亞歷山大大帝和托勒密二世，兩人皆身穿傳統埃及皇家服飾現身在石碑中。他們的雙手捧著盛滿酒的祭器，準備獻給基座上的布奇斯公牛。兩座石碑上的公牛的頭上，都頂著象徵蒙都的雙羽太陽圓盤圖紋。亞歷山大大帝石碑的下半部，更刻有六行象形文字，記錄著這頭聖牛的生平：生活於大流士三世時期，並卒於亞歷山大統治第四年。蒙都是一位古老的埃及神祇，自第十一王朝開始，蒙都被統治者們視為征服者和勝利者的象徵。像是有著「拓展疆域之最」美名的第十八王朝法老，圖特摩斯三世在古時就被稱為「戰場上的英勇蒙都」。 ​＊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。​

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: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

​大英典藏編號：EA552埃及在新王國時期建立起龐大複雜的軍隊組織，而職業軍人也開始在埃及的統治階層中崛起。霍朗赫布原本是職業軍人，在圖坦卡門統治期間擔任重要職務，擁有極大的影響力。在圖坦卡門逝世後，他與另外一位攝政在政治動盪的時局中，先後脫穎而出，登基成為法老，展開長達二十八年的統治。這件展品出自他在埃及薩卡拉的墳墓，是他身為將軍時所建造的。畫面中的霍朗赫布雙手伸到身前，舉著代表歡呼、讚美的手勢。他穿戴著十八王朝晚期的典型宮廷裝扮：頭頂著精緻的雙層假髮，上身是以輕薄亞麻布製成、層層交疊的衣衫，下半身則穿著多層次、類似百褶短裙的裹身裙，其中一層有著如三角造型的部分，象徵著霍朗赫布的軍人身分。掛在他背上的扇子，代表他曾隨侍在君王身邊的重要地位。霍朗赫布登基後，便在帝王谷新建另一座陵寢。而這座薩卡拉的墳墓則被用來安葬他的妻子們，並允許出入。人們後來在他的額頭上加刻了造型如昂首眼鏡蛇的聖蛇飾，用以彰顯他的法老身份。 ​＊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。​

125-霍朗赫布將軍陵墓的門框

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

大英典藏編號：EA64661、 EA65428、EA16988、EA55585、EA68507​ 這些刻有登基日期的紀念聖甲蟲印章，是阿蒙霍特普三世統治期間特有的。這款飾品，一面有聖甲蟲的標準化雕刻，分別是頭部、前胸、鞘翅以及腿部，另一面則刻有銘文。這些聖甲蟲印章不僅在埃及本地出土，甚至遠至敘利亞北方、蘇丹第二湍流區以南地區，都可以看見它的蹤影。因此學者認為它們會像宮廷公告一樣被寄送到各地，讓官員了解皇家事務。國王還會把它賜給官員，作為紀念重大事件的工具。銘文中記錄著阿蒙霍特普三世生平的重要事件，如他與提伊王后的婚禮、米坦尼王國的公主吉盧赫帕，與她的三百一十七名隨行女子抵達埃及的情景，和在宮殿附近建造人工湖的事蹟等等。根據研究，這些紀念聖甲蟲印章有五個不同系列。有趣的是，一款刻著阿蒙霍特普三世在統治前十年間，親手射獵一百零二頭獅子事件的銘文，是這一百七十件現存的紀念聖甲蟲印章中數量最多的。 ​＊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。​

126-阿蒙霍特普三世在位時期製作的聖甲蟲印章

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

​大英典藏編號：EA54459在帝王谷中有幾座保存完好的法老陵墓，透過裡面出土的豐富陪葬品，讓我們得以一窺法老們的財富與地位，以及埃及人對於永生的宗教文化。這件刻有王名框的黃金飾品，出土於底比斯帝王谷第五十六號皇家陵墓。它的擁有者塔沃絲蕾特在前兩位法老相繼逝世後，短暫統治過埃及數年，成為埃及史上少數的女性統治者之一，同時也是帝王谷中唯二的女性法老之一。帶有她名諱的文物曾出土於埃及以外的地點，最遠至北方黎巴嫩與南方努比亞，並疑似曾派遣探險隊前往西奈半島開採綠松石礦，足以顯示在她統治之下的埃及並非只是過渡期，而是同樣強盛的國家。 ​＊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。​

