Through the Eras

Visual ArtsHead from a female sphinx. BROOKLYN MUSEUM OF ART, 56.85,CHARLES EDWIN WILBOUR FUND. REPRODUCED BY PERMISSION.Senwosret III. BROOKLYN MUSEUM OF ART, 52.1, CHARLES EDWINWILBOUR FUND. REPRODUCED BY PERMISSION.dress that associates her with maternity. In style, the synthesisbetween Theban and Memphis traditions areclearest in the eye and the ear. The eyebrow and cosmeticline are still extended and ribbon-like. But theeyeball itself seems to swell behind the eyelid in a morelife-like way than was found in earlier Theban work. Thisis a clear Memphis influence. The ear also is placed morenaturally than in other Eleventh-dynasty relief. The lipsremain broad but do not end as bluntly at the corners.This relief points toward the revival of the Memphis styleduring the Twelfth Dynasty.TWELFTH DYNASTY. Kings of the Twelfth Dynasty(1938–1759 B.C.E.) restored the capital to the areaaround Memphis in Lower Egypt. Their artists alsoresided in the new capital. Artists now had direct accessto the Old Kingdom cemeteries of Giza and Saqqara andothers for inspiration. The results of this inspiration areclear in royal statues of this period. The seated king, ina style reminiscent of the Fourth-dynasty statue of Khafrefrom his mortuary temple, once again was a commonsubject. A black granite statue of Senwosret III followsthis ancient pattern while also drawing on artists’ newinterest in portraying the subject’s inner life. The kingsits on a low-backed throne with his arms resting on hislap. The left hand is open and reaches for offerings. Theright hand is curled in a fist and holds a piece of linen,a common offering. The king wears the Nemes kerchiefwith a Uraeus protecting him, the conventional headgearfor a seated royal statue. The heart-shaped pendantthat the king wears suspended from a chain around hisneck is typical of Middle Kingdom jewelry. The kingalso wears the pleated shendjet kilt so often seen in seatedroyal statues. Finally the king wears an animal tail thatis visible between his legs, carved in relief on the blockof the throne. The king’s thick legs and feet rest on topof nine bows that represent the weapons of Egypt’s traditionalenemies. With the king’s feet on top of them,the enemies are disarmed and rendered harmless. Theking’s torso also recalls the idealized and muscular bodiesof Old Kingdom kings. The artist has carefully renderedthe pectoral muscles, the groove over the abdomento the navel, and the muscles of the arms. Once againthe king represents Egypt’s strong and idealized protector.Yet the king’s face, as is true of many sculpturesof Senwosret III, suggests an attempt at conveying theking’s psychological state. Many commentators havesuggested that the carefully carved bags under the king’sArts and Humanities Through the Eras: Ancient Egypt (2675 B.C.E.–332 B.C.E.) 291