- Independent Researcher, Archaeology, Faculty MemberUniversité de Liège, Histoire de l'art et archéologie, Post-Doc, and 2 moreadd
- Archaeology, Egyptology, 13th Dynasty, Egyptian Art and Archaeology, Ancient Egyptian Statuary, Theban Necropolis (Ancient Egypt), and 21 moreMiddle Kingdom, Middle Kingdom (Egyptology), Stoneworking, Extraction Techniques, Quarries Organization and Management, Marbles, Ornamental Stones, Lahun, Courts and Elites (History), Sesostris III, Amenemhat III, Amenhotep III, Wadi Hammamat, Ancient Egyptian Iconography, Ancient Egyptian Art and Archaeology, New Kingdom (Egyptology), Old Kingdom (Egyptology), Nubian-Egyptian Relations, Egyptian Archaeology, Ancient Egyptian History, and 17th Dutch and Flemish Paintings and Printsedit
- Membre scientifique à l'Institut français d'archéologie orientale (Le Caire) Previously Chargé de Recherches (F.R.S.-... moreMembre scientifique à l'Institut français d'archéologie orientale (Le Caire)
Previously Chargé de Recherches (F.R.S.-FNRS) au Service d'Égyptologie et d'Archéologie égyptienne, Université de Liège
Former Andrew W. Mellon Research Fellow at The Metropolitan Museum of Art (Egyptian Department)
Former Curator in the Museo Egizio, Turin
PhD in Archaeology and Art History (Université libre de Bruxelles - ULB)edit - Dimitri Labouryedit
Why do ancient Egyptian statues so often have their noses, hands, or genitals broken? Although the Late Antiquity period appears to have been one of the major moments of large-scale vandalism against pagan monuments, various contexts bear... more
Why do ancient Egyptian statues so often have their noses, hands, or genitals broken? Although the Late Antiquity period appears to have been one of the major moments of large-scale vandalism against pagan monuments, various contexts bear witness to several phases of reuse, modification, or mutilation of statues throughout and after the pharaonic period. Reasons for this range from a desire to erase the memory of specific rulers or individuals for ideological reasons to personal vengeance, war, tomb plundering, and the avoidance of a curse; or simply the reuse of material for construction or the need to ritually “deactivate” and bury old statues, without the added motive of explicit hostility toward the subject in question.
Drawing on the latest scholarship and over 100 carefully selected illustrations, Ancient Egyptian Statues proceeds from a general discussion of the production and meaning of sculptures, and the mechanisms of their destruction, to review the role of ancient statuary in Egyptian history and belief. It then moves on to explore the various means of damage and their significance, and the role of restoration and reuse.
https://aucpress.com/product/ancient-egyptian-statues/
Drawing on the latest scholarship and over 100 carefully selected illustrations, Ancient Egyptian Statues proceeds from a general discussion of the production and meaning of sculptures, and the mechanisms of their destruction, to review the role of ancient statuary in Egyptian history and belief. It then moves on to explore the various means of damage and their significance, and the role of restoration and reuse.
https://aucpress.com/product/ancient-egyptian-statues/
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Publication of doctoral thesis. This volume presents an evaluation of late Middle Kingdom and Second Intermediate Period (c. 1850 to 1550 BC) sculpture. Style, material and dating are discussed in length. The book is well illustrated... more
Publication of doctoral thesis.
This volume presents an evaluation of late Middle Kingdom and Second Intermediate Period (c. 1850 to 1550 BC) sculpture. Style, material and dating are discussed in length. The book is well illustrated (more than 100 b/w plates) and includes a catalogue of all statues of the period.
ISBN: 9781906137663, 638 pages
This volume presents an evaluation of late Middle Kingdom and Second Intermediate Period (c. 1850 to 1550 BC) sculpture. Style, material and dating are discussed in length. The book is well illustrated (more than 100 b/w plates) and includes a catalogue of all statues of the period.
