Iconographic Rendering of the Notion of Purification in two Elements Included in the Vignettes of Chapters 17 and 125 of the Book of the Dead Lucía DÍAZ-IGLESIAS LLANOS
The paper seeks to analyse the components of the group placed on the ceiling of the Hall of Judgment as well as the formal and essential relationship of this group with the scene of the Herakleopolitan lakes in BD 17. This analysis will be the basis for suggesting how some ancient Egyptian iconographic representations were subjected to a process of iconographic convergence. A similar image, adapted to the specificities of each context (negative confession and judgment after death; bathing in local ponds), was used to convey the same purpose: the rebirth of the deceased and his/her transformation into a divine being.
Representación Iconográfica de la noción de purificación en dos elementos incluidos en las viñetas de las recitaciones 17 y 125 del Libro de la Salida al Día El presente trabajo busca analizar los componentes de un grupo ubicado en el techo de la sala donde se celebra el juicio final y la relación de forma y contenido entre este grupo y la escena de los lagos heracleopolitanos incluida en LdSD 17. Este análisis será la base para sugerir cómo las representaciones pictóricas de los antiguos egipcios experimentaron un proceso de convergencia iconográfica. En virtud de este proceso una imagen similar, adaptada a las especificidades de cada contexto (confesión negativa y juicio postmortem; baño en los estanques locales) se usó para transmitir la misma idea: el renacimiento del finado y su transformación en un ser divino.
Keywords: Book of the Dead, justification, purification, iconographic convergence. Palabras clave: Libro de los Muertos, justificación, purificación, convergencia iconográfica.
This study is dedicated to Covadonga Sevilla, whose passion for Egyptology went hand-in-hand with her humility, and with her empathy and kindness towards her students. My memories of Cova bring painful yet joyful feelings, because of her too early departure and the wonderful times spent together in- and outside the classroom. This third and final article closes a triad centred on the Herakleopolitan lakes, the others of which were published in this journal (Díaz- Iglesias Llanos 2005, 2009), to which she devoted effort and care. I hope she will enjoy reading it in the Fields of Reeds.
..ancient Egypt, the notion or state of achievement of the former. In this sense, it is In ..purity1 and the physical act of clean- significant that the Egyptian word for pure ing by means of water, were strongly relat- (wab) was rendered with hieroglyphs that ed, to the point that in many texts the execu- represent water jars ( , ). There is also a tion of the latter became a metaphor for the close conceptual link between purification by
1 For purity in Egypt, see Meeks 1979 and, more recently, Quack 2013.
TdE 8 (2017) - Paginas: 117 - 162 Recepción: 22/11/2017 - Admisión: 5/1/2018 Lucía Díaz-Iglesias Llanos — [email protected] Instituto de Lenguas y Culturas del Mediterráneo y Oriente Próximo / Consejo Superior de Investigaciones Científicas / Madrid http://doi.org/10.25145/j.TdE.2017.08.05
117 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos means of water and justification before a tri- maturity, and fertility, and should be taken bunal, the outcome of the trial being the emer- as personifications of the local pools (fig. 3). gence of a sinless and pure being. This link is They are shown standing or kneeling and per- expressed verbally in different types of fune form ritual acts (predominantly of protec- rary compositions, and iconographically in a tion) over two rectangular pools and a feath scene inserted in the vignette accompanying ered eye, which is typically contained within Book of the Dead (hereafter BD) spell 125.2 an oval. This type of eye is used as a logogram The scene bears a close resemblance to the for the word jmAxw, and appears to stand as a image of the Herakleopolitan lakes depicted symbol for the resurrected deceased, who is in BD 17,3 a similarity upon which several re- worthy of veneration and is equated with the searchers have already drawn comparisons.4 sun-god Atum-Re. However, no attempt has hitherto been made The similarity in characters, attitudes, and Figure 1: The figure between the eyes crowns a chapel-like structure where the negative confession takes place. pLondon BM EA 10471 (after Faulkner et al. 2000: Pls. 28–29). to explore in depth this resemblance and its complements to the action in these elements wider implications. of the vignettes of BD 125 and 17 is not inci- The scene in BD 125 is central to a frieze dental, but rather indicates the existence of dered: location, type of figure, attitude (stand- like structure, the ceiling of which received an adorning the ceiling of a building where a relationship between the scenes. This rela- ing or kneeling and gesture executed with the elaborate frieze from the reigns of Thutmose judges listen to the negative confession uttered tionship rests on a convergence between the hands), and typology of accompanying ob- III/Amenhotep II onward.7 The earliest ex- by the deceased, and/or attend the weighing iconographic rendering of the status of purity jects. In total, there are ninety-three examples amples of the figure, which was placed in the of his or her heart (figs. 1, 2, 8). Despite the that the deceased has reached, either through of this scene, distributed among tombs, papy- middle of the frieze crowning this building, existence of small variations which will be ex- bathing in the Herakleopolitan lakes or by de- ri, coffins, and mummy shrouds, and the num- date to the Eighteenth Dynasty, and are relat- plored in Section 1, the central element of the nying having committed faults (the so-called ber of attestations increased over time as the ed to the negative confession. However, from group is a single kneeling male figure whose negative confession). Book of the Dead tradition developed.5 the Late Period onwards, the figure presides arms are extended in opposite directions. His I will begin by analysing the elements com- over the frieze of the hall where the weighing palms are generally turned down in a gesture prising the scene on the frieze of BD 125 and of the heart, or Judgement after Death (here- of protection over two eyes. The typology of reviewing any chronological or local modifi- 1. Iconographic analysis of the scene: after JaD), is enacted before Ra, Harakhthy, the latter exhibits some changes and they are cations. Their meaning will then be explored, location, components, variations Osiris, or the two Maat goddesses. In Late Pe- generally placed in ovals. This paper seeks to and a formal link that highlights both simi riod and Ptolemaic examples, the psychostasia analyse whether these small variations are sig- larities to and differences from the scene in- Spell BD 1256 is attested in some of the ear- takes pride of place in vignettes related to BD nificant in terms of chronology, local trends, serted in BD 17 will be tackled. Finally, I will liest examples of the new funerary corpus, and 125, and the forty-two juries are often incorpo- workshops, or the evolving meaning of the suggest an explanation for this association, the text was very soon accompanied by pic- rated into the scene, being placed in rows over scene. drawing attention to the conceptual connec- torial elements. Since the time of Hatshep- the scales where the heart is balanced against The scene illustrating the purification of the tion between the two mythological episodes sut/Thutmose III, the so-called negative con- a maat feather/goddess.8 The only known ex- deceased in the Herakleopolitan lakes in BD that underlie the two different acts of puri- fession recited by the deceased before forty- ample of the Twenty-fifth Dynasty (see table 5) 17 is, in general terms, composed of two indi- fication. An appendix includes a series of ta- two judges could be staged inside a chapel- follows the dominant model of the New King- viduals portrayed as male fecundity figures, bles upon which my assessment of the scene which represent the notions of abundance, in BD 125 is based. Several features are consi
5 A greater number of attestations must have existed, but many manuscripts have come down to us in a poor state of preservation, so that parts of the decorated surface are lost. 2 The most thorough study of the vignettes of BD 125 was undertaken by Seeber 1976. See also Munro 1988: 105–114 6 The bibliography related to this spell is wide-ranging. A compilation of references can be found in Backes et al. and Milde 1991: 84–92. 20092: 185–195. The vignettes of this chapter have been dealt with by Seeber 1976; Saleh 1984: 63–71; Milde 1991: 3 For the formal aspect of this scene and the meaning of its components, see Díaz-Iglesias Llanos 2005, 2014: 244–270 84–92. (a revised and updated version of the previous article). 7 Munro 1988: 105–108. 4 Piankoff and Rambova 1957: 100, n. 8; Thausing and Goedicke 1971: 41; Seeber 1976: 65–66; Zivie 1979: 80–81, n. 8 Seeber’s type E, in which BD 125 B and the weighing of the heart are brought together in the same building, is (8); Baines 1985: 382, aa; Milde 1991: 53. attested from the Twenty-second/Twenty-fifth Dynasty onward, see Seeber 1976: 15, 48–49, 64, 138, Abb. 23–27.
