Dust Chronicles, egypt, Jakarta (2026)

20/10/2025

The Fortune Teller’s Tale

Anatolio Scifoni (1841-1884), 1870.

20/10/2025

The Mummy with the Golden Tongue

The Mummy with the Golden Tongue was discovered in early 2021 at the Taposiris Magna temple, west of Alexandria, by a team of Egyptian and Dominican archaeologists, led by Dr. Kathleen Martínez, who has been searching for the lost tomb of Cleopatra.

The mummy is that of a woman, and the burial style and artefacts surrounding this woman’s burial suggest she was interred during a time when Egyptian and Greco-Roman cultural influences blended, creating a period when traditional Egyptian burial customs were still practiced alongside Greek and Roman influences. Thus, it is believed she lived sometime during the Ptolemaic – Greco-Roman Period.

Due to the poor state of preservation, archaeologists could not determine her name, status, or cause of death. However, the presence of the golden tongue suggests she may have been a person of some importance, and at the very least, she was somebody connected to wealth who could afford an elaborate burial. Considering the burial was at the site of a temple, which would have had significant religious and political importance, this could mean the woman was a priestess or had connections to the temple, but as yet, that is unknown and just an educated guess.

Why did she have a golden tongue?

In Egyptian religious texts, gods are described as having golden skin, silver bones, and lapis lazuli hair. Many temple reliefs and statues depict deities with golden-toned bodies, emphasizing their divine nature. Unlike other metals, gold does not rust or deteriorate over time. The Egyptians saw this as a symbol of the gods’ immortality and divine essence. This belief influenced burial customs.

As is common knowledge, Ancient Egyptians believed in preparing the dead for the Afterlife. The golden tongue amulet and or foil was therefore most likely placed in the mummy’s mouth to allow the deceased to speak beyond death, specifically to the deities of the Underworld, especially the ruler of the Underworld, the god Osiris. The golden tongue would, therefore, adorn her speech, and allow her to speak up with a “golden” and divinely inspired confidence during the judgment of her soul, preserving her with a safe passage to the heavenly realm, known to the Egyptians as the “Field of Reeds”.

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20/10/2025

Stele of Nakhtimen

The stele features a concave shape with a bas-relief of Nakhtimen in a kneeling position, adorned with a pleated kilt, wig, and a 'usekh' collar. Above him, the goddess Meretseger is depicted as a cobra with a disc and horns. A table of offerings is also present.

The hieroglyphic inscriptions include the names and titles of Nakhtimen, his father Nebre, and the goddess Meretseger. Nakhtimen is identified as a "drawer in the Place of Truth," a title associated with artists in the royal tombs.

Nakhtimen was a draftsman in Deir el-Medina, a village inhabited by artisans who worked on the royal tombs in the Valley of the Kings. The stele reflects the religious practices of the time, particularly the veneration of Meretseger, the goddess of the Theban necropolis.

Meretseger was an ancient Egyptian cobra goddess revered primarily in the Theban Necropolis, particularly by the artisans of Deir el-Medina who constructed and decorated royal tombs. Her name translates to “She Who Loves Silence,” reflecting her association with the tranquil desert environment.

New Kingdom, 19th Dynasty, ca. 1279-1213 BC.
From Deir el-Medina, Thebes.
Now in the Louvre. N 4194

20/10/2025

Human skeleton, likely dating from around 3100 B.C., 1st Dynasty, and buried within a reed basket. Discovered at Tarkhan.

This human skeleton of an adult was discovered in Tarkhan, laying in a fetus pose in a cane basket.

Of the skeleton, there are no visible fractures to the skull and all teeth are presumably present. The skull’s mouth is gaping.

Many ribs are displaced at the costovertebral junction, but not shattered. The spinal column is displaced in the lower dorsal region, and there are prominent osteoarthritic alterations with lipping in the lumbar region.

There are no abnormal alterations in the intervertebral discs. Long bones have no clear fractures seen. The right foot is displaced. Lines of stopped growth on the lower extremities of the tibiae.

Remains of a basketwork casket, indicate it was created just big enough for a contracted burial. The reeds used for the coffin’s sides and ends were placed into bundles before the final assembly. The entire upper half of the casket is missing. The excavator used paraffin wax to solidify the remaining components, which included the bones.

The length of the coffin is 117cm long and 58.5cm wide. The skeleton itself is, approximately, 158cm.

The coffin and skeleton is in the British Museum collection (EA52887), but is currently not on display.

20/10/2025

Isis and Serapis, c. 100–200 A.D.

These exquisite panels, once the doors of a small wooden shrine, were crafted from Egyptian fig wood and reinforced with two Lebanese cedar dowels embedded in each. Discovered in Egypt, they offer a fascinating glimpse into the everyday devotion of the Greco-Egyptian society, reflecting the worship of two deities that bridged two cultures.

Isis, a goddess originally from Egypt, was revered for her roles in magic, motherhood, and the afterlife. Her influence spread across the Mediterranean, where she became associated with resurrection and divine love. In contrast, Serapis, a syncretic god introduced by the Ptolemies, was designed to unite the Greek and Egyptian religious traditions. A fusion of Osiris, the Apis bull, and gods like Zeus and Hades, Serapis embodied fertility, the underworld, and healing. The worship of both deities thrived in the Hellenistic and Roman worlds, leaving an indelible mark on future religious practices.