ISBN: 9781906137663, 638 pages
Research Interests:
Cet ouvrage est conçu comme un guide destiné à accompagner les visiteurs de l’exposition Toutankhamon, à la découverte du pharaon oublié (organisée par Europa Expo au centre d’exposition de la gare TGV internationale de Liège-Guillemins,... more
Cet ouvrage est conçu comme un guide destiné à accompagner les visiteurs de l’exposition Toutankhamon, à la découverte du pharaon oublié (organisée par Europa Expo au centre d’exposition de la gare TGV internationale de Liège-Guillemins, du 14 décembre 2019 au 30 août 2020) et permet de contextualiser la visite en approfondissant les divers thèmes abordés. Près d’un siècle après la découverte la plus retentissante de l’histoire de l’archéologie, l’exposition vise, à travers une muséologie immersive et un parcours narratif et pédagogique, à raconter et expliquer l’histoire croisée de Howard Carter et du jeune pharaon qu’il a permis d’exhumer de l’oubli. Sont ainsi évoqués le parcours singulier de Howard Carter, son opiniâtre quête de la tombe de Toutankhamon, l’exploitation scientifique de sa découverte, l’Égypte dans laquelle Toutankhamon a grandi, puis régné, la vie quotidienne, les croyances et la production artistique à cette époque mouvementée de l’histoire pharaonique. Les avancées les plus récentes de notre connaissance de l’enfant-roi grâce aux technologies et méthodes d’investigation les plus modernes sont également envisagées, avant de terminer par l’impact que cette incroyable découverte a pu avoir sur l’art, la science archéologique et égyptologique et la vision collective que nous partageons désormais de la civilisation des pharaons. Richement illustré, le catalogue s’articule autour des différents thèmes abordés par l’exposition, mais aussi des choix muséographiques qui ont présidé à la réalisation de celle-ci. Il rassemble plus de 60 essais rédigés par des experts internationaux qui présentent les résultats les plus récents de leurs recherches et offre un regard renouvelé sur une série d’objets bien connus, tout en présentant nombre de pièces encore jamais montrées au public.
This book was designed as a guide to accompany the visitors of the exhibition Tutankhamun, discovering the forgotten pharaoh, organized by Europa Expo at the exhibition centre of the international TGV/HSR train station of Liège-Guillemins, from the 14th of December 2019 to the 30th of August 2020. The catalogue allows the public to contextualise its visit by exploring in greater detail a varied set of themes. At almost a century from the most resounding discovery in the entire history of archaeology, the exhibition aims, through an immersive museology and a narrative and pedagogical path, to disclose the cross-paths of Howard Carter and that young pharaoh he contributed to unearth from oblivion. The public is thus invited to learn more about Howard Carter's outstanding career, his stubborn quest for the tomb of Tutankhamun and the scientific exploitation of his discovery. Moreover, the exhibition will give an insight into the Egypt of Tutankhamun, where he grew up and later reigned, including the daily life customs, beliefs and artistic production in this turbulent period. Furthermore, the most recent progress in our knowledge of the child-king is considered through the perspective of cutting-edge technologies and methods of investigation, before concluding with the impact of this incredible discovery on art, archaeology and Egyptology, and the collective vision we now share of the pharaonic civilisation. The richly illustrated catalogue is structured around the various topics addressed by the exhibition, pointing out at the museographic choices that led to its creation. The book consists of a collection of more than 60 essays written by international experts, who disclose their most recent research and provide the reader with a fresh look at a series of well-known objects, while also taking into consideration several pieces on public display for the first time ever.
For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
This book was designed as a guide to accompany the visitors of the exhibition Tutankhamun, discovering the forgotten pharaoh, organized by Europa Expo at the exhibition centre of the international TGV/HSR train station of Liège-Guillemins, from the 14th of December 2019 to the 30th of August 2020. The catalogue allows the public to contextualise its visit by exploring in greater detail a varied set of themes. At almost a century from the most resounding discovery in the entire history of archaeology, the exhibition aims, through an immersive museology and a narrative and pedagogical path, to disclose the cross-paths of Howard Carter and that young pharaoh he contributed to unearth from oblivion. The public is thus invited to learn more about Howard Carter's outstanding career, his stubborn quest for the tomb of Tutankhamun and the scientific exploitation of his discovery. Moreover, the exhibition will give an insight into the Egypt of Tutankhamun, where he grew up and later reigned, including the daily life customs, beliefs and artistic production in this turbulent period. Furthermore, the most recent progress in our knowledge of the child-king is considered through the perspective of cutting-edge technologies and methods of investigation, before concluding with the impact of this incredible discovery on art, archaeology and Egyptology, and the collective vision we now share of the pharaonic civilisation. The richly illustrated catalogue is structured around the various topics addressed by the exhibition, pointing out at the museographic choices that led to its creation. The book consists of a collection of more than 60 essays written by international experts, who disclose their most recent research and provide the reader with a fresh look at a series of well-known objects, while also taking into consideration several pieces on public display for the first time ever.
For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
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Ce volume, illustré par une large sélection de pièces de la collection turinoise, se veut un outil pour fournir au lecteur et au visiteur du musée un regard sur la statue égyptienne. Les sept chapitres qui composent le livre sont... more
Ce volume, illustré par une large sélection de pièces de la collection turinoise, se veut un outil pour fournir au lecteur et au visiteur du musée un regard sur la statue égyptienne. Les sept chapitres qui composent le livre sont consacrés à l’identification des personnages représentés (le roi, les dignitaires, les dieux), à la fonction de ces statues au sein d’un contexte architectural (temple, tissu urbain, tombe), à la signification des diverses formes et attributs visibles sur une statue, à la valeur matérielle et idéologique des matériaux dans lesquelles le statues ont été sculptées, aux techniques employées pour les réaliser et les transporter, aux indices stylistiques permettant de les dater et de détecter les traces de réutilisation, d’usurpation et de mutilation volontaire.
