Jacopo Bassano [Jacapo da Ponte](Italian, 1510–1592)

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Jacopo Bassano [Jacapo da Ponte](Italian, 1510–1592)
Self-portrait (c. 1590)
Oil on canvas, 80 x 72 cm.
Kunsthistorisches Museum, Vienna

Even though he worked in a small town, Jacopo Bassano was one of the Veneto's most influential painters in the mid-1500s. A pioneer in genre scenes and landscape painting, Jacopo initially trained with his father in the town of Bassano. By 1534 he had found his direction in the art of nearby Venice, learning as much from the chiaroscuro and luxurious color of Titian's works as from his teachers. He always stayed abreast of developments in Venetian painting, sometimes borrowing details from Lorenzo Lotto's works in his portraits. Engravings were critical in forming Jacopo's style, particularly those by and after artists like Albrecht Dürer, Raphael, and Parmigianino. Local taste required that art illustrate reality, and Jacopo drew inspiration from the simple human scenes, farm life, and changing aspects of nature he observed in his hometown. To Mannerism's energy, extreme movement, and tightly compressed space, he added realism and earthiness. A humble and subtle observer, his sitters may seem unaware of his presence. Increasingly, he used religious and philosophical subjects as pretexts for painting genre scenes and landscapes. Jacopo's workshop was a minor industry in Bassano, and his four sons continued his style into the next century.

Jacopo Bassano (Italian, c. 1515-1592)
Supper at Emmaus (c. 1538)
Oil on canvas, 235 x 250 cm.
Sacristy, Parish Church, Cittadella

Although undated, the painting is likely to go back to about 1538, a particularly felicitous period in Jacopo Bassano's art. Lorenzetti (1911) places it in the early part of the artist's stay in Bonifacio da Pitati's workshop and pointed out the obvious links with the latter's painting on the same theme, now to be seen in the Brera. There is a certain contrast between the solemn, hieratic figure of Christ and the rough and realistic close-up of the innkeeper on the one hand, and on the other, the little scene of the crouching dog being teased by the cat from a distance. The postures of the two disciples, the laboured perspective of the table, and some genre episodes were to recur in his later "Supper" version, now in the Borghese Gallery, Rome. The still-life in the centre of the work standing but against the linen tablecloth is a marvel of pictorial observation. A virtually lone harbinger of the main marks and elements of forthcoming Venetian painting (Tintoretto), Jacopo Bassano here sweeps the scene clear.

Jacopo Bassano (Italian, c. 1515-1592)
The Supper at Emmaus (c. 1538)
Oil on canvas, 100.6 x 128.6 cm.
Kimbell Art Museum, Fort Worth TX

Jacopo Bassano was one of the most famous and influential masters of the late Renaissance in Italy, admired for his luminous color and sensitively observed incidents from everyday life. Trained by his father in the north Italian town of Bassano del Grappa, he worked in neighboring Venice in the early 1530s. His youthful works reflect the influence of Titian and other north Italian masters, along with artists ranging from Raphael to Dürer, whose compositions he knew through prints. Already by the late 1530s his powers of invention rivaled those of his contemporaries Tintoretto and Veronese. The Kimbell Supper at Emmaus depicts Christ’s miraculous appearance after the Resurrection (Luke 24:30–31). In the act of blessing and breaking bread at the inn, Christ reveals himself to two of his disciples, who failed to recognize him as they traveled on the road to Emmaus. Christ is seated beneath a splendid velvet green canopy that delimits the sacred space. The sacramental message is elucidated in the finely executed still life of bread, wine, and eggs –– the latter a traditional symbol of resurrection and immortality. Distinguished by their contemporary dress, the well-fed innkeeper with a large purse and the plumed serving boy –– along with their visual counterparts, a wary dog and menacing cat –– attend to mundane affairs, unaware of the divine mystery unfolding before them.

