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A TYPOLOGICAL STUDY of EGYPTIAN WOODEN STATUES of the OLD KINGDOM by Julia Carol Harvey Ph. D. University College London

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A TYPOLOGICAL STUDY of EGYPTIAN WOODEN STATUES of the OLD KINGDOM by Julia Carol Harvey Ph. D. University College London 1, -, A TYPOLOGICAL STUDY OF EGYPTIAN WOODEN STATUES OF THE OLD KINGDOM by Julia Carol Harvey Ph. D. University College London IBIBL LUNIVIV _JLONDON ALL MISSING PAGES ARE BLANK IN ORIGINAL Abstract: A corpusof 217 wooden statuesdating from the Egyptian Old Kingdom is examined and discussedin detail. 127statues have been dated to individual reigns within the Old Kingdom and are placedin chronologicalorder (CatalogueA). They form the basisof a chronologicalfeature list. Using the dating criteria from the featurelist, and by drawing parallels with CatalogueA, a further 75 statues(Catalogue B) have been assignedto individual reigns within the Old Kingdom. New features from CatalogueB are then addedto the chronologicalfeature list. CatalogueC comprisesstatues which have no parallelsin CatalogueA, but do sometimeshave a parallel in CatalogueB, andwhich, in the absenceso far of evidenceto the contrary,may be assignedto the Old Kingdom. Appendix I discussesthe texts inscribed on 51 of the statues.These consist of the names and titles of the tomb owner. The texts are usually inscribed on the bases, but in two instancesthey are on the skirt, and once on the sceptre.The titles are examined in detail to see whether their date range is consistent with the dates suggested in the text. Unfortunately the inscriptions give no further dating assistance.The phrase un3hVI,hr is examined in detail and it emergesthat its use changedover time. Appendix 2 is a discussion of the material of the statues,as far as this is known. Only 8 statueshave been scientifically analysed, a further 4 have been identified visually, and another 2 have unconfirmed analyses. From this meagre information it emerges that indigenous woods were preferred to imported woods. The most popular indiginous woods are sycamore and acacia. Appendix 3 is a tableof the datingfeatures based on CatalogueA which, whenapplied to statuesnot in the corpus,can assistin assigninga dateto them. 3 TABLE OF CONTENTS Page Abstract 3 ........................... Table Contents 5 of ........................ Acknowledgments 7 ....................... Chapter1: Introduction 9 ................ ..... Chapter2: The FeatureList 15 ............... ..... Introduction 15 ................ ..... Glossary 17 .................. ..... Coiffures Wigs 20 and .............. ..... Male 20 ................. ..... Female 27 ................ ..... Dress 32 ................... ..... Male 32 ................. ..... Female 41 ................ ..... Arms 44 ................... ..... Male 44 ................. ..... Female 56 ................ ..... Accessories 59 ................. ..... Jewellery 66 ................ ...... Stance 71 .................. ...... Male 71 ................ ...... Female 75 ............... ...... The Dating Statuesin Catalogue A..... 78 Chapter 3: of the ...... The Statuesin Catalogue B..... 114 Chapter 4: Dating of the ..... The Dating Statuesin CatalogueC..... 136 Chapter 5: of the ..... Chapter 6: The Catalogues 141 .............. ..... CatalogueA............. 143 ..... CatalogueB..;.......... 271 ..... Catalogue C............. 347 ..... Chapter 7: Conclusions 363 ............... ..... 5 The Inscriptions 365 Appendix 1: .............. .... hi 367 h0hu, ............... .... Titles 369 ................ .... Appendix2: Wood Types 383 ............... .... Indigenous 383 .............. .... Foreign 385 ............... .... Appendix3: FeatureCross-References 386 ........... .... Male 386 ................ .... Female 393 ............... .... Appendix4. Concordance Museum CatalogueNos 395 of and ..... .... Indices 400 .. ..................... .... 1. PersonalNames 400 ................. .... 2. Titles 402 ..................... .... 3. Sites 403 ..................... .... Concordance the Plates CatalogueNos 405 of andthe ........ .... List the Sources Plates 412 of of the .............. .... Abbreviations 419 .................... .... Bibliography 421 ..................... .... Figures 430 .. ..................... .... 430 Fig. la Coiffures andWigs, Male ....... .... ) 431 Fig. lb Coiffuresand Wigs, Male (cont. ..... .... ) 432 Fig. Ic Coiffures and Wigs, Male (cont. ..... .... 432 Fig. 2a Coiffures and Wigs, Female ....... .... (cont.) 433 Fig. 2b Coiffures and Wigs, Female .... .... 434 Fig. 3 Dress,Male ............ .... 435 Fig. 4 Dress,Female ............ .... Male 435 Fig. 5 Stance, ............ .... StandingMale 436 Fig. 6a Arms, ......... .... Arrns, StandingMale (cont.) 437 Fig. 6b ...... .... Arms, SeatedMale 437 Fig. 7 ..... ..... .... Plates 6 ACKNOWLEDGEMENTS The compilation of the data for this study was only possible thanks to the help and assistance of many museum curators, too numerous to mention individually, but none the less warmly appreciated.As far as possible, the statuesin this study were viewed by me personally. I was able to visit the Cairo Museum in 1986-7 thanks to a Petrie Fellowship, and I was able to visit twenty-three museums in the United States in two months in 1988 thanks to the EES Centenary Studentship. Most of the European institutions were visited individually by me over a period of five years. The few institutions I was unable to visit were most kind in supplying information about, and sometimes photographs of, the pieces in their possession.I wish to extend my thanks to all the museum curators and assistantswho welcomed me and did their best to facilitate my researches,and who without exception permitted me to take study photographs.This was not always easy for them. Several museumswere unable to open their display cases, and the subsequent photographs are not always top quality,, lighting conditions varied dramatically, as did the locations of the statueswithin the cases.The responsibility for the quality of the illustrations is mine alone, and I am deeply grateful to Erik Tack who scanned my photographs into his computer and thus assisted me in attaining the best quality possible. Of the many people who have encouraged me in my work, two in particular deserve my heartfelt thanks: Dr David Dixon, my supervisor, for many hours of discussion, and my husband, Dr Jacobus van Dijk, who offered constant support and encouragement.The beautiful handcopiesof the texts and the figures are drawn by him - the natural reaction of an artist to the spider and inkpot daubs which were my own attempts - and which took up valuable time he could ill sparefrom his own researches. 7 CHAPTER1. Introduction The aim of this study of private wooden statuaryl of the Old Kingdom is to establish criteria for dating statues which have no external dating criteria or provenance. The basis of the study is a catalogue of one hundred and twenty-seven statueswhich can be dated by external dating criteria (Catalogue A). A chronological feature list, i. e. a list of the features present on the statues, has been drawn up from from Catalogue A, and this is used as the basis for dating statues with no external dating criteria (CatalogueC, B). 2 It is of course obvious that Catalogue A, and therefore the feature list, cannot be comprehensive for the period. The nature of wood makes it susceptible to destruction and many of the statuesfrom the period have not survived. It may, however, be regarded 3 as reasonably representative. On the basis of a comparison of three mainfeatures, Coiffure, Dress, and Arms, the seventy-five statues of Catalogue B are placed in a relative chronological order, enabling the additional featuresto be relatively dated as well. Where there is no match for three features, two are used. It has not proved possible to date on the basis of one feature only. A third catalogue, Catalogue C, comprises fifteen statues which have no parallels with Catalogue A, but which can, in some cases, be paralleled by statuesin Catalogue B. Statueswhich must be supposed to date to the Old Kingdom but do not parallel any statue from either Catalogue A or Catalogue B are also in Catalogue C. The chronology followed throughout the study is that given by Baines and Malek in The Atlas of Ancient Egypt, p. 36-37. More precise divisions in time, that is, within specific reigns, follow Harpur, Decoration, p. 34. The phrase 'the End of the Old 1 Under private wooden statuary is understood any statue of the tomb owner, male or female, and the wife or husbandof the same.It doesnot include royal statuesof wood from this period, statues of gods, or statuesof domestic servantswhich began to accompanythe burials towards the end of DynastyVI. 2 This has been achieved by comparing the results of a number of studies of Old Kingdom material: Eaton-Krauss, Representations; Harpur, Decoration; Seidlmayer, Graberfelder; Strudwick, Administration; Vandier, Manuel; and Wood, Sculpture are the most frequently cited. Cherpion, Mastabas, has been used with caution as it has emergedthat ordinary representationsof the tomb owner follow a different progressionof featuresto statuesor representationsof statues(see below, p. ý). 3 The feature sequenceis supported by examples from the repertory of representationsof statues as listed by Eaton-Krauss, Representations,and by examplesfrom the repertory of stonestatues. 9 Kingdom' is usedto describethe period after the deathof Pepi11, Baines and Malek's 7th/8thDynasty. It has not been the intention of this study to examine the question of the actual function of the statuesin the tomb. This hasbeen discussed by others.4 JamesP. Allen in his article 'Funerarytexts and their meaning'in Mummies & Magic The Funerary Arts ofAncient Egypt, 38-49, especially43-44, gives a very succinctdiscussion
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