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The family group of the Theban governor Amenemheb is a remarkable monument of post-Amarna art. Amenemheb is represented embraced by his wife Taisennefret (at the left) and his mother Kal (at the right). He wears a long shirt with low-cut neck and wide pursed sleeves and an apron reaching his ankles; the apron is girded by a wide ribbon with its fringed end lying on his knees. he wears a long wig parted in the middle, its flaps reaching his breast; natural hair is shown on the forehead dropped from under the wig. Both Taisennefret and Kal wear the same long pleated dresses, wide collars with pendants and elaborate long wigs consisting of numerous braids; the wigs are crowned by lotus wreaths, natural hair parted in the middle is seen on the foreheads. The chair is treated realistically, a soft cushion deflated by the weight of the bodies is unique. On the garment of Amenemheb there is a vertical column of hieroglyphs (inscription A); inscriptions B and C are placed on the laps of the women. The back of the statue forms a kind of rectangular "stela" with two vertical columns in the centre (inscription D) and one column along the right and the left edge (inscriptions F, F). The shapes of the wigs are characteristic of the post-Amarna epoch, from Tutankhamun down to the beginning of the Nineteenth Dynasty. The round and somewhat flat faces as well as wrinkles at the necks testify to the same date. The statue comes from the tomb A.8 at Dira Abu el-Naga.
The family group of the Theban governor Amenemheb is a remarkable monument of post-Amarna art. Amenemheb is represented embraced by his wife Taisennefret (at the left) and his mother Kal (at the right). He wears a long shirt with low-cut neck and wide pursed sleeves and an apron reaching his ankles; the apron is girded by a wide ribbon with its fringed end lying on his knees. he wears a long wig parted in the middle, its flaps reaching his breast; natural hair is shown on the forehead dropped from under the wig. Both Taisennefret and Kal wear the same long pleated dresses, wide collars with pendants and elaborate long wigs consisting of numerous braids; the wigs are crowned by lotus wreaths, natural hair parted in the middle is seen on the foreheads. The chair is treated realistically, a soft cushion deflated by the weight of the bodies is unique. On the garment of Amenemheb there is a vertical column of hieroglyphs (inscription A); inscriptions B and C are placed on the laps of the women. The back of the statue forms a kind of rectangular "stela" with two vertical columns in the centre (inscription D) and one column along the right and the left edge (inscriptions F, F). The shapes of the wigs are characteristic of the post-Amarna epoch, from Tutankhamun down to the beginning of the Nineteenth Dynasty. The round and somewhat flat faces as well as wrinkles at the necks testify to the same date. The statue comes from the tomb A.8 at Dira Abu el-Naga.
Sitio
Proveniência
Material
Técnica
Estado de conservação
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Diâmetro
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Peso
(grs)
Datação
Datação (texto livre)
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Deus
Rei
Pessoas
jmn-m-Hb
kAl
tAjj-sn-nfr.t
Escrita
Língua
Categoria do texto
Conteúdo do texto
Técnica da escrita
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Hieróglifos
|A-sw*Y4-pt:N36:f-F20:pr*Z1-Aa15-<h1-ra:Dsr*kA-h3>-F20-O51:t*Z4-n-i*(mn:n)-Q2:ir-HAt:a-i*(mn:n:gs)-W3-A51*(n:O49)-ms*S3-(V31:r:Z1)*B1-! |B-M27-n-i*(mn:n)-nb:t-pr*Z1-Q2:ir_V31:A*(n:Z2)-(r:Z1)*B1-mAa:xrw\r3-t*mwt*S3-HAt:a-Q2:ir-i*(mn:n:Aa15)-W3-A51*mAa\r1*xrw-n:O28*sw-! |C-wr*t:r-U31:n-O10-nb:t-i-n:r:t*Z4-S:S-M27-S3-i*(mn:n)-Q2:ir-t*A*i*i-z:n:Z2-(nfr:t)*B1*(sn:t:n)-HAt:a-i*(mn:n:AA15)-r-A51*S3-R19*(t:O49)-! |D1-sw*di:Htp-G9-N19-t:tm-nb-O28*M27-R7-E10-anx-Z11*(Hr:t:pt)-nfr*(Hr:Z1)-s-T32-N14-t:pr-ii*(D54:n)-x:r-k-(p:t)*H*A40-z:k-r:Z4*A40-Q2:ir-nb:r*Z1-V2*V2*V2:N25-D37:z:n:Z2-pr:r-w*D54-G53*Z1-f-AA15-anx*i*i-r-s*T32-b*V1-mr:n-f-! |D2-D1*Z1:N16-T:z-t*U39*D54-h-A-i*i*(t:D54)-x*t:f-N6-(Hr:Z1)*nTr*Sms-Z11*(AA15:Z4)-A*(t:ra)-f-i-n:sw*Y4-pt:N36:f-F20-O51:t*Z4-n-i*(mn:n)-AA15-i*(p:t)*st-Z2:O49-HAt:a-Q2:ir-i*(mn:n)-Aa15:W3-A51*S3-O49:t*Z1-ms*(n:Q2:ir)-k-A*(n:Z2)-(r:Z1)*B1-! |E-#b-sw*di:Htp-#e-Q2:ir-(wn:n:n)*nfr-W24*t:pt-ms*t*nTr*(3:2)-D37:z:Z2-T12-K4:t*Aa2-B1-Aa15-R10-D55-D54:t-Hr:Z1-O32*Z3-n:t-N14*(t:pr)-r-ir:mA-i*(t:n:ra)-(Hr:Z1)*N14*i*i-t:ra-r-s*(wr:r)-i*(n:n:n)-(Hr:Z1)*(b:t)*(b:t)-n-i*(t:r:n:n:n)-n:kA*Z1:n-Q2:ir-k-(r:Z1)*B1-t*mwt-S3-HAt:a-i*(mn:n)-Aa15:W3-! |F-sw*di#2-Htp-st*(t:H8)*I12-wr*t-nTr*t-G14-nb:t-i-n:r:t*Z4-S:S-(nfr:t)*(Hr:Z1)-x:f:t*t-Hr:Z1-nb:z-D37:z-W9-R7*G29*Z1-B1-Hr:Z1-K4:t*Aa2-f-x:n:n-G41-f:r-st:t-mr:n:f-O42-Htp:t*p*t-W15*(Aa15:D52:Z1)-nb-Ab*b*(Dw:O49)-n:kA*Z1:n-(G36:t)*U31\r3-n:nb:t-S:S-t*A*i*i-z:n:Z2-(nfr:t)*B1-sn:t-HAt:a-i*(mn:n)-Aa15:W3-!
