The man looks off into the distance, very exhausted and in pain. I get that feeling even more because his wrapped hand reminds me of that of a boxer or fighter of some kind, making me think that he might’ve just gotten out of a fight of some kind. He also has cauliflower ear, which makes me even more certain he’s a boxer. I can’t tell if he’s defeated, exactly, but he’s definitely drained. His expression is really dramatic and intense, and it almost looks like one of despair, so maybe maybe he has been defeated. It could also just be a very intense depiction of pain and exhaustion, though.

All that said, the way he’s seated still looks really powerful to me. He has a strong ‘stance’ (for lack of a better word), and seems like he’s also a bit energized and ready to fight again– maybe has some adrenaline running. His feet are hovering off the ground, and it feels like there’s some sort of potential energy in the way he’s positioned.

I wonder if there’s any meaning to this piece outside of it being a depiction of a human experience– could it be a sort of symbol/talisman, almost? Is it just a piece for decoration in the home or the city, or is it something that might exist near a boxing ring? Could it have some sort of significance in how it shows someone being able to handle pain and exhaustion– maybe a reminder to do the same, or a good luck charm that you’ll be able to? If he is a defeated boxer, could there be something about losing with grace?

I don’t have much to point out about it, but I really love the smoothness of this carving– each surface feeling very rounded and well-carved. The shine off every surface almost looks like glistening sweat, or an oiled body. Also: the color definitely isn’t intentional as bronze always gets discolored like that, but I feel like the way it exists on this piece really compliments it.

I really love everything about the way he’s positioned and the expression on his face. It feels like I’ve sat exactly like this before at the end of basketball games and things of the like. There’s a certain sort of competitive anguish in him.

The two figures in this piece are holding either side of some object, which looks like it might be a little chest or tray of some kind. One figure sits upon a simple chair, curling one hand upward as if making a gesture of some sort and holding the object with the other, but sort of loosely, as if they’re trying to hand it off– only still touching it to make sure the other has a grip on it and it won’t fall. The standing figure looks down at the other, holding the chest/tray rightly in one hand.

They both seem to be women and neither have very happy expressions, but the sitting figure seems more upset, with a sort of glowering look on their face, while the standing one has a soft, confident, maybe even smug smile. I’m curious as to what the context is– maybe the sitting figure has lost something, whether status or money or something else, to the other, and is frustrated at having to give it up? I could be looking a bit too into that, though.

The seated one does have a seemingly more elaborate hairstyle/headdress, while the other is dressed simply, and the seated one is clearly much larger than the other, as well, which makes me think they’re more important– maybe a goddess or just royalty of some sort. Also, the seated one is depicted in much more detail than the other.

They’re very close to one another, with the standing figure being almost between the sitting person’s legs, and I’m curious as to why that might be. It makes me wonder if they might have a more intimate relationship of some kind.

Also– a big thing is that the standing woman’s boob is out! I’m curious as to why. Maybe there’s some sort of sexual relationship?

Outside of the art, there is the fact that this piece is clearly displayed on the side of a steele/headstone of perhaps a mausoleum (I can’t tell the size/if there are other sides). It’s made of stone, which definitely adds to the idea that it’s made to last, perhaps for some funerary thing. There’s words across the top of the building, though I don’t know what they say– probably some sort of ‘Rest in Peace’ thing.

I’m immediately amazed by this piece. It’s broken in half, which interests me, as I can’t really think of why it would be. That said, to me, it plainly seems like a sarcophagus shaped to look like a bed. Upon it lie two figures, sort of in a reclining position. I feel like there’s a bit of a twisted perspective to it, like maybe the anatomy’s a little bit off, with the way the feet/legs are angles as opposed to the torsos. My other idea, though, is that it could be representing their spirits rising out of their bodies, and maybe the sort of twisted perspective is very intentional in that regard.

