The Global Egyptian Museum

Dit beeld stelt een staande persoon voor met een driedelige pruik, een brede halskraag en een geplisseerde schort. De rugpijler draagt een opschrift dat het beeld identificeert als de bijna onbekende god Imi-chent-wer. De naam van de persoon die het beeld ten geschenke gaf, gelijkt op de voornaam van Ramses II, Oeser-maät-re. Het fijne gezicht heeft waarschijnlijk de zeer geïdealiseerde trekken van de koning. Het portret van de koning werd niet alleen vaak door privé-personen overgenomen (of beïnvloedde de weergave van hun trekken) maar ook lieten de koningen godenbeelden vervaardigen met koninklijke gelaatstrekken. Het slecht gladmaken van bepaalde delen zoals het gezicht, de hals en de rugpijler, in tegenstelling tot de perfectie van de overige delen, laten vermoeden dat het beeld in de oudheid herwerkt werd (voor het verwijderen van een uraeus van een koningsbeeld is het herwerkte vlak op het voorhoofd te groot). De herwerking kan uitgevoerd zijn tijdens het maken van het beeld, maar het is waarschijnlijker dat het later volgde, misschien tijdens de 22e dynastie.

The statue depicts a standing figure with a tripartite smooth wig, a broad collar and a pleated apron. The back pillar has an inscription in large hieroglyphs naming the virtually unknown deity Imi-khent-wer. The donor of the statue bears a name which resembles that of Ramesses II, Weser-maat-re. The delicate face presumably renders the facial features of the king in a highly idealized fashion. The royal portrait not only was often adopted by private persons - or else influenced the representation of their own features -, kings also had statues of the gods made with royal features. The rough surface of some parts of the statue, such as the face and neck and the rear of the back pillar, contrasts with the perfect finish of the other parts. This fact, and especially the evident reworked state of the wig over the forehead, lead to the conclusion that the statue was remodelled in antiquity. It is not likely that the forehead was remodelled during a removal of a royal cobra because the remodelled surface is too large. It is possible that the remodelling took place at some stage during the manufacture of the piece, but it seems more likely that it happened later, perhaps during the 22nd Dynasty.

Cette statue représente une personne debout avec une perruque tripartite, un collier large et un pagne plissé. Le pilier dorsal donne un texte qui identifie la statue comme étant le dieu presque inconnu Imi-khent-our. Le nom de la personne qui consacra la statue ressemble au prénom de Ramsès II, Ouser-maât-rê. Le fin visage a probablement les traits idéalisés du roi. Le portrait du roi n'était pas seulement employé par des personnes privées (ou influençait la reproduction des traits) mais aussi pour les statues divines. <BR>Que certaines parties, telles que le visage, le cou et le pilier dorsal soient mal polis, en contradiction avec la perfection des autres parties, fait supposer que la statue a été remaniée dans l'antiquité (pour l'élimination de l'uraeus de la statue du roi, la partie retravaillée sur le front est trop grande). Il se peut que le remaniement ait été fait pendant l'exécution de la statue mais il est presque certain que cela s'est fait plus tard, peut-être durant la XXIIème Dynastie.

Questa statua rappresenta un personaggio in piedi con parrucca liscia tripartita, ampio collare e il perizoma plissettato tipico delle divinità. Il pilastro dorsale reca un'iscrizione incisa in grossi geroglifici, che riportano il <!---->nome del dio, praticamente sconosciuto, Imi-khent-ur, e il <!---->nome del dedicatario, che è uguale al prenome di Ramses II, User-maat-ra. Il volto delicato ha probabilmente i tratti idealizzati del re. Il ritratto del re non era solo adottato da privati (o ne influenzava la riproduzione dei lineamenti), ma anche per le statue divine. Il fatto che alcune parti, quali il volto, il collo e il pilastro dorsale siano mal levigati, al contrario della perfetta lavorazione delle parti rimanenti, fa supporre che la statua è stata rifatta nell'antichità. Ciò è confermato dal chiaro rifacimento della parrucca sulla fronte, dove è stato eliminato l'ureo della statua regale. Il rifacimento potrebbe aver avuto luogo già durante la fabbricazione della statua, ma è più probabile che seguì più tardi, forse durante la XXII dinastia.