Jacopo Bassano (Italian, c. 1515-1592)
Detail of Dog and Cat: Supper at Emmaus (c. 1538)
Oil on canvas
Kimbell Art Museum, Fort Worth TX

Reactions of the dog and cat as they face-off from opposite sides of the room.

Jacopo Bassano (Italian, c. 1515-1592)
The Way to Calvary (c. 1540)
Oil on canvas, 145 x 133 cm.
National Gallery, London

Much of the impact of the composition derives from its dynamic organisation along the main diagonals. We 'enter' the scene from the bottom right corner, where Saint Veronica in her Venetian gown strains forward to wipe the sweat and blood off Christ's face; follow the lines of the wooden upright of the cross, Christ's body collapsed under the weight, the tormentor's brutal blows, to the furthest point in the upper left, where the executioner pulls on the rope around Christ's waist, urging him on to Golgotha in the distance. His windblown cloak picks up the red of Veronica's dress. Alternatively, we can scan the picture from upper right, from the mounted officers pointing to and discussing the events below; follow the wooden lance shaft to where John's green cloak, seized by a soldier, seems to flow around the head-dresses and shoulders of the Maries into Veronica's out-thrust veil. The Virgin's dark mantle isolates her as she stands, becalmed in the jostling crowd, wiping the tears from her eyes.

Jacopo Bassano (Italian, 1510–1592)
The Adoration of the Kings (c. 1541-44)
Oil on canvas, 235 x 183 cm.
Scottish National Gallery, Edinburgh

The Holy Family, at the left of Bassano's richly coloured work, acknowledges the visiting kings and their gifts. The central figure in the painting, however, is the king in the striped doublet. He may be identified as a portrait of the painting's patron, Jacopo Gisi. The two page-boys behind him may also be portraits of his sons. Bassano's interest in complex foreshortened poses is evident in the densely packed group, especially in the figures and animals seen from behind. Many details were based on his previous compositions and on his studies from nature, although the ruined architecture is adapted from a woodcut by Dürer.

Jacopo Bassano (Italian, c. 1515-1592)
The Martyrdom of St. Catherine of Alexandria (1544)
Oil on canvas, 160 x 130 cm.
Museo Biblioteca Archivio, Bassano del Grappa

In the course of his artistic development, Jacopo Bassano came into increasingly close contact with the culture of central Italy, which spread north following the Sack of Rome in 1527. The Martyrdom of St Catherine of Alexandria is one of the most distinctive works of this period of the painter. In this painting Bassano reached a level of abstraction where all traces of naturalism vanish and the colours become at once harsh in tone and richly ornate.

Jacopo Bassano (Italian, c. 1515-1592)
The Miraculous Draught of Fishes (1545)
Oil on canvas, 143.5 x 243.7 cm.
National Gallery, Washington DC

This painting, which came to light in 1989, is a major addition to the work of Jacopo Bassano. One of the four leading mid-to-late sixteenth-century Venetian painters, Jacopo is less well-known than are his contemporaries Titian, Veronese, and Tintoretto. Only with the exhibition of his work in his native town of Bassano del Grappa in 1992 did the artist finally get the recognition he deserves. Aside from the quality and variety of his production, Bassano had the most extraordinary development of any sixteenth-century Venetian master except Titian. After modest beginnings, Bassano's work exploded into greatness with a series of pictures dating from the 1540s, which demonstrated his true measure as an artist. He overcame his provincial isolation and kept abreast of artistic trends by studying prints by or after other masters such as Raphael. Bassano's mannerist compositions of the 1540s and 1550s, with their rich color and animated figures, gave way to the expressive lighting and more genre-like character of the works of the 1560s. Thereafter, Bassano's art increasingly emphasized figures of peasants and their animals. With their dark tonality, flickering brushwork, and somber mood, the best of his late pictures approach Rembrandt.