Une attention particulière a été portée à la photographie des œuvres choisies pour enrichir le livre. La collaboration patiente et passionnée avec les photographes Pino et Nicola Dell’Aquila a permis la reproduction d’images accompagnant au mieux les arguments développés dans le texte. Loin d’être de simples illustrations, les photographies ont été conçues comme partie intégrante du discours et sont elles-mêmes à considérer comme objet d’étude. Le choix de la lumière cherche à reproduire, selon les cas, l’effet du soleil qui inondait la cour du temple dans laquelle se dressait un colosse ou au contraire la pénombre de la chapelle qui abritait une statuette. L’objectif cherche à adopter le point de vue qui devait être celui de l’Égyptien de l’Antiquité quand il « s’adressait » à la statue.
Une attention particulière a été portée à la photographie des œuvres choisies pour enrichir le livre. La collaboration patiente et passionnée avec les photographes Pino et Nicola Dell’Aquila a permis la reproduction d’images accompagnant au mieux les arguments développés dans le texte. Loin d’être de simples illustrations, les photographies ont été conçues comme partie intégrante du discours et sont elles-mêmes à considérer comme objet d’étude. Le choix de la lumière cherche à reproduire, selon les cas, l’effet du soleil qui inondait la cour du temple dans laquelle se dressait un colosse ou au contraire la pénombre de la chapelle qui abritait une statuette. L’objectif cherche à adopter le point de vue qui devait être celui de l’Égyptien de l’Antiquité quand il « s’adressait » à la statue.
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Focus on the statue of Ramesses II in the Museo Egizio, Turin.
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Focus on the statues of the goddess Sekhmet in the Museo Egizio, Turin.
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Gli amuleti nell'antico Egitto, illustrati dalla collezione del Museo Egizio di Torino
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Réflexions sur la symbolique du lion dans l'idéologie royale égyptienne et focus sur une statue de lion en grauwacke (Rome, Museo Barracco 20) de la XVIIIe dynastie, réinscrite au nom de Ramsès II
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The triad Cat. 767 in the Museo Egizio, Turin, depicts a king embraced by the gods Amun-Ra and Mut. This statue is inscribed for Ramesses II, but shows traces of repairs and a number of features characteristic of sculptures predating the... more
The triad Cat. 767 in the Museo Egizio, Turin, depicts a king embraced by the gods Amun-Ra and Mut. This statue is inscribed for Ramesses II, but shows traces of repairs and a number of features characteristic of sculptures predating the reign of this king. The authors therefore challenge the commonly held dating and interpretation of the piece. Notably, the article explores the following question: Are we confronted with a monument of the Eighteenth Dynasty, mutilated during the Amarna period, then re-carved and reinscribed under Ramesses II, or is this an original Ramesside production, accidentally damaged and restored? This case study also invites some reflections on the practice of reuse and re-activation of statues during antiquity, as well as on the so-called “usurpation” of monuments.
الملخص
الملخص: ثالوث رقم (Cat. 767) ، معروض بالمتحف المصري في تورينو، يصور هذا الثالوث ملكًا يحتضنه المعبود آمون رع والمعبودة موت. على الرغم من أن هذا التمثال نُحت للملك رمسيس الثاني إلاّ أنه تظهر عليه آثار إصلاحات وعدد من خصائص فن النحت التي تسبق عهد هذا الملك، ولهذا يحاول الباحثون في هذا اللمقال إيجاد التفسير الصحيح لتأريخ تلك القطعة حسب الخصائص الفنية الشائعة لمثل تلك المجموعات من خلال الإجابة على التساؤلات الآتية: هل أننا أمام نُصباً تذكارياً من الأسرة الثامنة عشرة، قد شُوِّه خلال فترة العمارنة أم أنه تم إعادة نحته ونقشه مرة أخرى خلال حكم الملك رمسيس الثاني؟ أو أن هذا التمثال يعود بالفعل إلى عصر الرعامسة، وقد تعرّض للتلف ورُمّم بعد ذلك؟ كما تقدم هذه الدراسة أيضاً بعض التوضيح حول إعادة توظيف التماثيل وإعادة إحيائها خلال العصور القديمة، وكذلك حول ما يسمى بـ”اغتصاب” الآثر ـ نسب الأثر لغير صاحبه ـ.
