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The Self-Presentation of Payeftjauemawyneith on Naophorous Statue BM EA

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Decorum and experience

essays in ancient culture for John Baines

Edited by

Elizabeth Frood

and

Angela McDonald

With the editorial assistance of

R. Gareth Roberts

Griffith Institute, Oxford 2013

An offprint from

6 The written world: word, text, language

The self-presentation of Payeftjauemawyneith on

naophorous statue BM EA 83

Hussein Bassir

IntroductionSelf-presentation in the late Saite Period followed the path of Egyptian textual and artistic features of displaying the individual’s own self and added inno-vative ways to express that self. The unusually well-documented self-presentation of Payeftjauemawyneith is amongst the most distinctive of his time. This text and statue of Payeftjauemawyneith reveal a unique self-presentation, a comprehensive conception operating on several levels. His biography does not show his trans-formation and self-fashioning, but his self-presentation is revealed artistically and textually. The aims of Payeft-jauemawyneith’s biography are to address the deity and people, and to secure the acceptance of the deity in the otherworld and the remembrance of future generations.

DescriptionThe statue BM  EA  83 of the late Saite high official, Payeftjauemawyneith, who served under Apries and Amasis, is the lower part of a kneeling naophorous statue of high quality, made of green-tinged basalt, and was probably from Heliopolis (Brunner-Traut 1958:  94  6]; Fig.  1). The owner wears a pleated kilt and presents a naos with a statuette probably of Osiris although the head and upper body are lost. There are well inscribed hieroglyphic texts on the naos, the back pillar, and the rounded front base. The head and upper body of the dedicant are missing, and only his incomplete torso remains. It measures 71 cm (maximum) in height, 50 cm in depth, and 27 cm in width. The statue forms part of the Department of Ancient Egypt and Sudan collection at the British Museum. The text has been translated and commented upon before (most recently by Heise 2007; Jin 2003; Jansen-Winkeln  1999; Kahl  1999; Guermeur 2005), but I offer a new translation and commentary below (a fuller version appears in Hussein 2009).

TextI A. Naos, left-side, vertical (Fig. 2)

1 imAxw xr niswt-bit Haa-ib-ra mry bAw iwnw 2 (i)m(y)-rA prwy-HD wr swnw 3 aA n xA (i)m(y)-rA pr-wr p(Ay=)f-TAw-(m)-a(wy)-nt

1  The imAxw before the King of Upper and Lower Egypt, Haaibre, beloved of the bAw of Heliopolis, 2 the overseer of the two houses of silver, the chief physician, 3 the great one of the xA-hall, and the high steward, P(ay)eftjau(em)a(wy)neith.

II B. Naos, right-side, vertical (Fig. 2)1 imAxw xr sA ra wAH-ib-ra di anx mi ra Dt 2 (i)m(y)-rA prwy-HD wr swnw 3 aA n xA (i)m(y)-rA pr-wr p(Ay=)f-TAw-(m)-a(wy)-nt1 The imAxw before the Son-of-Re, Wahibre, given life like Re forever, 2 the overseer of the two houses of silver, the chief physician, 3 the great one of the xA-hall, the high steward, P(ay)eftjau(em)a(wy)neith.

Fig. 1 EA 83, front (© the Trustees of the British Museum)

Fig. 2 EA 83, front, between hands (© the Trustees of the British Museum)

The self-presentation of Payeftjauemawyneith on naophorous statue BM EA 83

The written world: word, text, language 7

III C. Back pillar, right to left, vertical (Fig. 6)1 [… unknown number of groups missing] 〈sTni〉n=f (?) m iAwt r iAwt mH-ib n Hr m sxrw=f hr-ib wdi rA sp xpr ir(r)

mr(rt) nb=f ir(r) mr(rt) nTrw 2 … n s (?) m pr=sn sar xt=sn r Xnw aH aA n xA wr swnw n Smaw mHw (i)m(y)-rA prwy-HD (i)m(y)-rA prwy-nbw (i)m(y)-rA pr-wr 3 … (Hm-)nTr imn wAst-mHt Hm-nTr Hr p sA-sbk msy n iHyt n nt nb(t) sAw na-ns-bAstt

1 … whom he [the king] 〈promoted〉 from office to office, the trusted one of Horus in his plans, the one who pleases the heart, the one who induces the mouth to speak, when some-thing occurs, he who does what his lord likes, he who does what the gods love, 2  … in their temple, he who presents their affairs to the interior of the palace, the great one of the xA-hall, the chief physician of Upper and Lower Egypt, the overseer of the two houses of silver, the overseer of the two

houses of gold, the high steward, 3 … the (Hm-)nTr(-priest) of Amun of Waset-Mehet, the Hm-nTr-priest of Horus of Pe, Sasobek, born of the female musician of Neith, Mistress of Sais, Nanesbastet.