Jacopo Bassano (Italian, c. 1515-1592)
The Last Supper (c. 1546)
Oil on canvas, 168 x 270 cm.
Galleria Borghese, Rome

Jacopo Bassano's "Last Supper" is one of the masterpieces of 16th-century Italian painting. Instead of the elegant grouping of figures in Leonardo's painting, which inspired it, this dramatic scene features barefoot fishermen at the crucial moment when Christ asks who will betray him, and the light passing through a glass of wine stains the clean tablecloth red. Recent restoration has only now revealed the extraordinary original colours, which had been heavily painted over in the 19th century, when the emerald green and iridescent pinks and oranges were not in fashion.

Висулка с крилат скарабей на Тутанкамон / Tutankhamun's winged scarab pendant

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Leonardo Da Vinci

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Doge Leonardo Loredan, 1502, Giovanni Bellini (1430-1516)

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Maat, goddess of truth and justice / Маат, богиня на истината и справедливостта.

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From Caravaggio to Tiepolo: Italian Painting 1580-1770

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Giovanni Battista Tiepolo (Italian, 1696-1770)
Young Lady in a Tricorn Hat (c. 1755-60)
Oil on canvas, 62.2 x 49.3 cm.
National Gallery, Washington DC (Samuel H. Kress Collection)

Born into a wealthy and noble family in Venice, Giambattista Tiepolo was recognized by contemporaries throughout Europe as the greatest painter of large-scale decorative frescoes in the 1700s. He was admired for having brought fresco painting to new heights of technical virtuosity, illumination, and dramatic effect. Tiepolo possessed an imagination characterized by one of his contemporaries as "all spirit and fire."

A gifted storyteller, Tiepolo painted walls and ceilings with large, expansive scenes of intoxicating enchantment. In breath-taking visions of mythology and religion, the gods and saints inhabit light-filled skies. His ability to assimilate his predecessor and compatriot Paolo Veronese's use of color was so profound that his contemporaries named him Veronese redivio (a new Veronese).

Tiepolo's commissions came from the old established families of Italy, religious orders, and the royal houses of Spain, Germany, Sweden, and Russia. His frescoes adorn palaces, churches, and villas, and his artistic legacy consists of some eight hundred paintings, 2,400 drawings, two sets of etchings, and acres of fresco. When Tiepolo died at the age of seventy-four, a Venetian diarist noted the "bitter loss" of "the most famous Venetian painter, truly the most renowned...well known in Europe and the most highly praised in his native land."

Caravaggio [Michelangelo Merisi](Italian, c. 1571-1610)
Medusa (1598-99)
Oil on canvas mounted on wood, 60 x 55 cm.
Galleria degli Uffizi, Florence

In Greek myth, Perseus used the severed snake-haired head of the Gorgon Medusa as a shield with which to turn his enemies to stone. By the sixteenth century Medusa was said to symbolize the triumph of reason over the senses; and this may have been why Cardinal Del Monte commissioned Caravaggio to paint Medusa as the figure on a ceremonial shield presented in 1601 to Ferdinand I de' Medici, Grand Duke of Tuscany. The poet Marino claimed that it symbolized the Duke's courage in defeating his enemies.

As a feat of perspective, the picture is remarkable, for out of the apparently concave surface of the shield -- in fact convex -- the Gorgon's head seems to project into space, so that the blood round her neck appears to fall on the floor. In terms of its psychology, however, it is less successful. The boy who modelled the face (in preference to a girl) is more embarrassed than terrifying. For once Caravaggio cannot achieve an effect of horror; he was to find in the legends of the martyrs a more powerful stimulus to the dark side of his imagination than classical myth.