127-刻有塔沃絲蕾特女王之名的飾品

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

大英典藏編號：雅赫摩斯一世的沙布提俑／EA32191、塞提一世的沙布提俑／EA22818​ 在埃及人的陪葬品中，經常可以看到沙布提俑。它們代表著僕役，象徵墓室的主人在來世能繼續有僕役們為他工作。通常我們可以從沙布提俑手上所拿著的工具來推測出他們所負責的工作種類。請您仔細觀察並試著猜猜看吧！這六尊沙布提俑出自新王國時期的國王陵墓。其中一尊以石灰石製成的白色沙布提俑，是屬於第十八王朝雅赫摩斯一世的。它的臉部不僅雕刻柔美精緻，更是目前已知最早的皇家沙布提俑。另一尊藍釉沙布提俑，則是屬於第十九王朝的塞提一世，雖然小腿部分已經遺失，但仍然可以看出精美的細節。這尊藍色彩釉陶俑的頭部造型以藍黑相間的條紋，呈現出頭戴頭巾的法老，頭巾上的聖蛇飾已損毀；中間部分則是雙手交叉放在胸前，並拿著耕作農具，而在腿部上刻著亡靈書的銘文，寫著這尊陶俑正是負責農耕工作的僕役，例如開鑿灌溉用的溝渠可能就是他的其中一項工作。​＊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。​

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: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

大英典藏編號：EA683​ 您現在看到的是阿蒙霍特普一世的雕像。他是第十八王朝的第二任法老。在埃及神話中，歐西里斯(Osiris)是最重要的神祇之一。祂性格敦厚，原本是豐收之神，以仁君的形象治理著陽間，但卻被覬覦王位的兄弟賽特殺害身亡，後來因妻子施展強大咒語，以亡者之姿復活，最後成為冥界統治者。根據古埃及的信仰，逝世的國王將前往冥界，與歐西里斯合而為一。這尊雕像下巴處，雕刻著捲曲的鬍鬚，象徵著歐西里斯的神祇形象，也暗喻著國王的重生並獲得永生，就如同歐西里斯一樣。阿蒙霍特普一世的這尊雕像最初便可能是矗立在曼圖霍特普二世祭廟附近的一座小廟中。阿蒙霍特普一世死後被人民尊崇為神祇，並建造神廟供俸並向他祈禱。而這尊巨大的阿蒙霍特普一世雕像表面仍殘留著紅、黑、白三種顏料痕跡，也讓我們不禁想像著古埃及工匠的高超工藝技術。 ＊展廳及語音導覽使用現代音樂烘托主題與氛圍，讓您更沉浸於古埃及文明意境。

129-歐西里斯造型的阿蒙霍特普一世雕像

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

大英典藏編號：EA22942​ 這件以木頭與石膏製成的棺柩，來自某座神廟的守門人亞赫摩斯。由於棺木壁上的繪圖，色彩依舊保存得極為鮮豔， 讓我們得以一窺埃及人對於生與死的信仰，以及相關的葬禮儀式。古埃及人相信死亡之後靈魂將踏上一段通往來世的旅程，為了確保路途順利，他們在死後會進行特定的喪葬儀式，並在墓室中放滿帶有保護力的文字與器物，協助靈魂完成這段旅途。由於人們也相信神格化的法老也能帶來庇護，因此即使是在非王室成員的陪葬品中也會看到與法老相關的裝飾。例如，在公元前十世紀末至九世紀初，古埃及就掀起了一股祭祀阿蒙霍特普一世的風潮。當時的大多數棺槨上都繪有他的畫像，這或許象徵著法老與冥界之神歐西里斯之間的連結。在亞赫摩斯棺柩中的壁畫上，有著一位栩栩如生、頭戴藍冠的人像，或許是阿蒙霍特普一世的眾多化身之一。亞赫摩斯的木乃伊可能便放置在棺柩內的法老畫像上，象徵他渴望與法老有所連結，並期待共享君王成功抵達永生彼岸的成就。 ​＊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。​

