Since the Paleolithic era the ancient Egyptians were masters of working in stone. For them stone represented eternity because of its strong and lasting quality. Therefore, sculpting in stone was reserved for the most sacred of projects. Perhaps the first civilization to work in stone on the colossal level, i.e. the Horemahket (Sphinx), which is speculated to be dated at least 10,000 B.C.E., the ancient Egyptians developed a "touch" for sculpture.
The most common statues were of the Neteru (Gods and Goddesses) and those who held high offices such as Pharaohs, Queens, Nobles, etc.. These representations were more abstract rather than actual likenesses. Even the statues that were considered "portraiture," up until the 18th Dynasty, were stylized images based on a cannon of sacred measure with somewhat androgenous features rather than an actual appearance of the subject (particularly with Pharaohs and Queens who were assigned Divine status). It isn't until the 18th Dynasty and the rulership of Ahkenaton that we see a change in this cannon to a more naturalistic style of representation, although still subject to certain symbolism.
Equally important is what the statues were made of. This too had symbolic significance. Gold was reserved for statues of Divine Neteru (Gods and Goddesses). It was believed that the flesh of Ra was like gold. The solid gold funerary mask of Tutankhamun was to symbolize his Divine status in the Afterlife. Commonly used stones were red, gray and black granite, basalt, and limestone which was usually painted. Rarely were statues carved from alabaster stone, with the exception of the Alabaster Sphinx of Mennefer (Memphis). Alabaster was more commonly used to carve vases, urns, bowls and other such vessels. Even more rare were wooden sculptures due to the scarcity of wood. A sculptor would choose a stone based on its symbolic properties. For example a black stone , such as basalt, would associate the subject with Asar (Osiris) in His aspect of "Lord of the Perfect Black", representing the inert state of Asar-Sokar.
Finally, the ancient Egyptians made sculpture from mud that was fired and glazed in a technique that is commonly referred to as "faience". This was more typically used for amulets such as Khepera (Scarab) Beetles, etc. Sculptors like other stone masons and artisans worked solely for the State and never for their own notarity. They were highly regarded and handsomely compensated for their skilled labor. When working on colossal images they worked in teams and specialized on one part of the anatomy, i.e. "maker of the toes," "maker of the eyes," "maker of the knees," etc. Many of their lives were short lived due to constantly inhaling dust from the chisled stone. Over time this could actually petrify the lungs.
Today in Egypt most statues are cast from a mold, as is true of most sculpture throughout the world in modern times. Since Egyptians sculptors are no longer commissioned by the State they can no longer afford the cost of time, labor, and materials to produce works of art in stone. It is rare, indeed, to find hand sculpted statues in Egypt today. However, they have perfected the technique of casting molds to an art unto itself, with varying degrees of quality.
Because Egypt today is by and large a tourist economy, the focus is on mass production. Casting statues from molds works to serve this purpose. The materials most commonly used in molds are powdered stone, such as basalt, granite, limestone, and on occasion marble, mixed into a polyresin. Also statues are molded from a cold cast plastic resin. Of the two mixtures the higher quality are those mixed with stone, because of the stone-like density and weight in contrast to the more light-weight plastic statues.
Once a statue is cast, it is usually hand painted and sometimes gilded with actual gold leaf--a painstaking process that uses paper thin 18 or 24 kt gold sheets to apply to the statue, giving it the appearance of being fashioned from solid gold. After repeated castings, the mold itself starts to "wear" to the point where the end product can become less defined. At this point the mold should be "retired" from production. The best quality cast statues are those with highly defined features as opposed to those with less definition.
Modern Egypt also addresses the delimma of size vs. weight with the developement of fiberglass statues. The sculptor can make larger images at a fraction of the weight if the statue is fashioned out of fiberglass, which is virtually hollow. These statues also hold up remarkably well in outdoor settings against the elements.
Finally, there are some forms of sculpture produced today the same way they were in ancient Egypt. The so called "faience" clay amulets, pottery, and statues are still fashioned more or less they way they were in ancient times. This also holds true for the alabaster vases that were used in ancient Egypt to hold oils and unguents, as well as were valued for their translucent luminousity. Today hand-made alabaster vases can still be found, in contrast to the modern machine made variety which lacks the delicacy of the former.
In conclusion, regardless of what a sculpture is made from today, the legacy of the rich and ancient culture of Egypt brings forth the enduring images that provide the modern day artist with a wealth of subject matter to reproduce. Today we can enjoy and appreciate the artistry of ancient Egypt, in our homes and sacred spaces, that is accessible yet true to the tradition and integrity of the past.
The Collector's Corner
Each quarter The Scribe will highlight a featured collectible item from egyptiqueonline.com.
The object du jour for January - March is:
Item #NUB105
Antique Nubian Camel Kohl Jar
Click Picture to purchase
How the Nubian Museum in Aswan, Egypt missed this rare artifact is a mystery. This graceful image of a Nubian Camel forms a Kohl (eye liner) container with an attached wooden applicator stick. Carefully hand crafted in fringed leather, embellished with cowrie shells, colorful glass beads and gazelle antlers, it is authentic down to the final detail. Such an item would surely have belonged to the well attended Nubian woman. Nubia was derived from the ancient Egyptian word "Nub" which meant gold, being the source for gold in Upper Egypt. Today this part of Upper (southern) Egypt is called "Aswan" the Arabic name meaning "Black Land."
You might be surprised to know that camels are not native to Egypt, but were imported during the period of Persian occupation (525B.C -332 B.C.) which is relatively late in Egypt's ancient history. Nevertheless, they have adapted to the environment and are now a natural part of Egypt's landscape.
Hand made pieces, such as this lovely camel, are a rarity due to the building of the High Dam in Aswan. As a result, much of that part of Egypt was submerged underwater (along with many of ancient Egypt's temples and much of the material culture). It is probable that this Nubian camel predates the building of the Aswan High Dam (early 1960's)- by how much is less certain. One thing is certain, this charming kohl jar is a unique, one of a kind collectible, most suitable for the camel lover.