Caravaggio [Michelangelo Merisi](Italian, c. 1571-1610)
The Cardsharps (c. 1596)
Oil on canvas, 92 x 129 cm.
Kimbell Art Museum, Fort Worth TX

Caravaggio was one of the pivotal figures in the history of Western art. In his short lifetime, he created a theatrical style that was as shocking to some as it was new, inspiring others to probe their subject matter for the drama of psychological relationships. Apprenticed in Milan, Caravaggio came to Rome in the early 1590s. There his early masterpiece The Cardsharps came to the attention of the influential Cardinal Francesco Maria del Monte, who not only purchased it but also offered the artist quarters in his palace. Caravaggio was thus introduced to the elite stratum of Roman ecclesiastical society, which soon gave him his first significant opportunity to work on a large scale and for a public forum. In The Cardsharps, the players are engaged in a game of primero, a forerunner of poker. Engrossed in his cards at left is the dupe, unaware that the older cardsharp signals his accomplice with a raised, gloved hand (the fingertips exposed, better to feel marked cards). At right, the young cheat looks expectantly toward the boy and reaches behind his back to pull a hidden card from his breeches. Caravaggio has treated this subject not as a caricature of vice but in a novelistic way, in which the interaction of gesture and glance evokes the drama of deception and lost innocence in the most human of terms. The Cardsharps spawned countless paintings on related themes by artists throughout Europe —- not the least of which was Georges de La Tour’s Cheat with the Ace of Clubs in the Kimbell. The Cardsharps was stamped on the back with the seal of Cardinal del Monte and inventoried among his possessions after his death in 1627. Its location had been unknown for some ninety years when it was rediscovered in 1987 in a European private collection.

Canaletto [Antonio Canal](Venetian, 1697-1768)
Detail: Piazza San Marco (c. 1727-29)
Oil on canvas
The Metropolitan Museum of Art, New York (Mrs. Charles Wrightsman Gift)

Michelangelo Merisi da Caravaggio (Italian, 1573-1610)
Judith Beheading Holofernes (c. 1598)
Oil on canvas, 145 x 195 cm.
Galleria Nazionale d'Arte Antica, Rome

Caravaggio had a thing for beheadings, the separation of head from body seemingly the perfect subject for exploiting the dramatic potential inherent in his chiaroscuro technique. This painting was the first of several he was to do on the gruesome theme (see his "David Holding the Head of Goliath," also in this gallery.) The Bible devotes a whole book to the exploits of Judith, who embodies the power of the people of Israel to defeat an enemy superior in numbers through cunning and courage. The heroine seeks out the would-be conquerer Holofernes in his tent, seduces him and makes him drunk, then beheads him. When she displays her trophy on the battlements of Bethulia, Holofernes' troops freak out and head for the hills. The nation is saved, for the moment.

Caravaggio most likely meant to express here an allegorical-moral contest in which Virtue overcomes Evil, yet it is the visual effects which monopolize our attention. In contrast to the elegant and distant beauty of the vexed Judith, the ferocity of the scene is concentrated in the inhuman scream and the body spasm of the giant Holofernes. Caravaggio has managed to render, with exceptional efficacy, the most dreaded moment in a man's life: the passage from life to death. The upturned eyes of Holofernes indicate that he is not alive any more, yet signs of life still persist in the screaming mouth, the contracting body and the hand that still grips at the bed.

The realistic precision with which the horrific decapitation is rendered (correct down to the tiniest details of anatomy and physiology) has led scholars to hypothesize that the artist had witnessed one or more execution. It was the heyday of the Inquisition, after all, and it didn't take much to lose your head. Around the time of this painting Beatrice and Lucrezia Cenci were publicly beheaded in Rome for murdering their abusive father; and the philosopher-scientist Giordano Bruno infamously burned at the stake for suggesting that the Sun was a star.

Luca Giordano (Italian, 1632-1705)
Apotheosis of the Medici: Fortitude (1683-85)
Fresco
Palazzo Medici Riccardi, Florence

In 1682-83 Giordano he painted various fresco series in Florence, including in the dome of Corsini Chapel of the Chiesa del Carmine. In the large block occupied by the former Medici palace, he painted the ceiling of the Biblioteca Riccardiana (Allegory of Divine Wisdom) and the long gallery of the Palazzo Medici-Riccardi. The vast frescoes of the latter are contained in the 1670s gallery addition, overlooking the gardens. The planning was overseen by Alessandro Segni and commissioned by Francesco Riccardi. They include the prototypic hagiographic celebration of the Medici family in the center, surrounded by a series of interlocking narratives: allegorical figures (the Cardinal Virtues, the Elements of Nature) and mythological episodes (Neptune and Amphitrita, The Rape of Proserpine, The Triumphal procession of Bacchus, The Death of Adonis, Ceres and Triptolemus)