Transliteração
sS (nj)-sw(.t) Hrj mrj.f jmj-r pr m Hw.t Dsr-kA-ra jmj-r Snw.tj jmn wsjr HAtj-a jmn-m-Hb n njw.t ms(.w) n kAl Sma n jmn nb.t pr wsjr kAl mAa(.t)-xrw mw.t n HAtj-a wsjr jmn-m-Hb mAa(.t)-xrw n jwn(w)-Sma(w) wr.t xnr(.wt) Hw.t-Hr nb.t jnrtj Sma(.w) n jmn wsjr tA.j-sn-nfr.t sn.t jmn-m-Hb HAtj-a n wAs.t Htp dj (nj)-sw(.t) Hr-Ax.tj tm(w) nb jwn(w)-Sma(.w) bA anx jmj Hr.t nfr Hr sSm dwA.t jj n(.j) xr.k ptH-skrj-wsjr nb rA-sTAw dj.sn pr.w bA.f m anxj r sSm bw mr.n.f tp tA Ts.t hAj.t xft ra Hr Sms nTr jmj A.t.f jn sS (nj)-sw(.t) xrj mrj.f jmj-r Snw.tj jmn m jpt-js.wt HAtj-a wsjr jmn-m Hb n njw.t ms(.w) n wsjr kAl [Htp dj (nj)-sw(.t)] wsjr wnn nfr nw.t ms.wt nTr 5 dj.sn srwD X.t m-Xr.t-nTr pr.t aq Hr rwt n.t dwA.t r mAa jtn Hr dwAj.t r swrj Hr btbt n jtrw n kA n wsjr kAl mw.t n HAtj-a jmn-m-Hb Htp dj (nj)-sw(.t) js.t mw.t wr.t nTr nb.t jnr.tj nfr.t Hr xft.t-Hr-nbs dj.s Xnm bA.j Hr X.t.f xnn.f r st mr(j).n.f Ssp Htp.t qbHw m-bAh nb AbDw n kA n wr.t jtH n nb.t jnr.tj tAjj-sn nfr.t sn.t HAtj-a jmn-m-Hb
Tradução
Tradução:
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Aquisição
Año de adquisición
Historial da peça
1852 - gift of Maximillien, Duke of Leuchtenberg.
Objectos associados
Referências fotográficas
Editor do registo
Data do primeiro registo informatizado
Data do última actualização
Bibliografia
Zhil' F., Muzei imperatorskogo Ermitazha. St.Petersburg, 1861, p.352. Lieblein J., Die aegyptischen Denkmaler in St.Petersburg. Helsingfors, Uppsala und Copenhagen, Christiania, 1873, S. 3-4, no.3. Golenischeff W., Ermitage Imperial. Inventaire de la collection #gyptienne. S.l., 1891, pp.87-89, no.740. Bruy#re B., Mertseger # Deir el Medineh. MIFAO, 58, 1929, p.201. Matthieu M.E., Iskusstvo Novogo tsaratva. Leningrad, 1947, p.99, tab. XXXI. Struve V.V., K voprosu o lokalizatzii i datirovke nekotoryh egipetskih pamyatnikov Ermitazhnogo sobraniya. Gosudarstvennyi Ermitazh, Moskva-Leningrad, 1926, pp.14-16. Matthieu M.E., Pavlov V.V., Pamyatniki iskusstva drevnego Egipta v museyah Sovetskogo Soyuza. Moscow, 1958, fig.47. Matthieu M.E., Ermitazhnaya skul'pturnaya gruppa Amenemheba. Drevnii mir, Moskva, 1962, pp.144-154, fig.29-30. Matthieu M.E., Iskusstvo drevnego Egipta. Moscow, 1961, p.406, fig.195. Porter-Moss, I (2-e ed.), pp.449-450. Lapis I.A., Matthieu M.E., Drevneegipetskaya skul'ptura v sobranii Gosudarstvennogo Ermitazha. Moscow, 1969, pp.79-82, cat.no.76, tab. II,76, fig.48. Landa N.B., Lapis I.A., Egyptian Antiquities in the Hermitage. Leningrad, 1974, pl.51.
Comentário general
Provenance: The provenance of the statue is unrecorded, but according to prosopographic data it is from the tomb A.8 at Dira Abu el-Naga. Preservation: The noses and arms of all of the figures and the right knee of Kal are lost.
Imagems
Attachments
