http://collections.mfa.org/collections/315169/objects/rdfENN.Nubian Collection Highlightshttp://collections.mfa.org/internal/media/dispatcher/1662412/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/1320635/resize%3Aformat%3DfullAlabastron (bag-shaped vessel) with inlaid gold and silver decoration593–568 B.C.Travertine (Egyptian alabaster), gold, silver, Egyptian blue, carnelian, magnetite, amazonite(a) Alabaster; inscribed; (b) Shoulder decoration of gold filigree work with remains of inlay; neck of vase of silver overlaid with gold decoration and with woven gold wire pendants bearing carnelian, magnetite, and amazonite drops.http://collections.mfa.org/objects/142702/rdfhttp://collections.mfa.org/internal/media/dispatcher/1175275/resize%3Aformat%3DfullBoat stand of King Atlanersa653–643 B.C.Granite gneisshttp://collections.mfa.org/objects/145116/rdfhttp://collections.mfa.org/internal/media/dispatcher/1662405/resize%3Aformat%3DfullBracelet with image of Hathor250–100 B.C.Gold, enamelHinged bracelet of gold with enamel decoration showing a seated figure of the goddess Hathor and geometrical pattern; two hinges; loop on each end.http://collections.mfa.org/objects/142391/rdfhttp://collections.mfa.org/internal/media/dispatcher/1325133/resize%3Aformat%3DfullDouble Hathor head earring90 B.C.–50 A.D.Gold, enamelGold earring. A lotus flower with enamel inlay, sits above two Hathor heads with sun discs between the horns. The Hathors are situated on a rectangular 'base' which contains five round circles, each containing small round balls in their centers. Attached to the base by way of four gold loops are four pendants; each with a ball and a fly suspended below. Suspension loop at top.http://collections.mfa.org/objects/145005/rdfhttp://collections.mfa.org/internal/media/dispatcher/1662412/resize%3Aformat%3DfullHathor-headed crystal pendant743–712 B.C.Gold, rock crystalCrystal ball amulet surmounted by gold head of Hathor crowned with disc and horns. The ball is bored vertically and has a gold disc at the base on which it stands. Probably contained substances believed to be magical. Ring at back of head. Base loose.http://collections.mfa.org/objects/143587/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030893/resize%3Aformat%3DfullLeg from a funerary bed712–698 B.C.BronzeBronze. In form of a goose sitting on rectangular pedestal with post rising from its back.http://collections.mfa.org/objects/144410/rdfhttp://collections.mfa.org/internal/media/dispatcher/1165773/resize%3Aformat%3DfullMiniature dagger1700–1550 B.C.Bronze, ivory, goldBronze dagger with gilded hilt and rivets and ivory pommel.http://collections.mfa.org/objects/400582/rdfhttp://collections.mfa.org/internal/media/dispatcher/1317465/resize%3Aformat%3DfullPendant with ram-headed sphinx on a column743–712 B.C.Gilded silver, lapis lazuli, and glassLarge amulet of a ram-headed lion sitting on column, with red, green, and blue glass inlays in cloisons of gilt silver. Sphinx lacks one horn, and suspension ring.http://collections.mfa.org/objects/145866/rdfhttp://collections.mfa.org/internal/media/dispatcher/1510657/resize%3Aformat%3DfullShawabty of King Taharqa690–664 B.C.Red-brown serpentinized rockThis is a shawabty belonging to King Taharqa. The figure wears a bulging bag (khat) headdress with uraeus and has a long beard. There are ten horizontal lines of incised unframed text on the front of body, it does not extend to the back of the figure, but it records a version of the 'Shawabty Spell' for the king. This mummiform shape does not have a back pillar or base. Here the hands are opposed resting on the chest. In each hand the figure holds a hoe and a cord to a small bag slung over each shoulder. The hoe on the right has a narrow blade and the one on left has a broad blade. This shawabty is very well made. The ancient Nubians included shawabtys in their tombs only in the Napatan Period, about 750–270 B.C. These funerary figurines are based on Egyptian shawabtys, but differ from them in many features of their iconography. For instance, the known Nubian examples are only from royal tombs. Also, they have unique texts, implements, poses and are known to have the largest number of shawabtys included in one tomb. Their function, it is assumed, was the same as that of the Egyptian shawabty, namely to magically animate in the Afterlife in order to act as a proxy for the deceased when called upon to tend to field labor or other tasks. This expressed purpose was sometimes written on the shawabty itself in the form of a "Shawabty Spell," of which versions of various lengths are known. Shorter shawabty inscriptions could also just identify the deceased by name and, when applicable, title(s). However, many shawabtys carry no text at all. The ideal number of such figurines to include in a tomb or burial seems to have varied during different time