The woman is wearing a little headdress over her long hair that seems to be in braids or twists of some kind. The man behind her has fairly long hair as well, alongside a very solid beard, and his arm drapes across her back, his hand on her shoulder. It’s kind of interesting, because she seems to be almost entirely dressed, though I can’t tell if she has a top on, or just a shawl, and he has no shoes or shirt, and possibly no bottom.

They definitely seem to be wealthy– maybe some kind of aristocrats– which I gather from the frilly pillows and nice bed frame alongside the beautiful shawl. Despite being a sarcophagus, it doesn’t really seem big enough to hold a body, so maybe it’s just for ashes, or I’m wrong and it’s something else entirely. I can’t quite tell the scale, though, so it could just be really huge (perhaps meant to hold a family, or two partners, or a person and their valuables). It’s also interesting and lovely that such a sweet scene is being associated with death in this piece, which reminds me personally of Mexican traditions of remembrance and love for the dead– much livelier and less tragic.

I’m curious about the context of them reclining in bed like this. Both seem to be smiling and gesturing, and his arms relax around/near her. I wonder if maybe they’re having some sort of animated discussion, or maybe just preparing themselves for bed– removing parts of their clothing, whether it’s for sleep or for sex or something else. I think a shawl is draped not quite over her shoulders, but around her arms, which sort of adds to that image for me.

It’s interesting because she isn’t holding anything, which makes me think she’s lost whatever she was originally holding. By the way her hands are set, I imagine it was some sort of bottle, though I’m not sure of what.

Either way, I really love the really intimate scene that’s being painted. The two feel very in love to me, especially in the way he’s holding her, and the soft expressions on their faces as they lie together. I can feel the good time they’re having, even though I have no idea what the context is.

Looking at this image, I’m immediately struck by a few things. One is that the scroll-like layout reminds me of what we’ve learned of the concept of creating a Book of the Dead, and so I wonder if this is a part/scene in someone’s. This is also supported, in my eyes, by the fact that the figure is guided by Anubis, the God of the Dead, and meets Horus, the god of protection among other things.

The main scene seemingly depicts one of the judgment trials within Egyptian mythology, where a heart is weighed against a feather, and if it is heavier, then the alligator-dog creature (whose name I can’t remember) eats it and your soul does not progress.

I personally can’t say I find this scene very emotional, evocative, inspiring, etc, as it feels like a very straightforward depiction of a story. It is definitely more positive, as nothing bad is happening to the person, which makes sense, as a Book of the Dead is meant to portray your hopes of the afterlife– sort of manifesting reality. I am intrigued by two of the scenes within it though, the stories of which I’m less familiar with. I imagine that they are also judgment trials of some sort.

I like that Anubis has taken the person’s hand as he’s guiding them, though. It’s a nice detail that I do feel inspires some amount of emotion, and I like the depiction of him as a sort of supportive, comforting figure throughout these trials. He doesn’t harbor any ill-will, just is doing his job in guiding you through the necessary trials.

Horus, to me, feels a little more to the point. He doesn’t seem to have as much of a comforting aura– maybe a bit more demanding and to the point, though he does also hold the ankh in one hand as Anubis did. He seems to be guiding him to the green-skinned figure in the right panel who’s wearing a pharaoh's crown (seems to be a depiction of Osiris), but I don’t exactly understand what they’re doing or what the situation is generally. There are women behind him trying to get his attention, maybe, and Horus is flying above him (now depicted as a full falcon). He’s the god of resurrection, and so I imagine that some other aspect of the soul’s trial or general process of achieving rebirth/eternal life.

The scene along the top makes me wonder if it’s sort of the last aspect of the soul’s journey after death, or maybe some sort of remembrance of his life on Earth– paying his respects to the different Gods. It’s kind of interesting that some in the front of ankhs, though, and some in the back do not.

Two main figures, one man and one woman, sit across from each other on cushioned chairs, with what looks like cushions under their feet as well, and both hold smaller beings on their laps, and one crawls across the woman’s shoulder. I assume the smaller ones are children because of the way they’re interacting with the bigger parents (I’ll explore that later), but also wonder if they could be humans because of their weirdly adult-like proportions, with the bigger figures being the Gods.