IV D. Base, front right, upper line, horizontal (Fig. 3)1 (i)m(y)-rA pr wr p(Ay=)f-TAw-(m)-a(wy)-nt

1 The high steward, P(ay)eftjau(em)a(wy)neith,

E Base, right side, upper line, horizontal (Fig. 4)1 [D]d=f1 he sa[ys]:

V ink mry n nb=f Hr nDri drfw sDm sprw n Hr-nb ink irr [Axt n] …I was one beloved of his lord while observing the writings, one who listened to the appeals of everyone. I was one who did [the benefit for] …

F Base, back right, upper part, horizontal (Fig. 7)VI 1 … ir (?) bw-nfr n Hwt-nTr tn

1 … did(?) good things for this temple.VII Dd=tn

You may recite:

G Base, front right, lower line, horizontal (Fig. 3)1 Htp-di-niswt 〈m〉 xA m t Hnqt pAwt xt nb(t) nfrt1 a Htp-di-niswt 〈consisting of〉 a thousand of bread, beer, cake offering, and every good thing,

H Base, right side, lower line, horizontal (Fig. 4)1 n kA n (i)m(y)-rA pr wr p(Ay=)f-TAw-(m)-a(wy)-nt

1 for the kA of the high steward, P(ay)eftjau(em)a(wy)neithVIII nTr dy r wSb irit tm-sDr sT 〈r〉 wpt =f [x(w)t r]

god is here to answer what is done, he who does not sleep, 〈until〉 he separates [affair(s) from]I Base, back right, lower line, horizontal (Fig. 7)IX 1 [xt m nfr m] bin

1 [each other into good and into] bad.

J Base, front left, upper line, horizontal (Fig. 3)X 1 (i)m(y)-rA pr wr p(Ay=)f-TAw-(m)-a(wy)-nt

1 The high steward, P(ay)eftjau(em)a(wy)neith,

K Base, left side, upper line, horizontal (Fig. 5)1 Dd=f1 He says:

XI ir wab nb aq r Hwt-nTr nt (i)tm(w) nb iwnw mki.t(y)=fy snn pn di=f n=f xt nb(t) nfrt

As for every wab-priest who enters into the temple of Atum, lord of Heliopolis, who will protect this statue, he will give to him every good thing,

L Base, back left, upper line, horizontal (Fig. 7)1 m-xt Htp nTr im Dd=f1 after the god is satisfied thereof, (and) he will recite:

M Base, front left, lower line, horizontal (Fig. 3)1 Htp-di-niswt 〈m〉 xA m t Hnqt pAwt xt nb(t) nfrt1 a Htp-di-niswt 〈consisting of〉 a thousand of bread, beer, cake offering, and every good thing,

Fig. 3 EA 83, front, base (© the Trustees of the British Museum)

Fig. 4 EA 83, side, right (© the Trustees of the British Museum)

Fig. 5 EA 83, side, left (© the Trustees of the British Museum)

Hussein Bassir

8 The written world: word, text, language

N Base, left side, lower line, horizontal (Fig. 5)1 n kA n (i)m(y)-rA pr wr p(Ay=)f-TAw-(m)-a(wy)-nt1 for the kA of the high steward, P(ay)eftjau(em)a(wy)neith,

XII iw=f r iAw m niwt=f m imAxw n spAt=fhe will be the elder in his city, and the imAxw of his nome.

XIII ink saHI was a noble one

O Base, back left, lower line, horizontal (Fig. 7)1 n ir n=f sar sxr(w) niwt tn r-Xnw aH1 for whom one should act, (and) one who presents the affair(s) of this city to the interior of the palace.

CommentaryThe reading of Payeftjauemawyneith’s self-presentation can take place on two levels:– A high level of reading represented by Payeftjaue-

mawyneith’s statue.– A low level of reading represented by Payeftjau-

emawyneith’s text.

Image and text combine in promoting Payeftjauemawy-neith’s self-presentation. The aesthetics of reading text and image are not separate, since art cannot be sepa-rated from writing (Baines 2007: 3). Payeftjauemawy-neith’s text, written in the first person, forms a coherent component for promoting his self-presentation, and reveals a sophisticated string of titles and epithets with continuous syntax. Payeftjauemawyneith’s biography expresses the growth of his sense of individuality and self-esteem, characteristic of late Saite self-presenta-tion. The spatial placement of the text on Payeftjaue-mawyneith’s statue, an important element in the statue’s composition overall, is significant and highlights his impressive self-presentation. However, this text was not easily accessible for reading because it was written mainly on the back pillar of the statue, usually placed against the wall.

Payeftjauemawyneith’s biography is a literary piece (see Iser 1993 generally; and for Egypt, Strudwick 2005: 19–20, 42–46), encompassing several genres and showing ‘interfigurality’ (Müller 1991) of literary figures; therefore, I call his biography a ‘cross-genre text’ since his text combines various literary and scribal genres: strings of titles and epithets, biography, wisdom literature, narrative literature, funerary literature, an appeal to the living, and life and afterlife wishes.