130-神廟守門人亞赫摩斯的棺柩底座

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

接下來要帶大家認識一個非常有代表性的古埃及符號，那就是眼前的這個眼鏡蛇圖案。這個符號叫做 Uraeus，中文稱作「聖蛇」。大家請仔細看，這條眼鏡蛇直立著身體，脖子張開，看起來是不是充滿威嚴？在古埃及，眼鏡蛇被認為是神聖的動物，而Uraeus正是王權、神聖權力與保護的象徵。你們或許在許多法老的雕像和壁畫上，都曾見過這個符號。它通常會佩戴在法老的額頭上，作為一個強大的護身符，就像是法老的「第三隻眼」。古埃及人相信，這條神聖的眼鏡蛇能夠噴出火焰，抵禦來自四面八方的敵人，保護法老和人民，是王室的守護者。展出的文物中隱藏著許多聖蛇，試著把它們找出來吧！它不僅僅是一個王權的象徵，更是一位忠誠的守護者，一位強大的神聖力量化身，見證著古埃及文明的輝煌與神祕。＊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。

201-聖蛇

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

各位觀眾，請您先把視線移到這個符號──一根輕盈卻帶有莊嚴意涵的羽毛。這就是古埃及最重要的象徵之一──「瑪特羽毛」。在埃及信仰裡，瑪特是「真理、秩序與正義」的化身。她通常被描繪成頭戴羽毛的女神，而這根羽毛就代表著她的力量。那麼，羽毛到底有什麼特別呢？在古埃及的冥界審判中，死者的心臟會被放在天秤的一端，而另一端則是這根羽毛。如果心臟比羽毛沉重，代表一生充滿謊言與不義，靈魂將被怪物阿米特吞噬；但若心臟與羽毛一樣輕盈，死者便能進入永生。可以說，羽毛不僅是飄逸的象徵，更是決定生死的「真理天秤」。現在，不妨想一想，如果今天是你站在審判台前，你的心臟會比這根羽毛更沉重，還是同樣輕盈呢？這就是瑪特羽毛的魅力：看似簡單，卻提醒著人們無論生前還是死後，真理與正義才是最終的衡量標準。＊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。

202-瑪特羽毛

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

請將目光移到這個柱狀的符號——Djed 傑德。您會發現，它看起來像是一根直立的柱子，上面有幾道水平的橫線。請先花幾秒鐘仔細觀察，您覺得它比較像脊椎，還是一根裝飾過的柱子呢？在古埃及，Djed 象徵的是力量、穩定和永恆。它與歐西里斯——冥界之王、復活之神有著密切的關聯。這個符號也被視為支持生命與復活的支柱。埃及人經常在儀式或藝術作品裡描繪神祇雙手握著 Djed，代表祂們擁有帶來復活與永生的力量。您會注意到，這個符號不僅僅是宗教象徵，它也反映了古埃及人對「秩序」與「穩固」的渴望。畢竟，在一個依賴尼羅河週期、又常受外敵威脅的國度，穩定就是延續文明的基礎。所以，當您凝視這根「不倒的柱子」時，不妨想像它是古埃及人心中的定海神針：不論是守護國度、保護亡靈，還是寄託永恆的希望，它都象徵著一種永不動搖的力量。 ＊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。

203-傑德

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

眼前所看到這朵造型簡單卻優雅的符號——蓮花，它的花瓣線條向外舒展，就像盛開的姿態。這可不是隨便挑選的圖案，而是古埃及文化中最重要的植物之一。蓮花每天都會「表演」一場奇妙的自然劇場：清晨，隨著太陽升起，花瓣會慢慢展開；而當太陽西沉，夜幕降臨，它又會緊緊合攏。這樣的節奏，與太陽的循環完美呼應。埃及人因而把蓮花視為「創造」和「重生」的象徵。在神話故事裡，甚至有一種說法認為，世界最初誕生於混沌之水中，而第一朵綻放的蓮花，正是孕育太陽神的搖籃。換句話說，沒有蓮花，就沒有日出的希望。我們在古埃及的壁畫、浮雕，甚至法老王座上，都能見到蓮花的身影。它提醒人們，生命雖然會經歷黑夜，但總能在新的一天再度綻放。所以，當您注視這個符號時，不妨把它想像成「太陽的花朵」：日出帶來新生，日落代表休憩，而周而復始的循環，正是古埃及人對生命力量最深刻的理解。 ＊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。