Giovanni Battista Tiepolo (Italian, 1696-1770)
Armida Encounters the Sleeping Rinaldo (c. 1742-45)
Oil on canvas, 187.5 x 216.8 cm.
The Art Institute of CHicago (James Deering Bequest)

The Art Institute's sequence of four large paintings illustrating the ill-fated love of Armida and Rinaldo from Torquato Tasso's epic poem "Gerusalemme Liberata" once decorated a "cabinet of mirrors" in the Venetian palace of the distinguished Cornaro family. Giovanni Battista Tiepolo also provided smaller decorative panels and a ceiling painting for what must have been a sparkling, light-filled room. In this, the first narrative scene, the beautiful sorceress Armida sees the young knight Rinaldo asleep and, falling in love with him, decides to carry him away on her cloud-borne chariot. Her actions will distract Rinaldo from his quest of liberating Jerusalem, the chief subject of Tasso's epic.

Egyptian Religious Calendar - 18 April 2026 / Египетски религиозен календар - 18 април 2026 г.

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Egyptian Religious Calendar - 18 April 2026

It is the 2nd day of “the Month of Khonsu” (𓐍𓈖𓇓 , Ḫnsw), the ninth month of the Egyptian Lunar Calendar.

The Deities Who preside over today are

Ra-Harakhty (Dendara VII, 98, IX)

and

Amon (Edfou XV, 56, 21)

Египетски религиозен календар - 18 април 2026 г. Това е вторият ден от „месец Хонсу“ (𓐍𓈖𓇓, Ḫnsw), деветият месец от египетския лунен календар. Божествата, които председателстват днес, са Ра-Харахти (Дендара VII, 98, IX) и Амон (Едфу XV, 56, 21)

Egyptian Religious Calendar - 19 April 2026 / Египетски религиозен календар - 19 април 2026 г.

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Egyptian Religious Calendar - 19 April 2026

It is the 3rd day of “the Month of Khonsu” (𓐍𓈖𓇓 , Ḫnsw), the ninth month of the Egyptian Lunar Calendar.

It is the 3rd day of the “Feast of the Proceeding to the Place of the Lotus leaf” (five-days festivity) dedicated to Harsomtou (Ḥr-smȝ-tȝwy, "Horus the Unifier of the Two Lands").

"The Place of the Lotus leaf", Ḫȝdj, is the name of a place located 5km to the east of Dendera, on the eastern bank of the Nile.

[From the calendar of Hathor in the Temple of Horus at Edfu]

Religious Prescriptions:

𓄤𓄤𓄤 (meaning that it is a favorable day)

Египетски религиозен календар - 19 април 2026 г. Това е 3-ият ден от „месец Хонсу“ (𓐍𓈖𓇓, Ḫnsw), деветият месец от египетския лунен календар. Това е 3-ият ден от „Празника на преместването към мястото на лотосовия лист“ (петдневен празник), посветен на Харсомту (Ḥr-smȝ-tȝwy, „Хор, обединителят на двете земи“). „Мястото на лотосовия лист“, Ḫȝdj, е името на място, разположено на 5 км източно от Дендера, на източния бряг на Нил. [От календара на Хатор в храма на Хор в Едфу] Религиозни предписания: 𓄤𓄤𓄤 (което означава, че е благоприятен ден)

Русе - Градската градина и Театъра - пощенска картичка

 Илияна Бенина   Никола Бенин

Древноегипетски текст, наречен „Книгата на небесната крава“, в гробницата на Сети I в Долината на царете / Ancient Egyptian text called "The Book of the Heavenly Cow"

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Единственият цялостно оцелял екземпляр на древноегипетски текст, наречен „Книгата на небесната крава“. Той се намира в малка странична стая до погребалната камера на гробницата на Сети I в Долината на царете и изпълва изцяло стаята. Известни са две други пълни версии на текста: едната в гробницата на Рамзес II, а другата в гробницата на Рамзес III, и двете отново в странични стаи до погребалната камера, но и двете са много силно повредени и недостъпни за посетители.

