Museum-Scale Replicas Daily Life Tools

Several game boards were found in the tomb of Tutankhamun. In a design choice that seems practically modern, two of these, including this one masterfully replicated by Konouz, feature a different game on each side: By just flipping the board over, you could play another game. Also very clever was how ancient Egyptian craftsmen often equipped game boards with one or more drawers for the game pieces.

This cosmetic jar, wonderfully replicated here by Konouz, was used to store perfumes or unguents. The finely sculpted protective recumbent lion on its lid with open mouth and protruding red tongue is acting as a guardian. The delicate scenes of lions and dogs hunting bulls and gazelles, again symbolize protection, as do the heads of Egypt’s traditional enemies at the bottom of the jar, which also convey royal authority and dominion over foreign lands.

There is a clever instance of ancient Egyptian wordplay to be found in this mirror-case that is shaped like the ankh-hieroglyph, symbol of life, since “ankh” was also one of their words for “mirror”. The lid is decorated with Tutankhamun’s Throne Name, Nebkheperure, above a lotus flower, solar symbol of rebirth, and flanked by two cobras with solar disks.

The ewer of Tutankhamun is an elegant vessel designed for pouring liquids such as water, wine, or perfumed oils. Carefully shaped with a graceful spout and handle, it reflects the refined craftsmanship of royal objects placed in the king’s tomb. Beyond its practical use, the ewer also formed part of the funerary equipment intended to provide the king with provisions and ritual offerings in the afterlife.

Headrests were used in ancient Egypt in place of pillows to support the head during sleep. Their raised, curved form kept the head elevated, allowing air to circulate in the hot climate. Beyond daily use, headrests held protective and symbolic meaning, guarding the sleeper during the night. They were also placed in burials, where they ensured the protection, renewal, and rebirth of the deceased in the afterlife.

The cup is shaped as a lotus flower in full bloom, closely associated with solar rebirth, as it evokes the daily emergence of the sun from the primeval waters. Around the rim runs an inscription expressing wishes for the king to live millions of years and to behold happiness. The handles are formed as lotus blossoms supporting the god Heh, personification of eternity, who holds palm ribs symbolising countless years, combined with signs of infinity and life.

The sekhem scepter is a ritual symbol of power and authority in ancient Egypt. Its flat, paddle-like form mounted on a papyrus-style handle conveyed strength and control, qualities embedded in the meaning of the word sekhem, “the powerful.” Closely associated with Osiris and the underworld, it later became an emblem of Anubis in funerary contexts. The scepter was also used in temple and mortuary rituals, where it was waved over offerings during recitations to consecrate them. Through its form and ceremonial function, the sekhem embodied the exercise of divine and ritual power.

The vase originally contained precious perfumed or scented oils. It features two fecundity figures, who personify abundance and fertility, tying the papyrus (left) and the lotus (right) together, the whole echoing the form of the “Sema-Tawy” motif, symbol of the unification of Upper and Lower Egypt.

The central cup is shaped like a lotus chalice, rising on a long stem, and is flanked by two smaller bud-like cups on sinuous stems, each with a leaf spreading out horizontally, as if they were floating on the surface of the water. The cups would once have contained wicks floating on oil, traces of which was preserved inside. The lotus shapes were commonly used in Egyptian art and symbolized rebirth and regeneration.

The perfume vase is the only burden on the head of the lion; it carries the vase in the same way as Egyptians peasants, who carry water jars on their heads. The vase is decorated with floral motifs and small squares decorated in blue and white pigments. At the foreleg of the lion a hieroglyphic sign called “sa”, which means “protection.” For this reason it is called a prophylactic (protector) lion.

Perfume bottles were used to store precious scented oils and unguents, substances essential to daily life and ritual practice. Their forms often incorporated symbolic motifs like lotus flowers, papyrus plants, or fecundity figures associated with fertility, abundance, and regeneration. Such imagery emphasized the life-giving qualities of fragrance and its connection to purity and renewal. Aside from personal use, perfumed oils were offered to deities, and placed in tombs to ensure comfort and rebirth in the afterlife.

The crook and flail (Heka and Nekhakha) of Tutankhamun are traditional symbols of ancient Egyptian kingship. Often shown crossed over the chest of the king, these emblems represented royal authority and the pharaoh’s role as both protector and provider for his people. The crook symbolized guidance and leadership, while the flail was associated with fertility and the power to rule. Examples of these ceremonial objects were discovered among the treasures of Tutankhamun’s tomb, reflecting the rich symbolism and craftsmanship of ancient Egyptian royal regalia.

The most striking feature of these sandals is the decoration on the insoles, which allowed the Pharaoh to symbolically "trample" his enemies with every step. The insoles depict four human figures representing traditional enemies of ancient Egypt—Asiatics and Nubians. These men are shown as bound prisoners, lying prostrate with their arms tied behind their backs. The sandals are also adorned with the "Nine Bows" motif, which represents the totality of Egypt's traditional enemies. On this specific pair, four bows are depicted under the toes and four under the heel, while the strap and thong represent the final, ninth bow.

Several game boards were found in the tomb of Tutankhamun. In a design choice that seems practically modern, two of these, including this one masterfully replicated by Konouz, feature a different game on each side: By just flipping the board over, you could play another game. Also very clever was how ancient Egyptian craftsmen often equipped game boards with one or more drawers for the game pieces.

Walking sticks from the tomb of King Tutankhamun frequently featured handles carved with bound prisoners, representing Nubian or Asiatic captives. These artifacts, such as the ebony figure of a captive with arms bound behind his back, symbolized the Egyptian pharaoh's dominance over foreign enemies.

Vessels like this were used to store precious oils, perfumes, and unguents. Fragrance was vital in ancient Egyptian culture, representing holiness and the "breath of life". These items were placed in the tomb to ensure the pharaoh had everything necessary for personal care and ritual in the afterlife. Containers are in the form of the hieroglyph “sema” meaning "union" and “Tawi” means the two Lands. The overall composition reproduces the emblem meaning "the union of the Two Lands often seen on the throne in statues of the pharaohs.

The alabaster oil lamp was made in the form of an open lotus flower, is flanked by two ornamentations in which the god of the infinite, Heh, kneels on papyrus plants with his arms raised and holds a palm branch that frames the scene. When the lamp is lit, a transparent colored scene is created with Tutankhamun and his wife on one side and the kings' cartouches on the other. The effect is created when the wick is lit and scenes painted on a smaller cup inside the lamp become visible .