Friday, May 22, 2015

The statue of goddess Sekhmet

goddess sekhmet 
The statue of goddess Sekhmet

Material:

It is made of black granite, called in hieroglyphs mAT, quarried from Aswan.

F   Place of discovery:

It was discovered inside the temple of goddess Mut at the Karnak temples, on the east bank of Thebes, among other 600 statues, all of them belong to goddess Sekhmet.

F   Date:

It dates to the New Kingdom, 18th Dynasty, reign of King Amenhotep III.

F  Importance:

The importance of this statue is due to the place of its discovery inside the temple of goddess Mut, at the Karnak temples among other 600 statues for goddess Sekhmet, as it indicates the strong relation between goddess Sekhmet and goddess Mut who were identified with each other, particularly in the New Kingdom.

F   Goddess Sekhmet:

Goddess Sekhmet was one of the most important lioness goddesses in ancient Egypt who was known for her wild and violent qualities. She gathered between being destructive and beneficent at the same time since she was responsible for the spread and cure of diseases and epidemics. She was the goddess of violence and war. She usually accompanied the kings during their battles as their mother, as she spread terror everywhere. Her weapons were arrows, bows and fiery heat, which comes out from her body as she represents the destructive heat of the sun.

She was represented in various forms. However she was always represented in the form of a complete lioness or a lady with a lioness' head surmounted with the sun-disc and the cobra "uraeus", which were given to her by god Rea as a reward for obeying his order according to the legend of the "Destruction of Mankind".


§  Her name:

Her name "Sxmt" means the mighty or the violent one. The word reflects her character. The hieroglyphic word "sxmt" is written here with the "sxm" scepter, sign of power and authority in addition to the letter "t" in hieroglyphs, thus the meaning of her name corresponds with the form of its writing.

§  Cult center:

The main cult center of goddess Sekhmet was Memphis as she was the wife of god Ptah and the mother of the Lotus-god "Nefertum, with both she formed the Memphite triad.

§  Her epithets:

Goddess Sekhmet had various epithets, the most important of which are the great Sekhmet "Sxwt aAt", the Lady of the Two Lands "nbt tAwy", the beloved of Ptah "mryt  PtH",  the Lady of War, the Lady of Fear "nbt snDw" and the lady of flame because she represents the destructive heat of the sun.

§  Her relation with other goddesses:

She was identified with the cat-goddess Bastet "BAstt", since goddess Sekhmet was the bad eye of Rea whereas goddess Bastet was the milder. She was also identified with goddess Tefnut, the daughter of god Atum, goddess Hathor and Mut.
It was mentioned that goddess Sekhmet was responsible for the cure of diseases and epidemics; therefore her priests were credited with the power of curing, as most of them were medical physicians.
F   Description:

Goddess Sekhmet is represented seated on a low-backed throne. She is shown in the form of a lady with the lioness' head, which is surmounted with the sun-disc and the cobra "uraeus", given to her by god Rea. The sculptor was skillful enough in carving the features of the lioness' head and face, especially the mane of the lioness, its ears, narrow eyes, broad nose and the whiskers under its nose.
She wears a tripartite hair wig; she also wears a massive usekh "wsh" collar, decorating her chest. It has seven rows; the last one consists of beads.
She is shown with a tight-fitting dress that reaches down till her ankles. It has two shoulder straps exposing her arms and part of her chest. The dress is decorated with two rosettes, on her breasts and a band of geometrical patterns under them. She wears bracelets and anklets.
Her left arm rests on her left thigh with a closed fist holding the ankh sign "symbol of life", which is partly broken, while her right arm ' rests on her right thigh with' an open palm.

Goddess Sekhmet is shown barefoot, and her feet rest on a base incorporated into the low-backed throne. The margins of the two sides of the throne are decorated with bands of geometrical patterns. These two sides are decorated with the sema-tawy "smA-tAwy" sign, on a small scale inside a square, the sides of which are decorated with bands of geometrical patterns like those of the margins of the two sides of the throne.

Queen Nofret

F  
queen Nofret
 Two statues of queen Nofret

They are made out of black granite.

