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Integration of Foreigners in Egypt the Relief of Amenhotep II Shooting Arrows at a Copper Ingot and Related Scenes

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Integration of Foreigners in Egypt the Relief of Amenhotep II Shooting Arrows at a Copper Ingot and Related Scenes Journal of Egyptian History �0 (�0�7) �09–��3 brill.com/jeh Integration of Foreigners in Egypt The Relief of Amenhotep II Shooting Arrows at a Copper Ingot and Related Scenes Javier Giménez Universitat Politecnica de Catalunya (Barcelona-Tech) [email protected] Abstract The relief of Amenhotep II shooting arrows at a copper ingot target has often been considered as propaganda of the king’s extraordinary strength and vigour. However, this work proposes that the scene took on additional layers of significance and had different ritual functions such as regenerating the health of the king, and ensuring the eternal victory of Egypt over foreign enemies and the victory of order over chaos. Amenhotep II was shooting arrows at an “Asiatic” ox-hide ingot because the ingot would symbolize the northern enemies of Egypt. The scene belonged to a group of representations carved during the New Kingdom on temples that showed the general image of the king defeating enemies. Moreover, it was linked to scenes painted in pri- vate tombs where goods were brought to the deceased, and to offering scenes carved on the walls of Theban temples. The full sequence of scenes would describe, and ritual- ly promote, the process of integration of the foreign element into the Egyptian sphere. Keywords Amenhotep II stela – ox-hide ingot – offering scenes – scenes of goods brought to the deceased * I would like to thank the anonymous reviewers for their valuable comments which led me to consider an additional meaning of the scene in Min’s tomb (TT109) and the possibility that the Egyptians regarded the ox-hide ingot as a marvel from a land beyond Egypt’s sphere of control. © koninklijke brill nv, leiden, ���7 | doi �0.��63/�874�665-��340036Downloaded from Brill.com10/02/2021 08:14:48AM via free access 110 Giménez Introduction In New Kingdom Egypt, different representations of the king defeating Egypt’s enemies and emphasizing his role as military commander were depicted in tombs and on temple walls. The representations aimed to glorify the ruler by showing his superhuman powers and to highlight the divine character of the king’s authority while supporting the Egyptian imperialist policy of conquest during the New Kingdom.1 These scenes had an apotropaic function, i.e., a pro- tective function against foreigners opposing the king and, by extension, oppos- ing Egypt. Actually, the scenes depicted the triumph of order (represented by the king) over chaos (represented by the foreign enemies, the “others”). The king kept chaos out of Egypt by conquering, and scenes of the king smiting his enemies served as icons of legitimate violence against Egypt’s en- emies.2 The victory of the king over Egypt’s enemies was represented through different images, such as: (1) The king smiting his enemies, an image that appeared in the Naqada II period and was carved on the walls of Egyptian temples until the Graeco- Roman period. In the depiction, the king wielded a mace in his raised right hand and seized the hair of the enemies with his other hand;3 (2) The king as a sphinx defeating foes; (3) The king supervising the counting of captured enemies; (4) Rows of enemies brought by commanders to the presence of the king or brought by the king to the presence of a god. The adoption of chariot warfare technology at the start of the New Kingdom probably boosted variations of the scenes representing the victory of the king, which were later repeated for the entirety of the New Kingdom.4 In such scenes, the king on a chariot was shooting arrows either at a group of foreign enemies, a foreign city, animals in hunting scenes or, as in the Amenhotep II stela, at a copper ingot target. As in the other scenes representing the victory of 1 Śliwa, “Some Remarks concerning Victorious Ruler Representations in Egyptian Art”; Cornelius, “Ancient Egypt and the Other,” 326–30. 2 Cornelius, “Ancient Egypt and the Other,” 326. 3 Cornelius, “Ancient Egypt and the Other,” 326. 