الملخص
الملخص: ثالوث رقم (Cat. 767) ، معروض بالمتحف المصري في تورينو، يصور هذا الثالوث ملكًا يحتضنه المعبود آمون رع والمعبودة موت. على الرغم من أن هذا التمثال نُحت للملك رمسيس الثاني إلاّ أنه تظهر عليه آثار إصلاحات وعدد من خصائص فن النحت التي تسبق عهد هذا الملك، ولهذا يحاول الباحثون في هذا اللمقال إيجاد التفسير الصحيح لتأريخ تلك القطعة حسب الخصائص الفنية الشائعة لمثل تلك المجموعات من خلال الإجابة على التساؤلات الآتية: هل أننا أمام نُصباً تذكارياً من الأسرة الثامنة عشرة، قد شُوِّه خلال فترة العمارنة أم أنه تم إعادة نحته ونقشه مرة أخرى خلال حكم الملك رمسيس الثاني؟ أو أن هذا التمثال يعود بالفعل إلى عصر الرعامسة، وقد تعرّض للتلف ورُمّم بعد ذلك؟ كما تقدم هذه الدراسة أيضاً بعض التوضيح حول إعادة توظيف التماثيل وإعادة إحيائها خلال العصور القديمة، وكذلك حول ما يسمى بـ”اغتصاب” الآثر ـ نسب الأثر لغير صاحبه ـ.
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In Autumn 2018, the decision was taken to remove two quartzite sphinxes from a modern reconstruction of a postern next to Bab el-Nasr, Cairo. The two statues were thus moved to the open-air museum of Matariya, where they were most... more
In Autumn 2018, the decision was taken to remove two quartzite sphinxes from a modern reconstruction of a postern next to Bab el-Nasr, Cairo. The two statues were thus moved to the open-air museum of Matariya, where they were most probably standing in the first place, on the site of the ancient Heliopolis. This article intends to provide documentation concerning the journey of these two pieces that await to be published. They represent key pieces in the understanding of the fate of the sculptural material once adorning the ancient city of Heliopolis.
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Bulletin archéologique des Écoles françaises à l’étranger, 2020 [en ligne].
Rapport d'activités de la Mission française des fouilles de Tanis en 2019.
Rapport d'activités de la Mission française des fouilles de Tanis en 2019.
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For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html Or contact the... more
For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
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For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html Or contact the scientific... more
For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
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This contribution to The British Museum Annual Egyptological colloquium 2016 proposes to approach the final step of the ‘life’ of Egyptian statues: their ‘death’. As demonstrated by several scholars and by the other papers in this volume,... more
This contribution to The British Museum Annual Egyptological colloquium 2016 proposes to approach the final step of the ‘life’ of Egyptian statues: their ‘death’. As demonstrated by several scholars and by the other papers in this volume, Egyptian images can be considered as powerful, meaningful, active agents. One of the best proofs of their importance in ancient Egyp- tian society is the very fact that they so often show signs of intentional mutilation, in specific spots on the figures. This article aims to review the different factors which may be at the origin of the state of damage of Egyptian statues, as we can see them today in museum collections or in archaeological sites.
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For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html Or contact the... more
For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
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For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html Or contact the... more
For the French version of the book: http://www.deboccard.com/fr/category/15960-Produit-9782875622310.html
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
For the English version of the book: http://www.deboccard.com/fr/category/16005-Produit-9782875622457.html
Or contact the scientific editors
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On 7 March 2017, the Egyptian-German Mission of Heliopolis found fragments of a colossal quartzite statue in the area of Suq el-Khamis, the western perimeter of the temple precinct of Matariya, where once stood a temple of Ramesses II.... more
On 7 March 2017, the Egyptian-German Mission of Heliopolis found fragments of a colossal quartzite statue in the area of Suq el-Khamis, the western perimeter of the temple precinct of Matariya, where once stood a temple of Ramesses II. These fragments show an exceptional quality of manufacturing. They belong to the largest statue known so far of a king of the 26th dynasty, as reported by the authors in the article.
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The Egyptian antiquities that have come down to us have often been severely mutilated. While the damage may be the result of natural and accidental causes, in very many cases the images show clear signs of intentional destruction. In the... more
The Egyptian antiquities that have come down to us have often been severely mutilated. While the damage may be the result of natural and accidental causes, in very many cases the images show clear signs of intentional destruction. In the Pharaonic era, images were regarded as powerful and significant, acting as substitutes for what was being represented. They were cared for, used in rituals, were relocated, sometimes transformed, and, in many cases, mutilated or destroyed. During the Christian period, they were considered relics of paganism and, as such, were vandalized. Pharaonic contexts also testify to several stages of image mutilation. A number of factors may have driven this practice: damnatio memoriae, looting, war damage, but sometimes more practical reasons, including materials being reused. In many situations, as perhaps in the case of “hiding places,” where the images were buried under the paving of a temple courtyard, the degradation of the religious materials may have been a means of depriving the object of its powers when it was taken from its architectural and ritual context. Mutilation would then have been a way to “deactivate” the image before it was buried and magically protected.