Payeftjauemawyneith’s narrative, a textual self-portrait, is the main vehicle through which he high-lights a major event of his career, in addition to his titles, which I call ‘static hidden biography’. Payeft-jauemawyneith’s narrative does not meet the tradi-tional definition of narrative (e.g. see Prince 1999: 43–51), which usually has a beginning, middle, and end (Guibert 2006: 32; Prince 1982; Cobley 2005: 677–82).

However, Gérard Genette (1982: 127) defines narrative as ‘the representation of an event or sequence of events’ (compare Rudrum 2005: 195), while Gerald Prince (1999: 43) as ‘the representation of at least one event’.

Payeftjauemawyneith’s biography does not narrate a whole career, but narrates a specific activity in a specific place and focuses on that individual’s characteriza-tions. Due to its commemorative nature and dedica-tion in temple space, it is selective and more focused

Fig. 6 EA 83, back pillar (© the Trustees of the British Museum)

Fig. 7 EA 83, rear, base (© the Trustees of the British Museum)

The self-presentation of Payeftjauemawyneith on naophorous statue BM EA 83

The written world: word, text, language 9

on its narrated focal point. The text here is dense and detailed, like a short story rather than a novel. Thus, I call it a ‘single-biography event’ versus a ‘multi-event biography’, which often narrates the events of the protagonist’s entire career in chronological order. The biography of Ahmose son of Abana is a good example (Lichtheim 2006a: 12–15; Schulz 1995: 315–52).

The centrality of narrative has two levels of concen-tration: primary and secondary. The primary is concerned with a major narrative theme such as Payeft-jauemawyneith’s activities at Heliopolis. The secondary level of narrative is almost hidden, but can be revealed by, for example, re-reading and re-interpreting the appeal to the living and the wishes sections, through which Payeftjauemawyneith creates his own narrative in the afterlife. He wishes to be as highly appreciated as he was in life, and to enjoy eternity with a continuous funerary endowment in the presence of the great god.

Payeftjauemawyneith’s narrative in this biography reveals his actions in an active way. The event is narrated by a single viewpoint. Therefore, I call it a ‘one voice narrative’ as opposed to a ‘multi-voice narrative’, which we usually encounter as a technique in modern novels rather than biographies. Here, Payeftjauemawy-neith’s narrative is composed like religious texts where the god is usually the main actor on the scene, or like the Königsnovelle genre (Loprieno 1996) in which the king dominates the stage; we might also compare Rensi’s acting as a god in the Narrative of the Eloquent Peasant (Blumenthal 2003).

Although Payeftjauemawyneith’s biography high-lights his identity in different ways, the formation of his texts is different, but similar in content and goal. Payeft-jauemawyneith’s ultimate goal, beyond the writing of this biography, is clear in the phraseology. The narrative here is brief in comparison with Payeftjauemawyneith’s epithets, which summarize his actions. For example, when one of his epithets describes him as ‘the trusted one of Horus in his plans’, this implies that the king used to take council with Payeftjauemawyneith. This expression with its hidden narrative obviously shows Payeftjauemawyneith’s role within the royal palace and his close relationship with the king.

Payeftjauemawyneith’s biography is not ‘transforma-tive’ since it does not reveal his career development. He wrote it when he reached the pinnacle of his career. Since it does not provide us with his career development from the beginning until its apex, Payeftjauemawynei-th’s biography is not a ‘self-fashioning’ biography (see Greenblatt 1980: 1–9 and passim).

Payeftjauemawyneith’s biography on this statue is a dedicatory piece commemorating his activity at the temple of Atum at Heliopolis. It is a temple statue, as indeed were almost all Late Period statues (Bothmer, De

Meulenaere, and Müller 1973: xxxiii; although compare Josephson 1997:  2). The commemorative and dedica-tory nature of this monument immortalizes textually and artistically the memory of his action.

Payeftjauemawyneith’s text is dominated by two self-presentations and encompasses three spheres of mani-festation and interaction:– The public sphere.– The private sphere.– The god’s sphere during life and in the afterlife

The public sphere is the domain in which Payeftjau-emawyneith acted, achieved, and displayed his talents and good deeds. His ‘public image’ presents him performing publicly in texts and this statue, which was placed within the temple’s sacred space. His ‘private image’ presents his piety and afterlife wishes. The latter image is less visible than the first, which occupies the larger portion of this text and totally dominates his statue. Payeftjauemawyneith’s biography reveals the Saite self-presentation of an elite member created by a verbal statement. This biography is a general statement about Payeftjauemawyneith’s individuality.