F   Discoverer and place of discovery:

They were discovered by Mariette in 1860-61 at Tanis "Dant", How ever it is suggested that both statues were transported there from another site.

F   Dating:

Both statues date back to the Middle Kingdom, 12th dynasty, reign of king Senusert II.



F   Historical background about queen Nofret:

She is the wife of king Senusert II, she held many titles among which the noblewoman, favorite and greatly praised one, beloved of Khaa-kheper-rea; consort of Sesostris II, a king's daughter and mistress of all women, her name "Nfrt" means the beautiful one. She has a magnificent black granite bust, which is now displayed in the Museum of Fine Arts, Boston, USA.

F   Description:

The soft and gentle quality found in some early 12th dynasty statues, which strongly influenced by Memphite art of the Old Kingdom proved to be short-lived, after that official art rapidly came to develop a realistic tendency, as it revived the strong modeling inherited from its Theban ancestors, and female royal Statues of that period of the 12th dynasty followed this new canon, whose primary feature is power.
Queen Nofret is shown in both statues in sitting attitude on a throne with a short curved back, with all features of majesty and royalty, she wears a massive wig with long wavy tresses, this type of wig was in fashion at court during the 12th Dynasty, and it was adopted in other sites outside Egypt. Apparently the wig's feminine qualities were responsible, for its ultimate association with goddess Hathor that is why it was known as the 'Hathorian wig".
It is assured that the appearance this type of wig was prior to its appearance on this statue, moreover it continued to be represented on Hathorian columns and sistra long after the end of the Middle Kingdom, when it otherwise was not fell into disuse, anyway the wig itself apparently has an archaic prototype. Nofret's statue and its counterpart provides the clearest example of the structure of that wig, it consists of three separate lappets; a large one falls behind the head, it has wavy tresses, that are bound at intervals by horizontal narrow bands, that determine the shape of the thick tresses the ends of the tresses are curved around two spirals encircling disks, rest over her breasts, straight tresses of hair fall downward at the back other head, to approximately the same length of the front two lappets.
These tresses at the back of her head encounter a supporting back pillar that continues on down to the short curved back of the throne, its main function was to strengthen the statue from behind and to avoid the break of the neck, which is considered a fragile area in the statue. The uraeus or royal cobra on her forehead is reduced to a tiny size; it was a sign of protection in ancient Egypt.
As for her facial features, she has a narrow forehead, her eyebrows and cosmetic eye lines are carved in high reliefs, the eyes were once inlaid, but unfortunately the inlay of the eyes is now missing, however the sightless gaze of Queen Nofret has lost none of its majesty. Her nose is partly broken, she has high cheekbones, viewed from below the line of the mouth seems almost straight, but at eye level it shows a gentle light smile.
The strength of her face is clearly shown through her gaze, the curved edge of the facets beneath the eyes and the taut lines that frame the space between the ends of the mouth and the chin. The ears are large in size and spread out by the wig in accordance with the standards of the realistic art, which was common during the 2nd half of the 12th dynasty. Just in front of each ear, a crescent-shaped curl other natural hair is visible.
On her chest, she wears an open-work pectoral suspended from a broad ribbon, it has a type often worn by contemporary aristocratic women however that of Nofret depicts a royal cartouche of her husband king Senusert II; tomb discoveries have revealed a number of magnificent examples of that pectoral. The pectoral itself takes a trapezoidal form that is more elongated than any of the several 12th dynasty pectorals.
The pectoral of the 1st statue is depicted with a royal cartouche contain the coronation name of king Senusert II that is pronounced as "xa -xpr-Ra", that means, "the form of Rea appears or shines", this cartouche is flanked by two royal cobras, the royal cobra on the right-hand side is shown wearing the white crown of Upper Egypt (), while that on the left-hand side is shown wearing the red crown of Lower Egypt (). The next register shows a pair of "wDAt" eyes of god Horns (), the lower register is depicted with a djed pillar of god Osiris (), symbolizing stability and permanence, flanked by a pair of lapwings () (a kind of birds was known in Egyptian language as rxyt), representing the common people of Egypt, due to the presence of these birds, it was suggested that the 3 registers on the pectoral could be explained and read as follows: "the commoners behold the stability of the king of Upper and Lowe Egypt Khaa-kheper-rea".