On the panel, Serapis is portrayed in a three-quarter pose, mirroring the stance of Isis. His figure is strikingly different from traditional Egyptian deities: fully bearded with thick, curled hair falling to his shoulders, his appearance is heavily influenced by Greek ideals. His headdress is a magnificent blend of elements: a wreath of golden leaves encircles his face, fastened by a decorative knot above his brow; a golden diadem graced with a six-pointed star rests on his head; and a kantharos, gilded and entwined with ivy, crowns his head. His attire consists of a brown chiton, a mantle draped over his left shoulder, with folds shaded in carbon black, perhaps mimicking the finish of a bronze shrine door. The vibrant reds, yellows, and browns were crafted from iron oxide pigments, lending warmth and depth to the scene.

Isis, equally regal, wears a diadem decorated with olive leaves. Her figure is draped in a sheer cloth, outlined in white and ochre tempera, which enhances her ethereal beauty. Rich black curls cascade over her shoulders, framing her pale complexion, which contrasts beautifully with the deep reds of Serapis. Her cheeks and lips are touched with delicate hints of pink and red, emphasizing her divine femininity.

The edges of the panels bear traces of wear, with rough, pigmented borders suggesting they were trimmed after the painting process. The inner left edge of the panels is rounded from frequent use as doors, a testament to their functional and ritual significance. The rare Egyptian fig wood, carefully selected for its quality, features a batten attached to the reverse for handling, and the embedded cedar dowels seal natural imperfections in the wood, further enhancing their craftsmanship.

The panels are both currently at the J. Paul Getty Museum, Villa Collection, in Malibu, California, 74.AP.21 & 74.AP.22

20/10/2025

The goddess Nut on the linen mummy shroud of Herakleides, c. 120–140 A.D.

Herakleides lived during the time when Egypt was under Roman rule, which followed after the fall of the Ptolemaic period. His name, “Herakleides, son of Thermos” is inscribed on his mummy shroud.

Herakleides was mummified following traditional Egyptian practices but with Roman influences. His body was wrapped in a linen shroud painted red, symbolizing life and regeneration in Egyptian religion.

Getty Museum. 91.AP.6

20/10/2025

Painted sandstone head of Amenhotep I, from Osiride statue of the king

New Kingdom, 18th Dynasty, c. 1525–1504 B.C.

From the remnants of the forecourt of the Temple of Mentuhotep II, Deir el-Bahari.

Met Museum. 26.3.30a

20/10/2025

A mask of a female mummy dating from the Roman Period (1–200 CE). Crafted from cartonnage—a material made from linen or papyrus soaked in plaster and painted—the mask measures approximately 49 cm in height, 35 cm in width, and 15 cm in depth. Its front is adorned with a laurel-leaf diadem, symbolizing prosperity and eternal fame in Roman tradition.

Now in the Egyptian Museum of Turin. Cat. 2261

20/10/2025

Anubis shrine on sledge

Made of wood with gilded gold and black varnish

From the Tomb of Tutankhamun (KV62), Valley of the Kings, West Thebes

20/10/2025

King wearing the Khepresh (Blue Crown of War)

This striding statuette of a New Kingdom king, depicts the king in a kilt (shendyt) adorned with an elaborate belt, a usekh collar around his neck, and most notably, the "Blue Crown of War", known to the Egyptians as the "Khepresh" upon his head, which is given a realistic glisten by the addition of rounded blue faïence.

The statue is often associated with Amenhotep I, but others, including the Louvre, where this statue now resides, label this piece as Ramesses II. This may be confusing, but it was not uncommon for kings to reuse or usurp relics from past monarchs, in fact Ramesses II is very well known among scholars for his usurping of past monuments and statues, especially those made during the reign of king Amenhotep III.

However, a further reason for this confusion when it comes to identifying this piece may or almost certainly comes from the deification of Amenhotep I within the Deir el-Medina region, where this piece was found.

Both Amenhotep I and his mother Ahmose-Nefertari became deified after their deaths. Ahmose-Nefertari outlived her son by approximately a year at the least, and became worshipped alongside her son for centuries after. Therefore, depictions of both Amenhotep I and his mother Ahmose-Nefertari are found in tombs and among other types of relics and funerary items dating from much later from their life-times. Thus, explaining statues and other depictions of either of the two dating from later king's reigns.

20/10/2025

Votive Stele of the Artisan Bay

This stele was dedicated by artisan Bay to Amun-Re and comes from the workers’ village of Deir el-Medina. It still retains its vivid colors, in particular the three pairs of ears painted blue, yellow, and green on the left side.

These represent the ears of the god that “listens to prayers”. This form of Amun-Re was one that the more modest social classes worshipped during the New Kingdom when cults of personal worship grew alongside the official cults practiced in the temples and at court.

The owner of the stele was a artisan in the village and was portrayed on the left side of it; he kneels with his hands raised in an act of adoration separated from the divine ears of the god by a vertical line. The inscription above Bay says “Adoration of Amun-Re by his servant in the Place of Truth, Bay”. The name “Place of Truth” refers to the royal tombs.

New Kingdom, 20th Dynasty, ca. 1189-1070 BC.
Painted limestone. Excavation by Émile Baraize, 1912.
From Deir el-Medina, Thebes.
Now in the Egyptian Museum, Cairo. JE 43566

20/10/2025

Scene of Circumcision

Old Kingdom, 6th Dynasty, reign of king Teti, c. 2345-2333 B.C.

Tomb of Ankhmahor, Saqqara Necropolis

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