Payeftjauemawyneith at HeliopolisHistoriography had an important place in life writing (Bergland 2001), but Payeftjauemawyneith’s text was not composed as a general history, as so many Egyptian texts were. His intention was not to write a history of the period, but to focus on the actions comprising his own history that he wanted to show the observer and of which he was very proud. This text was composed as a different kind of history that I call the ‘individual-istic history of the individual’. The history in Payeftjau-emawyneith’s text is that of this non-royal individual, even if his text illuminates some historical realities or socio-political history of the late Saite Period. As an extremely influential member of the elite in the late Saite Period, Payeftjauemawyneith’s text is a mirror of the period, in which its spirit and events are reflected. Payeftjauemawyneith’s text offers a mixture of ‘societal history’ and ‘individualistic history’. Payeftjauemawy-neith had acted in a kingly manner and participated in activities – the renovation of the god’s temple – which were previously restricted to kings or members of the royal house. While Payeftjauemawyneith’s biography does not offer any of the detailed or brief political history which is usually obtained from Egyptian biog-raphies, the brief and obscure mention of ‘the good things for this temple’ may obliquely refer to Payeft-jauemawyneith’s actions at the temple of Atum at Heli-opolis. Miriam Lichtheim (2006b: 33) states that in this biography Payeftjauemawyneith spoke of his role in reorganizing the temple administration at Heliopolis,

Hussein Bassir

10 The written world: word, text, language

although Payeftjauemawyneith’s specific activities at Heliopolis are unknown. In short, what he did at Heli-opolis suggests Payeftjauemawyneith was on a priestly mission, although not a priest. His duties at Abydos, according to his naophorous statue Louvre A93 (see Hussein 2009: 117ff), had evidently been carried out previously by priests, as we may glean from priestly biographies (e.g. Frood 2007: 35–116; Jansen-Winkeln 2005).

He was probably trusted by Apries more than any other dignitary of his, and was continuously involved in a royal restoration policy. The activity of Payeftjau-emawyneith confirms that the Saite kings were very active and productive in the Delta. Finally, the histor-ical value of Payeftjauemawyneith’s biography is there-fore clearly manifest, despite initial appearances.

Payeftjauemawyneith’s visual self-presentationPayeftjauemawyneith’s iconographical representation can be seen at a sophisticated high level. The inscribed statue of himself that he put up in the Saite temple is a piece made for eternity. Payeftjauemawyneith selected a kneeling naophorous statue to depict and promote himself (for key discussions of naophorous statues, see van Dijk 1983; 1993: 113–32; Edwards 1992: 43–48). Naophorous statues probably first appeared in the reign of Hatshepsut (van Dijk 1993: 113; Meyer 1982: 81–82, 126–28; Rogge 1992; Dorman 1988: 134–37, 192 [9]). Many interpretations have been proposed in order to explain the importance of the naophorous statue (for example, Turajeff 1909; Spiegelberg 1911; Anthes 1937; Ranke 1943; Otto 1948; Bonnet 1961; Wildung, 1980: 341; 1982: 1116, 1119 n. 43; Meyer 1982: 89–93; van Djik 1993), although the most important contribution on the naophorous statue, its composi-tion and text placement, is still Baines 1996 (compare Rössler-Köhler 1989). The idea of protection is prob-ably the most accepted interpretation of the meaning of this statue form; Saleh and Sourouzian (1987: no. 209), for example, point out that the statue owner hoped to participate in the daily and festive offerings presented to the temple deity (compare Bianchi 1996). Moreover, the naophorous statue is often provided with a statu-ette or an emblem of one of the deities of the dead, therefore, it might have been intended for the benefit of its protagonist in the afterlife (Edwards 1992). The naophorous statue is able to be either a temple or tomb statue: that may well explain why Payeftjauemawyneith chose this artistic form for his depiction in the temple. Therefore, a note on the composition of naophorous statues is fitting here. A naophorous statue is most commonly composed of four elements:– Naos: it has an emblem or a statuette of a deity with

a text held between the hands by the statue owner.

It is the most important element because it has the name(s) of the king and the image or emblem of the god (image), so it connects the protagonist to the divine and royal realms.

– Statue: the main visual element in self-presentation, primarily without any text except the name and the titles of its owner. It displays to the audience the principal characteristics of its owner.

– Base: it carries the statue with a text running on its body. It bears the titles of the individual and his wishes for the afterlife.

– Back pillar: the holder and the connector of the statue to its base, with the patron’s narrative.

Payeftjauemawyneith’s iconography in his statue is highly elaborated and completes his self-presentation. The kneeling pose of the statue may refer to a change in the artistic and religious terms of his self-presentation. These iconographical elements complete Payeftjau-emawyneith’s self-presentation.

Payeftjauemawyneith’s religious beliefsThe presence of divinity in Payeftjauemawyneith’s text is clear. He is dutiful to the deity textually and artisti-cally, introducing the statuette of the deity within the naos and placing his statue in the sacred temple space. Payeftjauemawyneith played a great role in restoring the fortune of the temple, although he was not a priest. Furthermore, he describes what he did at the temple of Atum at Heliopolis: ‘the good things for this temple’. As for his conceptions of divinity, he states ‘god is here to answer what is done, he who does not sleep, 〈until〉 he separates [affair(s) from] [each other into good and into] bad’. The main deity mentioned, referred to, or depicted here, is Atum and the deeds of Payeftjau-emawyneith at his temple at Heliopolis attest to the unbroken vitality of the cult in the late Saite Period. The close relationship of Payeftjauemawyneith and Atum is revealed well through the hidden dialogue expressed by his good deeds, whether by acting for the temple or by uttering the praises of the divinity. His beliefs encompass two different worlds. The first is his belief on earth where he perceived faith and learned about deities, their divine world, and the afterlife, and the second is his belief in the afterlife.