Queen Nofret is shown with her right arm rests flatly on her right thigh, with open palm, while her left arm is bent across her body, with open palm rests on her right elbow, and the wrists are decorated with a pair of bracelets, this gesture of the bent arm seems to be confined to the left arm in Middle Kingdom statues.

The queen's body is sculptured with great restraint, as she is shown wearing a tight fitting dress exposing the details of her body and reaches down till her shins, it has two shoulder straps which expose her shoulders and part other chests.
Most of the lower part of this statue is restored -i.e. the throne and the queen's legs- as well as both elbows, that is why all the hieroglyphic inscriptions, giving the names and titles of the queen, on the two sides of the throne are now missing except for her title pronounced as "rpat", that means the noblewoman.


Second statue of queen Nofret

It is almost identical to the first one apart from the following differences:

1- The attitude of the left arm, which is resting flatly on the left thigh of the Queen, with open palm, thus the arms of the 2nd statue have the same attitude.
2- The eyes show the prolongation of the "cosmetic line" in high relief, which makes them look smaller than the eyes of the 1st statue.
3- The pectoral, which ornaments the queen's chest on this statue has two registers, the 1st one is depicted with the two "wDAt" eyes of god Horus, while the 2nd one is depicted with a royal cartouche contains the coronation name of king Senusert II pronounced as "xa -xpr-Ra", it is flanked by a pair of vultures standing on the hieroglyphic sign "nwb" (), which means "gold".
4- Although the faces are almost identical, there is a certain degree of asymmetry, as there is a very noticeable difference in the shape and level of the eyebrows, however the faces of both statues has suffered an equal amount of damage.
5- This statue provides the complete titulary and name of queen Nofret, which are inscribed in hieroglyphic signs in sunk reliefs, on the two sides of the throne and pedestal of the statue. These inscriptions contain the coronation name of king Senusert II. It should be mentioned here that the inscriptions are complete on this statue, unlike the 1st one, because its lower part is not restored.
6- Most of the two arms of this statue are broken.


Eventually, it is worthy here to mention that, such variations between a pair of statues for the same person were common in nearly every period, and a certain degree of asymmetry is usual even in the faces of such statues, where it was doubtless felt to give certain vividness to the statues.

king Amenemhat III in priestly costume

The Bust of King Amenemhat III in priestly costume
as the "Sm" priest









































F  Material:
        
It is made out of Gray granite

F  Discoverer and place of discovery:

This colossal bust was discovered in 1862 in the site of the ancient capital of el Fayum. This site was known in Egyptian Language as Sdt (Shedet) and in Greek language as Crocodilopolis or the City of the Crocodile, because the main god of the city was god Sobek who takes the shape of a crocodile or a man with the head of a crocodile. Nowadays it is called Mit-Fares or Keman-Fares in Fayum governorate.




F   Dating:

It dates back to the Middle Kingdom, 12th dynasty, reign of king Amenemhat III.

F   Historical background about king Amenemhat III:

King Amenemhat III is the 6th King during the reign of the 12th Dynasty; his name is pronounced in the Egyptian language as "Imn-m-HAt" which means "god Amun is in the front".

His father is king Senusert III or Sesostris III. As for his building achievements he built two funerary complex, the 1st complex is located at Dahshur, this complex contains his famous mud-brick pyramid known as "the Black pyramid", while his 2nd one is located at Hawara (9 km to the south-east of Fayum), it contains his 2nd mud-brick pyramid, to the south side of this pyramid lies the famous funerary temple of king Amenemhat III, Which was called by the Greeks as Labyrinth, it was called after the name of the Labyrinth palace.