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Research Interests:
In Egyptology and in Art History in general, certain terms are often used vaguely because they lack a clear definition. In the context of studies on sculpture, the term WORKSHOP is one of them. Giving a definition is not an easy task, but... more
In Egyptology and in Art History in general, certain terms are often used vaguely because they lack a clear definition. In the context of studies on sculpture, the term WORKSHOP is one of them. Giving a definition is not an easy task, but it is a necessary one especially since in the case of art the scholar’s approach does not rely on scientific objectivity only, but also on perception, feeling and the “eye” of the art historian. While not all researchers might agree with the same definition, it is important to propose one for the terms employed. Several questions occur to the scholar who studies a corpus of artifacts or works of art. Where do the artisans work? How many people are involved? Do they specialize in a particular production or are they more versatile? In the case of sculptors, do they work in the quarries or in their proximity, or in studios connected to temples or palaces? Is a group of artisans sedentary or itinerant? Do sculptors all work for the king and the royal court or can we identify regional styles? Such questions arise when dealing with the corpus of the Late Middle Kingdom statuary. As this paper tries to demonstrate, it appears that different productions are identifiable based on three main factors: the material in which the statues are carved, the architectural context for which the statues are produced, and the clientele to which they are destined. These three factors are closely intertwined and determine the types of sculpture that were realized.
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The article focuses on three fragmentary New Kingdom royal statues from Thebes, now part of the collections of the Museo Egizio. Stylistic analysis allows the three pieces (a statue in the praying posture, a base with a foot, and a... more
The article focuses on three fragmentary New Kingdom royal statues from Thebes, now part of the collections of the Museo Egizio. Stylistic analysis allows the three pieces (a statue in the praying posture, a base with a foot, and a colossal nose, respectively “Cat. 1381”, “1382” and “3148”) to be assigned to specific kings, despite mutilations or transformations due to reuse.
Far from being only an exercise of anecdotic attribution, studying statue fragments can throw light on the whole corpus of a king or a period, as well as on the decoration program of a site and the dialogue between a sculpture and its architectural surroundings. The article places special emphasis on the theme of reuse, also commonly called “usurpation”. The implications of this practice are still largely obscure, but the intentional modification of features clearly demonstrates the importance that the ancient Egyptians assigned to style, an interest that twenty-first-century Egyptologists should continue to manifest.
ملخص البحث:
يركز هذا المقال على ث ث قطع من تماثيل ملكية تعود إلى عصر الدولة الحديثة من طيبه، وهى ا ن جزء من المجموعة المحفوظة فى المتحف المصري بتورينو. من خ ل تحليل ا سلوب الفنى، يمكن أن تنسب هذه القطع الث ثة (وهى تمثال فى الوضع التعبدى، قاعدة تمثال بالقدم، أنف ضخمة) وهى بالتتابع برقم كتالوج (1381، 1382، 3148) يمكن ان تنسب حد الملوك، رغم أن ما فيها من تشوهات و تغيرات فى هيئتها راجع عادة استخدامها، وبعيدا عن كونها عملية تنسيب للقطع أى معرفة نسبتها، فإن دراسة بقايا التماثيل تسمح بإلقاء الضوء على المجموعة أو ا عمال الفنية الكاملة لملك ما أو عصر ما با ضافة إلى النظام الزخرفى فى الموقع و كذلك الربط بين القطعة وما يحيط بها من عناصر معماريه. الهدف من هذا المقال هو صياغة أسئلة أكثر من إعطاء إجابات، كما يهدف لتشجيع الباحثين عطاء إقتراحاتهم، ويركز المقال بشكل خاص على فكرة إعادة ا ستخدام والتى تسمى عادة ا غتصاب، والظروف المصاحبة لهذه الظاهرة مازالت بشكل كبير غامضة بالنسبة لنا، ولكن التغيير المتعمد للم مح يبين بوضوح ا همية التى كان يوليها المصريون القدماء ل سلوب الفنى، وهو إهتمام بد لعلماء المصريات فى القرن 21 أن يستمروا فى اج ئه وتوضيحه.
Far from being only an exercise of anecdotic attribution, studying statue fragments can throw light on the whole corpus of a king or a period, as well as on the decoration program of a site and the dialogue between a sculpture and its architectural surroundings. The article places special emphasis on the theme of reuse, also commonly called “usurpation”. The implications of this practice are still largely obscure, but the intentional modification of features clearly demonstrates the importance that the ancient Egyptians assigned to style, an interest that twenty-first-century Egyptologists should continue to manifest.