Payeftjauemawyneith’s moral valuesPayeftjauemawyneith’s morality is expressed in ways that differ from those associated with previous periods. His morality here comes through his pious action, not through the making of clichéd statements. Payeftjau-emawyneith’s self-descriptive phrases also differ from their earlier counterparts. He does not mention his moral responsibility towards specific cases or people

The self-presentation of Payeftjauemawyneith on naophorous statue BM EA 83

The written world: word, text, language 11

who are needy or in a bad condition. Rather, they are directed toward the community as a whole, as if he has modeled his actions on royal deeds. In Payeftjauemawy-neith’s biography his good deeds are only narrated as the happy end of his first life. Payeftjauemawyneith’s biography does not contain any self-criticism, or overall evaluation of his life and career, but describes his ideal-ized good deeds and moral values. This was the explicit purpose of his biography, but the format he uses means that his morality is hidden and not apparent as was often the case in many previous biographies. Moreover, Payeftjauemawyneith does not mention receiving any rewards from the king or the deity. This demonstrates his self-esteem and independence.

Payeftjauemawyneith’s preservation of selfPayeftjauemawyneith presents proof of his piety in order to be rewarded by the deity in the afterlife and to be remembered by future generations. In all of the good deeds he narrates, he offers the desired image that he wanted to be projected, remembered, and rewarded. Survival of memory to secure an afterlife is the most important component in the understanding of Payeft-jauemawyneith’s biography. Although the text does not explicitly speak of this, it is nevertheless cleverly intro-duced. Payeftjauemawyneith’s biography encompasses two issues:– The current issue: regarding Payeftjauemawyneith’s

life on earth.– The desired issue: regarding Payeftjauemawyneith’s

afterlife.

Payeftjauemawyneith’s self-presentation is much concerned with remembrance, and the good deeds that should be performed by others on his behalf after his death; this is the dominant thread in Payeftjaue-mawyneith’s biography. Forgetfulness is the opposite of remembrance. If one wants to activate remembrance, one should practice and repeat that for which she or he wished to be remembered, conducting physical actions and repeating words through which the remembrance of the dead could be eternally achieved. Payeftjau-emawyneith in his biography stresses his own good deeds for the deity as a pious work for eternity. The ultimate goal of Payeftjauemawyneith behind his work is to enjoy eternity, not to express his relationship with royalty, or to extol the gifts which he received from the crown.

ConclusionPayeftjauemawyneith’s self-presentation represents a comprehensive conception encompassing various levels, but not his transformation and self-fashioning. Payeftjauemawyneith’s tools for promoting himself are

firstly art, and secondly text. The statue was seen by everyone who entered the temple. Payeftjauemawy-neith’s biography depicts him textually by stating his name, titles, and role, and confirms his possession of this statue. The text, however, is the ‘silent element’ which was neither visible nor understood by everyone who visited the temple and represents a component of high culture exclusively appreciated by the priests of the temple and other literate members of the elite. Payeft-jauemawyneith promotes himself several times in this text in different ways, and moves from descriptive statements to titles charting his career and to narratives highlighting his activity. The interaction between image and text in Payeftjauemawyneith’s self-presentation is clear and well employed. The presence of the divinity’s name and image, and probably the names of the king, on his monument is a great gift. Payeftjauemawyneith’s text offers a dualistic view of matters such as life and afterlife, royalty and nobility, and public and private image. Payeftjauemawyneith’s biography introduces a general view of himself through his speech. The overall content of Payeftjauemawyneith’s biography makes it more personalized. The realm of the afterlife was the most important goal for which Payeftjauemawyneith’s biography was composed. Payeftjauemawyneith’s role at Heliopolis assumes royal prerogatives that he took for himself in order to act in a kingly manner. This also documents the growth of his power. Payeftjauemawy-neith’s high level of self-esteem is obvious. He chose to narrate those things that he considered significant in his life and career, exploring self through his achievement. Although he only focuses on a selected, specific event of his long life and career, principally that concerned with public affairs, his text displays a different mode of self-presentation. His text reflects his formal achieve-ment, spiritual thought and belief, and his aspirations for the afterlife.

This type of late Saite biography can be called ‘frag-mentary biography’ as opposed to the ‘lengthy tradi-tional biography’ from earlier periods of Egyptian history. This particular late Saite example is short, commemorative, and does not contain several topics. Payeftjauemawyneith chose this mode for two reasons: first, to commemorate an achievement and second, to record a new office in his career that he attained.

