Goddess Qebhut

Goddess Qebhut the daughter of Anubis

 Kebhwt was the goddess of freshness or fresh air, and the mountain  of El-Quorna in the west bank of Thebes. She was the daughter of god Anubis from his wife Anput. She was considered to have an important role in the mummification with her father as she gives water to the deceased while he awaits the mummification process to be completed. 

She was considered the goddess of freshness and purification via water, by pouring water on the body of the deceased to make refresh to the deceased, and she brought the sacred water to Anubis for his tasks. She was thought to give water to the spirits of the dead while they were waiting for the mummification process to be complete; she was playing a major role in the funerary rite.

She was probably related to mummification where she would fortify the body against corruption, so it would stay fresh for reanimation by the KA of the deceased.

Goddess Qebhut the daughter of Anubis

 She was associated with 2 main goddesses:

1-      Meryt Sgrt as both of them were serpent goddesses and both of them were goddesses of the western mountain.

2-     Maat: because one of her forms was as an ostrich. This could be one of the reasons why there is a feather represented at her back.

 Her name in ancient Egyptian:  kebhut, kebhet or qebshut and it means the cooling water or offering libation. She was considered to be the goddess of freshness and purification Kebhut was represented as a woman with a snakehead or a complete snake with stars on her body carrying water.

A rare representation depicted her as an ostrich which was representative of goddess Maat, goddess of justice. She was rarely represented, and one of her performances is in the Valley of the Kings in the tomb of King Merenptah KV 8 in the 19 dynasty, and she was represented in the company of the goddesses and the god Osiris Nadjty.

Tutankhamun gilded wooden bed

 The gilded wooden bed with floral footboard of king Tutankhamun

This bed is considered one of the finest beds of the ordinary beds collection. It was found in the Antechamber. Carter considered it to have the best proportions of all non-rituals beds found in the tomb.

 Tutankhamun gilded wooden bed
 It stands relatively high on its lion legs and it is elegantly curved from front to back. The so-called drums underneath the lion paws here and on much other furniture were designed to facilitate the stabilization of the bed on uneven floors.

The whole bed is covered with thick gold sheets and the mattress is made of woven plant fibres. When in use it would have been lavishly piled with linen to soften the surface.

The footboard is divided into panels of decoration embossed in the gold foil. In the centre is the conventional heraldic design of the union of the two lands of upper and Lower Egypt (the Sematawy). On either side are two panels, one showing a clump of papyrus, the other, narrower, a trophy bouquet of papyrus and lotus flowers. 

In these designs Carter claimed to see the influences of Amarna naturalistic art. 

Emblem of Anubis from Tutankhamun Collection

 Emblem of Anubis from Tutankhamun Collection

        This emblem is one of a pair of identical emblems found in the North-West and South-West corners of the burial chamber of Tutankhamun. (One of them is now on display in an exhibition out of the country)

Emblem of Anubis from Tutankhamun Collection

·        The upper part, made of wood overlaid with gesso and gilded, represents a pole terminating in a lotus bud and an inflated animal-skin suspended on the pole by a copper wire tail ending in a papyrus flower. The base consists of a solid alabaster (calcite) pot in which the pole is fixed. Inscribed on the base are the names and titles of Tutankhamen (given life forever and ever) and the epithet (mry inpw, imy wt: beloved of Anubis who presides over the embalming booth).

·        In very remote times this fetish or emblem belonged to god Imywt, means (he who is in his wrappings) who was eventually identified with Anubis, the jackal god of embalming. It is recorded as early as the 1st dynasty but is best known through its association with Anubis, being depicted in the chapel of Anubis at Deir el-Bahary and elsewhere.

·        An early example, found in 1914 by the Metropolitan Museum of Art near the pyramid of Sesostris I at EL_Lisht, was placed in a wooden shrine. Like the emblems found in Tut's tomb, it consisted of a wooden rod and an alabaster pot, but the headless animal-skin was real and it was stuffed with linen. It was however wrapped in bandages like a mummy with linen pads being placed within the bandages as packing to fill the irregularities between the skin and the rod. The pot was about two thirds full of a blueish – coloured substance, completely dried and considered to be some kind of ointment. From the above-mentioned example, it is easy to deduce how the god acquired the name (he who is in his wrappings).   

The importance of the position of the emblem

The outermost shrine of Tutankhamon seems to be corresponding in style with the pavilion in which the Egyptian kings performed some of the ceremonies of their Heb-Sed (jubilee festivals). These emblems are shown on the monuments in connection with the pavilion. Tut didn't live long enough to celebrate his jubilee but the presence of these emblems would enable him to do so in the next world.

There was a certain ancient ritual known as “passing through the skin” which was one of the ways leading to resurrection. The exact method of performing this ritual is unknown. The dead can return to life through a sacrificed animal whose skin was suspended over a lotiform pole. Thus, the rite or ritual of “passing through the skin” was a passage through death to a new life.

 As a matter of fact, this ritual is closely linked with the Heb Sed in which the renewal is secured by certain steps among, which is the application of ointment and passing through the skin.

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