118 119 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos dom and Third Intermediate Period recen- of the former. There are two exceptions to the sions, so that the revision of the scene should prevalence of males. The first is the Rames have taken place during the Late Period. side pLondon BM EA 10470, where a male fe- In both cases, whether situated above the cundity figure is depicted (fig. 5). Although negative confession or the JaD scene, the figure the character lacks the swollen belly or over- occupies the axis of a frieze composed of maat sized breasts generally seen of such figures, feathers ( ) and uraei ( ), interspersed with he wears a short kilt and belt, and his body is braziers ( ) in the Late Period, and occasion- blue, which are typical for fecundity figures ally accompanied by baboons ( ) and scales (Type 1 in the tables). The second exception is ( ) that were placed in the corners (figs. 2, 8). in the Ptolemaic M. Princeton pharaonic roll None of these elements can be used as dating No 8, where a woman is included. The round- criteria,9 although they convey specific mean- ed breasts and belly, and the tight-fitting dress ings within the vignette that will be discussed displayed by the figure, correspond to -a fe below. As reflected in the appendix, only in male character (Type 4). two documents⎯(QV 66 of the New Kingdom, The protagonist of the scene is oriented to- and pCairo CG 40017 of the Third Intermedi- ward the right, following the direction faced Figure 2: The figure between the eyes crowns a chapel-like structure where the weighing of the heart is featured. pTurin 1791 ate Period)⎯does the figure not crown a cha- by the forty-two judges and the magistrate (after Lepsius Tb. Taf. L). pel-like structure. Despite being quite the ex- that heads the post-mortem tribunal. All of ception to the rule, the figure between the eyes these figures confront the deceased as he or in these two examples is still related to the idea she enters the broad hall where the judgement kle bands) or the wig were frequently omitted. appendix, during the New Kingdom wigs fre- of judgement by its context and accompanying takes place. Although Third Intermediate Peri- Wigs occasionally display some embellish- quently display blue, black, or green hues that images.10 od manuscripts display the opposite arrange- ments in the form of solar discs (pBerlin 3150 befit divine beings, and highlight the concepts The leading figure of the scene11 is, in most ment, with the male between the eyes facing A-D),13 bands (pLondon BM EA 10043, pLon- of life and rebirth. In Ptolemaic products cases, a male whose divine status or rank the magistrate, during the Ptolemaic Period don BM EA 10086, Deir el-Medina temple), where colours are used, several papyri opt for is marked by a curved beard (Type 2 in the there was a return to the unidirectional pat- or a renepet reed (pLondon BM EA 9946). The a black filling while only a few of them resort appendix tables, fig. 4a), although this ele tern in which the former and the latter both sit colourful representations of the New King- to yellow or red tones.14 ment was sometimes omitted (Type 3, fig. facing right, looking at the deceased.12 dom gave way to a plainer style of black line- The body of the central figure in BD 125/ 4b). In the New Kingdom, Third Intermedi- The protagonist is cladded in a short kilt drawings during the Saite Recension, in which JaD scenes is most frequently shown kneel- ate Period and the Twenty-fifth Dynasty, figu and his chest is either bare or is partially cov- some details were sometimes indicated using a ing, either with his two knees resting on the res with divine attributes were more com- ered by a vest or sash. Although New King- single colour. ground line (Type 2 in the appendix tables) mon than those without signs of divine rank. dom examples are rich in details, his appear- Most publications do not include informa- or with one leg bent in an attitude akin to the This tendency became less pronounced over ance later became highly schematised. The tion on skin or wig colours, or only contain sign Gardiner A1 ( , Type 1).15 His arms are the course of the Late Period, and during limbs might be fully depicted in Ptolema- black-and-white photographs, which hinders completely or partially (with bent elbows) the Ptolemaic Period figures with or -with ic versions, but often overlooking anatomical the analysis of the meanings and implications stretched in opposite directions, with the out divine attributes appear in approximate- details, or simple stick-figures might be used, conveyed by hues. But, and as indicated in the palms of his hands usually turned down in a ly equal numbers, with a slight predominance while body ornaments (collars, arm and an-
13 In two New Kingdom papyri, a sun disc was drawn in the position assigned to the male figure in other manuscripts: pParis Louvre N. 3097 and pParis Louvre N. 3073. 9 Munro 1988: 108 for New Kingdom papyri. 14 The latter is the most frequently-used colour for details such as sun-disks, fire-signs, and other elements: see Mosher 10 See n. 4 and 10 to the appendix tables. 2016: 43, 47 for comments on the trend toward the limited use of colour in some documents of the Theban-x, 11 Among the sources collected in the appendix, the figure is only omitted in TT 296; see Feucht 1985: Taf. XVII, Szene 12. Theban-y, and Later HG traditions, either when enhancing the magical efficacy of the spells, or under the influence 12 For Saite and Ptolemaic Books of the Dead, the right-facing orientation is symbolic of the exalted status held by of older models. deities or demigods as beings who live in the West, and, in the case of Osiris and Re, it indicates their standing as 15 A standing figure (Type 3), as opposed to a kneeling one, is only attested in pLeiden T16, pParis Louvre N. 3089, beings who have “gone forth” or achieved resurrection after death (Mosher 2016: 48). and pParis Louvre N. 3153, which all date to the Ptolemaic Period.
