THE BATTLE of KADESH: the CHARIOT FRIEZE at ABYDOS Author(S): Anthony Spalinger Source: Ägypten Und Levante / Egypt and the Levant, Vol
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THE BATTLE OF KADESH: THE CHARIOT FRIEZE AT ABYDOS Author(s): Anthony Spalinger Source: Ägypten und Levante / Egypt and the Levant, Vol. 13 (2003), pp. 163-199 Published by: Austrian Academy of Sciences Press Stable URL: http://www.jstor.org/stable/23788657 Accessed: 21-03-2018 13:10 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/23788657?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Austrian Academy of Sciences Press is collaborating with JSTOR to digitize, preserve and extend access to Ägypten und Levante / Egypt and the Levant This content downloaded from 138.16.128.0 on Wed, 21 Mar 2018 13:10:32 UTC All use subject to http://about.jstor.org/terms THE BATTLE OF KADESH: THE CHARIOT FRIEZE AT ABYDOS By Anthony Spalinger The Abydos reliefs of the battle of Kadesh have yet to left (north) against which the now lost camp scene be published in exemplary form by Egyptologists. was carved. The manner of carving is unique Notwithstanding the useful plates in the second vol- among the Kadesh depictions.3 Sunken relief was ume of Wreszinski's monumental Atlas, and the ear- employed, as we have come to expect, but the lier detailed line drawings of Edouard Naville, this details are far better rendered than in the reliefs of battle presentation remains unanalyzed from an art the other temples. The intricate internal carvings of historical viewpoint.1 The latter statement may first the hieroglyphs of the Poem parallel this. They too appear to be overly critical, especially in light of the are well sculpted, rendered also "Classical" in their recent studies of Marcus Müller and Susanna Heinz, layout and structure. For example, the nearby Ded both of whom have devoted much attention to the icatory Inscription of Ramesses II on the portico of New Kingdom depictions of war. Nonetheless, a Seti's temple presents a poor showing in compari detailed study concentrated upon one self-contained son to the Kadesh Poem at Abydos insofar as the series of pictorial reliefs has much to offer, especially former shows a more schematic outlook, perhaps when we exclude the other exemplars from the rapidly executed as well.4 Ramesseum, Karnak, Luxor, and Abu Simbel. In this At Abydos, the divisions of the "phases" are more light it is interesting that Naville, who was the first to solidly presented. The three portions of the battle understand the historical progression of the Aby- are well separated from each other, and even dene representations, was also the first to pay atten- though much of the scenes has been lost owing to tion to the "beauty of the hieroglyphic signs" of the time, the static quality of what remains cannot be Poem that concludes the entire representation.2 overlooked.5 Indeed, as only the lowest portions of The scenes commence on the west or rear wall the walls remain, we are faced with the inherent bias of Ramesses IPs temple at Abydos. This entire wall of not being able to examine the actual battlefield is occupied with Phase I of the Kadesh battle in encounter between the Egyptians and the Hittites. which the Nacarn troops are seen marching to the Notwithstanding this situation, the presentation at 1 There is a useful summary of these reliefs and the Most others recently, see the short analysis on the Abydos tem (Abu Simbel, Ramesseum, Luxor, and Karnak) inple G. of A. Ramesses II by Mansour el-Noubi, ArOr 67 Gaballa, Narrative in Egyptian Art, Mainz am Rhein (1999) 1975, 21-44. One awaits the final publication of K. P. 113-19. The standard editions of the scenes are: W. Kuhlmann. Wreszinski, Atlas zur altägyptischen Kulturgeschichte Naville, II, Details releves, 23 (pis. XXIII-XXV). They may Leipzig, 1935, pis. 16-24; Charles Kuentz, La bataille be seen de in photographs on pis. I-V of Kuentz's work; pi. Qadech, Cairo 1928-34, pis. XVTI-XXIII; and E. VINaville, presents facsimiles of certain hieroglyphic signs. Details releves dans les ruines de quelques temples égyptiens, I will follow the standard analysis first drawn up in exem Paris 1930, pis. V-XXII (his drawings are sometimes plary fashion by Kenneth A. Kitchen: KRIII125-8. inaccurate in fine details). In addition, I have consulted As I am at present engaged in a study of the Dedicatory my detailed photographs made in 1982. Inscription, I shall leave my comments here to a mini Recently, there have been