.jpg?w=1)
Lot Essay
Depictions of queens are relatively rare in Egyptian art, and there are far fewer surviving statues of queens than of kings (Fazzini in Capel and Markoe, eds, op. cit., p. 114-115). The present example is unquestionably a masterpiece of Egyptian sculpture. As Scott informs (Temple, Tomb and Dwelling, p. 132) "the differing degrees of surface polish that so strikingly set off the queen's flesh from her attire reflect the ancient sculptor's mastery of form and meticulous attention to detail. This is also evident in the treatment of the elaborately pleated gown which reveals the lithe proportions and graceful motion of the body beneath it, while painstakingly recording the garment's various details."
The identity of the statue's subject cannot be ascertained for certain in the absence of an inscription, which was undoubtedly to be found on the now-missing base. That she was a royal wife of Ramesses II is assured by the surviving inscription on the standard and the vulture headdress over the wig, which was worn by queens beginning no later than the Fifth Dynasty (Fazzini, op. cit., p. 114). Although Ramesses' mother Tuya and daughter Merit-amen are both possibilities, comparison with an image of Nefertari from a group statue of the young Pharaoh and his great royal wife "reveals similarities, notably in the treatment of the eyes, the expression of the mouth, and the presentation of the relationship between the gown and the female form beneath it" (Scott, op. cit., p. 132). Most recent publications confirm the attribution to Nefertari.
The standard-bearer as a sculptural type is almost totally restricted to the New Kingdom (Fazzini, op. cit., p. 114). According to Franco (p. 420 in Ziegler, op. cit.) "the depictions of the king as such a standard-bearer are relatively common; there are also some statues of private individuals who were honored with the right to take part in the feasts of deities to whom they had a particular devotion. However, this statue of Nefertari seems to be the only three-dimensional work showing a queen in such a role." Further, this "image shows the liturgical role that must have been played by the 'great royal wives' when, alongside the sovereign, they took part in religious ceremonies at the great temples" (Fazzini, op. cit., p. 115).
It is well documented that many monuments from the reign of Ramesses II were usurped from earlier rulers, in particular those of Amenhotep III. With statuary, this was accomplished either by rededicating with a new inscription, or by completely reworking the older sculpture. It seems highly likely that the Nefertari standard-bearer was usurped and subsequently reworked, most probably from a depiction of Tiy, Amenhotep's wife, or Sitamen, his daughter. The proportions of the body and details of the face are typical for Amenhotep, such as the wide nose and the faint trace of a vermillion line on the slightly thicker upper lip. The shape of the wig is also typical of Amenhotep's reign, visible in particular on the proper right side where it narrows near the base, forming tight braids. The preserved sandal on the right foot points to the earlier date. Additional evidence supporting this theory comes from the somewhat scratchy nature of the sculpted details for the wig, garment and inscription. When granite is first quarried it retains moisture and so yields more readily to the sculptor's labors, while stone exposed to the sun and dry heat of Egypt becomes somewhat brittle, creating a more scratchy appearance when chiseled.
(Special thanks to Arielle Kozloff for these observations.)
The identity of the statue's subject cannot be ascertained for certain in the absence of an inscription, which was undoubtedly to be found on the now-missing base. That she was a royal wife of Ramesses II is assured by the surviving inscription on the standard and the vulture headdress over the wig, which was worn by queens beginning no later than the Fifth Dynasty (Fazzini, op. cit., p. 114). Although Ramesses' mother Tuya and daughter Merit-amen are both possibilities, comparison with an image of Nefertari from a group statue of the young Pharaoh and his great royal wife "reveals similarities, notably in the treatment of the eyes, the expression of the mouth, and the presentation of the relationship between the gown and the female form beneath it" (Scott, op. cit., p. 132). Most recent publications confirm the attribution to Nefertari.
The standard-bearer as a sculptural type is almost totally restricted to the New Kingdom (Fazzini, op. cit., p. 114). According to Franco (p. 420 in Ziegler, op. cit.) "the depictions of the king as such a standard-bearer are relatively common; there are also some statues of private individuals who were honored with the right to take part in the feasts of deities to whom they had a particular devotion. However, this statue of Nefertari seems to be the only three-dimensional work showing a queen in such a role." Further, this "image shows the liturgical role that must have been played by the 'great royal wives' when, alongside the sovereign, they took part in religious ceremonies at the great temples" (Fazzini, op. cit., p. 115).
It is well documented that many monuments from the reign of Ramesses II were usurped from earlier rulers, in particular those of Amenhotep III. With statuary, this was accomplished either by rededicating with a new inscription, or by completely reworking the older sculpture. It seems highly likely that the Nefertari standard-bearer was usurped and subsequently reworked, most probably from a depiction of Tiy, Amenhotep's wife, or Sitamen, his daughter. The proportions of the body and details of the face are typical for Amenhotep, such as the wide nose and the faint trace of a vermillion line on the slightly thicker upper lip. The shape of the wig is also typical of Amenhotep's reign, visible in particular on the proper right side where it narrows near the base, forming tight braids. The preserved sandal on the right foot points to the earlier date. Additional evidence supporting this theory comes from the somewhat scratchy nature of the sculpted details for the wig, garment and inscription. When granite is first quarried it retains moisture and so yields more readily to the sculptor's labors, while stone exposed to the sun and dry heat of Egypt becomes somewhat brittle, creating a more scratchy appearance when chiseled.
(Special thanks to Arielle Kozloff for these observations.)