A GROUP STATUE OF A FALCON WITH THE KING RAMSES II (JE 36455) (original) (raw)
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Études et Travaux, 2015
This article is dedicated to the study and comparison of the inscriptions and iconography of the red granite colossal statue in the British Museum, inv. no. AES 61. The idea behind this paper was to demonstrate how the rigorous application of iconographical analysis of facial features can contribute to the precise dating of the classical pharaonic sculptures. This procedure when applied to the above-mentioned statue allows to conclude that it was originally conceived for Amenhotep II and usurped, later on, by Ramesses II and his successor Merenptah – not by modifying or changing its original facial features, but only by adding their own cartouches. Full-text PDF available here: http://www.etudesettravaux.iksiopan.pl/images/etudtrav/EtudTrav\_otwarte/EtudTrav\_28/EtudTrav\_XXVIII\_Kassem.pdf
Études et Travaux, 2014
The red granite fragmentary bust (Egyptian Museum in Cairo – CG 38104, JE 27856), coming from the Temple of Ptah in Memphis, is believed to be part of a statue of Ramesses II. However, owing to the fact that the fragment is unepigraphic and much eroded, this identification has to remain a hypothetical one. A detailed examination of iconographical and stylistic features of the statue leads the author to believe that the statue either represented Ramesses II or had been usurped by one of his successors. Full-text PDF available here: http://www.etudesettravaux.iksiopan.pl/images/etudtrav/EtudTrav\_otwarte/EtudTrav\_27/EtudTrav\_XXVII\_Kassem.pdf
MDAIK, 2024
This article explores a monumental statue of a deity that was moved together with other antiquities in 2001 from the garden of Princess Nimet Mokhtar at el-Marg to the Open-Air Museum of Tell Basta in Zagazig. The statue was allegedly found in the garden of the palace of el-Marg, 4 km north-east of ancient Heliopolis. This estate once belonged to the sister of King Fuad I and had been part of her private collection until the property was confiscated in 1954. The statue depicts a seated male falcon-headed deity, wearing a scarab on its wig. Its stylistic features and rounded proportions indicate that it dates to the Ptolemaic Period. This statue would be the only witness to monumental activity in the area of Heliopolis, several decades after the reign of Nectanebo I.
The Falcon God Montu with King Thutmose III (CGC 1237)
EJARS , 2023
This study is a new publication of a rectangular base of the statue of a distinctive group consisting of a falcon and King Thutmose III, kept in the Egyptian museum in Cairo-CGC 1237. The author will try using the pedestal to reconstruct a complete picture of the original with a discussion of the dating, and the original site of the statue. These issues will be discussed based on the available inscriptions and archaeological data. Although nothing remains of the statue except for the base bearing the traces of the falcon and the king walking in front of it, this object is a unique model of the falcon Montu. Regarding the function of the statue, the falcon Montu's role towards the king appears through religious books, especially the pyramid texts, which will be reviewed during the study. We will discuss his relationship with the king, as well as the reason for making this statue.
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Journal of the Faculty of Tourism and Hotels, Alexandria University, 2015
This research analyzes the iconography and function of winged gods in Graeco-Roman Egypt. "Wind deities" appeared as winged scarabs or winged four-headed rams. Osiris was also represented in the shape of a winged scarab, a winged sun disc, or a winged mummy.Harpokrateswas figured with wings on magical stelae and gems. The winged solar disc of Horus Behdety decorates the façade of the Egyptian temples. Moreover, Seth appeared in the form of a winged god in the temple of Hibis. Bes is depictedwith wings on amulets and statuettes. The winged sphinxof Tutu was used to ward off demons. God Chnoubisis also depicted as a winged goat-headed scarab in the Egyptian art. The Greek god Eros appeared as a winged boy on the walls of Stagni tomb in KomEl-Shokafa. Hypnos, the Greek god of sleep, is depicted as a winged youth on Ariadne sarcophagus. The wings of the Egyptian gods spring from their arms or sides unlike the wings of Greek gods which spring only from their backs. The shape of the Egyptian winged gods was employed in protective and magical purposes. On the other hand, Greek gods inspired their winged iconography from their mythic roles.
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This article is to study the Karnak statuette group CG exhibited in the Egyptian museum in Cairo. The statuette group is an innovation in the ancient Egyptian Art, since it reflects an immense amount of passion and love between Amenirdis I, the God’s wife of the 25th Dynasty and her spouse God Amun. This type of emotions was only represented in the Amarna art. The statuette group is inscribed by inscriptions giving names and titles of Amun and Amenirdis I that were mistranslated. The titles contributed in understanding the significance behind the statuette group
Among the wide collection of the bronze figurines preserved at the Petrie Museum, UC 8033 represents Osiris with an iconography rarely attested: the representation on the back of a falcon with a sun disc and with wings wrapping the body of the figure. Unfortunately, the figurine is unprovenanced and no other information are preserved in the museum. This paper presents also five other Osiris figurines (1- BM EA 24718; 2- Brooklyn Museum, inv. no. 39.93; 3- MMA 56.16.2; 4- CG 38270; 5- Statuette from a private collection – unknown location –), which show close parallels in iconography, design, and composition with UC 8033. Furthermore, the peculiar iconography of the falcon on the back is not exclusively used for Osiris, but it is in use also for other statuettes, mainly representing goddesses, such as Neith and Isis, and high social rank women, such as the famous statue of Karomama (Louvre N 500). The chronological range of UC 8033 seems to be circumscribed to the time between the Third Intermediate Period and the early Twenty-six Dynasty.
A Striding Statue of Nebsumenu son of Reditenseni. The Egyptian Museum in Cairo (CG 957)
Cairo CG 957 is a rectangular base made out of black granite currently on housed in the basement of the Egyptian Museum in Cairo. The feet of the owner are partially preserved top the base. The texts inscribed contains the Htp-dj-nsw.t formula dedicated to Amun-Re, followed by the title and name of the owner. This paper aims to analyze the name of the owner's mother, comparing it to parallel objects in order to distinguish the owner.
Zoomorphic Seth with King Ramesses II: Egyptian Museum, Cairo JE 42993
Luxor International Journal of Archaeological Studies, 2024
Despite the ubiquitous mention of the god Seth (Sutekh), chiefly identified with chaos and disorder in the ancient Egyptian religious pantheon, objects representing the deity are extremely rare. Extant instances of his depiction in statuary portray the divinity in composite form, that is, as a human with the head of an animal. A well-known group statue in the Egyptian Museum (Cairo JE 31628) shows King Ramesses III crowned by both Horus and Seth, with both gods represented in composite form. This style of rendering also appears in a small group statue preserved in the Louvre Museum (E 3374) dated to the reign of Ramesses II, wherein Seth is shown beside his sister Nephthys. The statue in the Egyptian Museum, Cairo JE 42993, which is studied here, exhibits a unique model of Seth in full animal form standing behind Ramesses II. However, a noteworthy detail is that the god is not shown crowning the pharaoh. Therefore, this statue reveals a different function of Seth when compared to the group statue in the Egyptian Museum (Cairo JE 31628) and the small group statue of Louvre Museum (E 3374), cited hitherto. The following aspects will be analyzed in this study: the reasons for sculpting Cairo JE 42993 in the manner it appears, the necessity to represent Seth in complete animal form, and the relationship between the monarch and this deity. The researcher will attempt to discuss the essence and importance of the statue through the placement and appearance of the god Seth.