ملخص البحث:
يركز هذا المقال على ث ث قطع من تماثيل ملكية تعود إلى عصر الدولة الحديثة من طيبه، وهى ا ن جزء من المجموعة المحفوظة فى المتحف المصري بتورينو. من خ ل تحليل ا سلوب الفنى، يمكن أن تنسب هذه القطع الث ثة (وهى تمثال فى الوضع التعبدى، قاعدة تمثال بالقدم، أنف ضخمة) وهى بالتتابع برقم كتالوج (1381، 1382، 3148) يمكن ان تنسب حد الملوك، رغم أن ما فيها من تشوهات و تغيرات فى هيئتها راجع عادة استخدامها، وبعيدا عن كونها عملية تنسيب للقطع أى معرفة نسبتها، فإن دراسة بقايا التماثيل تسمح بإلقاء الضوء على المجموعة أو ا عمال الفنية الكاملة لملك ما أو عصر ما با ضافة إلى النظام الزخرفى فى الموقع و كذلك الربط بين القطعة وما يحيط بها من عناصر معماريه. الهدف من هذا المقال هو صياغة أسئلة أكثر من إعطاء إجابات، كما يهدف لتشجيع الباحثين عطاء إقتراحاتهم، ويركز المقال بشكل خاص على فكرة إعادة ا ستخدام والتى تسمى عادة ا غتصاب، والظروف المصاحبة لهذه الظاهرة مازالت بشكل كبير غامضة بالنسبة لنا، ولكن التغيير المتعمد للم مح يبين بوضوح ا همية التى كان يوليها المصريون القدماء ل سلوب الفنى، وهو إهتمام بد لعلماء المصريات فى القرن 21 أن يستمروا فى اج ئه وتوضيحه.
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The reign of Senwosret III lends itself particularly well to the study of the use of different materials in statuary. The vast corpus of this sovereign and of his contemporaries, high officials or characters of lower rank, is sufficiently... more
The reign of Senwosret III lends itself particularly well to the study of the use of different materials in statuary. The vast corpus of this sovereign and of his contemporaries, high officials or characters of lower rank, is sufficiently large to allow drawing up statistics. Stylistic comparison, dimensions, inscriptions and ar- chaeological contexts bring elements to understand the reasons, which encouraged ancient Egyptians to use such a variety of stones of diverse color, hardness and provenance.
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Research Interests:
Publication / entry in an archaeological report of a greywacke royal head excavated in Tell Hazor, in stratum XIII, in the debris of the final destruction of the site (mid-thirteenth century BCE)
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The Late Middle Kingdom offers a large corpus of both royal and private statuary which enables investigation of several issues concerning the production of sculpture in ancient Egypt. In the framework of this volume consecrated to... more
The Late Middle Kingdom offers a large corpus of both royal and private statuary which enables investigation
of several issues concerning the production of sculpture in ancient Egypt. In the framework of this volume
consecrated to changes and innovations in Middle Kingdom art, this contribution concentrates on some
aspects of stylistics. The first part of the article illustrates the intention of each sovereign of this period to be
characterized by an individualizing “portrait” by focusing on the attribution of a group of statues to King
Amenemhat-Sobekhotep, first sovereign of the Thirteenth Dynasty. The second part presents some features
which suggest the existence of several contemporary sculpture workshops, apparently linked to the choice of
materials and to the status of the individuals represented.
of several issues concerning the production of sculpture in ancient Egypt. In the framework of this volume
consecrated to changes and innovations in Middle Kingdom art, this contribution concentrates on some
aspects of stylistics. The first part of the article illustrates the intention of each sovereign of this period to be
characterized by an individualizing “portrait” by focusing on the attribution of a group of statues to King
Amenemhat-Sobekhotep, first sovereign of the Thirteenth Dynasty. The second part presents some features
which suggest the existence of several contemporary sculpture workshops, apparently linked to the choice of
materials and to the status of the individuals represented.
Research Interests:
The statuary of Ramesside kings includes a large number of “usurped” pieces. With the original sovereign’s name erased, the statue becomes, thanks to its new inscription and the modification of its facial features, a new Ramesside... more
The statuary of Ramesside kings includes a large number of “usurped” pieces. With the original sovereign’s name erased, the statue becomes, thanks to its new inscription and the modification of its facial features, a new Ramesside monument. This article presents two study cases, which allow us to date from the Late Middle Kingdom colossal statues bearing the names of Ramesses II and Merenptah.
In some instances, the statue may have been deeply modified, as for example in the case of the “smaller colossus” from Heracleopolis Magna (Cairo JE 45976). The original surface is almost completely gone and only the statue’s proportions and the style of some details, such as the knees, allow us to detect a reuse. In other cases, the usurpation process is more subtle, as one can observe on the “larger colossus” from the same site (JE 45975) or two sphinxes from Tanis (Paris A 21 and Cairo CG 1197), which can be dated more precisely.