120 121 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos gesture of protection (figs. 1, 2, 4, 5). This is figure is making an offering if an object was the same action as that performed by the per- placed above the hands, complementing the sonifications of the Herakleopolitan lakes in action,17 or if the palm is slightly cupped to BD 17. The attitude of the character in BD 125 represent a concave hand. If the fingers form changed by the end of the Dynastic Period, as a nearly straight line with the forearm and the his palms were upturned and objects placed thumbs protrude, I have taken these figures as atop of them, so that the depicted action examples of the new, forward facing gesture. switched from protection to offering (fig. 6). It The intent behind this new action could have is notable that this change coincides chrono been to render an act of recitation, following logically with the reinterpretation of the fig- the description offered for this gesture by Bri- ures of BD 17, which underwent the same gitte Dominicus: “Bei der Rede und Rezita- modification to adopt an attitude of offering. tion wird eine Hand mit dem Daumen hoch The new attitude was not the dominant one in nach vorn ausgestreckt ( ) . Der Arm the two vignettes examined here, being limit ist dabei angewinkelt ( ) bis gestreckt ed to very few of the extant manuscripts.16 ( ), auch über Schulterhöhe hinaus er- Moreover, in the case of Ptolemaic documents hoben ( )”.18 containing BD 125/JaD, the offering ges- To complement the action performed by the ture alternates with a new attitude that is at- figure, two identical objects—a pair of eyes— Figure 3: Depiction of the Herakleopolitan lakes in BD 17 (after Taylor (ed.) 2010: 52). tested in twenty-five percent of the surviving are shown flanking it. When the action is pro- examples: the figure has outstretched arms tective or recitative, the objects are placed be- and his palms are turned toward the viewer low the palms; when the action is an offer- and a basin filled with vertical waves (pLon- ly associated with the sun and is a symbol of ( , fig. 7). Although the gesture resem- ing, they are situated above them.19 There are don BM EA 10470, fig. 5). The third variation everlastingness. The ovals encircling the eyes bles that of offering, the hands lack a concave three minor variations of this basic outline, omits all complements to the action (the Pto- protected by the figures embodying the Hera form, are not depicted in profile, and no ob- only documented by a small number of docu lamaic pLeiden L.XII.2, pLeiden T16, pLon- kleopolitan lakes in BD 17 are also paint- ject is placed atop them. Some particular- ments. The first shows two pairs of eyes, with don BM EA 9946, pLeiden T21, and pLondon ed yellow or red, which reinforces their solar ly schematic images, where fingers are not in- one pair placed above and the other below BM EA 9963). Other than these three cases, connections. dicated, pose a problem because it is not pos- the palms (the Ptolemaic pNew York Amherst the pair of flanking eyes are symmetrical, ei- A wide typology of eyes is attested. Before sible to discern which attitude was intended. 35 and pLondon BM EA 10043). The second ther with their corners turned inwards (the the Ptolemaic Period, the feathered type In these examples, I have concluded that the depicts two different objects, a feathered eye converging model, typical for most cases) or ( ) was fashionable, whereas the simple eye outwards (the diverging model).20 ( ) and the wedjat ( ) were used less of- The eyes are placed inside ovals in more ten. This trend was reverted in later- docu than half of the available sources, though sev- ments, in which the wedjat type is predomi-
16 The change in the gesture (from protection to offering) is attested in five percent of the Late Period to Ptolemaic eral manuscripts bear witness to the use of nant, followed by the feathered eye (usual- documents of BD 125/JaD and in fifteen percent of the sources with BD 17 from the same periods. semicircles or the absence of surrounding ele ly not inserted in ovals) and, to a much less- 17 I follow the assessment of Wilkinson in relation to offering gestures: “the active, formal presentation of an object is ments. The rims of the ovals, if thick enough, er extent, by the simple one. In Ptolemaic ex- usually signified by the object’s being held on the outstretched, cupped hand” (1994: 195). can be painted blue or black, and the back- amples, the typology was extended with the 18 Dominicus 1994: 77–80, 89–91, 95, Abb. 17–18, 21–22. The author points out that the gesture (labelled by her as ground colour of the oval, if any, is normally introduction of simplified eyes, which were Redegeste or Rezitationsgeste) is characteristic in the Old Kingdom of tomb owners when making a speech, of priests white (in the New Kingdom and Third Inter- barely a schematic representation of the or- performing a ritual or making signals, and of doctors slaughtering animals for offering. During the New Kingdom, mediate Period), or yellow or red (in the Late gan, or where the eyes were omitted. This the recitation gesture is attested in similar contexts. From the Old Kingdom onward it is also found in a variety and Ptolemaic Periods). Whereas white stands change is also encountered in the vignette of of non-funerary scenes, such as in appeals to take counts or measurements, in songs accompanying the harvest or for purity and cleanliness, yellow is normal- the Herakleopolitan lakes in BD 17, in which musicians who are addressing those who play instruments. For this gesture see also Brunner-Traut 1977. For open palms see Baines 1992. 19 There are some exceptions to this pattern: in pParis Louvre AE/N 3068+3133 and pVatican 48832, the eyes are quite sizeable and they have been depicted beside the figure, not under his protective arms; for pNew York Amherst 35 and pLondon BM EA 10043, with two pairs of eyes each, see below. 20 The only exception is pDublin 1664, in which both eyes face right.
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than papyrus, with a corresponding reduction duced in the same workshop show a strong re- on the scenes’ details. semblance.25 The central element of the ceil- The data assembled in the appendix further ing in BD 125/JaD is not, however, identical provides information on workshops, the pro- in those papyri that form a particular subset duction of BD manuscripts, and the circula- within the N3089 tradition (pParis Louvre N. tion of Vorlage. For the latter aspect, and as has 3089, pParis Louvre N. 3248, and pParis Lou- been mentioned above, the Ptolemaic docu- vre N. 3272). This subset can be identified by ments from Memphis provide some hints of the use of textual variants and illustrations Figure 4: The central figure of a frieze crowning the Hall of Judgment. a. Bearing divine attributes (QV 66, after Thausing and Goedicke 1971: Pl. 24); b. Without divine attributes (pLondon BM EA 10471, after Faulkner et al. 1994: Pls. 28–29). a reintroduction of master copies in the last that are not found in other documents of the phases of BD production. Moreover, exam- same tradition.26 Moreover, despite deriving ples potentially derived from the same model from a very similar master source, pParis Lou- a wider variety of eye types was introduced male character-and-eyes motif is attested in or attributed to the same traditions or work- vre E. 7716 and pCologny CIV27 differ both in in later periods. Nonetheless, the feathered Memphite documents from the New King- shops can be compared to see how the figure style, using stick figures the former and fully eye was the most common in New Kingdom, dom and the Late Period, but disappeared between the eyes is rendered. In the case of drawn limbs the latter, and in details such as Third Intermediate Period, and Theban Late shortly thereafter in that area. To account for the Late and Ptolemaic traditions identified by the inclusion of ovals to enclose the eyes. Fi- and Ptolemaic examples of BD 17. this, one may suggest that the master copies Malcolm Mosher, such comparisons should nally, the versions of the illustrations shared In diachronic terms, there is a gradual in- from which the latter derive fell out of use dur- be made in the context of his conclusions re- by the BM 10086 group, the N3152 group, and crease in the number of documents that depict ing the Ptolemaic Period, when new models in garding vignettes, namely that artists worked the papyri pParis Louvre N. 3079 and pParis the figure between the two eyes in BD 125/JaD, which the figure was omitted were either gen- from a separate master source of illustrations Louvre N. 3144 also display small nuances.28 which reached its peak in the Ptolemaic Peri- erated or introduced from elsewhere (proba- that differed from the master source used for The examples cited in the previous para- od, as well as a tendency towards the region- bly Thebes). the texts.23 graph show that the presence or absence of alization of the scene’s features. Strikingly, The figure is also conspicuously absent The artists working in the tomb of Nefertari signs of divine status in the figure, of small the figure was typically absent from the mod- from other type of source bearing BD spells: (QV 66) were also engaged in the decoration embellishments in body or wig, and of ovals els (Vorlage) of the JaD scene that were used mummy bandages. Of the thirty-seven ex- of some Deir el-Medina tombs (TT 265 and surrounding the eyes and the typology of the to decorate the private tombs outside Thebes amples of psychostasia collected in the data- 290), and probably had access to the models latter, modify (within a frame of limited vari- during the New Kingdom,21 the royal tombs base of the Totenbuch-Projekt, only two bear an used for the queen’s monument.24 Therefore, ations) the basic common scheme. These ex- of Tanis in the Third Intermediate Period (Os- elaborate version of the frieze (with braziers, the compositions in the royal and the two pri- amples should be taken as a further evidence orkon II and Sheshonq III), and among those uraei, and maat feathers) crowning the Hall vate funerary monuments show many of the that the use of the same Vorlage did not lim- circulating in Ptolemaic workshops in Mem- of Judgement. Of these two, only M. Prince same features, although the direction of the it the ‘creativity’ or ‘freedom of choice’ of a phis and Akhmin. This explanation is more ton pharaonic roll No 8 includes the figure. eyes can follow either the diverging (QV 66, scribe or draughtsman. Thus, products man- plausible than thinking that the figure was in- The reasons for such a limited number of at- TT 290) or converging (TT 265) pattern. ufactured in the same workshop or belong- cluded in the Vorlage and omitted during the testations include the uneven state of preser- Similarly, papyri considered to have been pro- ing to the same tradition could show small re- execution of the decoration of tomb walls and vation of bandages,22 and the fact that textiles papyri in these areas. It is noticeable that the are a rough material, more difficult to decorate
23 Mosher 2016: 42. 24 Hofmann 2004: 91. For similarities in Deir el-Medina examples and some royal tombs see also: Rößler-Köhler 1979: 139–140 and 1999: 17–18 and Abb. 25; Lüscher 2007. 21 The JaD scene was included in several non-Theban funerary monuments, in which the figure was omitted:the 25 Müller-Roth (2008: 154, Anm. 27) attributes pParis Louvre N. 3079, pMilano E. 1023, pParis Louvre N. 3144, and tomb of Jmn-Htp in Assiut, beginning of the Nineteenth Dynasty: Karig 1968; the tomb of Rw-dd-anx, Abydos v pCairo J.E. 97249 to the same workshop. A close resemblance between pChicago OIM 9787 and pBerlin P. 3058 is 40, Twentieth Dynasty: Ayrton et al. 1904: 9, 42, Pl. XXVI, Seeber 1976: Abb. 13; the tomb of Nxt-Mnw in Dehmit, also highlighted by Mosher (2016: 29–32). Nubia: Hermann 1936: 9, Taf. 4 a; the tomb of KA-kmwt in Aswan, Ramesside Period: Cecil 1903: 60–64, Pl. IV; the tomb of Pn-nwt, reign of Ramesses VI in Aniba; Steindorff 1937: II, 242–247, Pl. 104 a–b and Seeber 1976: Abb. 10; 26 Mosher 2016: 27. In the other documents attributed to this tradition, the group of figure-plus-eyes was not added to and the tomb of Mry, of the late Nineteenth Dynasty or early Twentieth Dynasty, also in Aniba: Steindorff 1937: II, the frieze. 212–215, Taf. 27 a–d. 27 Mosher 2016: 45. 22 In some cases, only the lower part of the JaD scene or a small portion of it is preserved. 28 Mosher 2016: 45.
