VIEW IN MY ROOM
Painting, Acrylic on Canvas
Size: 40 W x 40 H x 1.5 D in
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Ancient Egyptian afterlife beliefs were centered around a variety of complex rituals that were influenced by many aspects of Egyptian culture. Religion was a major contributor, since it was an important social practice that bound all Egyptians together. For instance, many of the Egyptian gods played roles in guiding the souls of the dead through the afterlife. With the evolution of writing, religious ideals were recorded and quickly spread throughout the Egyptian community. The solidification and commencement of these doctrines were formed in the creation of afterlife texts which illustrated and explained what the dead would need to know in order to complete the journey safely. Egyptian religious doctrines included three afterlife ideologies; belief in an underworld, eternal life, and rebirth of the soul. The underworld, also known as the Duat, had only one entrance that could be reached by traveling through the tomb of the deceased. The initial image a soul would be presented with upon entering this realm was a corridor lined with an array of fascinating statues, including a variation of the famous hawk-headed god, Horus. The path taken to the underworld may have varied between kings and common people. After entry, spirits were presented to another prominent god, Osiris. Osiris would determine the virtue of the deceased's soul and grant those deemed deserving a peaceful afterlife. The Egyptian concept of 'eternal life' was often seen as being reborn indefinitely. Therefore, the souls who had lived their life elegantly were guided to Osiris to be born again. In order to achieve the ideal afterlife, many practices had to be performed during one's life. This may have included acting justly and following the beliefs of Egyptian creed. Additionally, the Egyptians stressed the rituals completed after an individual's life has ended. In other words, it was the responsibility of the living to carry out the final traditions required so the dead could promptly meet their final fate. Ultimately, maintaining high religious morals by both the living and the dead, as well as complying to a variety of traditions guaranteed the deceased a smoother transition into the underworld. In ancient Egyptian mythology, the fields of Aaru (/ɑːˈruː/; Ancient Egyptian: jꜣrw "Reeds, rushes"), known also as sḫt-jꜣrw or the Field of Reeds, is the heavenly paradise where Osiris rules. It has been described as the ka (a part of the soul) of the Nile Delta. The ancient Egyptians believed that the soul resides in the heart and so, upon death, the Weighing of the Heart occurred. Each human heart is weighed on a giant scale against an ostrich feather, which represents the concept of Maat. Those souls which balance the scales are allowed to start a long and perilous journey to the Field of Reeds, where they will exist in pleasure for all eternity. Hearts heavy with evil tip and fall into the crocodilian jaws of the demon Ammit. After this "second death", the soul is doomed to restlessness in Duat. The souls who qualify undergo a long journey and face many perils before reaching Aaru. Once they arrive, they enter through a series of gates. The exact number of gates varies according to sources; some say 15, some 21. They are uniformly described as guarded by evil demons armed with knives. Aaru usually was placed in the east where the Sun rises and described as boundless reed fields, like those of the earthly Nile Delta. This ideal hunting and farming ground allowed the souls here to live for eternity. More precisely, Aaru was envisaged as a series of islands covered in fields of rushes. The part where Osiris later dwelt is sometimes known as the "field of offerings", sḫt-ḥtpt in Egyptian. Source: Wikipedia Show me, show me, show me how you do that trick The one that makes me scream she said The one that makes me laugh she said Threw her arms around my neck Show me how you do it and I'll promise you I'll promise that I'll run away with you, I'll run away with you Spinning on that dizzy edge Kissed her face and kissed her head Dreamed of all the different ways, I had to make her glow Why are you so far away she said Why won't you ever know that I'm in love with you? That I'm in love with you? You, soft and only, you lost and lonely You, strange as angels Dancing in the deepest oceans Twisting in the water You're just like a dream You're just like a dream Daylight licked me into shape I must have been asleep for days And moving lips to breathe her name I opened up my eyes And found myself alone, alone, alone above a raging sea That stole the only girl I loved and drowned her deep inside of me You soft and only You lost and lonely You just like heaven ‘Just Like Heaven’ by The Cure Songwriters: Boris Williams / Laurence Andrew Tolhurst / Porl Thompson / Robert James Smith / Simon Gallup
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:40 W x 40 H x 1.5 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"
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