Analysis of Sphinx
The Middle Kingdom (ca. 2030–1650 B.C.) was a period of significant transformation in ancient Egypt. It was during this period that older cultural principles and artistic conventions revived. The changes that characterize the Middle Kingdom 1 can be seen in its architecture, culture, jewelry, literature, paintings and reliefs.
The focus of the essay is to analyze the “Sphinx of King Senwosret” from Thebes, Karnak temple in Dynasty 12 and describe the artwork visually. It looks behind the political or symbolic meaning and why the Sphinx a really important symbol.
Sphinx of King Senwosret III
Sphinx of King Senwosret dates back to 1878–1840 B.C. and belongs to the Middle Kingdom period. The imposing structure looks impressive and is a sturdy posture that is made of grained anorthosite gneiss from Nubian quarries and was discovered in Thebes 2. Senusret III is one of the most well-known kings of the Middle Kingdom. The Sphinx combines the power and strength of royalty with the body of a lion and head and thus stands symbolically for the reigning king 3. Lions have often been associated with royals since prehistoric times. The crouching position of the sculpture looks very regal and is a symbolic representation of King, who carries the courage and power of the lion. The impressive stone sculpture simply looks regal and majestic. The edges of the sculpture may have weathered with weathering and passage of time, but it remains a fine example of admirable craftsmanship.
____________________1 Adela Oppenheim, Dorothea Arnold, Dieter Arnold, Kei Yamamoto, Ancient Egypt Transformed: The Middle Kingdom (Metropolitan Museum of Art, 2015), 400.2 "Senwosret III as a Sphinx." 2016. metmuseum.org. (May 8, 2016). http://www.metmuseum.org/art/collection/search/5441863 George Steindorff, The Pyramid of Senwosret I (Freer Gallery of Art Occasional Papers, 1950), 28.
Visual analysis
The Sphinx rests on a block of stone carrying lines and looks very regal. The head of the Sphinx carries very distinctive features. However, the nose of the creature is damaged. The lion sits majestically on its forelegs and hind legs and carries a vigorous and muscular body. The curved tail and the way it sits alertly creates a palpable tension in the body. It is as if it is ready to pounce on the enemy and is on guard at all times. The mane in the front carries long strands and towards the back of the shoulders, one sees overlapping tufts. The patterns on the body of the lion and stone have been created deliberately so as to blur the body of the lion with the human head. The lion’s body carries prominent musculature stylized ribs. The fine modeling of the creature and the artistic equilibrium in the face have been given careful treatment by the artist. The almond-shaped eyes under fleshy eyelids carry a somber expression. The shell-like ears look natural but are large while lips carry a slight pout and are slightly drooping. The face carries a very serious and somber look with heavy eyelids. The complex musculature and bone structure of the rectangular face framed by the headdress looks particularly striking. The headdress worn by the Sphinx is symbolic of kingship, and the mane is covered by a cobra. The headdress and the stylized pattern make the lion's mane. One sees a palace facade topped by a Falcon below the beard. Cobra was seen as a goddess Udjo, the protectors of the king 4. The actual headdress of the king was made of starched linen and the rectangular false beard was his exclusive adornment. The nemes is a pleated linen headcloth that was worn by pharaohs and covered the back of the head and nape of the neck. The head, nemes
____________________4 "Sphinx of Senwosret III." 2008. bible-history.com. (May 8, 2016). http://www.bible-history.com/ancient_art/met/egypt/Sphinx_of_Senwosret_III.html
and the beard create a multilayered three-dimensionality that seems to be balanced by the smoother torso. The massive headdress hides the merging point of the body of human and that of the animal. The protruding ears rounded projecting eyes with heavy lids, pouches under the eyes and sharp cheek bones and nasolabial folds and downturned mouth with mounds of a flesh on each side are very characteristic of the Sphinx of King Senwosret III. The smooth surface of the lion’s body contrasts with the detailed patterns of the headdress, the stylized mane, and the royal beard. The dark curving veins on the lion’s body add volume to it. One can feel the mighty strength in those shoulders. The tense body of the reclining lion looks ahead with confidence and authority. It is as if it is about to take a leap. The strong and sturdy forelegs and hind legs make the body look muscular and strong. The body looks strong and majestic and is curved in right proportions. The great historian, Cyril Aldred refers to the Sphinx of King Senwosret as the 'haunting portrayal of an autocrat” 5. The sculptor shows great workmanship and superior skills to create the Sphinx. He has given a serious expression to the Pharaoh because of the brutal wars he fought. The great long beard is just fitting for the rank of the royalty. The throne names and divine of forms are carved on the breast of the lion 6. The sculpture reflects the significance of pharaohs for the Egyptians. As is apparent from preserved documents, statues and temple reliefs, iconography was necessary for the Egyptians, and there were stringent rules of representation followed by the Egyptian sculptors.
____________________5 "Sphinx of King Senwosret III." 2016. joanannlansberry.com. (May 8, 2016). http://www.joanannlansberry.com/fotoart/met-muzm/sen3sphx.html6 Dieter Arnold, The Pyramid of Senwosret I (Metropolitan Museum of Art, 1988), 261.