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ceased prior to their rebirth.30 However, the elements integrated in the frieze of the build- enabled the deceased to rise as a sinless and di- whitish, yellowish, reddish, or neutral colour ing’s ceiling), to seek the relationships be- vine being. The recitation gesture could be un- of the ovals’ filling, the absence of waves sug- tween the vignette and the textual content of derstood along these same lines, as an action gesting the presence of water, and even the spell BD 125, and to explore the formal and se- undertaken by the deceased⎯a negative decla- omission of the ovals themselves call his sug- mantic similarities between this scene and the ration of sins⎯in order to prove his or her pu- gestion into question. Moreover, these local image of the Herakleopolitan lakes in BD 17. rity. Alternatively, the figure could represent a bodies of water are not mentioned in the text I here endorse the opinion of several authors male character of the hereafter who, by means of BD 125 and the only instance where a lake that have called attention to the relationship of the protective gesture he makes, acts in fa- Figure 5: The central figure is depicted as a fecundity is depicted in the vignettes (pLondon BM EA between the vignettes of these two chapters vour of a deceased individual who is in the figure between a feathered eye and a pool. pLondon BM EA 10471 (after Faulkner et al. 1994: Pl. 31). 10470, fig. 5) is an exceptional case for which because of their shared ideas of purification, throes of final judgement. an alternative explanation can be offered (see destruction of evil, and rebirth.33 The eyes play a crucial role in this scene, below). The figure analysed in this article lacks dis- with the two dominating typologies being workings of gestures, omission, or addition of For Erika Schott, the two eyes are the sym- tinctive elements that provide clues to his the feathered and the wedjat eyes. According details, but respect the traditions or rules that bols of the two Maat goddesses, who often su- identity. He does not wear a specific head- to Christine Seeber, the feathered eyes were ensured that the scene would be recognisable. pervised the judgement from one of the cor- dress, grasp any characteristic object in his symbols of the solar god in two moments of Alternatively, the person who executed the fi- ners of the Hall, while the figure placed be- hands, nor are symbolic colours used for his his cosmic and vital cycle, namely at dawn as nal product might have combined several of tween the eyes could have been Osiris or Re, body or labels written with his name (mytho the rising sun and at dusk as the setting sun. the copies available at the workshop, giving in-so-far as these two deities are often called logical or otherwise). Moreover, he is not Insofar as the deceased is assimilated to this rise to a unique composition.29 “Lord of the two Maat”.31 One may concede mentioned directly in the accompanying text, god, the presence of two eyes could point to that many Egyptian goddesses who were re- be it the so-called negative confession or the the daily and recurrent rebirth of the former, garded as daughters of Re, as Maat herself captions to the JaD. I therefore think that who is purified of all his sins and justified -be 2. Meaning of the figure between the was, can be represented as eyes and emana- the identity that some researchers have estab- fore the deity that heads the tribunal to decide eyes in BD 125 and JaD, and their relation- tions of the sun.32 However, Schott’s hypothe lished for this figure, equating him with the upon his or her fate.36 With regards to the ren- ship with the scene of the Herakleopolitan sis was based on a single manuscript of the Heh gods,34 is not well grounded. Instead, dering of solar deities’ names, while the cre- lakes in BD 17 Ptolemaic Period and does not take into ac- I suggest that the figure could represent the ator solar god could adopt the appearance of a count the fact that many examples display deceased,35 or rather a stereotyped image of wedjat eye, which could even function as a de- Several researchers have offered differing ex- the figure placed between the eyes without the deceased, given that no gender distinction terminative in one of the sun-god’s names in planations for the meaning of, and symbolism divine attribute (Type 3 in the tables), a fact is visible between male and female owners in the Litany of Re, the feathered eye is only at- behind, the figure-plus-eyes-in-ovals group that would make equating it with Osiris or Re manuscripts that were made to order. I inter- tested in the orthography of a word that refers in BD 125/JaD, or of some of its components. doubtful. pret the divine attributes borne by the figure to Atum (jmAxw).37 Alberto Siliotti and Chris- Henk Milde considered that the ovals are de- In my opinion, in order to grasp the mean- as a sign of the result expected from BD 125: a tian Leblanc have suggested that the two eyes pictions of the two Herakleopolitan lakes, ing of the scene it is crucial to understand the positive verdict in the post-mortem judgement could be cryptographic forms of rendering the mentioned and illustrated in BD 17 as places symbolism of the eyes, to analyse the group in that would provide access to the beyond, and two ancient Egyptian conceptions of time and for the ritual cleaning of the sun and the de- its closest iconographic context (the rest of the
33 Seeber 1976: 66; Milde 1991: 85; Taylor (ed.) 2010: 207. 29 For these two options, see: Lucarelli 2006: 237; Taylor 2006: 280 (on the “individual graphic hallmarks” incorporated 34 Munro 1988: 107. by draughtsmen and scribes to the fundamental design); Backes 2010: 13; Mosher 2016: 48. 35 An idea already suggested by Botti 1964: 52. 30 Milde 1991: 91, n. 34. The same idea was earlier advanced by Seeber 1976: 66. 36 Seeber 1976: 66. 31 Schott 1992: 37. For the function and symbolism of the two Maat goddesses, see Griffiths 1960: 55–57; Yoyotte 1961: 37 Díaz-Iglesias Llanos 2005: 59–60; 2014: 269. The wedjat eye as a symbol of the sun-god is present in many 61–63; Grieshammer 1970: 89–90; and Seeber 1976: 140–145. representations of the horizon (Lapp 2015: 11–12, Abb. 11c, 19, Abb. 26b and 27c) and the sun-disc (2015: 37, Abb. 32 According to a passage of BD 125, the deceased addresses those in the hall with the following words: mk sAty(=f), 57b, 51, Abb. 81a, see also Koemoth 1996: 205–206, Fig. 1). Symmetrical compositions of two wedjat in some coffins mrty(=f), jrty=f, nb mAaty rn=k, “See, (his) two daughters, (his) beloved ones, his two eyes, Lord of the Two Maat is and stelae are interpreted by Lapp as depictions of the east/morning/sun and west/evening/moon (2015: 29–31, 36, your name”. For New Kingdom versions of this passage, see Lapp 2008: 16–17a. see also Aufrère 2015: 36–37) or of the east-sun (=Re) and west-sun (=Osiris) by Radwan (2015: 353–357).