The individual’s presence is rich in comparison with the formal presence of royalty. The relationship between royalty and nobility in the late Saite Period is unique and helps us to understand the period and the circumstances which produced this non-royal text. The role of the individual within the formal sphere of the political realm has become more elaborate. The three presences of any Egyptian individual are the indi-vidual’s presence, the deity’s presence, and the king’s

Hussein Bassir

12 The written world: word, text, language

presence. All of these three presences interact in some way with one another in each Egyptian individual’s life, career, and afterlife. The individual’s self-presentation and the individual’s concept of himself, deities, and the king are intertwined in some of this textual and artistic representation. The ruling themes of the text and statue of Payeftjauemawyneith are: identity (outer self) display, geographical setting, activity, and self (inner self) exploration.

The text and statue of this non-royal individual help us to explore the rise of the individual’s self in this period. They highlight the distinctive character-istics of Saite self-presentation, and place them within the broader context of the Egyptian self-presentation tradition, which John Baines has done so much to illuminate.

AcknowledgementsThis article is dedicated to my teacher and mentor, John Baines, the master of the Oxford school, as a token of love and gratitude. I first met with John in Cairo and Giza in 2000 and then I was awarded the Alan H. Gardiner scholarship in Egyptology and studied with him in Oxford in the summer of 2001. I learned and am still learning from John at many levels. He was the first scholar to introduce me to the fascinating world of self-presentation in ancient Egypt, and is always supportive, helpful and accessible at anytime and in any case in my life and career. I am also very grateful to W. Vivian Davies, Neal Spencer, Richard B. Parkinson, and Elisa-beth O’Connell for providing me with the photographs of the statue BM EA 83 and the permission to publish them here. Many thanks are due to Beth Asbury, Tom Hardwick, Fayza Haikal, Karl Jansen-Winkeln, Neal Spencer, Mohamed Saleh, and David Klotz for reading this article and making helpful suggestions. However, any error remains mine.

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Copyright © jointly individual authors and the Griffith Institute, Oxford, 2013

Published by the Griffith Institute, 1 St John Street, Oxford, OX1 2LG

ISBN 978-0-900416-92-7

British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library

Designed and produced by Chris Hulin, Oxford Book ProjectsPrinted and bound by Berforts Information Press, Eynsham, Oxford

Front cover image: Ashmolean Museum AN1896-1908 E.310. Ivory model of a dog from the Hierakonpolis ‘Main Deposit’ (photograph by David Gowers)

Rear cover image: Ashmolean Museum AN1892.1171. Fragment of the ‘Battlefield Palette’ depicting bound captives (photograph by David Gowers)

v

Contents

Abbreviations vii

Preface Elizabeth Frood and Angela McDonald viii

A few early impressions of John Baines Richard Parkinson ix

Bibliography of John Baines to 2012 Diane Bergman xi

THE WRITTEN WORLD: word, text, language

1

Like cats and cows James P. Allen 3

The self-presentation of Payeftjauemawyneith on naophorous statue BM EA 83

Hussein Bassir 6

Late Egyptian counterfactual conditionals and counterfactual reasoning

Mark Collier 14

The traces of the main inscription on the Abgig monument of Senwosret I

Roland Enmarch 21

A newly identified Old Kingdom execration text Andrés Diego Espinel 26

A block statue of the second prophet of Amun, Ahmose Marjorie Fisher 34

mkA ‘aufmerksam sein’, ‘erkennen’ und der ramessidische Gebetsanruf mkA.tw xft sDm.tw

Erhart Graefe 43

Language and existence Piotr Laskowski 47

Ptahhotep on communication and Sinuhe’s invisibility Gerald Moers 54

Early evidence bearing on two puzzles in hieroglyphic writing R. S. Simpson 60

History and orthography: reinterpreting the demotic evidence for Antiochos IV’s expulsion from Egypt in 168 BCE

Mark Smith 66

On the singularity of Wenamun John Tait 72

‘Ich hatte viele Freunde unter allen Leuten meiner Stadt…’: Zur Bedeutung von Freundschaft im Alten Ägypten

Alexandra Verbovsek and

Burkhard Backes

77

Organizing the world: classification, typology, and taxonomy in the past, present, and future

Willeke Wendrich 86

Les goûts littéraires d’un dignitaire mendésien Christiane Zivie-Coche 93

THE SENSORY WORLD: art, religion, experience

101

On the status and purposes of ancient art Zainab Bahrani 103

Women and prayer in pharaonic Egypt Christopher Eyre 109

A bird’s eye view on perspective Paul John Frandsen 117

Nut on the ceiling of the burial chamber of Djehuty (TT 11) José M. Galán 119

Egyptian mythos as logos: an attempt at a redefinition of ‘mythical thinking’

Katja Goebs 127

vi

The impact of religious initiation and restricted knowledge on daily life in ancient Egypt: an ethno-Egyptological perspective