A estátua representa uma figura de pé com uma cabeleira tripartida, um largo colar e um saiote pregueado. O pilar dorsal tem uma inscriç&atilde;o em grandes hieróglifos mencionando a praticamente desconhecida divindade Imikhentuer. O doador da estátua tem um <!---->nome que se parece com o pré-nome de Ramsés II, Usermaetré. O rosto delicado mostra presumivelmente as feiç&otilde;es do rei de um modo idealizado. O retrato real era muitas adoptado por particulares ou ent&atilde;o estes eram influenciados pelas suas feiç&otilde;es, mas os faraós também mandavam fazer estátuas de deuses com feiç&otilde;es reais. A superfície rugosa de algumas partes da estátua, tais como o rosto e o pescoço e a parte de trás do pilar dorsal, contrastam com o acabamento perfeito de outras partes. Tal, e principalmente o estado refeito da cabeleira sobre a testa, conduziu à conclus&atilde;o de que a estátua foi alterada na Antiguidade. É provável que as alteraç&otilde;es nao tenham sido feitas quando foi retirada da fronte a cobra real porque a superfície alterada é muito grande. É possível que a alteraç&atilde;o tenha tido lugar durante a manufactura da peça mas parece mais provável que se tenha dado mais tarde, talvez durante a XXII dinastia.

Esta estatua representa a una persona de pie con una peluca tripartita, un largo collar y un faldellín plisado. El pilar dorsal tiene un texto que identifica a la estatua como la de un dios casi desconocido: Imi-jent-ur. El nombre de la persona que dedicó la estatua parece el de Ramsés II, User-Maat-Re. El fino rostro probablemente represente los rasgos idealizados del rey. El retrato del soberano no era empleado únicamente por personas particulares (donde influenciaba la forma de los rasgos), sino también para las estatuas de dioses. Que algunas partes, como el rostro, el cuello y el pilar dorsal estén mal pulidas, en contraste con la perfección del resto, hace suponer que la estatua fue retocada en la antigüedad (para eliminar la uraeus, pues la parte rehecha de la frente es demasiado grande). Puede que el retoque haya sido realizado durante la fabricación de la estatua, pero es casi seguro que tuvo lugar más tarde, puede que durante la Dinastía XXII.

The statue depicts a standing figure with a tripartite smooth wig, a broad collar and a pleated apron. The back pillar has an inscription in large hieroglyphs naming the virtually unknown deity Imi-khent-wer. The donor of the statue bears a name which resembles that of Ramesses II, Weser-maat-re. The delicate face presumably renders the facial features of the king in a highly idealized fashion. The royal portrait not only was often adopted by private persons - or else influenced the representation of their own features -, kings also had statues of the gods made with royal features. The rough surface of some parts of the statue, such as the face and neck and the rear of the back pillar, contrasts with the perfect finish of the other parts. This fact, and especially the evident reworked state of the wig over the forehead, lead to the conclusion that the statue was remodelled in antiquity. It is not likely that the forehead was remodelled during a removal of a royal cobra because the remodelled surface is too large. It is possible that the remodelling took place at some stage during the manufacture of the piece, but it seems more likely that it happened later, perhaps during the 22nd Dynasty.

Schrift
Sprache
Textgattun
Textinhalt
Beschriftungstechnik
Erhaltungszustand des Textes
Hieroglyphen D:S43i-n-iimi-xnt-wr:r-D37:n-anxwAs-nb-n-nb:N17:N17-< ra-wsrC10A-//-//>
Umschrift Dd mdw jn jmj-xnt-wr dj.n(.j) anx wAs nb n nb-tAwj (wsr-mAat-ra...)
Übersetzung

Abbildungen	Attachments