Le répertoire statuaire des souverains ramessides comprend un grand nombre d’œuvres « usurpées ». Le nom du souverain originellement représenté est effacé ; la statue devient, à la fois par son inscription et par sa physionomie modifiée, un nouveau monument ramesside. Cet article présente deux cas d’étude permettant de dater de la fin du Moyen Empire des statues colossales au nom de Ramsès II et Mérenptah.
La statue peut être modifiée en profondeur, comme dans le cas du « petit » colosse d’Héracléopolis Magna (Le Caire JE 45976). La surface originelle a alors presque complètement disparu, et seules les proportions et le style de certains détails, tels que le traitement des genoux, permettent de reconnaître une réutilisation. Dans d’autres cas, l’usurpation est plus subtile, comme il est possible de l’observer sur le grand colosse du même site (JE 45975), ou pour deux sphinx de Tanis (Paris A 21 et Le Caire CG 1197), qu’il est possible de dater avec une certaine précision.
In some instances, the statue may have been deeply modified, as for example in the case of the “smaller colossus” from Heracleopolis Magna (Cairo JE 45976). The original surface is almost completely gone and only the statue’s proportions and the style of some details, such as the knees, allow us to detect a reuse. In other cases, the usurpation process is more subtle, as one can observe on the “larger colossus” from the same site (JE 45975) or two sphinxes from Tanis (Paris A 21 and Cairo CG 1197), which can be dated more precisely.
Le répertoire statuaire des souverains ramessides comprend un grand nombre d’œuvres « usurpées ». Le nom du souverain originellement représenté est effacé ; la statue devient, à la fois par son inscription et par sa physionomie modifiée, un nouveau monument ramesside. Cet article présente deux cas d’étude permettant de dater de la fin du Moyen Empire des statues colossales au nom de Ramsès II et Mérenptah.
La statue peut être modifiée en profondeur, comme dans le cas du « petit » colosse d’Héracléopolis Magna (Le Caire JE 45976). La surface originelle a alors presque complètement disparu, et seules les proportions et le style de certains détails, tels que le traitement des genoux, permettent de reconnaître une réutilisation. Dans d’autres cas, l’usurpation est plus subtile, comme il est possible de l’observer sur le grand colosse du même site (JE 45975), ou pour deux sphinx de Tanis (Paris A 21 et Le Caire CG 1197), qu’il est possible de dater avec une certaine précision.
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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,... more
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.
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La statuaire privée sous le règne de Sésostris III
- contextes et fonctions
- le roi et les dignitaires
- le pouvoir et les apparences
- contextes et fonctions
- le roi et les dignitaires
- le pouvoir et les apparences
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Royal Statuary of the 13th-17th dynasties
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Most Egyptian statues have reached us in a damaged condition. In some cases, fragments are all we have. These damages may be due to natural causes, such as earthquakes, or human-induced causes, such as fires, building demolitions, or... more
Most Egyptian statues have reached us in a damaged condition. In some cases, fragments are all we have. These damages may be due to natural causes, such as earthquakes, or human-induced causes, such as fires, building demolitions, or military incursions. In many cases, statues bear evident traces of intentional smashing of specific parts, particularly the nose, the mouth, the arms, and the uraeus.
Statues seem to have been damaged in different periods throughout history, and for different reasons: in modern times by antiquities robbers in order to remove parts that would have been easier to sell or carry (mainly the head), in Late Antiquity and beyond because of their pagan significance, and even in pharaonic times, as various archaeological contexts attest.
In this paper, some cases of ancient destruction will be discussed, in order to try to understand in what period(s), how and for what reasons statues were damaged or destroyed.
Statues seem to have been damaged in different periods throughout history, and for different reasons: in modern times by antiquities robbers in order to remove parts that would have been easier to sell or carry (mainly the head), in Late Antiquity and beyond because of their pagan significance, and even in pharaonic times, as various archaeological contexts attest.
In this paper, some cases of ancient destruction will be discussed, in order to try to understand in what period(s), how and for what reasons statues were damaged or destroyed.
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Research Interests:
A large number of very different materials are used in sculpture. The reason for choosing one or the other is not due to chance. Some stones are very hard and difficult to sculpt, like granodiorite or quartzite; some are quarried in... more
A large number of very different materials are used in sculpture. The reason for choosing one or the other is not due to chance. Some stones are very hard and difficult to sculpt, like granodiorite or quartzite; some are quarried in particularly far deposits in the desert, like grauwacke or gneiss.
Undoubtedly, both economic and symbolic values were strong enough to push Egyptian sculptors to chose them. This value depends on the color of the stone, on its hardness, and on its origin. This choice may also depend on a privilege. Some stones are indeed reserved to the king or the upper elite, while other are mainly used for statues of the lower elite. The choice of materials is thus by no means insignificant. Clearly it depends on the context in which the statue was installed, as well as on its size and the status in the hierarchy of the person represented, criteria themselves related to the context of installing statues.