Fayza Haikal 135

Proportionen und Stile in den assiutischen Nomarchengräbern der Ersten Zwischenzeit und des Mittleren Reiches

Jochem Kahl 141

Ptah-Pataikos, Harpokrates, and Khepri Martina Minas-Nerpel 147

Etreinte maternelle pour un garçon boucher: la stèle Louvre AF 11681

Elsa Rickal 151

Mourning women and decorum in ancient Egyptian art Christina Riggs 156

Invisible Hathor: rising dawn in the Book of Day Alison Roberts 163

The decorative program in single-roomed pre-Amarna 18th dynasty Theban tomb chapels

Gay Robins 170

The alternative to growing turnips: Myrtle Broome in Egypt 1927–1937

John Ruffle 174

The fish-offerer in Florence Helen Whitehouse 180

A propos de quelques dédicaces sur lin de l’époque romaine: une pratique votive méconnue?

Ghislaine Widmer 185

THE NEGOTIATED WORLD: politics, value, landscape

193

Was China an Egyptian colony? Robert Bagley 195

Men in the temple: world-order, prestige, and piety Susanne Bickel 205

Coercion, creation, intervention: three capacities of the early Egyptian state

Marcelo Campagno 214

How to figure animal fables: animals at play in P. Turin 55001 and Chôjû giga

Tom Hare 220

‘Hastily but carelessly torn’: Maya glyphs from Palenque in Montrose, Scotland

Stephen Houston and David Stuart 226

The idea of chaos in ancient Greece and Egypt: from hiatus to disorder and to order

Mpay Kemboly 232

Under northern eyes: Egyptian art and ceremony as received by Babylonians, Hurrians, and Hittites

Mario Liverani 238

Sphinx Hill, Oxfordshire: a work in progress Henrietta McCall 244

Animality, masculinity, and phallic culture in the Anatolian Neolithic

Lynn Meskell 250

Conflicting interests over the possession and transfer of institutional land: individual versus family strategies

Juan Carlos Moreno García 258

Warum Pharao immer siegt: Bemerkungen zum Ikon des ‘Erschlagens der Feinde’ aus wissenssoziologischer Perspektive

Hans-Hubertus Münch 264

Sabef and Merika: an Early Dynastic conundrum David O’Connor 269

The myths of Osiris and Kamberap in cross-cultural comparison Janet Richards and Stuart Kirsch 277

Hyksos self-presentation and ‘culture’ R. Gareth Roberts 285

‘Fleshpots of Egypt’: rethinking temple economy in the ancient Near East

David Wengrow 291

The earliest cities and the evolution of history Norman Yoffee 299

vii

Abbreviations

BD Book of the DeadStandard abbreviation preceding numbers of Book of the Dead spells. Various editions.

CT Coffin TextsStandard editions: de Buck, Adriaan (1935–1961). The Egyptian Coffin Texts, 7 vols. (Chicago: Univer-sity of Chicago Press) and Allen, James P. (2006). The Egyptian Coffin Texts, vol. 8, Middle Kingdom copies of Pyramid Texts, Oriental Institute Publica-tions 132 (Chicago: University of Chicago Press).

DZA Digitalisiertes ZettelarchivThe Digitized Slip Archive of the Wörterbuch der ägyptischen Sprache: http://aaew.bbaw.de/dateien/dza/dza.html

EA El AmarnaStandard designation of the ‘Amarna letters’, clay cuneiform tablets found at the site of Amarna, Egypt, and referring to the numbering of the letters in: Knudtzon, J. A., Erich Ebeling, and Otto Weber (1907–1915). Die El-Amarna-Tafeln, 2 vols., Vordera-siatische Bibliotek 2 (Leipzig: J. C. Hinrichs); Rainey, Anson F. (1970). El Amarna tablets 358–379, Alter Orient und Altes Testament 8 (Kevelaer and Neukirchen-Vluyn: Butzon & Bercker; Neukirch-ener Verlag des Erziehungsvereins).

KRI Kitchen, Ramesside InscriptionsKitchen, Kenneth. A. (1975–1991). Ramesside inscrip-tions, historical and biographical, 8 vols. (Oxford: Blackwell).

KV Kings’ ValleyStandard abbreviation preceding numbers of tombs in the Valley of the Kings.

LD Lepsius DenkmälerLepsius, Carl Richard (1844–1913). Denkmäler aus Aegypten und Aethiopien, 6 vols. (Leipzig: J. C. Hinrichs).

LRL Late Ramessid Letters Černý, Jaroslav (1939) Late Ramesside letters, Bibliotheca Aegyptiaca 9 (Brussels: Editions de la Fondation Egyptologique Reine Elisabeth).

PM Porter and MossPorter, Bertha, and Rosalind L. B. Moss, with Ethel W. Burney and Jaromír Málek (from 1973). (1927–). Topographical bibliography of ancient Egyptian hiero-

glyphical texts, reliefs, and paintings, 8 vols., 2nd edition 1960–1981 (Oxford: Griffith Institute).