periods.http://collections.mfa.org/objects/142306/rdfhttp://collections.mfa.org/internal/media/dispatcher/981894/resize%3Aformat%3DfullShrine100–200Stuccoed and painted sandstoneOnce thought to be a shrine imitating the form of a traditional African shelter, this hollow dome-like object of sandstone can now be identified as a model of Gebel Barkal, the "Pure Mountain" of Napata, which was the chief sanctuary and coronation center of Kush and the site of the oracle of Amun, said to select each new king following the death of his predecessor. The form of the object imitates the unique Napatan hieroglyphic symbol for Gebel Barkal, which appears several times in the stele of Nastasen (cat. 265). As a hieroglyph, the mountain is shown as a dome with a uraeus or cobra diadem rising from one side. From the Egyptian New Kingdom onwards, Gebel Barkal was believed to be the residence of the southern (and primeval) form of the Theban god Amun, who was known as "Amun of Napata, dweller in the Pure Mountain." Because of the 75-meter high pinnacle on the southern corner of Gebel Barkal, which in silhouette looks like a rearing uraeus, the mountain was not only identified as the dwelling place of Amun, but was also identified by the Kushites as the true source of kingship in the Nile Valley, from which derived the legitimacy of the Twenty-fifth Dynasty and their successors in the Sudan. In several ancient reliefs, the mountain is shown in cutaway section, with the god Amun enthroned within it, and with a giant uraeus rearing up before him from the mountain's cliff. One can only speculate that the lost doorway of the model, probably of cast bronze, once had such a uraeus attached to its front. The object is hollowed out on the inside, with a rectangular socket cut in the floor for the placement of a small seated statuette, now lost. Originally this statuette was hidden behind a door, made of a separate panel, which was sealed shut. Chips around the doorway reveal that this panel had been anciently pried open, probably by those who took the statue. The exterior surface is carved with three registers of relief. The lowest represents a stylized papyrus swamp, rendered as a series of parallel stems capped by alternating blossoms and buds. The upper border of this register forms the baseline for the doorway. On each side of the doorway are symmetrically carved rows of four figures facing it. Each row is led by a king in a short kilt, with arms upraised in adoration, followed by a winged goddess, followed in turn by a similar pair, except that the goddesses have alternating human and leonine heads. This register terminates at the rear with a double cartouche naming the royal donor, a Meroitic king with the Egyptian throne name Neb-maat-Re. The upper register forms a necklace-like ornament of six bands of beads, the lower being a series of drop-shaped pendants. A finial, now broken, once projected from the summit, perhaps in the forms of a ram's head. The surface was originally gessoed and still bears traces of red ochre pigment. T.K. (Sudan catalogue)Sandstone Omphalos. Dome-shaped with rectangular opening to hollow interior. Above; zone of lozenges and drops: center; band of gods and kings: Below; zone of lotus flowers and buds. (of AMANKHANEWEL?, buried in Beg.N.XVIII). (Card)http://collections.mfa.org/objects/144530/rdfhttp://collections.mfa.org/internal/media/dispatcher/1516211/resize%3Aformat%3DfullStatue of King Aspelta593–568 B.C.Granite gneissInscribed down column at back.http://collections.mfa.org/objects/145118/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030890/resize%3Aformat%3DfullVessel in the shape of a bound oryxearly 7th century B.C.Travertine (Egyptian alabaster),Vessel In form of an oryx bound for sacrifice. One piece. Horns of slate inset.http://collections.mfa.org/objects/145582/rdfhttp://collections.mfa.org/internal/media/dispatcher/998125/resize%3Aformat%3DfullWinged goddess pectoral743–712 B.C.FaienceAmulets like this one were found in the burials of early Napatan royal women. Made of blue-green glazed faience, they depict a nude, winged, lion-headed goddess crowned with a sun disc and uraeus. The wings bend sharply downward, and on each arm is a uraeus crowned with horns and a sun disc. The identity of he goddess is uncertain. A hieroglyphic inscription runs down the back.http://collections.mfa.org/objects/145674/rdfhttp://collections.mfa.org/internal/media/dispatcher/1822689/resize%3Aformat%3DfullWinged Isis pectoral538–519 B.C.GoldChased gold pectoral representing the winged goddess Isis, shown kneeling with wings outstretched. In her right hand, she holds an ankh, the symbol for "life"; in her left hand she holds what may be the hieroglyph for a sail, the symbol for the breath of life. On her head is a throne, the hierogyph for her name.http://collections.mfa.org/objects/142334/rdf