Текстът отчасти описва причините за несъвършеното състояние на света по отношение на бунта на човечеството срещу бога на слънцето Ра. Божественото наказание е наложено чрез богинята Хатор, като оцелелите страдат от раздяла с Ра, който сега обитава в небето на гърба на Нут, небесната крава.

С това „падение“, според тълкуването на Ерик Хорнунг, страданието и смъртта идват в света, заедно с разрив в първоначалното единство на творението.

Книгата за Небесната крава е разделена наполовина от изображението на кравата и нейните поддръжници. В самия текст на „Небесната крава“ няма видими прекъсвания, освен представянето на Небесната крава. Поради този метод на представяне, няма ясни прекъсвания в текста, които да позволяват ясно структуриране на текста. Египтолозите, които са изследвали текста внимателно, обаче предполагат свободно разделение на текста на четири части. Първата част описва „Унищожението на човечеството“, в което човечеството крои заговор срещу бога на слънцето Ра. След като Ра се консултира с другите богове, богинята Хатор е избрана от Ра да действа като жестокото Око на Ра. Тя трябвало да нанесе божествено наказание на човечеството и го направила, като избила бунтовниците и донесла смърт в света, приемайки формата на богинята Сехмет с лъвска глава. Оцелелите от гнева на Хатор били спасени, когато Ра измамил Хатор, като сложил оцветена бира, наподобяваща кръв, която Хатор изпила и се опиянила. Последната част на текста се занимава с възнесението на Ра в небето, създаването на подземния свят и с теологията около ба (душата).

Текстът е структуриран в 330 стиха, като половината от текста е преди описание или изображение на Небесната крава. Езикът, използван в „Книгата за Небесната крава“, показва корени от късноегипетски влияния. Поради древния текст, съдържащ корени от късния Египет, сред египтологите е широко разпространено мнението, че „Книгата за Небесната крава“ е възникнала през периода Амарна.

The only complete surviving example of an Ancient Egyptian text called "The Book of the Heavenly Cow". This is in a small side room off the burial chamber of the tomb of Seti I in the Valley of the Kings, and completely fills the room.  Two other complete versions of the text are known: one in the tomb of Ramesses II and the other in the tomb of Ramesses III, both again in side rooms off the burial chamber, but both of these are very badly damaged and inaccessible to visitors.

The text in part describes the reasons for the imperfect state of the world in terms of humanity's rebellion against the sun god, Ra. Divine punishment was inflicted through the goddess Hathor, with the survivors suffering through separation from Ra, who now resides in the sky on the back of Nut, the heavenly cow.

With this "fall", according to Erik Hornung's interpretation, suffering and death came into the world, along with a fracture in the original unity of creation.

The Book of the Heavenly Cow is divided in half by the image of the cow and her supporters. There are no visible breaks in the actual text of The Heavenly Cow, aside from the representation of the Heavenly Cow. Due to this presentation method, there are no clear breaks in the text that allow for a clear structuring of the text. However, Egyptologists who examined the text closely suggested a loose division of the text into four sections. The first section describes the "Destruction of Mankind", in which humanity plots against the Sun God Ra. After Ra consulting with the other gods, the goddess Hathor is chosen by Ra to act as the violent Eye of Ra. She was to deliver divine punishment to humanity and did so by slaughtering the rebels and bringing death into the world, taking the form of the lion-headed goddess Sekhmet to do so. The survivors of Hathor's wrath were saved, when Ra tricked Hathor by putting dyed beer that resembled blood, which Hathor drinks, becoming intoxicated. The final part of the text deals with Ra's ascension into the sky, the creation of the underworld, and with the theology surrounding the ba (soul). 

