Mut Or Not? On The Meaning Of A Vulture Sign On The Hermitage Statue Of Amenemhat III (original) (raw)
Related papers
Mut or not? On the Meaning of a Vulture Sign on the Hermitage Statue of Amenemhet III
Servant of Mut: Studies in Honor of Richard A. Fazzini, 2008
The paper is devoted to the sign of a vulture in the partly lost titulary of Amenemhet III on his statue in the Hermitage Museum. The author proves that reading it as the name of the goddess Mut is hardly possible, while the existence of the monuments of Amenemhat III revealing his interest, although limited, in the cult of Nekhbet, makes the understanding of the ideogram as Nekhbet the most probable option. The damaged part of the titulary may be reconstructed as “Amenemhat [beloved of] Nekh[bet, lady of the sky]” or similar. With this reading, it is possible to speculate on the provenance of the Hermitage statue as Coptos or Elkab, the only places where the monuments of Amenemhat III mentioning Nekhbet were found. Biri Fay’s hypothesis on the Lower Egyptian production of the statue makes it safe enough to suppose that it was made within the framework of a certain state-wide project. If considering the data from the rest of the dynasty, Karnak must not be excluded as another place for which the Hermitage statue could have been intended.
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
MKS, 2015
The royal portrait of Amenemhat III shows two main variants: a stern and expressive one, intended mainly for large-scale statues made of hard stones, which were probably installed in open-air spaces, and a more human and sensitive one, meant for smaller-size statues, often of precious or less durable materials. Private statuary from this reign usually follows the latter model; the former seems to be reserved to the king and intended for specific message and function.
A GROUP STATUE OF A FALCON WITH THE KING RAMSES II (JE 36455)
JARCH, 2024
There are a few statues associated with the falcon figure from ancient Egypt.The most famous examplesare the statues of Ramses II in the Egyptian Museum, JE 64735, British Museum, BMEA1006 and Nectanebo II in the Metropolitan Museum of Art, MMA 34.2.1. However, each statue represents the king under the protection of a different deity in the form of a falcon. the statues of Ramses II represent the king under the protection of Horun (JE 64735), Ra-Horakhty (BM, EA1006), while the king Nectanebo II is under the protection of the falcon god Horus. The example under the discussion is in the acquisition of the Egyptian Museum, under JE 36455. It is a lower part of a groupstatue of King Ramses II under the protection of a divine falcon. The research matter is to determine the identity of the falcon god and the significance of such depiction; meanwhile to present a full publication to such an interesting piece. In his discussion, the author examines the object in comparison to similar depictions on sculpture and afterlife books in order to determine the depicted god and the significance of his depiction on the statue fragmentary. The importance is based on what this piece represents in addition to the statues that express the king under the protection of the falcon, as well as the god who protects the king in this statue.