PT Pyramid TextsStandard edition: Sethe, Kurt (1908–1922). Die altaegyptischen Pyramidentexte nach den Papierab-

drücken und Photographien des Berliner Museums (Leipzig: J. C. Hinrichs).

Ranke, PN Ranke, PersonennamenRanke, Hermann (1935–1977). Die ägyptischen Personennamen, 3 vols. (Glückstadt: J. J. Augustin).

TT Theban TombStandard abbreviation preceding the number given to tombs in the Theban necropolis.

Urk. I Sethe, Kurt (1933). Urkunden des Alten Reichs, Urkunden des Ägyptischen Altertums 1, 2nd edn. (Leipzig: J. C. Hinrichs).

Urk. II Sethe, Kurt (1904). Hieroglyphische Urkunden der griechisch-römischen Zeit, Urkunden des Ägypti-schen Altertums 2 (Leipzig: J. C. Hinrichs).

Urk. IV Sethe, Kurt, and Wolfgang Helck (1906–1958). Urkunden der 18. Dynastie, Urkunden des Ägypti-schen Altertums 4, 2nd edn. (Leipzig: J. C. Hinrichs).

Urk. VII Sethe, Kurt, and Wolja Erichsen (1935). Historisch-biographische Urkunden des Mittleren Reiches, Urkunden des Ägyptischen Altertums 7 (Leipzig: J. C. Hinrichs).

Wb. Erman, Adolf, and Hermann Grapow (1926–1953). Wörterbuch der ägyptischen Sprache, 7 vols. (Berlin: Akademie).

viii

Preface

Elizabeth Frood and Angela McDonald

What we know in what we see, what we feel in what We hear, what we are, beyond mystic disputation,

In the tumult of integrations out of the sky,

And what we think, a breathing like the wind, A moving part of a motion, a discovery

Part of a discovery, a change part of a change,

A sharing of color and being part of it.

Wallace Stevens ‘Looking Across the Fields and

Watching the Birds Fly’

John has been our teacher and supervisor, and is our colleague, mentor, and friend. It has been a privilege to create this book for him, and to gather within it essays by so many of his close colleagues and former students that pay honour to and acknowledge his influence and inspiration. In light of the number and the diver-sity of these papers, we decided to divide the volume into three (surprisingly balanced) parts, each of which we hope reflects a broad area that has captured John’s interest over the years. Within each section, the papers are arranged alphabetically. These section divisions give the volume a structure and a shape, and are not meant in any way to rigidly characterise their contents. The ideas explored in many of the papers extend and connect across sections, which seems fitting since a significant part of John’s work has been to identify and strengthen such connections, both within and beyond Egyptology.

We would like to thank all of the authors for their contributions and for their patience with the long editing process. Many thanks also to John’s former students, colleagues, and friends who were unable to contribute to this volume, but wished us all the best for its production. This book marks, in many ways, a beginning; we imagine that numerous future articles, essays, and books will be dedicated to John by the people who could not be represented here.

Richard Parkinson initiated this project, surrep-titiously secured John’s approval, and offered much guidance and support in its early stages. R. Gareth Roberts stepped in to assist with editing late in the process, and we are very grateful for his help and

the extra impetus he gave us. We are also grateful to Diane Bergman who undertook the formidable task of compiling John’s bibliography. Chris Hulin, our designer, helped us to transform what began as a seemingly disparate collection of papers, photo-graphs, drawings, tables, and maps into a book, and calmly managed all of our suggestions, corrections, and nitpicking. Liam McNamara spent much time exploring the collections of the Ashmolean Museum for potential images with which to grace the cover. We feel that David Gowers’ beautiful photographs of the ivory dog and the battlefield palette appropriately reflect one of the periods of Egyptian history and mate-rial culture that has captivated John. The dog also hints at one of the sources of distraction and joy in his non-academic life that many of us have been privileged to share with him. Emmanuelle Burfin very kindly gave us permission to include her wonderful portrait of John as the frontispiece. The Queen’s College offered material support for the volume’s production; we are especially grateful to Paul Madden, Angus Bowie, and the college’s Governing Body for this. We would also like to thank Jennifer Baines for her constant support and encouragement. Finally this volume has bene-fitted from the understanding and patience of our better halves – Moth and Rosie. Oh, and of course our husbands, Christoph and Mike.

As John’s former students, we’ve had long exposure to the mystical arts of editing. John – although you won’t see our names alongside essays here, we hope that you’ll consider the attempt to rigorously imple-ment a house-style as our contribution. Every time we discussed arcane topics – the possible merits of capital-isation of words after a colon, the bold but misguided implementation of the Oxford comma in German arti-cles – we thought nostalgically of our student days and the trepidation and anticipation with which we received thoroughly edited drafts of our chapters. We hope we’re presenting you with a work that will provoke not even a drop of purple ink (although please forgive us a stray semi-colon here and there).

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