The text is structured into 330 verses, with half of the text occurring before a description or representation of the Heavenly Cow. The language used in the Book of the Heavenly Cow displays roots from Late Egyptian influences. Due to the ancient text containing roots from Late Egypt, it is widely believed among Egyptology scholars that the Book of the Heavenly Cow originated during the Amarna period.

Стела като илюстрация на развитието на египетското изкуство / This stela provides an excellent illustration of the development of Egyptian art

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Тази стела предоставя отлична илюстрация на развитието на египетското изкуство по време на периоди на слабо централно царуване , когато местни работилници са произвеждали официални паметници с йероглифни надписи без контрола на строгото кралско или храмово скулптурно обучение. Фигурите на Хетепнеб, местен администратор, и съпругата му, както и издълбаването на йероглифите са в провинциален стил, типичен за района северно от Тива през първия междинен период . В лявото поле извън правоъгълника на рамката може да се види малка гравирана фигура на мъж, вероятно „подпис“ на скулптора или добавка от по-късна ръка.

Превод

(1) Приношение, което царят дава, приношение на Анубис, най-напред от божествената колиба, този, който е на неговата планина, този, който е в Мястото за балсамиране, господар на свещената земя, за да може печатоносителят на царя, (2) единственият спътник, жрец-лектор , надзорник на наемателите на двореца Хетепнеб да бъде погребан в гробницата си, (3) която се намира в некропола в западната пустиня , достигнал много добра старост, по (4) красивите пътища на западната пустиня, по които вървят почитаните, (5) когато е прекосил земята и е плавал по небесния свод, нека Западът (6) протегне ръцете си към него в мир, в мир пред великия бог . Дар, даден от царя (на) Озирис (7), господар на Бусирис (за) гласови дарове за царския печатоносител, единствен спътник, жрец-лектор (8), почитаният пред господаря на Горен Египет , господар на Кус, чието добро име е Хетепнеб (9), негова съпруга, негова любима, тя, която е позната на царя, жрица на Хатор , Ири.

Translation

(1) An offering which the king gives, an offering of Anubis foremost of the divine booth, he who is upon his mountain, he who is in the Embalming Place, lord of the sacred land, so that the king's sealbearer, (2) sole companion, lector-priest, overseer of tenants of the Palace Hetepneb may be buried in his tomb (3) which is in the necropolis in the western desert, having reached a very good old age, on (4) the fair roads of the western desert, upon which the revered ones tread (5) when he has traversed the land and sailed the firmament, may the West (6) extend her arms to him in peace, in peace before the great god. An offering given of the king (to) Osiris (7) lord of Busiris (for) voice-offerings for the king's sealbearer, sole companion, lector-priest (8) the revered one before the lord of Upper Egypt, lord of Qus, whose good name is Hetepneb (9) his wife, his beloved, she who is known to the king, priestess of Hathor, Iri.

Bibliography

• Margaret Murray, National Museum of Science and Art, General Guide III. Egyptian Antiquities, Dublin 1910, 8-9
• Fischer, Inscriptions from the Coptite Nome, Rome 1964, 18-20 with pl.5

 

Таусрет, „певница на Амон“, и нейната снаха Хатшепсут, „Господарка на дома и певица на Амон“ / Tausret, “Chantress of Amun”, and her daughter-in-law Hatshepsut, “Mistress of the House and Chantress of Amun”

 ИЛИЯНА БЕНИНА НИКОЛА БЕНИН

Tausret, “Chantress of Amun”, and her daughter-in-law Hatshepsut, “Mistress of the House and Chantress of Amun”; mother and wife of the wab-priest Userhat, “First Prophet of the Royal Ka of Thutmose I”

New Kingdom, 19th Dynasty, reign of Seti I, c. 1294–1279 B.C.