One is holding the small figure up to his mouth, I think kissing it or showing it affection, but the face also doesn’t look that affectionate, so I’m not sure if it’s something else. On the woman’s lap, the small figure points at the other two while looking up at her, seemingly trying to show them what’s going on, and the one on her shoulder is pushing her head to look at the others, too.

I’m curious as to what the story is, and am somewhat reminded of how Cronus ate his children, who turned out to be the Gods, in Greek mythology, though I can clearly tell that this is an Egyptian piece, and not a Greek one. I get a feeling that it's not about that at all, but it just reminded me of it.

On a separate note, a sun in the middle-top shines down upon all figures present with little ankhs at the edge of their rays, making me think that maybe the figures are important, having eternal life bestowed upon them. That idea definitely feels supported by the fact that the man is sitting up straight and seems to have a fairly big headdress/crown and the woman is wearing a small headdress and slouching forward. It’s interesting, though, that their bodies don’t seem to be ‘ideal’.

Also, I’m intrigued by the fact that the woman and man are both painted the same size, insinuating that they’re ruling together. That said, there is clearly a power differential between the small and big beings. The fact that it’s in stone always gives a sense that it was truly meant to be permanent, and because of the implication that the big figures are pharaohs, I wonder if it’s dedicated to their children/inheritors to the crown, sort of trying to announce their futures.

There’s a lot of text (hieroglyphics?) surrounding the image, though I obviously can’t tell what it says, and I wonder, again, what story it’s exactly trying to tell (could also be a recreation of a myth of some kind, through art & engraving).

Along the right side of the image, there seems to be a staff or column of some sort that has what could be a sort of bird figure on the top (Horus?), but I can’t tell, as it also looks sort of just like a handle of a cane/staff.

An Egyptian pharaoh kneels, both their hands holding two little spheres– maybe little vases or vessels of some kind? They’re kneeling upon a big stone piece of some kind, which I don’t imagine has much significance. It’s possible that there was some inscription on it at some time, which has now faded away.

There’s something around their waist that looks raised, like maybe it’s a belt of some kind, but I can’t tell. It’s been worn down very thoroughly– maybe through specific handling, but likely just through time. It’s hard to distinguish a lot of features from one another, the nose, eyes, and lips being very simple, and the ears, fingers, and feet standing out the most. There’s definitely some patterning in the headdress and beard, but it’s definitely light and faded. The piece has a lot of cracks as well.

I definitely feel a lot of balance in this piece, though, with a very strong sense of symmetry.

I’m intrigued by how humble they look, relaxed in a posture that seems to be praying or offering themselves to something– I imagine the Gods or a specific God. Especially with the little pots, it makes sense that they’d be praying/offering something, and I feel like this piece would have been used in a ceremony of some kind, and was likely made as a dedication to another God (sort of like the Palette of King Narmer, though that one was just decorative). It’s stone, too, which suggests the hope of permanence, and adds to that idea.

It makes sense to me as a piece– trying to show that even the pharaoh is not above the Gods, and that all should offer themselves.

He seems peaceful, somehow, staring out at the world with a small smile and full eyes. I think his high cheekbones definitely add to that sense of peacefulness, joy, and even confidence in his eyes. His shoulders are relaxed, as is his core– leaning gently forward, though not slouching– and the crossed legs make me think that he might be resting or meditating, or even just working on something small in his hands.

In one hand, he’s holding some sort of writing utensil, with some sort of paper or stone slate of some kind in his lap (unless what’s in his hand is just rolled up paper). The other hand has his thumb pinched to his pointer finger, but I can’t tell if he’s holding something between them or not.

Mixed with the fact that he’s looking upward, as if he’s looking for guidance from some other being, which I think reaffirms the idea, I wonder if he’s some sort of scholar, scribe, priest, etc. It’s interesting, though, because he’s not depicted as a sort of ideal man– he has rolls and is a little slouched and only wears a skirt, making me think he’s not particularly powerful or viewed as very grand.

