Shabtis and Egyptian Iconography - Essay Example

Introduction The role of an object of art in history is of remarkable significance. Ancient objects of art have revealed much information about the past. Indirectly as it may seem, nonetheless, the richness of a culture is defined by artistic convention. Art in its purest intention is an expression, a story told in a different light. Nevertheless, it is more than just a narrative. Every detail conveys significance; each symbol expresses a scheme. Ancient civilization art is a noteworthy case in point. In this essay, a piece of an Egyptian art is to be explored in context of iconography; hand-in-hand a piece of Mesopotamian art is to be identified in the same context as well. Shabtis and Egyptian Iconography The function of shabtis in the funeral rites of ancient Egypt has marked the importance of these figurines in historical studies. The figures are of considerable artistic interest, and provide information about Egyptian religion, society, personal names, titles, etc (Stewart). These art pieces have served as funerary markers, and consequently visions of such has been attributed to mummies. The Egyptian people were a practical people, and they reveal through the products of their arts and crafts. Yet, reality cannot be denied, contrary to their practicality, the wisdom they have had was, still, that of primitive magic. Across several generations of the civilization, magic was never abandoned. It could be seen in the existence of shabtis then on. They have knowledge of medicine, yet they never used it in curing the ill but in the process of mummifying. They were good builders but never had enough knowledge of mathematics since they have limited their calculations on solving practical problems. Thus, what the shabtis has established in modern times was not about the great knowledge of the Egyptians but their artisanship and their successive belief in primitive magic. As point of study in particular I have chose to consider one of the funerary figurines of Nesikhonsu. It is the blue-colored shabti dated to be from the third intermediate period. The color is the first thing that appeals to the viewers. Most shabtis were in earth tone or raw stone color. This particular shabti is not in mummy form since the arms were not crossed at the chest. Its right hand is above the chest, carrying a whip one particular noteworthy detail. It has the traditional headdress. The skits of this shabti are exaggerated. What does this shabti signify? Analyzing this figurine in the context of ancient society could reveal some points. Egyptian rulers, like almost all kings and rulers, value the idea of servants. In the set of these funerary figurines, the one I described above is in the center, towering about the others. It stands taller among the others and different in form. From these observations, it could be inferred that this instance implies a meaning. The hierarchy in the height of these objects is a case in point of an artistic iconography. Power is displayed through size variation, implying that the social status of the particular shabti I am referring to is above the others. Taking historical facts aside, at first glance the idea that the particular shabti is a ruler can be easily assumed. The whip, in general, is an object that requires submission. In many cultures, it is seen as also seen as a way of making people experience punishment. The shabti having this whip in its right hand symbolizes power in its hands; its presence in the group requires respect and commitment. The shabti is therefore an icon of ancient Egyptian art. It is the icon of their antiquity and artisanship. The Seated Statue of Gudea: Iconography of Mesopotamian Art The Mesopotamian art piece is a piece of history in itself. The statue of Gudea is a seated form of a man, clad in a robe-like cloth from mid-body down, bare foot. A toga-like garment hung upon one of its shoulders. The eyes were wide open, looking straight into nothingness. He had the headdress on, a relatively simple one. His folded hands rest almost on his lap. An early form of writing is engraved on part of his robe, from the lap down. Gudea of the second dynasty of Lagash was the first ruler to use the term ‘shepherd’ as a self-referent (Westenholz, 287). He spoke of himself as Ningirsu’s chosen shepherd. Gudea appears as the benevolent patron of craftsmanship and temple building. During his reign, Gudea has built a number of structures, most of which are temples for the gods he worships. Lagash regained its independence with the strong revival of Sumerian culture and artisan traditions under his reign. The cylindrical form is maintained in most of the statues of Sumerian culture. Basically, it is conformed to a solid form; there are neither extensions nor protruding body parts of the statue. The seated diorite statue of Gudea conforms to this art convention. The carving is simplified with respect to structure, maybe an attempt of portraying naturalism. However, certain parts are quite exaggerated, for instance, the eyes, and partly, the chin. The statue has strong facial features: broad, even cheekbones, and a prominent chin, as I have noted earlier. These facial features, as well as the physical attributes all convey the idea of a king-ruler. For instance, the strong facial attributes symbolize the king’s virtues such as wise and sensible, pious, and strong. Gudea’s statue depicts his idea of himself as a good shepherd. The statue is serenely seated, symbolizing the respect paid for him. The statue has the enlarged eyes carved out, conveying him as a good seer and a just leader. These eyes, as well as his hands clasped firmly, portrays him as a man of devout concentration. His bare feet render him as a humble and loyal ruler to his land. All the visible elements and characteristics of this statue act as visual metaphors. Changing Perspectives: Egyptian Shabti against Mesopotamia’s Gudea Statue At this point, as much as art is concerned, it is noteworthy to study the two objects of art from different geographical background. Comparing a Sumerian piece of art and an Egyptian icon hand-in-hand would reveal similarities and of course, differences in the elements and characteristics, as well as the conveyed meanings of the objects’ attributes. To start with, let us consider the similarities of the Egyptian shabti and the Gudea statue of Mesopotamia. The Egyptian shabti has inscriptions over the body; the seated statue of Gudea has engraved writings as well. According to the notes on the statue provided by the Metropolitan Museum, the inscription on the robe of Gudea provides the list of the temples that he either built or renovated in Lagash. The Sumerian inscription also includes the name of the statue itself, “Gudea, the man who built the temple; may his life be long.” Shabtis, in general, have inscribed spells in them; the Sumerian statues generally have inscribed cuneiform writings relaying the purpose of the statues. When it comes to physical attributes, there are differences between the shabtis and the Sumerian statues. The Sumerian statues are conformed to the cylinder form, while the shabtis are flexible in form, though the existence of extensions could not be seen in most of both sculptures. The statues of Mesopotamia stands for various roles, on the contrary, the shabtis’ purpose is limited to funerary statuettes. Moods attributed to both artworks are different as well; Sumerian statues display an air of serenity, on the other hand, the Egyptian statuettes flaunts a mysterious atmosphere. In the light of all these, one thing is common to both objects of art. That is the antiquity they have is valued anywhere. Conclusion The elements of a work of art convey a special meaning inherent in the work itself. The shabti has become an icon of Egyptian culture, a representation of something unique to ancient Egyptian culture. The statue of Gudea of Lagash has been an icon of a good shepherd, a pious ruler, and strong leader. Every detail of a work of art should be valued equally with the work as a whole, for, most of the time, it is in these details you would realize the true value of art. From elements to visual metaphors, the worth cast upon by the iconography of objects is a remarkable step in understanding our history. References: Westenholz, Joan Goodnick. “The Good Shepherd.” The Melammu Project. Melammu Symposia volumes. 2004. Stewart, Harry M. Egyptian Shabtis. UK: Shire Publications LTD. 1995 O’Brien, Alexandra A. Death in Ancient Egypt. The Research Archives of the Oriental Institute. Chicago. 1999. Moortgat, A. The Art of Ancient Mesopotamia. New York. 1969 Read More