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Copper alloy
Ex collection:
Solid-cast
by the lost wax method, four thick tangs project from under the knees and
from below the toes for insertion into the stand. The arms, now missing,
cast separately and fixed by means of tangs into the longitudinal grooves
inset from the shoulders down (see bust of Amenemhat, cat. no. 36). Rising
from the crown of the head a recessed rim to enable fixing the royal headcloth,
now missing. Gold inlay on both temples. The apron [1]
formerly inlaid with silver [2]. A round hole
on the upper outer right thigh probably for fixing a rivet, now missing,
to hold the apron in place; traces possibly of a now filled hole on the
Worthy of
note are two round holes above the nipples and a round hole on the upper
centre of the back, probably to enable steadying the headcloth by its two
front lappets and its central plait down the back.
Just above
the knees on the inner thighs two small round holes face each other, 2
cm apart. In view of the superlative polish and black patina of the head,
torso, legs and feet, it is certain that these parts were not sheathed
with any precious metal. This writer does not think that the two holes
related to the casting process, thus their purpose remains open to question.
Condition:
cleaned manually, revealing a superbly polished original mirror-like surface
of a shiny silvery black [3] sheen. Abraded and
with blows here and there. The left eye damaged as well as the cheek; blows
to the chin, centre of mouth and tip of nose; the right nipple smashed
flat. Both small toes sliced off. The inside of the shoulder slots, the
recessed rim on the crown of the head, the tangs and the surface between
and inside the lower legs uncleaned. Most of the tang under the right foot
broken off in antiquity and missing.
The most
salient physical characteristic of Amenemhat III is his elephant-like ears.
On this statue they are very similar to those of his head on the bust (cat.
no. 36), though here they are clearly visible since his headcloth is missing.
His gaze is extraordinary as he looks out towards the distant outer world
of the gods to whom he must be making an offering. Unlike the expression
that emanates from his rock crystal eyes (cat. no. 36), which is a manifest
projection of absolute power, here as high priest he officiates to a power
greater than himself. His arms were possibly extended in offering maybe
holding vessels, as for instance in a later figure of a king [4]
in Berlin. This latter figure would also seem to explain the two little
holes mentioned above on the inner thighs, as they may have served to fix
a lappet that hung below his apron.
The finish
and fluid sensitivity of the body, typical of the closed forms and attention
to surface of Egyptian sculpture, is a sheer glory, a sublime expression
of Middle Kingdom art.
Published:
Clayton,
P.A.: Chronicle of the Pharaohs. The Reign-by-Reign Record of the Rulers
and Dynasties of Ancient Egypt (London, 1994), p. 6 ill.
Mentioned:
1
For a very similar apron, the surface likewise recessed by about 1 mm,
see the statue of Amenemhat in Munich, Staatliche Sammlung Ägyptischer
Kunst ÄS 6982 (Schoske, S.: MüJb, 3. Folge, vol. XXXIX,
1988, pp. 207-210).
2
A trace of which is still visible slightly left and below his belly-button
on the recessed part. It would seem that the Egyptians did not always differentiate
between gold and silver which they "evidently regarded as two forms of
the same mineral, distinguished only by colour, referring to the latter
as 'white gold'" (Harris, J.R.: Lexicographical Studies in Ancient Egyptian
Minerals <Berlin, 1961>, p. 41). It was comparatively rare and was
considered more valuable than gold, several times its value, until the
end of the Middle Kingdom (Lucas, A., Harris, J.R.: Ancient Egyptian
Materials and Industries <4th ed. London, 1962>, pp. 246-248). Silver
on Egyptian objects is seldom pure since it was used as an alloy with gold
and copper; without analysis it is difficult to differentiate between silver
and electrum.
3
Purple black patina is attested in Egypt since the 18th Dynasty, called
hmty
km, known afterwards as the famous Corinthian bronze (aes), and later
in Japan as shakudo. In Egypt it results from the metallurgical
use of a copper alloy with the addition of a little silver (about 1%) and
gold (1-2 %) followed by a surface treatment (iosis). In Japan the
percentages vary and the treatment is done using an aqueous solution containing
various substances, e.g. verdigris, copper sulphate, alum, or some sulphur
and arsenic minerals. Though one cannot determine visually whether we have
here hmty km, its use for this King officiating as a high priest
would be highly appropriate since this material was essentially employed
for ritual objects and is thought to have been produced mainly in temple
workshops. See Giumlia-Mair, A.R., Craddock, P.T.: Corinthium aes. Das
schwarze Gold der Alchimisten, Antike Welt, 24. Jg., Sondernummer 1993;
id.: Hsmn-Km, Corinthian bronze, shakudo: black-patinated bronze in
the ancient world, in: La Niece, S., Craddock, P. (ed.): Metal Plating
and Patination. Cultural, Technical and Historical Developments (London,
1993), pp. 101-127; id.: Irogane Alloys in Classical Antiquity, Bulletin
of the Metals Museum, vol. 20, November, 1993-II, pp. 3-17.
4
Ägyptisches Museum 10645: Priese, K.-H. (ed.): Das Ägyptische
Museum Berlin (Mainz, 1991), no. 33, p. 52.
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Small 3-D 272K Large 3-D 664K
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