Also, the darkness around his eyes makes me think of kohl, so I wonder if he’s meant to be North African or West Asian.

He’s a very life-like character, in general, which sort of feeds into the idea that Egyptians view statues as sort of alive in their way (their word for a statue even meaning ‘living image’). It’s interesting to see the scribe be portrayed working, which I don’t feel is a commonly depicted job.

This piece is composed of two same-shaped stone pieces, almost flask-like with triangular bodies and a flat-ish top. To me, the piece’s distinct style is clearly Egyptian. Both depict their own scenes with several layers each, which reminds me of descriptions of the world and its afterlife in layers– maybe one with the living, one with the dead, one with the Gods, etc.

On the left piece, there’s one main layer with a smaller one below– the main one picturing a man (maybe a King or a God) seemingly getting ready to either bless or maybe strike (the second feels more likely) another man who kneels beside him, held by the hair. A bird (associated with Horus, who’s associated with kings) stands beside them, and a little man on what looks like a shelf on the other side. Below the floor under them is what looks like two nude people running from something, maybe defeated/humiliated in some way.

On the right piece, the piece is split into three somewhat equal layers. The middle one holds what looks like two lion-type creatures (serpopards) with incredibly long necks intertwining with one another, and a man atop each one who seems to have them lassoed/on reins of some kind, like they’re trying to hold them back. In the top one, I’m honestly not too sure what’s going on. There are an incredible amount of figures doing different things– some looking almost like children. One is wearing the crown of upper and lower Egypt, which is interesting to me. The figures along the right are laid on their sides, missing heads, so it’s definitely a violent scene. In the bottom layer, there’s a bull stomping on the arm of the man, and knowing that bulls tend to be associated with pharaohs, it feels like another display of dominance of leadership.

One similarity between the two pieces is the two little creatures atop both that look sort of like bulls or rams with human faces, and some sort of seal between them.

I’m honestly not too sure what’s going on in the piece, but I’m intrigued. There’s a lot of movement in both that reminds me of a sort of mythical scene. Maybe the pieces are meant to be a part of storytelling of some kind. I think the lack of a focus in the pieces makes it hard for me to really get a sense for what’s going on, especially without any other knowledge outside of just what I can see, and I could definitely imagine someone sort of leading you through the images to tell a story.

That said, I do definitely feel like that idea of different layers of the world keeps coming back to me. As an example, I can see that in some layers on each, there’s a bit of a theme of suffering, which makes me wonder if it’s trying to represent the different parts of humanity or something of the like.

I imagine that its use is related to something more decorative– maybe made for nobility of some kind? The piece, to me, is very striking. It feels very powerful and intense, with lots of scenes of intimidation and humiliation. I imagine that this is meant to be intimidating and intense– something to legitimize power. Since it has the falcon which is associated with Horus, I do imagine it’s sort of dedicating itself to the idea of a tie between the pharaoh and Horus.

I’m noticing a pattern in myself of loving flowing movement and smooth curves in art, and in this piece I'm drawn immediately to look at the wide hips that branch from such a thin waist and torso, along with the way the legs look almost like little stacked blobs. It makes me wonder if they could’ve been wearing some kind of wide pantaloon the details of which were erased with time? I especially wonder so because the piece seems to have two different colors– one dark and faded, and one a bit brighter and more detailed.

It’s interesting to me that the figure doesn’t have arms, but it almost seems like they do have little fingers. It reminds me of ‘nubs’ that people sometimes have if their arms/hands don’t fully form. It could also be a sleeve of some kind, but we can clearly see the figure’s breasts and nipples, which makes me think not. An armband?

Of course, the being has two faces, which is definitely an interesting component. I’m reminded of a lot of different deities with several faces like the two-faced Roman Janus– god of doorways, crossroads, new beginnings, etc. and even Hindu Brahma– known as the Creator, whose four heads represent the four Vedas and are pointed to the four cardinal directions.

