By Christina Riggs
This significant new examine appears to be like on the intersection of Greek and Egyptian artwork varieties within the funerary sphere of Roman Egypt. A dialogue of inventive swap, cultural identification, and spiritual trust foregrounds the unique research of greater than one hundred fifty items and tombs, lots of that are offered right here for the 1st time. as well as the knowledge it offers approximately person artistic endeavors, supported by means of catalogue entries, the research explores basic questions akin to how artists mix the iconographies and representational kinds of diverse visible traditions, and why detailed visible traditions have been hired in Roman Egypt.
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Additional info for The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion (Oxford Studies in Ancient Culture & Representation)
The statue is inscribed with funerary formulae, and Petubastis’ spouse and daughters are identiﬁed as singers (priestesses) of Anubis and proven with sistra and menit-necklaces of their cultic roles. sixty four The knotted ensemble got here into its personal lower than the Ptolemies, whilst it turned an alternative choice to the sheath costume for Egyptian statues and reliefs of the Ptolemaic queens. sixty five On a gateway on the Karnak temple, Berenike II wears a queenly crown incorporating the horns and disc of Hathor, an overskirt with folds falling from a primary pleat, and what seems to be a scarf with one finish tucked into the pinnacle fringe of the overskirt and the opposite left to hold unfastened. sixty six A stela of Ptolemy IV and Arsinoe III, from Tanis, likewise depicts the queen within the knotted ensemble. sixty seven a number of Egyptian statues of Ptolemaic queens depict the specified knotted mantle,68 as do sixty two As at the lintel of Tjanefer (Alexandria, Graeco-Roman Museum, 380): C. Ransom-Williams, ‘The Egyptian assortment within the Museum of paintings of Cleveland, Ohio’, JEA five (1918), 282–3, pl. forty (drawing). See additionally Bianchi, ‘Not the Isis knot’, sixteen, ﬁg. eleven (a lintel fragment in Paris, Louvre, e 11162). sixty three G. Lefebvre, Le tombeau de Petosiris (Paris 1924), iii. 84–90, pls. sixteen (Nesnehmetawy, a long way correct) and 17 (right). sixty four London, British Museum, ea 512 (W: 32. five cm): D. Wildung, Imhotep und Amenhotep: Gottwerdung im alten Ägypten (Munich and Berlin 1977), 73–8 (§47), pls. 14–15. sixty five S. Albersmeier, Untersuchungen zu den Frauenstatuen des Ptolemaïschen Ägypten (Trier 2002), 90–105 (‘Isisgewand’), esp. 103–4; Albersmeier and Minas, ‘Ein Weihrelief für die vergöttlichte Arsinoe II’, 21. Albersmeier’s booklet (which used to be now not to be had to this writer on the time of writing) offers Ptolemaic deepest and royal sculpture of girls donning the knotted ensemble; her conclusions emphasize the ensemble’s reference to deiﬁed queens and their cultic roles. sixty six P. Clère, l. a. porte d’Euergete à Karnak (Cairo 1961), pl. forty three, reproduced in R. S. Bianchi, Cleopatra’s Egypt: Age of the Ptolemies (Brooklyn 1988), forty eight, fifty one ﬁg. 22. The association of the scarf ends—right unfastened, instead of left—might be a reversal end result of the queen’s leftward orientation; rightward orientation used to be dominant in Egyptian artwork. equally, the centre line of the skirt is depicted over the queen’s close to thigh as a result of Egyptian conventions in two-dimensional paintings. sixty seven London, British Museum, ea 1054 (H: seventy four. zero cm): S. Walker and P. Higgs (eds. ), Cleopatra of Egypt: From historical past to fantasy (London 2001), 76–7 (no. 56); l. a. gloire d’Alexandrie (Paris 1998), 188 (no. 136); Bianchi, Cleopatra’s Egypt, one zero five (no. 15). sixty eight Albersmeier and Minas, ‘Ein Weihrelief für die vergöttlichte Arsinoe II’; Walker and Higgs, Cleopatra of Egypt, a hundred sixty five (no. 164, Cleopatra VII? ), 166– 7 (no. 166, deiﬁed Arsinoe II), 169 (no. 168, unknown queen), and a hundred and seventy (no. 169, Arsinoe II? ); S. -A. Ashton, Ptolemaic Royal Sculpture from Egypt: The interplay among Greek and Egyptian Traditions (Oxford 2000), 106–15 (nos. 49–62), 116–17 (no. 65), 118–19 (nos. 67–9); B.