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Descripción : A handmade terracotta vase of a truncated cone shape with a flat base, almost non-existent short neck and a wide, flat lip. The opening would have been covered by a circular flat plug of the size of the diameter of the mouth.The piece might have been fashioned using clay from the alluvial deposits from the banks of the Nile, although it was certainly a clay specially produced in a workshop dedicated to the making of vases of this type and other models of recipients. The clays may include on occasion some degreasing agent such as a vegetal one like straw or minerals such as mica or quartz, so that the material is compacted and acquires a certain resistance before and after the firing. The body of the recipient was possibly worked by laying rolls of clay one on top of the other. Then the body would have been finished with tools especially for this task. After this, it would be placed in a kiln for firing, which would turn the raw clay into terracotta. When the vase had taken on the desired form it was covered with a white base over which a polychrome decoration was later painted. Using yellow, blue, green and red pigments, waving vertical lines were painted over the entire surface. A column with hieroglyphics written in black on a yellow background was painted on the front of the vase, framed by two vertical red lines.Given the loss of the polychrome colouring, we are not able to translate the text, but taking into account the typology of the vase and comparing it with others examples, the text would refer to the name of the owner of the vase, as well as to some of his titles, followed by some magical formula. Identical pieces conserved in the museum in Cairo and in two private collections are clear parallels, and all belong to Sennedjem, a craftsman from the village of workers on the royal tombs in the necropolis in the Valley of the Kings during Dynasty XIX on the eastern bank of Luxor, Deir el-Medina. Sennedjem, which means according to its hieroglyphic “sweet brother”, was in the service of the pharaohs Seti I and his son, Ramesses II. He was buried in his tomb with part of his family, very near his own home. This tomb, known as Theban Tomb TT1, was discovered in 1886 by the Egyptian Antiquities Service, headed by the French Egyptologist, Gaston Maspero, who entrusted the excavation to the Spanish Egyptologist, Eduardo Toda, Vice-Consul of Spain in El Cairo.The tomb was of a modest size, but the interior decoration reflected the great ability of those who were working for the most demanding nobility, and the very royalty. The artisans prepared their own tombs for eternity, probably when they had time during breaks in work, with one helping the other. The real value lies in the wall paintings with scenes of sketches from the Book of the Dead. One entire wall is dedicated to the representation of the Fields of Aaru. Another scene represents Sennedjem with his wife playing the board game, Senet.Returning to the recipients mentioned here, most of them have a column of hieroglyphs with the inscription “The Osiris, Servant in the Place of Truth, Sennedjem”. If the remains of the polychrome hieroglyph colouring on this recipient are closely examined, the name of the deceased can be discerned and reconstructed: that of Sennedjem.The vase belongs to a typology of pottery recipients produced only in the New Kingdom, during Dynasties XVIII – XIX, above all in the Luxor region, where they wanted to emulate stone vases that were previously produced in Pre-dynastic periods. The artisan wanted to imitate, using polychromy, the natural veins found in stones such as granite, alabaster and breccia. In this particular case it is probable that the artisan wished to produce the effect of the veining of alabaster or of pâte de verre, both of which could exhibit a great variety of colouring.As the piece is made of terracotta, a relatively cheap material, one might think that vases like this one were more accessible to the public than those made from stone. But such pieces have only been found in the tombs of important personages, nobles and wealthy people. The high quality of the artistic workmanship in the painting of the vessels leads us to think that we are dealing with objects of luxury. Most pottery vessels were for domestic use for storage, preparation, transport and consumption of foodstuffs and primary products. They were in use as jars for beer and wine, water jugs, bread moulds, braziers, lamps and as supports for round-bottomed recipients. Other pottery vessels were associated with ritual activities and were to be found amongst the tomb furnishings. This recipient belongs to this second group of objects, those destined to be used in funerary rituals alone or to contain funerary offerings.Representations on the walls of Egyptian tombs, pottery models and archaeological remains of pottery workshops provide us with information about the production and the manner of making of these pottery vases. Egyptian potters used a variety of techniques and decorative motifs, many of which characterise certain periods, thus allowing the objects to be dated. Nine polychrome terracotta vessels, one of them with a lid. Five of them with a central column of hieroglyphs with a funerary inscription. Museum of El Cairo. Inventory numbers: 4181, 4182, 4178 (JE27248), 4179, 4185/4180, 4177, 4176, 4175, 4174. / Vessel with lid, polychrome terracotta with a funerary inscription, “The Osiris, Servant in the Place of Truth, Sennedjem”. Dynasty XIX, c. 1292 – 1185 BCE, height 13.5 cm. Christie’s London, Antiquities, 25 April 2007, lot 92. At present in the Egyptian Museum in Barcelona, Spain. / Polychrome terracotta base, imitating glass paste. New Kingdom, Dynasty XVIII – XIX, c. 1400 – 1200 BCE. Height 18 cm. Christie’s London, The Heidi Vollmoeller Collection, 29 Octuber 2003, lot 356. Includes thermoluminescence certificate. | Egypt. New Kingdom, c. 1550 - 1186 BC
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