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bolism attached to the wedjat as a metaphor such as ostrich feathers, upright cobras, and for the complete being and divine order, as a braziers, are mentioned in a dialogue between sign of the east/sun/day/Re and west/moon/ Thoth and the deceased that is included in BD night/Osiris when paired, and as a power- 125: ful mechanism of protection, it becomes an smj=j jrf tw n-mj? appropriate element in the context of trial and justification, and the expected outcome smj=k wj n hAyt m sDt, jnb m jarwt anxw(w)t, wnn sAtw (rebirth).45 pr=f m nwy, Several explanations could be posited to sw pw? account for the presence of two eyes. First, Wsjr pw and owing to the importance of the symmet- “To whom should I announce you then?” rical pattern that governs the scene, one could “You shall announce me to Him whose roof is fire, Figure 6: The central figure depicted making the gesture of offering. pLeiden T1 (after Germer 1997: 42, fig. 43). think that the paired (and converging or di- whose walls are living rising-cobras, the floor of verging) eyes highlight the composition’s ba whose house is water”. lance on the frieze, whose axis is the kneeling “Who is that?” figure. Second, the coupled eyes could be an eternity, nHH and Dt.38 However, I have found pair above the scales, in the upper part of the “It is Osiris”.47 apotropaic symbol, similar to that found on no examples in which feathered or wedjat eyes chapel, or presiding over the whole scene.41 tomb entrances from the Old Kingdom on- According to this passage, Osiris is envis- are used in the orthography of these words. The addition of wedjat eyes in the context of ward, on Middle Kingdom coffins and - ste aged as a god surrounded and protected in For Sydney Aufrère, the feathered eye express- the weighing of the heart could be due to the lae, and on New Kingdom sarcophagi. Third, his chapel by a barrier of flames and fiery ser- es the “potentialités anthropomorphiques du fact that one of the meanings of this word, ʻto it might combine one meaning of wedjat— pents, a barrier which is iconographically ren- demiurge, considéré sous l’aspect d’un Fal- be truthʼ or ʻto lack faultsʼ (mAa),42 perfectly as lacking faults (see above)—and the inter- dered as a frieze of cobras and braziers crown- conide cosmique”,39 but besides the solar con- suits the idea of a judgement of the deceased’s pretation of a feathered eye within an oval in ing the architectural structure. The liquid nections highlighted by several authors, John behaviour on earth.43 In this sense, referen the depiction of the Herakleopolitan lakes in mentioned could be related either to the pool Baines has pointed out that the sign could be ce is made in CT 691 (later incorporated in- BD 17 as a symbol of the justified and venera- from which a lotus with the four Horus’ sons used as a logogram for the word jmAxw (a re to BD 71), to the “night of counting the wed- ble deceased (=jmAxw).46 In the latter case, the rises,48 or with the decoration of the podium surrected being, venerable and commanding jat eye” against the backdrop of the post-mor- duality of the eyes could be related to the fact below the throne of Osiris that is comprised adoration).40 Attention will be paid to this tem judgement: “O those seven knots, shoul- that the deceased denies having committed of ankh-signs and was-sceptres49 (fig. 8). In sphere of meaning below. ders of the balance on this night of calculat- punishable actions in two different declara- both cases, the Nuu is evoked as the medium It is worth highlighting that wedjat eyes ing the wedjat eye, who slice off heads, and sev- tions (the so-called sections BD 125 A and 125 of creation and rebirth, so that the podium were a recurring element in the psychostasia. er necks, who seize hearts, and snatch fore- B), and that the hall in which the action takes and throne of Osiris become a version of the They can be included alone or as symmetrical hearts”.44 Furthermore, given the general sym- place is called “Hall of the two Maat”. primeval hill that emerged out of the initial The remainder of the elements that- sur aquatic chaos.50 The mention of water might round the central group of figure-plus-eyes, also recall the importance of this element as a 38 Siliotti and Leblanc, 1993: 130. 39 Aufrère 2015: 43. 40 Baines 1985: 327. 45 Wilkinson 1992: 42–43; Aufrère 2015: 34–44. 41 Seeber 1976: 70–71 and Anm. 254, Abb. 15, 17. 46 Díaz-Iglesias Llanos 2005: 60, 2014: 269–270. See also n. 40 above. 42 For wDAt bearing the meaning of mAa, see Wb. I, 400, 3; with the meaning of wDA and mAat, see Daumas 1988: 152 (149). Several examples of the use of the word mAa in relation to the judgement were collected by Seeber 1976: 71, 47 BD 125 C § S 8. Lapp (2008: 268d–273d) collects the New Kingdom versions of this passage. 79, 111. In one papyrus, the name given to the hall where judgement is enacted (wsxt) includes the wedjat eye as a 48 Servajean 2001: 275–276 § 15 and Tbl. III, IV. determinative (pParis Louvre E. 17401, Seeber 1976: 71, Anm. 253; Piankoff and Rambova 1957: 104–108, n º 9). 49 A combination commonly used to evoke the water from the Nww which covers the valley when the inundation arrives: 43 A near homophone of the word wDAt, wDA, bears the meaning of ‘remain over, of balance in calculation’ (Faulkner Gabolde 1995: 236 a; Servajean 2001: 276. The latter points out that one of the meanings of the throne’s podium 1962: 75), which is also suitable for the context of judgment after death. I owe this reference to Andrés Diego (mAa) is ‘shore of a water course’. The name could thus evoke the aquatic medium necessary for the emergence of the Espinel. lotus or the beginning of the inundation (itself equated with the humours flowing from Osiris’ corpse). 44 CT VI, 323 q–t [691] = BD 71 § S 8 (Quirke 2013: 171). 50 According to Seeber (1976: 126), the continuous regeneration in the primeval hill and Osiris’ rebirth are linked to-
128 129 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos purifying agent, a recurrent factor in BD 125, politan lakes in BD 17 (fig. 3). Perhaps the as will be discussed below. most striking similarity is the gesture of pro- Feathers, uraei, and braziers are further tection made by the protagonist (or protago- closely related to the concepts of truth, puri- nists) of each scene. With outstretched arms fication, and destruction of evil,51 ideas that and palms turned down, the figure is shown are akin to the context of BD 125. The ostrich protecting the objects placed beneath. More- feather ( ) is frequently used as a symbol of over, the two scenes underwent a contempo- the goddess Maat, who represents the con- raneous change, in which the attitude of pro- cepts of truth, justice, and order. Uraei ( ), or tection was modified to that of offering. This upright cobras, are well-known for their mag- change was limited in the two spells discussed ical capacity to spit fire, and have a scorching here to a minor percentage of the extant doc- breath that keeps the enemies of the gods and uments. Furthermore, in both cases, the com- the pharaoh at a distance.52 They are thus ele- plements to the action performed by the cha ments of rejection and defence, which not only racters are different types of eyes, with a