It is then particularly important to train to identify materials that can be found in museums and sites.
This allows identifying the source of the material and its hardness, and associating the object with other monuments carved from the same material.
Undoubtedly, both economic and symbolic values were strong enough to push Egyptian sculptors to chose them. This value depends on the color of the stone, on its hardness, and on its origin. This choice may also depend on a privilege. Some stones are indeed reserved to the king or the upper elite, while other are mainly used for statues of the lower elite. The choice of materials is thus by no means insignificant. Clearly it depends on the context in which the statue was installed, as well as on its size and the status in the hierarchy of the person represented, criteria themselves related to the context of installing statues.
It is then particularly important to train to identify materials that can be found in museums and sites.
This allows identifying the source of the material and its hardness, and associating the object with other monuments carved from the same material.
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Les matériaux utilisés en statuaire sont très divers. On observe différentes variétés de couleur, de dureté, de provenance. Certains sont très répandus, comme la granodiorite, le calcaire et la stéatite ; d’autres, plus exceptionnels,... more
Les matériaux utilisés en statuaire sont très divers. On observe différentes variétés de couleur, de dureté, de provenance. Certains sont très répandus, comme la granodiorite, le calcaire et la stéatite ; d’autres, plus exceptionnels, tels que l’obsidienne, le gneiss ou l’anhydrite. Les raisons qui ont poussé aux choix de l’une ou l’autre de ces pierres peuvent être diverses. Elles sont donc choisies sciemment, pour leur couleur, leur dureté et peut-être aussi leur provenance, critères qui leur confèrent leur prestige et leur valeur symbolique. C’est ainsi que sont choisis le granit, le quartzite, la calcite/albâtre, le gneiss et la granodiorite.
Certains matériaux, enfin, peuvent être sélectionnés en raison de leur facilité à être sculptés et de leur capacité à être transformés en pierres « nobles » : c’est le cas de la stéatite, dont la cuisson confère l’aspect des prestigieuses pierres dures et sombres.
Certains matériaux, enfin, peuvent être sélectionnés en raison de leur facilité à être sculptés et de leur capacité à être transformés en pierres « nobles » : c’est le cas de la stéatite, dont la cuisson confère l’aspect des prestigieuses pierres dures et sombres.
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Research Interests:
Tant d’images d’époque pharaonique nous sont parvenues fragmentaires. Pourquoi le nez, les mains ou les organes génitaux des figures humaines, les uraei et les barbes postiches des représentations royales, sont-ils si souvent manquants ?... more
Tant d’images d’époque pharaonique nous sont parvenues fragmentaires. Pourquoi le nez, les mains ou les organes génitaux des figures humaines, les uraei et les barbes postiches des représentations royales, sont-ils si souvent manquants ? Certes, toute partie saillante d’une effigie de pierre, naturellement fragile, est susceptible d’être accidentellement endommagée, mais ces parties du corps sont aussi chargées d’une signification importante. Archéologues, égyptologues, historiens de l’art ou restaurateurs, nous sommes formés à reconstituer l’aspect original des pièces étudiées. Cependant, aborder l’œuvre précisément en tant qu’objet altéré, étudier ses blessures, le replacer dans son contexte et explorer les causes qui ont pu être à l’origine de ces dommages constituent aussi des pistes d’investigation révélatrices. Un même objet peut même porter les stigmates de plusieurs phases du passé. Identifier et dater ces différentes traces, distinguer leurs causes, chercher les raisons de la modification ou de l’absence de certaines parties d’une image nous permettent de réfléchir sur la perception que les individus de différentes périodes ont pu en avoir d'un objet. Ses transformations sont susceptibles d’être autant de témoins d’épisodes non seulement de sa propre histoire, mais aussi de l’Histoire humaine.
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This article is initially a review of Lisa Saladino Haney's book "Visualizing Coregency: An Exploration of the Link between Royal Image and Co-Rule during the Reign of Senwosret III and Amenemhet III" that was published in 2020. Haney... more
This article is initially a review of Lisa Saladino Haney's book "Visualizing Coregency: An Exploration of the Link between Royal Image and Co-Rule during the Reign of Senwosret III and Amenemhet III" that was published in 2020. Haney Saladino's aim was twofold: to seek to demonstrate the existence of a 20-year coregency between the two Dynasty XII rulers through the statuary that was yielded to us. At the same time, Saladino Haney attempted to show that this alleged coregency had an impact on the sculptural production of this period. This review-article intends to provide a reflection on the validity of the approach and methodology proposed by the author, as well as on some broader issues concerning the use of artistic productions to advance historical theory.