The production of millions of artificially mummified animals by the ancient Egyptians is an extraordinary expression of religious piety. Millions of creatures of numerous species were preserved, wrapped in linen and deposited as votive offerings; a means by which the Egyptians communicated with their gods. The treatment of animals in this manner resulted in a wealth of material culture; the excavation and distribution of which formed a widely dispersed collection of artefacts in museum and private collections around the world. Due to ad hoc collection methods and the poorly recorded distribution of animal mummies, many artefacts have unknown or uncertain provenance. Researchers at the University of Manchester identified a group of eight mummies positively attributed to the 1913–1914 excavation season at Abydos, now held in the collections of the Museum of Fine Arts, Boston, Massachusetts. This paper presents the investigation of this discreet group of provenanced mummies through stylistic evaluation of the exterior, and the assessment of the contents and construction techniques employed using clinical radiography. Dating of one mummy places the artefact—and likely that of the whole assemblage—within the Late Period (c.664–332BC). Considering these data enables the mummies to be interpreted as the Egyptians intended; as votive artefacts produced within the sacred landscape at Abydos.

中文翻译：

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在翼和祷告上：阿比多斯物质文化中的宜必思木乃伊

古埃及人生产数以百万计的人造木乃伊动物是宗教虔诚的一种特殊表现。保存了数以百万计的各种物种的生物，用亚麻布包裹起来，作为奉献品存放。埃及人与神沟通的一种方式。以这种方式对待动物导致了丰富的物质文化。它的发掘和分发在世界各地的博物馆和私人收藏中形成了广泛分散的文物收藏。由于临时收集方法和动物木乃伊分布不佳的记录，许多人工制品的出处不明或不确定。曼彻斯特大学的研究人员确定了一组八个木乃伊，这些木乃伊积极地归因于1913年至1914年在阿比多斯的发掘季节，现在被收藏在马萨诸塞州波士顿的美术博物馆。本文通过对外观的风格评估，以及对使用临床放射成像技术所采用的内容和构造技术的评估，来对这组谨慎的起源木乃伊进行调查。一个木乃伊的约会在后期（约664-332BC）放置了人工制品，可能还有整个组合的人工制品。考虑到这些数据，就可以将木乃伊理解为埃及人的意图。作为在Abydos神圣景观中产生的艺术品。一个木乃伊的约会在后期（约664-332BC）放置了人工制品，可能还有整个组合的人工制品。考虑到这些数据，就可以将木乃伊理解为埃及人的意图。作为在Abydos神圣景观中产生的艺术品。一个木乃伊的约会在后期（约664-332BC）放置了人工制品，可能还有整个组合的人工制品。考虑到这些数据，就可以将木乃伊解释为埃及人的意图。作为在Abydos神圣景观中产生的艺术品。