prefe repel the evil pertaining to the deceased but rence for the feathered type in earlier phases Figure 7: The central figure depicted making the gesture of recitation. pVatican 38604 (after Gasse 1993: Pl. XXXVIII). also protect the Hall of Judgement and hinder of production. the entrance of impure beings. The same dis- There are also differences; the elements of suasive and threatening role is fulfilled by bra- BD 125/JaD discussed in this article are attest- Notwithstanding, male characters are also an intermediate link in the process, because ziers ( ), which serve as reminders of the po- ed less often than those of the scene integrated attested in the vignette of the Herakleopolitan it is the only one that shares elements charac- tential punishment involving destruction by into BD 17. Not only are the number of attes lakes in occasional New Kingdom examples, teristic of both chapters: a fecundity figure, a fire that awaits those who have acted against tations lower, but they also appear on fewer and in most known Third Intermediate Period feathered eye, and a pool of water. This seems maat.53 Braziers simultaneously bear a posi surfaces,54 given that the figure between the ones. Finally, watery extensions (in the form to be a hybrid composition, which mixes ele- tive value for the deceased due to their apo- eyes is frequently lacking in the decoration of of rectangles, sometimes filled in with blue ments of BD 17 and 125, and may be unique. tropaic side. Although the figure that stands in the frieze in the Hall of Judgement. Whereas or green colours or featuring waves) are not It may well have been created by mistake—a the midst of all these symbols of rectitude and the protagonist in BD 125/JaD is a male figu present in BD 125/JaD, while they form a very slip of the mind by the scribe or draughtsman purification is not mentioned in the text, he re who may or may not have borne signs of di- prominent element in the Herakleopolitan in charge of the vignettes, who erroneous- does not seem to be separated from this same vine status (mainly a curved beard), the lo- scene of BD 17. ly mixed elements of the two (rather similar) conceptual context. cal pools in BD 17 are most often personified The formal relationship between the groups scenes. There are a number of conspicuous similar- as fecundity figures. The election of the latter depicted in BD 125 and BD 17 is striking. Au- Another hypothesis, which accords with ities, but also differences, between this scene typology owes to the blatant relationship be- thors such as Milde have suggested that the characteristic traits of Egyptian thought pat- from BD 125/JaD and the vignette that in- tween fecundity figures and water, which mytheme of bathing the deceased in the He terns, such as the multiplicity of approaches, cludes the personifications of the Herakleo- is the main component of the local lakes. rakleopolitan lakes formed the backdrop to is to consider the formal similarity of the two the image in BD 125. However, the idea that vignettes to be the result of iconographic con- the local lakes are featured in the scene of BD vergence. This is the process by which similar 125 was rejected above and there are also some iconographic motifs serve to represent differ- gether. Water also plays a vital role in Osirian tombs; textual, pictorial, and archaeological sources (specially from chronological problems. The vignettes of BD ent, but essentially related, ways of conceiv- the New Kingdom onward) show water surrounding in a symbolic or real manner the nucleus of the god’s tomb, featured as a hill atop an island (Einaudi 2007). 125 are attested from the reigns of Hatshep- ing the same idea. The single male character sut/Thutmose III–Amenhotep II onward, and that protects two eyes within ovals in BD 125/ 51 Seeber 1976: 65. therefore predate the oldest developed images JaD, and the two fecundity figures that protect 52 Wilkinson 1992: 108–109. of BD 17, which only date to the post-Amarna an eye within an oval (and two pools) in BD 53 Wilkinson 1992: 160–161. Feathers, braziers, and baboons are also present in other important hallmarks of the period. Given this, the iconographic transfer 17, illustrate the common theme of purifica- beyond, such as the Lake of Fire (BD 126): Seeber 1976: 184–186. could have worked in the opposite direction, tion, as well as the related ideas of justification 54 The male figure between eyes is not incorporated into the iconographic repertoire of Third Intermediate and Late Period coffins, despite the fact that the Judgement after Death is frequently attested on coffin boards (Seeber 1976: from BD 125 to BD 17. The image in pLondon of the deceased and rebirth as a divine being. 44–48; Niwinski 1985: 202–203, fig. 2 a, 2006: 248–254, 260). As mentioned above, the scene is not attested in BM EA 10470 (fig. 5), a Ramesside manuscript This mythical argument (=mytheme) unfolds private tombs outside Thebes and is only documented in one mummy bandage. that belonged to Any, might conceivably be in the purification, elimination of sins, and
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The iconographic resemblance between My purity is the purity of this great benu-heron these elements of BD 17 and BD 125/JaD which is in Herakleopolis Magna.58 strengthens the conceptual or essential link that exists between both compositions. This jnk wab r, wab awy, Ddw n=f: jj wy sp 2 m Htp jn mAAyw sw link has already been suggested by authors I am pure of mouth, pure of arms, one to whom such as Hermann Kees, Joachim Spiegel, is told: “come, come in peace” by those who see Reinhard Grieshammer, Christine Seeber, or him.59 Henk Milde55 and will be explored in this fi- nal part of the article through their content
132 133 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos with, my evil has been dispelled, the falseness 2. Nineteenth to Twentieth Dynasties: papyri indicates other references that describe and to damage or loss). that adhered to me has been removed. I have 3. Nineteenth to Twentieth Dynasties: royal discuss different aspects of the source. Where ∅. Omitted. bathed/purified myself in those two great and private tombs all relevant literature is cited by the Totenbuch- and stately lakes which are in Herakleopolis 4. Twenty-first Dynasty: papyri Projekt (totenbuch.awk.new.de/), the biblio Attitude of the figure Magna”.62 The insistence on purification con- 5. Twenty-fifth Dynasty: tomb graphy is kept to a minimum. Only those titles . Protection forms to the requirement that being physical- 6. Late Period to early Ptolemaic Period: pa- not recorded there or lengthier discussions on . Offering ly and morally clean is crucial to achieving re- pyri dating and transmission issues are cited. . Recitation. Extended arms with open birth. 