F   Description:

This unique colossal bust was once the upper part of a standing statue for king Amenemhat III who is recognizable by his characteristic facial features.
Amenemhat III is shown in this bust wearing a huge and strange archaic-type wig, whose long heavy plaits rest on his shoulders and the back of his neck. The body of the uraeus "nsrt" (royal cobra) is stretched out across the top of the wig, while the head of the uraeus which was supposed to be fixed in the hole upon his forehead is now missing.
His facial features are executed according to the standards of the realistic art which was common during the 2nd half of the 12th dynasty, as the realistic features are represented in the protruding eyes, the eyebrows are carved in high relief, high cheekbones with wrinkled cheeks and marked muscles around his rigid mouth, in addition to the deep gap between the lower lip of the mouth and the chin.
The strange false beard, now broken off, is attached to the chin by a natural band of wavy locks.
The king is dressed in a panther's skin whose head is shown over his left shoulder, while one of its legs with the paws is shown on his right shoulder, and the two extremities of the panther's skin are supported and tied by a double band across his chest passing under the menat (mnat) collar which decorates his neck.
The extremities of two scepters, terminating in falcon heads which Amenemhat III, was holding against his body, are visible on each side of the wig.
Its important here to mention that the representation of this bust with two scepters whose extremities are terminating in falcon heads of god Horus appeared for the 1st time during the 2nd half of the 12th dynasty in this bust of king Amenemhat III, then the type of this bust with the previously mentioned two scepters became very common during the 19* dynasty in particular, and this is clearly shown in the royal statues which date back to this dynasty, moreover there are few examples of private statues executed according to this type, and they date back to the 19th dynasty.

This bust is unique in its representation, as Amenemhat III presents himself as a king in his divine function which he alone is authorized to fulfill, as he is shown here in the form of a Sem (sm) priest, for the 1st time throughout the history of royal sculpture in ancient Egypt.

N.B.:
The sem priest was charged with the performing of the funerary rituals of the "Opening of the Mouth ceremony".


F    The conflict of opinions concerning the dating of this bust:

By mistake some scholars dated back this bust to the Archaic Period, depending on the archaic type of the huge strange wig.

On the other hand some other scholars wrongly dated back this bust to the Hyksos period, according to the strange facial features of king Amenemhat III and his strange false beard which was common during the Hyksos period, however this bust dates back to the Middle kingdom, the 2nd half of the 12th dynasty, reign of king Amenemhat III and that is confirmed through the recognizable facial features of king Amenemhat III, that are executed according to the standards of realistic art, which was common during the 2nd half of the 12th dynasty.


Funerary stela of Amenemhat

Funerary stela of Amenemhat


F    Material:
It is made out of painted limestone.

F    Discoverer and place ':

It was discovered during the excavations of the Metropolitan Museum of Art, New York, in 1915-16. inside the tomb of Amenemhat which carries no. R4 at Assassif. on the west bank of Thebes.
F    Dating:

It dates back to the Middle Kingdom, 11th dynasty, about 2000 B.C.



F    Who is Amenemhat?

Amenemhat is one of the high officials who lived during the 11th Dynasty; his name is pronounced in hieroglyphs as "Imn-m-HAt" that means "Amun (is) in the front", his wife is called "ly", his son is called "Antef" and his daughter-in-law is called god  "Hapy".

F    Introduction about stelae in ancient Egypt:

a- The meaning of stela:

Stela is a slab of stone, wood or any other material that bear an inscription.

b- Kinds of stelae:

There are many types of stelae in ancient Egypt, they are classified into five categories according to the function and place as follows:

§    Boundary Stelae:

This kind of stelae was used to mark or determine the boundaries of a certain city or capital, like the boundary stelae of king Akhenaten, which were used to mark the boundaries of his famous capital Akhe-Aaten, nowadays Tell el-Amarna at Minia governorate.

§    Votive stelae

This type of stelae also called ex-voto stelae; it was usually placed inside sacred places and especially inside temples as a vow for the gods of this temple.

§    Royal or victory stelae:

They were restricted to kings, as they were used to commemorate and record the royal victories, such as the victory steal of King Merenptah well known as "Israel stela".

§    House stelae:                                                                         

This kind of stelae appeared during the reign of King Akhenaton, l8th Dynasty; it was usually depicted with scenes represent King Akhenaton together with his wife queen Nefertiti accompanied with their daughters, this sort stelae was kept in private chapels inside the Amarna houses.  