It makes me think of them also as a deity, and combined with the sort of mischievous look it has (a little grin and eyes that could just be a depiction of monolid eyes, but even then look like they’re almost squinted in excitement), I wonder if they’re some kind of deity. Maybe a trickster God of some sort? It especially makes sense with the idea of two-facedness being a symbol for liars, manipulators, etc. It could also just be representing duality in some regard?

Also, it looks like they have eyeballs or spouts or something circular in their mouth? I don’t know quite what’s going on with that, but I’m curious about the idea of them as being watchful and sort of a counterpart to the playfulness/trickster energy.

I’m curious as to what’s going on with the incredibly textured hat/hair/headdress? It almost looks like snakes or fruit or even udders of some kind, but I could also see it being some sort of string of beads.

I could also think of the piece as a talisman of some kind, but if it is a trickster, I’m not sure why it would be carried with you. The big hips could suggest fertility as well. In that case, the two faces could represent a community with childbirth and raising a family? Or, if we blend the two ideas (fertility and mischievousness), they could be a sort of representation of lust.

I’m intrigued from the first moment by the flowing movement of the figure’s body as they run– the way their joints are soft and rounded– but how the limbs are cut into sort of rectangular joints at the same time. The image feels very geometric.

I almost feel like there are two versions of the figure– one made from their solid body, dark and tangible, and the other from the white dots (scarification?) and lines that surround their head and body, whether it’s clothes or just an essence of their self. In fact, I feel like the entire image is sort of grappling with these two layers– one of the dark and one of the light, sometimes overlapping, and sometimes shown starkly against each other (as in the way the white outlines some darker bodies, or in the figure in the bottom right corner).

The figure has what seems like horns, which interests me and makes me wonder if they’re some kind of deity or mythological figure, famous or not– and also because of the scale between them and the other beings. I also wonder if maybe the horns are a weapon through their head, instead?

I’m also curious as to what they’re holding. At first, it looks to me almost like some sort of string or whip or something, but then I realize that there aren’t clearly defined hands, and I wonder if maybe it’s part of the cuffs/gloves/something else around their hands. Also– the band around their upper arm feels like flowing water. Why are there dots around their head, or the little patch of what looks almost like grass atop all the dots? Or maybe it’s a cloud with rain? Is it a headdress or halo?

Smaller figures surrounding our main focus draw my attention me mainly because it’s hard to tell where exactly in space they are, but I love at the same time how they seem to be moving around our main figure– holding up the cloth over their pelvis, and maybe hunting or fighting or dancing (I can’t quite tell). It almost looks like they’re holding the white strings coming from their wrists, too. I wonder why exactly they might not have heads, which leads me back to that idea of hunting or even war? I wonder if this art is trying to tell the story of some event (or myth).

There are three figures around the image that are particularly unique– one I can’t place on the left side, that looks to me almost like a little straw creature or man, one in the bottom right that I truly can’t place, but looks almost like different rocks or a little cutesy bear head, and the more defined figure between the main figure’s legs– someone with their breasts elongated and pulled forward and a straw skirt on, underneath an arch that looks almost like a rainbow. I’m curious to know more. They have the same dot patterning on the body as the main figure– scarification.

I don’t know quite what to say about the piece. Our main figure feels almost frantic to me– reminding me of an archetype I feel I know through different films and stories of a great, kind creature that cannot be saved, and ends up left behind somehow (I still love you, brachiosaurus in Jurassic World), yearning for more. Maybe that’s influenced by the great horns on their head, and the soft rolling shoulders. They feel too soft for the situation, somehow– like their body and mind are too gentle and warm for it– and as they run, swaying, their arms flailing, they feel hopeless and frantic and desperate and sad. Maybe they’re a God running with their people, sad for their loss and what they couldn’t help. I’m not sure. That’s just the energy I get.