Symbolic representation Ancient Egyptians artworks are often discussed regarding their inscriptions and iconography rather than as aesthetic objects. The attention paid to every detail shows the strong spiritual force behind those works and inspirations. It is hard to believe that such meticulous representations were done just to please the gods 7 The unique creature in the “Sphinx of King Senwosret” from Thebes carries the body of a lion and the head of a king. The word "sphinx" refers to Egyptian statues with the body of a lion and a human head in Greek. This is a symbolic representation that shows a close relationship with the King and the sun god. Sphinx means a divine sculpture carrying the body of a lion with a royal head 8. The figure combines the intellect of human with a feline power. Most sphinxes are shown in poses of watchfulness, the Sphinx of King Senwosret III displays a particular sense of tension and latent power in those lean flanks and emphasized muscle and bones in thighs and shoulders. The prominent back paws and pointed claws further emphasize the fearless aspect of the lion. It was no surprise to see the imposing mane and awesome roars of a lion with kingship. They symbolized cosmic myths and guarded against evil. The complex image stands for the ruling king and his association with divine guardianship and the rising sun. The zoomorphic figures were the protector of the pharaohs against evil because of their strength and ferocity. A standing Sphinx represented a conqueror for the Egyptians while a crouching sphinx was responsible for the guarding the sacred places 9.
____________________7 Adela Oppenheim, Dorothea Arnold, Dieter Arnold, Kei Yamamoto, Ancient Egypt Transformed: The Middle Kingdom (Metropolitan Museum of Art, 20158 Bunson, Margaret. "Encyclopedia of Ancient Egypt." Infobase Publishing 1.1 (2014): 1-481.9 "Senwosret III as a Sphinx." 2016. metmuseum.org. (May 8, 2016). http://www.metmuseum.org/art/collection/search/544186
When one looks at the earlier portrayal of the King from the old and earlier Middle Kingdom, they carry an expression of sobriety and benevolence. Sphinx of King Senwosret is astonishing in comparison as for the first time, the Egyptian ruler is shown with a mature face reflecting harshness and showing the combined features of humans and animals. The behind is to show symbolic qualities of Kings and gods with multiple attributes 10. Egyptian art was primarily made for religious and magical purpose. The symbols and functions of those artworks say a lot about the beliefs of Egyptians in social and religious context. The association of divine powers with animals was understandable among the ancient Egyptians. For them, the animal characteristics fuels supernatural energies and powers of certain deities. However, they did not believe that the gods were actually human-animal combinations. The animal headed deity was only used symbolically to show the multiples aspects of the god or goddess 11. Daring the reign of Senwosret III, it has been observed that the sculptors were trying to get free of the idealism and were moving more towards naturalism. This is apparent in the look of flesh and bone ion the sphinx here 12. The sculptor is trying to meet the margins between the animal world and the nature.Conclusion
As is apparent from preserved documents, statues and temple reliefs, iconography was necessary for the Egyptians and there were stringent rules of representation followed by the Egyptian sculptors. The above discussion on the Sphinx of King Senwosret III reflects the
____________________10 Adela Oppenheim, Dorothea Arnold, Dieter Arnold, Kei Yamamoto, Ancient Egypt Transformed: The Middle Kingdom (Metropolitan Museum of Art, 201511 Edith Wattsand Barry Girsh, Art of Ancient Egypt: A Resource for Educators (Metropolitan Museum of Art, 1998), 179.12 Adela Oppenheim, Dorothea Arnold, Dieter Arnold, Kei Yamamoto, Ancient Egypt Transformed: The Middle Kingdom (Metropolitan Museum of Art, 2015
thought process of the ancient Egyptian sculptors and explains the zoomorphic figure of sphinx. The creature with the head of the king and the body of the lions shows the belief systems of Egyptians and how they associated divine powers with animals. The sphinx shows the combined power of intellect of a human and the strength of an animal. The crouching position of the sphinx shows the pose of being on guard and acting as a defender. The symbolic representation shows a close relationship between the sun god, the King and the power of a lion.
BIBLIOGRAPHY
Adela Oppenheim, Dorothea Arnold, Dieter Arnold, Kei Yamamoto, Ancient Egypt Transformed: The Middle Kingdom (Metropolitan Museum of Art, 2015), 400.
Arnold, Dieter, The Pyramid of Senwosret I (Metropolitan Museum of Art, 1988), 261.
Bunson, Margaret. "Encyclopedia of Ancient Egypt." Infobase Publishing 1.1 (2014): 1-481.
Senwosret III as a Sphinx." 2016. metmuseum.org. (May 8, 2016). http://www.metmuseum.org/art/collection/search/544186
Steindorff, George. The Pyramid of Senwosret I (Freer Gallery of Art Occasional Papers, 1950), 28.
"Sphinx of Senwosret III." 2008. bible-history.com. (May 8, 2016). http://www.bible- history.com/ancient_art/met/egypt/Sphinx_of_Senwosret_III.html
"Sphinx of King Senwosret III." 2016. joanannlansberry.com. (May 8, 2016). http://www.joanannlansberry.com/fotoart/met-muzm/sen3sphx.html
Wattsand , Edith and Girsh, Barry, Art of Ancient Egypt: A Resource for Educators (Metropolitan Museum of Art, 1998), 179.