204-蓮花

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

接下來我們把目光移到這個古老而神秘的符號——荷魯斯之眼。您看到的這隻眼睛，線條俐落，卻又帶著幾分神秘，它來自古埃及，擁有超過三千年的歷史。請仔細觀察，眼睛下方的弧線像不像獵鷹眼角的羽毛？這正是因為荷魯斯是天空之神，通常以獵鷹的形象出現。在埃及神話裡，荷魯斯曾與混亂之神賽特激烈戰鬥，在過程中失去了一隻眼睛。後來，智慧之神透特幫他修復了眼睛，這隻「重生的眼睛」因此成為完整、治癒與保護的象徵。古埃及人相信，荷魯斯之眼能帶來幸福與健康，驅走疾病和邪惡。除了宗教意義，這個符號還被廣泛應用在日常生活中。埃及人會把它畫在棺木、船隻，甚至隨身飾品上，希望無論在陸地、河流，甚至進入冥界，都能受到守護。所以，當您下次看到這隻眼睛，別只把它當成神秘的裝飾，它其實是古埃及人智慧、信仰與日常生活的縮影。這就是荷魯斯之眼，千年來守護著人類幸福與平安的象徵。＊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。

205-荷魯斯之眼

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

請將視線移到這個小小的甲蟲形符號——聖甲蟲。請您先觀察一下，它的形狀是不是有點像一隻正在用前腳推動什麼東西的甲蟲呢？在古埃及，這種甲蟲就是糞金龜。它會將糞球推著往前滾動，並把卵產在球裡。等到幼蟲孵化，便會從球中「重生」。對埃及人來說，這種生命從黑暗中誕生的景象，充滿了神秘和力量。於是，聖甲蟲被賦予了重生與轉變的象徵意義。埃及人相信，它就像太陽每天從地平線升起一樣，象徵著無盡的循環與更新。聖甲蟲在沙地上推動泥球的動作，被視為太陽穿越天空的映照。事實上，太陽神的一個形態——赫普里——就是以聖甲蟲的樣貌出現。您可能會注意到，在許多護身符、印章，甚至法老胸口的珠寶上，都能看到聖甲蟲的身影。它不僅是一種自然觀察的轉化，更成為祈求再生與保護的神聖符號。找找看！這裡有展出聖甲蟲造型的珠寶，有些聖甲蟲會刻滿銘文，紀錄法老的豐功偉業，當一位古埃及人佩戴一枚聖甲蟲護身符時，他不只是帶著一隻小甲蟲的形象，而是隨身攜帶著「太陽永恆升起、生命不斷延續」的希望。所以下一次當您看到聖甲蟲時，不妨想一想：在滾動小小糞球的同時，它其實承載著古埃及人對生命與宇宙的深刻理解。 ＊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。

206-聖甲蟲

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

眼前您所看到的形狀，是不是很像一個上方帶著圓環、下方延伸的十字？請花一秒鐘觀察，它看似簡單，但背後卻蘊含著古埃及人對生命的深刻想像。在埃及語裡，Ankh 意味著「生命」。現今它常被稱為「永恆的鑰匙」或「生命的鑰匙」，象徵活力與永生。古埃及的神祇常常被描繪成手持這個符號，輕輕遞向法老或亡靈，就像在賜予他們呼吸與新生。在古埃及的藝術與日常生活裡，您會看到 Ankh 出現在雕像、壁畫，甚至飾品上。它提醒人們：生命並不僅止於死亡，而是在另一個世界延續。對埃及人來說，死亡不是結束，而是通往永恆的門。所以，當您今天凝視這個符號，請想像它是一把神聖的鑰匙，連結人間與冥界，也象徵著古埃及人對生命、時間與宇宙永恆循環的信念。找找看！你是否看見哪些神祇手持著安卡呢？＊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。

207-安卡

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.​