Tomb of Userhat (detail of facsimile by Norman de Garis Davies) (TT51), Sheikh Abd el-Qurna, Thebes

Таусрет, „певница на Амон“, и нейната снаха Хатшепсут, „Господарка на дома и певица на Амон“; майка и съпруга на жреца Усерхат, „Първият пророк на царската Ка на Тутмос I“

Ново царство, 19-та династия, царуване на Сети I, ок. 1294–1279 г. пр.н.е.

Гробница на Усерхат (детайл от факсимиле от Норман де Гарис Дейвис) (TT51), шейх Абд ел-Курна, Тива

Египетски религиозен календар - 10 април 2026 г. / Egyptian Religious Calendar - 10 April 2026

 ИЛИЯНА БЕНИНА   НИКОЛА БЕНИН

Египетски религиозен календар - 10 април 2026 г.

Това е 23-ият ден от „месец Ермут“, 𓂋𓈖𓈖𓆗 (Rnnwtt), осмият месец от египетския лунен календар.

Това е 13-ият ден от „Празника на „Ръката на Бога“, Хатор-Иусаас, Окото на Ра, майката на Шу и Тефнут“ (тридесет и един дни, 13-ти ден)

[От календара на Хор в храма му в Едфу]

Религиозни предписания:

Неблагоприятен ден

Egyptian Religious Calendar - 10 April 2026

It is the 23rd day of “the Month of Ermouthi”, 𓂋𓈖𓈖𓆗 (Rnnwtt), the eighth month of the Egyptian Lunar Calendar.

It is the 13th day of the “Feast of the 'Hand of the God', Hathor-Iusaas, the Eye of Ra, the mother of Shu and Tefnut” (thirty-one days, 13th day)

[From the calendar of Horus in His Temple at Edfu]

Religious Prescriptions:

Adverse day

Апофис е първичната змия, която всяка нощ атакувала слънчевата лодка на Ра Apophis was the primordial serpent who, every night, attacked the sun barge of Ra

 ИЛИЯНА БЕНИНА   НИКОЛА БЕНИН

Apophis was the primordial serpent who, every night, attacked the sun barge of Ra as it traveled through the darkness toward the dawn. Different gods and goddesses manned the boat with Ra to protect him from Apophis, and the souls of the dead were also expected to help fend off the serpent.

Апофис бил първичната змия, която всяка нощ атакувала слънчевата баржа на Ра, докато тя вървяла през тъмнината към зората. Различни богове и богини управлявали лодката с Ра, за да го защитят от Апофис, а от душите на мъртвите също се очаквало да помогнат в отблъскването на змията.

Прекрасна сцена от KV17, гробницата на Сети I, най-величествената гробница в Долината на царете / A lovely scene from KV17, the tomb of Seti I

 Илияна Бенина    Никола Бенин

Една прекрасна сцена днес от KV17, гробницата на Сети I, без съмнение най-величествената гробница в Долината на царете. Тази сцена, от последната стая на гробницата, непосредствено преди да стигнете до погребалната камера, е от „Книгата на портите“ и изобразява слънчевата лодка на бога на слънцето Ра, докато той извършва опасното си нощно пътешествие през подземния свят, за да достигне източния хоризонт, за да се издигне на следващата сутрин.

Вътре в светилище, в лодката, стои нощната форма на самия Ра с глава на овен, а змията, наречена „Мехен“, се увива защитно около светилището. Пред Ра стои богът на възприятието, Сия, а зад него е богът на магията, Хека.

A lovely scene from KV17, the tomb of Seti I, without doubt the most magnificent tomb in the Valley of the Kings. This scene, from the final room of the tomb, immediately before you reach the burial chamber, is from the Book of Gates, and depicts the solar boat of the sun god Ra as it makes its perilous night-time journey through the underworld to reach the eastern horizon in order to rise the next morning.

Standing inside a shrine in the boat is the ram-headed night-time form of Ra himself, with the snake called "Mehen" coiled protectively around the shrine. In front of Ra stands the god of perception, Sia, while behind him is the god of magic, Heka.

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