The Global Egyptian Museum

This sphinx once belonged to King Osorkon I, whose cartouche was carved seven times onto the body of the sphinx. The sphinx, resting on a base, has been rather coarsely sculpted. This seems to indicate that work on the sculpture was not completely finished. This is particularly noticeable in the facial features where the large eyes have only been outlined and the mouth only half finished mouth, as well as the hatching of the royal head-dress or Nemes. The face, with its large, protruding ears does not display any individual portrait characteristics but rather served to depict Osorkon I as an idealised godlike king. Numerous examples of this type of sculpture must have adorned one of the great temples.

Ce sphinx appartenait autrefois au roi Osorkon I. Son cartouche a été gravé sept fois sur le monument. Le sphinx, resté sur sa base, a été sculpté sommairement. Peut-être n'a-t-il jamais été réellement achevé. En effet, les traits faciaux semblent confirmer cette hypothèse: Les grands yeux ont à peine été esquissés et la bouche est à moitié terminée. La coiffe royale ou Nemes a été hachurée. Le visage, aux grandes oreilles protubérantes, n'est pas individualisé; il devait représenter Osorkon I sous les traits d'un roi divin idéalisé. De nombreux sphinx de ce type devaient servir à décorer de grands temples.

Der Sphinx gehörte König Osorkon I., dessen Namenskartuschen siebenmal am Sphingenkörper angebracht sind. Der auf einer Basisplatte ruhende Sphinx ist verhältnismäßig grobschlächtig ausgearbeitet. Dies legt den Schluß nahe, daß die Skulptur handwerklich nicht ganz vollendet wurde. Besonders die Gesichtsmodellierung mit den nur eingeritzten großen Augen und die halbfertige Mundpartie deuten darauf hin, ebenso die angedeutete Schraffur am Königskopftuch, den Nemes. Das Gesicht mit den großen, abstehenden Ohren läßt keine individuellen, proträthaften Züge erkennen, sondern deutet eher auf die Absicht hin, in dieser Skulptur, die sicher in mehrfacher Ausführung einen der großen Tempel geschmückt haben dürfte, Osorkon I. als göttlichen König idealisierend zu präsentieren.

Questa sfinge apparteneva un tempo al re Osorkon I, il cui cartiglio è stato inciso sette volte sul corpo della sfinge. La sfinge, posta su una base, è stata modellata piuttosto grossolanamente e questo consente di ipotizzare che la scultura non è stata completata. La riprova di ciò si riscontra nei tratti del volto, dove i grandi occhi sono stati appena abbozzati e la bocca è stata finita solamente per metà, e nel tratteggio del copricapo reale o nemes. Il volto, con le sue larghe orecchie sporgenti non consente di individuare lineamenti ritrattistici, ma serviva piuttosto a raffigurare Osorkon I come un sovrano divinizzato idealizzato. Numerose sfingi come questa dovevano decorare in origine uno dei suoi grandi templi.

A esfinge pertenceu em tempos ao rei Osorkon I, cuja cartela estava incisa sete vezes no corpo da esfinge. A peça, apoiada numa base, foi rudemente trabalhada e por isso talvez nunca acabada. Prova disto pode ser encontrada nos traços faciais, onde os olhos foram apenas marcados e a boca ficou meio acabada, e no esboço do toucado real ou nemés. O rosto, com as orelhas grandes e salientes, n&atilde;o nos permite discernir traços individualizados de retrato, mas serviram para representar Osorkon I de modo idealizado. Talvez mais de uma destas esfinges adornasse o grande templo.

Esta esfinge perteneció una vez al rey Osorcon I, cuyo cartucho fue grabado siete veces en el cuerpo de la esfinge. La pieza, sobre una base, se modelo de un modo bastante grosero y, por lo tanto, puede que en realidad nunca fuera terminada. Esto es particularmente visible en los rasgos faciales, en donde los grandes ojos fueron más perfilados y la boca se dejó a medio terminar, así como en el apresuramiento del tocado real, o sea nemes. La cara, que es grande y con orejas saltonas, no presenta ninguna característica individualizada, sino que más bien se utilizó para representar a Osorcon I como un idealizado rey parecido a un dios. Numerosos ejemplos de este tipo de escultura deben haber adornado uno de los grandes templos.

This sphinx once belonged to King Osorkon I, whose cartouche was carved seven times onto the body of the sphinx. The sphinx, resting on a base, has been rather coarsely sculpted. This seems to indicate that work on the sculpture was not completely finished. This is particularly noticeable in the facial features where the large eyes have only been outlined and the mouth only half finished mouth, as well as the hatching of the royal head-dress or Nemes. The face, with its large, protruding ears does not display any individual portrait characteristics but rather served to depict Osorkon I as an idealised godlike king. Numerous examples of this type of sculpture must have adorned one of the great temples.

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Vertaling Sechem-cheper-Re, Osorkon, bemind door Amon. Sekhem-kheper-Re, Osorkon, beloved of Amun. Sechem-cheper-Rê, Osorkon, bien-aimé d'Amon. Sechem-cheper-Re Osorkon, Liebling des Amun. Sekhem-kheper-Ra, Osorkon, amato da Amon. Sekhem-kheper-Ré, Osorkon, amado de Amon. Sejem-jeper-Re. Osorcon, amado de Amón. Sekhem-kheper-Re, Osorkon, beloved of Amun.

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