§   Funerary Stelae:

This type of stelae is considered one of the most important and famous types of stelae in ancient Egypt, in most cases they are carved with a scene represents the deceased or the owner of the stela together with his wife- seated on a long bench and in front of them an offering table piled high with different kinds of offerings is depicted, they were usually accompanied with members of their family.

The funerary stela was usually inscribed with the magical offering formula; or the ''Htp di nswt" formula, to provide the deceased with indispensable offerings in the Afterlife. They had rounded top and sometimes they are rectangular in their shape like our funerary stela of Amenemhat. 

F    Description:

This stela is rectangular in its shape; it is notable for the freshness of its colour s and the originality of its composition. Instead of the traditional scene of the funerary meal, we see here the two spouses sitting on a long bench with leonine legs painted in black colour , they are shown facing each other holding there son between them in a scene indicating love, affection and intimacy between the married couple on one side and their son on the other side.
The father and son are shown with their legs crossing each other, the Father holds the right hand of his son with his left hand, moreover he embraces him with his right arm and one can see the right hand of the father on the right shoulder of his son, who is also shown embracing his father with his left arm and one can also see his left hand on the right shoulder of his father.
The father is shown with short rounded wig painted in black colour and a thin beard framing his jaw and ends in a goatee, it is painted also in black colour , he also wears a broad necklace around his neck painted in green colour , a short kilt painted in white colour  and bracelets.
The son Antef has the same dressing like his father except for the thin beard around the jaw, however the skin of the two men is painted in a reddish-brown colour according to the traditions of ancient Egyptian art.
As for the mother, she is also shown embracing her son with both arms and one can see her left hand on his left shoulder while her right hand is placed on his right forearm. She wears a long tripartite wig painted in black colour, a broad necklace painted in green colour, bracelets and anklets, she is also wearing a long tight fitting dress exposing the details of her body, it reaches down till her shins, it is supported by a single shoulder strap exposing her breasts, her shoulders and chest. Her skin is painted in pale cream colour according to the traditions of ancient Egyptian art.

Between the previous scene and the representation of the daughter-in-law Hapy there is an offering table piled high with different kinds of offerings including onions, vegetables, cuts of meat represented in the front left leg of the bull, in addition to that two loaves of bread are stowed away underneath the offering table.
god Hapy, the wife of Antef and the daughter-in-law of the married couple, stands respectfully on the farmer side of the offering table, on the extreme right of the stela, she is shown on a small scale and dressed the same as ly i.e. she has the same wig, dress and jewellery. Her skin is painted in pale cream colour.

F    Hieroglyphic inscriptions:

I-The topmost part of the stela is inscribed with one horizontal line of hieroglyphic signs in sunken reliefs, painted in green colour. This line is set between two incised lines. It is divided into two sections according to the direction of the hieroglyphic signs. This line represents an invocation for food offerings in favour of Amenemhat and his wife ly as follows:

1-The 1st section with hieroglyphic signs facing the left hand side:

Transliteration:

imAxw xr Wsir di.f pr-xrw t Hnqt kAw Apdw n imAxw

Translation:
The honored one in the presence of Osiris, may he give an invocation offerings (consist of) bread, beer, oxen (and) birds or fowls to the honoured one.
2-The 2nd section with hieroglyphic signs facjng_the right hand side:

Transliteration:
pr-xrw t Hnqt kAw Apdw n imAxw Imn-m-HAt n imAxt Iy

Translation:

An Invocation offerings (consist of) bread, beer, oxen (and) birds to the honored one Amenemhat (and) to the honored lady ly.

II- The title and name of the son Antef is inscribed in one short vertical line of hieroglyphic signs in sunken reliefs in front of the head of Amenemhat as follows:

Transliteration:
imAxw   Int.f

Translation:
The honoured one, Antef.

III-The titles and name of the wife of Antef (daughter-in-law of Amenemhat and ly), is inscribed in one horizontal line of hieroglyphic signs in sunk reliefs in front other head as follows:

Transliteration:

imAxt snt .f   Hpv

Translation:

The honoured lady, his sister, Hapy.