detailed studies of mum.the war The old edition of Auguste Mariette, Abydos. scenes of the New Kingdom: M. Müller, Die Thematik Descriptions der desfouilles exercutées sur l'emplacement de la ville Schlachtenreliefs, MA Dissertation, Tübingen 1985, I, Paris79-80 1869, pis. 5-9 is somewhat useful. Nonetheless, I in particular, and his most recent work, Der König must als Feldthank Prof. John Baines of Oxford University for herr, PhD. Dissertation, Tübingen, 2001; and Susannaallowing me to obtain a series of excellent photograph Constanze Heinz, Die Feldzugsdarstellungen des ic Neuenreproductions of this key hieroglyphic text. Reiches, Vienna 2001. The reader should consult As theiris well known, virtually all of the upper rows of detailed analyses as both of the authors' works stonescomple have been lost. In fact, some portions of the two ment this presentation, and I will refer to them walls only recorded by Naville are not to be found on where my specific details correspond to their work. Wreszinski's photographs. This content downloaded from 138.16.128.0 on Wed, 21 Mar 2018 13:10:32 UTC All use subject to http://about.jstor.org/terms 164 Anthony Spalinger Abydos reveals a more static, regular and structured There, the male deity Thoth presides and speaks, set-up than any of the other representations.6 Despite this "intervention" it is readily discernable I believe that this aspect is partly to be explained that the arrangement of the wars at Ramesses II's by the use of the blank wall space available to the Abydene temple can be compared effectively with artists. Both the west wall and the north wall were only those at Medinet Habu, with the Ramesseum employed for the Kadesh conflict. Phase II com- standing aside, mainly owing to its very poor condi mences exactly at the extreme right hand side of the tion (Note, however, that on the south wall there north wall, right next to the cornice. There, we see was the expected calendar). the battle itself, or to be more precise, what is left of In other words, owing to the architectural layout it. The third act (Presentation) is located about two- of Abydos, its early date in the reign of Ramesses II, thirds farther on with a doorway effectively forming and the free use of blank space, this temple parallels the end. To the left the opening portion of the Poem the mortuary edifice of Ramesses III, with, of course, can be found. The entire system of layout parallels revealing many differences in scenic presentation, that of Ramesses III at Medinet Habu.7 There, the The great complex at Karnak as well as the temple rear or west wall was occupied by three so-called "fie- of Luxor provide no useful comparison. At best, a tive" battle scenes located in Nubia (south side). table of contrasts can be made. These buildings Then come three scenes devoted to the commence- were not begun under the first years of a monarch ment of the First Libyan war of year 5. Turning the or the final ones of a preceding Pharaoh. Their corner, three more reliefs cover the same encounter. design, as well, did not follow the standardized set Following them is the Sea Peoples' encounter of year up of mortuary temples to the west, and we must 8. Six scenes, neatly divided by a royal line hunt remember that Seti I's as well as Ramesses II's edi exactly in the middle, complete this series of depic- fices at Abydos were Hwf s, exactly as those funerary tions as the campaign concludes at the second pylon. complexes on the left bank at Thebes.9 Finally, moving forward to the east we reach the Sec- Last but not least, Abu Simbel with its com ond Libyan War, the final conflict of the king. There, pressed arrangement (owing to space) as well as the the representations run around to the western or absence of the Poem can be brought into the discus rear portion of the first pylon. The southern wall is sion.10 The entire interior northern wall of Room F is mainly devoted to the calendar. A similar arrange- devoted to the battle. Two registers divide the phases ment can be seen at Luxor if only because the blank of the conflict: Phase I occupies the lowest one walls at the west, located between the colonnade of whereas Phases II and III are carved above. (One Tutankhamun and that of Amunhotep III, were also moves from the front to the rear, or to be more pre filled with the Kadesh scenes. eise, II is located to the left or west whereas I is to the On the south wall at Abydos will be found the right or east.) A few portions of the less important temple calendar.