7. Ptolemaic Period, Thebes: papyri and tem- The tables below include the following ca palms and thumbs pointing upwards My assessment is that the conceptual asso ples tegories: – . Cannot be determined with certainty (due ciation between the two chapters is further to damage or loss) graphically and spatially strengthened in sev- 8. Ptolemaic Period, Memphis: mummy ban- Location ∅ . Omitted eral sources. As explored in another article, dages Two positions predominate, albeit with some BD 17 and 125 are located on the superim- 9. Ptolemaic–Roman Period, Middle Egypt: Object protected or offered posed or opposing registers of walls in a num- papyri exceptions that will be mentioned in each sec- ber of tombs at Thebes (QV 66, TT 265), on a 10. Ptolemaic Period, unknown provenance: tion: Indications are provided for the typology of sarcophagus (of PA-Sdw in TT 3), and in a tem- papyri Above BD 125 B indicates that the figure is eyes (feathered or , the latter lacking the ple (the Osireion at Abydos), each of which placed above the scene of the so-called nega- vertical addition, wedjat ; and simple ), were constructed at different times, and in This catalogue of sources is structured ac- tive confession, which is uttered before forty- the presence of ovals surrounding them, and which a specific selection and distribution of cording to media, provenance, and chronolo- two judges. orientation. The eyes always appear in pairs BD chapters was chosen.63 The two chapters gy. For Ptolemaic examples, papyri belonging Above JaD (=Judgement after Death) indi- and are situated on either side of the central are thus linked in vertical or horizontal axes to the traditions or groups established by M. cates that the figure is located above the scene figure. that visually underscore all the shared connec- Mosher (2016) are further grouped together. of the weighing of the heart. tions highlighted here. Each entry includes the following infor- Abbreviations This analysis of the group depicted on the mation: inventory number; name of muse- Type of figure F. Fringe; ceiling of the Hall of Judgement (BD 125) and um/collection; owner; date; extra sources 1. Male fecundity figure B. Background the scene of the Herakleopolitan lakes (BD 17) (other documents that belong to the same 2. Male figure bearing a feature of divinity suggests that there was a relationship between manuscript); provenance (if placed between (typically a curved beard) the two. Each depicts concepts of purity, either squared brackets, origin has been deduced 3. Male figure without feature of divinity 1. Eighteenth Dynasty: papyri physical or spiritual, of judgement, and of trans- from internal data); and state of preservation 4. Female figure formation and rebirth. Although they appear to (three categories are distinguished: good state –. Cannot be determined with certainty (due Thebes have come from different traditions, they even- of preservation, if the vignette is wholly pre- to damage or loss) tually came to be regarded as related through a served; damaged image, if the image is par- ?. The figure does not appear in published pCairo CG 24095 (=JE 338844); Egyptian process of iconographic convergence. tially damaged, but all its elements are recog- images and may have been omitted, but this Museum; MAj-Hr-prj; Amenhotep II; KV 35; nisable; fragmentary state, if some of the ele- cannot be demonstrated good state of preservation. ments are blurred or have disappeared owing ∅. Omitted Munro 1994: Taf. 60. Appendix to the presence of lacunae). Seeber 1976: 201 (1), dates it to the reigns of Key to the tables Two symbols are used in the bibliographi- Body posture Amenhotep II and Thutmose IV; Luft 1977: cal references: 1. Seated with arms extended in different di- 70; Bellion 1987: 105, places it in the 21st Dy- The appendix is comprised of the following ta- indicates publications or websites where rections, one knee bent upwards as in the sign nasty; Munro 1988: 278 (Kat. a. 19), dates bles: the vignette is included (as an image or as a Gardiner A1 ). it to the time of Amenhotep II; Totenbuch- 1. Eighteenth Dynasty: papyri description); 2. Seated with arms extended in different di- projekt, TM 134265
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Amenhotep III; good state of preservation. (Kat. a. 38), dates it to the time of Thut- 2. Nineteenth to Twentieth Dynasties: ty and pLondon BM EA 10473 to the be- Devéria 1872: Pl. VIII. mose III/Amenhotep II–Amenhotep II; papyri ginning of the 19th Dynasty; Seeber 1976: Seeber 1976: 204 (9), dates it to the 19th Totenbuchprojekt, TM 134314
Nº Inv / Body Object protected/ pCairo CG 24095...... 2 Location Type of figure Attitude Above 125 B 1 Provenance posture offered Thebes Blue wig F: blue; B: white
pLondon BM EA Above 125 B and 1 pParis Louvre AE/N 10470.... 1 JaD Green wig 3068+3113..... Above 125 B 2 1 1 Thebes Thebes
pLondon BM EA pTübingen 2003 10471 + Leather 2 3 a–k.. Above 125 B 1 Roll BM EA Above 125 B 1 Black wig ?, –2 Blue wig [Memphis] 10473..... F: blue; B: white Thebes
pLondon BM EA 9900.... Above 125 B 2 1 pLondon BM EA 2 Memphis 10466...... Above 125 B 1 Blue wig Unknown F: dark; B: white
1 Inserted in semicircles. 2 Only half of the right oval is preserved. The form of the left eye is not well defined and resembles a mixture of a 3 The central part of the architrave in pBruxelles E. 5043 + pPhiladelphia E 2775, 16720–22 is lost and the presence of feathered and an wedjat eye. a figure between eyes cannot be demonstrated (Milde 1991: 89).
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3. Nineteenth to Twentieth Dynasties: Assmann 1991: I, 109, II, Taf. 8 (Wandplan TT 305; tomb of PA-sr; Ramesside Period; Dra Saleh 1984: 97, 100, passim; Totenbuch- Tombs 7, Sz. 99), LVI a. Abu el-Naga. projekt, TM 135066
Body Object protected/ TT 265; tomb of Jmn-m-Jpt; Sety I or Ramess- Nº Inv / Provenance Location Type of figure Attitude KV 11; tomb of Ramesses III; fifth chamber, posture offered left wall; Valley of the Kings; good state of es II; Deir el-Medina; fragmentary state. KV 11..... preservation. PM I2: I, 346 (4) II; Saleh 1984: 70, Abb. 11 Above 125 B 2 1 ? ? 5 KV Lefebure 1889: 107–108; Abitz 1995: 186– and 75. 187. Saleh 1984: 96–97, 99, passim, dates it to In lintel giving ac- QV 66.-.... 2 cess to side 1 PM I2, 2, 518–527; www.thebanmapping- the reign of Sety I; Rößler-Köhler 1979: QV Black wig chamber project.com; Totenbuchprojekt, TM 139–140 and 1999: 12–13 and Abb. 25, F: black; B: white 135123
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4. Twenty-first Dynasty: papyri 2nd World War); good state of preservation. 6. Late Period to early Ptolemaic Period: Persian Period; [Memphis]; good state of pre Niwiński 1989: Pl. 9B. papyri servation. Thebes Seeber 1976: 210 (1); Munro 2001: 124 Gasse 2001: cover. (198); Tawfik 2008: 239 (Kat. 37); Len- Thebes Allen 1960: 40–41, dates it to the Persian– pCairo CG 40006 (= S.R. VII 11488); Egyp- zo 2010: 64–67, fig. 1; Totenbuchprojekt Ptolemaic Period; Yoyotte 1971: 18–20, sug- tian Museum; PAj-nDm I; beginning of the 21st Bonn, TM 133525,