4 Spalinger, “Egyptian New Kingdom triumphs”; Swan Hall, The pharaoh smites his enemies, 1–55. Journal of EgyptianDownloaded History from 10 Brill.com10/02/2021 (2017) 109–123 08:14:48AM via free access Integration of Foreigners in Egypt 111 the king over the enemies, the chariot scenes aimed to emphasize the military or athletic skills of the king and the victory of order over chaos.5 The main objective of this work is to propose that scenes where the king shoots arrows at copper ingots also incorporate the element of the king’s vic- tory over Egypt’s enemies and are intimately linked to the concept of Egyptian kingship during the New Kingdom. The Target on the Karnak Amenhotep II Stela: The Foreign Element The aim of this work is to provide a new interpretation of the scene that shows Amenhotep II on a chariot shooting arrows at a target, and which was carved on a red granite stela found inside the third pylon of the Karnak temple6 (Fig. 1). In the relief, the target was a copper ingot nowadays known as an ox- hide ingot due to its shape. The Great Sphinx Stela of Amenhotep II found at Giza described the targeted ingots and hinted at their foreign provenance: “he [Amenhotep II] found erected for him four targets of Asiatic copper, of one palm in thickness.”7 The Great Sphinx Stela also described how the king was able to pierce the ingots with arrows shot from his bow while standing on a galloping chariot.8 The scene was interpreted as an expression of the strength and ath- letic capabilities of Amenhotep II.9 In the last forty years, the actual geographical provenance of ox-hide ingots has been the object of several studies based on the determination of the lead Figure 1 The Amenhotep II stela at Karnak Temple (Luxor Museum, J. 129). Drawing after Chevrier, “Rapport sur les travaux de Karnak (1927–1928),” 126. 5 Sacco, “Art and imperial ideology,” 212. 6 Chevrier, “Rapport sur les travaux de Karnak (1926–1927),” 142 and “Rapport sur les travaux de Karnak (1927–1928),” 126. 7 Varille, “La grande stèle d’Aménophis II à Giza,” 35; Tildesley, Egyptian Games and Sports, 37. 8 Varille, “La grande stèle d’Aménophis II à Giza,” 35. 9 Van de Walle, “Les rois sportifs de l’ancienne Égypte.” Journal of Egyptian History 10 (2017) 109–123 Downloaded from Brill.com10/02/2021 08:14:48AM via free access 112 Giménez content of ox-hide ingots found in different sites around the Mediterranean10 and, in particular, in shipwrecks off the coasts of south Anatolia and Israel.11 The analysis of the chemical and lead isotopic composition of the only single fragment of an ox-hide ingot found in Egypt, in Qantir Pi-Ramesses, estab- lished that it was made with copper from the Apliki mines in central Cyprus.12 The chemical analysis of ox-hide ingots found outside Egypt confirmed that the ox-hide ingots traded in the Mediterranean during the New Kingdom came mainly from Cyprus,13 although the Lavrion mines near Athens could be the source of some ox-hide ingots of the 15th–13th centuries BCE.14 Some fragments of ox-hide ingots found in shipwrecks dating to the 13th century BCE did not proceed from Cyprus and are believed to be a part of a minor trade that did not involve the governments. In spite of the Cypriot (or Greek) origin of the copper used for fabricating the ingots and the place of manufacture, Syrian merchants could have monopolised their trade,15 and ingots could have ar- rived in Egypt also with diplomatic or prestige purposes. Ox-hide ingots were depicted in Egyptian tombs and temples during most of the New Kingdom. The first known depiction in Egypt is found on the walls of Theban Tomb (TT) 119 of an unknown official who lived during the reigns of Hatshepsut and Thutmosis III. The last representations date back to the reign of Ramses III. Two of them were carved on the walls of his funerary temple at Medinet Habu,16 and a third one was painted on the walls of his tomb in the Valley of the Kings (KV11).17 The features and costumes of the bearers of ox-hide ingots, together with the texts accompanying the depictions in private tombs, reflect the provenance of the ingots from the Egyptian point of view. The images convey three dif- ferent sources, which coincide with those determined by modern techniques: Greece, Cyprus, and Syria. For example, in the tomb of Useramun (TT131), the text accompanying a scene where goods containing ox-hide ingots are offered 10 Stos-Gale, “Isotope archaeology,” 82; Gale and Stos-Gale, “Bronze Age copper sources in the Mediterranean,” 11–15; Stos-Gale, et al., “Lead isotope characteristics of the Cyprus copper ore deposits,” 83–89. 11 Stos, “Across the wine dark seas,” 163–70; Galili, Gale and Rosen, “A Late Bronze Age Shipwreck,” 2. 12 Pusch, “High temperature industries in the Late Bronze Age capital of Piramesse (Qantir).” 13 Stos-Gale, et al., “Lead isotope characteristics of the Cyprus copper ore deposits,” 83–87. 14 Stos, “Across the wine dark seas,” fig. 3. 15 Merrillees, “Egypt and the Aegean”; Rehak “Aegean natives in the Theban tomb paintings.” 16 Bass, et al., “Cape Gelidonya: A Bronze Age shipwreck,” 67. 17 Theban Mapping Project, http://www.thebanmappingproject.com/sites/browse_tomb_ 825.html. Journal of EgyptianDownloaded History from 10 Brill.com10/02/2021 (2017) 109–123 08:14:48AM via free access Integration of Foreigners in Egypt 113 to Useramun reads: “Reception of the booty that His Majesty brought from the Northern countries, from the confines of Asia, and from the islands amidst the sea.” In one register of Rekhmire’s tomb (TT100), men carrying ox-hide in- gots were labelled
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