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Body Object protected/ Budek 2008: 24, assigns it a Theban ori- Mosher 1990: Pl. 151. Nº Inv / Provenance Location Type of figure Attitude posture offered gin; Tawfik 2008: 281 (Kat. 140); Mosher Allen 1960: 17, indicates that it could have pVaticano 38571...... 2010: 137 and 2016: 25–27, includes it in shared master copy with pChicago OIM Above JaD? 2 1 Thebes 11 the tradition of the “N3089 group” and 9787 in the texts’ selection and distribu- suggests a dating between 280 BC and tion, on XXIV–XXV he points to a date pBruxelles MRAH E. the middle of the 3rd century BC; Toten in the Persian–Ptolemaic Period; Goyon 8389 1...... Above JaD 2 2 Thebes buchprojekt Bonn, TM 56600, pCairo JE 95707...... ch.awk.nrw.de/objekt/tm56600>. gy; Munro 1973: 244, points to a date in Above JaD 2 1 [Thebes] the mid or late Ptolemaic Period due to pParis Louvre N. 3248; Musée du Louvre; ¦jj- its similarity with the stela Turin 1599; pSt Petersburg 3531...... Above JaD 2 1 bX/¦jj-bA-Axt; [Thebes]; good state of preserva- Mosher 1990: 61–65, 451–452, 507, 519, [Thebes] tion. 533, 645, Pl. 32, suggests a date ca. 280– pVaticano 48832...... Mosher 1990: Pl. 163. 250 BC (style 1, group A) and highlights Above JaD 3 1 12 Memphis Mosher 1990: 107–109, 455, 507, 547, 648, its similarity to the vignettes of pParis Pl. 37, suggests dating it ca. 250–200 BC, Louvre N. 3144; Mosher 1992: 146, fig. 1, pLeiden T21...... 2 or 3 Above JaD – Unknown Dark wig ? – (style 1, group B); Mosher 1992: 151, n. 42, 151 (style 1); Verhoeven 2001: 226–227, 158, n. 69, 159, fig. 7; Budek 2008: 25–26; points to a date in the end of the 3rd centu- pRodez pRodez...... ? 3 2 13 Tawfik 2008: 287 (Kat. 158); Mosher 2010: ry or the beginning of the 2nd century BC; Unknown ? F: dark; B: yellow 137 and 2016: 25–27, assigns it to the tra- Budek 2008: 23; Mosher 2008: 245–248, pVaticano 38604...... 3 dition of the “N3089 group”; Totenbuch- fig. 4, indicates that the dating suggestion Above JaD 2 Unknown Dark wig projekt Bonn, TM 56756, 142 143 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos pNew York Amherst 30 (Pierpont Morgan Li- pParis Louvre N. 3152; Musée du Louvre; lar source to pParis Louvre E. 7716; Toten 1 and to the “BM 10086” tradition, a tradi- brary); good state of preservation. ¥Snq; early 3rd century BC; [Thebes]; good buchprojekt Bonn, TM 134874, 144 145 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos TM 56598, 146 147 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos of the “Later HG Set” (quoted under the of the “Later HG Set”; Totenbuchprojekt pLondon BM EA 10370 B; British Museum; pTorino 1794; Museo Egizio; ¦A-rd-Srj/¦A-Xrd; siglum Vatican # 56); Totenbuchprojekt Bonn, TM 57529, 148 149 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos pLeiden L.XII.2...... pMilano E. 1023...... Above JaD 3 1 ∅ Above JaD?16 – 1 [Thebes] [Thebes] – pParis Louvre pParis Louvre N. 3087.... Above JaD 2 1 N.3089...... Above JaD 3 3 Thebes Thebes pBerlin P. 3058 A–I...... 2 pParis Louvre Above JaD 2 Black wig N. 3248...... Above JaD 2 or 3 1 B: yellow [Thebes] pLausane Inv. 3389...... Above JaD 2 2 pParis Louvre [Thebes] N. 3272.... Above JaD 2 or 3 1 [Thebes] 2 pTorino 1833...... Above JaD 2 Bright wig Paris Louvre 3 N. 3079...... Above JaD 3 2 pBerlin P. 3150 A–D...... Above JaD Sun disk over 1 Armant [Thebes] wig pBruxelles MRAH E. pChicago OIM 9787 4976...... Above JaD 2 2 3 (pRyerson)...... Above JaD 2 [Thebes] Black wig [Thebes] B: red pParis Louvre pParis Louvre N. 3144 + N. 3153 ...... Above JaD 3 1 N. 3198 + N. 3250...... Above JaD 2 or 3 2 [Thebes] pNew York 17 pLeiden T16...... Above JaD 2 1 . Above JaD 2 3 ∅ Amherst 35...... pTorino 1791...... pParis Louvre Above JaD 2 2 N. 3152 ..... Above JaD 2 1 [Thebes] pBerlin P. 3008...... 3 Above JaD 1 Black wig pBoston MFA F: no color 92.2582..... Above JaD 2 115 [Thebes] pLondon BM 2 Above JaD 2 EA 10017...... Bright wig B: yellow pCologny CIV...... Above JaD 3 2 [Thebes] pParis BN 1/19...... 2 Above JaD 1 Yellow wig B: yellow18 pParis Louvre E. 7716 ...... Above JaD 3 2 pVaticano 38569...... Above JaD 2 2 [Thebes] [Thebes] pParis Louvre N. 3143 + pLondon pGenf D 29 ...... Above JaD 2? 1 BM EA 9909...... Above JaD 3 2 ? [Thebes] [Thebes] – pLondon BM 2 EA 10086...... Above JaD Ribbon across 1 [Thebes] red wig B: red 16 Only the upper part of the scene is preserved, and shows two rows of deities and the tip of the Osiris crown. It is probable that the lower half bore the weighing of the heart scene. 17 The hands are inserted between two pairs of eyes, so that twowedjat eyes lay atop of them and two feathered eyes lay beneath them. 15 The leg is not bent at 90º, but protrudes forward. 18 The eyes point in different directions, looking outwards. 150 151 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos pLondon BM EA pToulouse 73.1.6...... Above JaD 2 2 9923 ... Above JaD 3 2 [Thebes] [Thebes] pLondon BM EA 3 pTorino 1794...... Above JaD 2 or 3 2 – 9946..... Above JaD rnpt-sign over 1 ∅ wig pTorino 1799...... 2 pLondon BM EA Above JaD or Above JaD 2 2 2 [Thebes] Dark wig 9976...... 125 B19 B: bright pLondon BM EA pTorino 1808...... 3 Above JaD 2 75042...... Above JaD 2 2 [Thebes] Black wig [Thebes] B: yellow pBerlin P. 3151 pLiverpool A–E ...... Above JaD 3 2 ...1978.291.264 Above JaD 3 2 [Thebes] Hissaya pDublin 1664...... Temple of Deir Above JaD 3 1 [Thebes] el-Medina Above JaD 3 1 22 Thebes pDublin 1669 + pUnknown 2 or 3 Above JaD 1 Provenance...... Black wig [Thebes] 8. Ptolemaic Period, Memphis: mummy http://libweb2.princeton.edu/rbsc2/papy- pGenf 23464/1–6...... Above JaD 2 2 bandages ri/ BookoftheDeadRoll8.html. [Thebes] Kockelmann 2008: II, 269–270, Anm. 236; pLeiden T1...... 3 Totenbuchprojekt Bonn, TM 14129, 19 Only the upper half is preserved. 20 The hands are inserted between two pair of eyes, so that the wedjat eyes are atop them, and the feathered eyes are beneath them. 22 The whole of an almond shape eye, and not only the pupil, has been represented. The image reproduced by Lepsius 21 Only the upper half is preserved. (LD IV, 16 b) is not accurate. 152 153 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos Middle Egypt, based on Memphite pro- rus (or at least its master copy) originat- http://www.british museum.org Dynasty and the Ptolemaic Period; Taw- totypes with additional Theban elements ed in Meir; Totenbuchprojekt Bonn, TM Totenbuchprojekt Bonn, TM 57241, 24 The right-hand palm faces upwards while the left one faces downwards. 23 The eye is simplified and does not bear the vertical addition. 25 Only the upper half is preserved. 154 155 TdE82017 Iconographic Rendering of the Notion of Purification ...Lucía Díaz-Iglesias Llanos pBerlin P 3156...... Baines, J. Budek, J. Above JaD 2 1 1985 Fecundity Figures: Egyptian Personification 2008 “Die Sonnelaufszene. Untersuchungen and the Iconology of a Genre. Warminster. zur Vignette 15 des Altägyptischen Toten- pPrivate Collection Sesto Congresso Interna buches während der Spät- und Ptolemäer- Sydney...... Above JaD 2 1 1992 “Open palms”, in: zionale di Egittologia, Atti. Torino: I, 29–32. zeit”, SAK 37: 18–48. pLondon BM EA 9963...... Above JaD 3 1 ∅ Barwik, M. Buroh, K.; Jürgens, P.; Müller-Wollermann 1995 “Du Nouveau sur le Papyrus de Pacheren- R.; Scholz, S.; Ziedler, J. pNew York MMA Above JaD 2 or 3 2 min au Musée Czartoryski à Cracovie”, 1985 Hieroglyphenschrift und Totenbuch. Die Papy- 66.9.142...... RdE 46: 3–7. ri der Ägyptischen Sammlung der Universität Tübingen. Tübingen. pParis BN 47–51...... Above JaD 3 1 Bellion, M. pParis BN 129–136...... 1987 Egypte ancienne: catalogue des manuscrits Cecil, L.W. Above JaD 3 1 hiéroglyphiques et hiératiques et des dessins 1903 “Report on the Work Done at Asuan”, pParma 106...... sur papyrus, cuir ou tissu, publiés ou signalés. ASAE 4: 51–73. Above JaD 3 1 Doctoral dissertation, École Pratique des Hautes Études. pTorino 1812...... Coenen, M. 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