Preview
Creation Date
1st century BCE – 5th century CE
Geography
Elephantine, Egypt
Culture
Roman, Egyptian, Byzantine, Coptic
Medium
Wood
Dimensions
5 1/8 × 1 7/8 × 1 11/16 in. (13.01 × 4.76 × 4.23 cm)
1.143 oz. (32.4 g)
Credit Line
Bequest of David P. Harris ('46), 2020
Accession Number
2020.315
Provenance
Purchased by David P. Harris from Julia Schottlander (Tetragon) in London on April 4, 2000. In the possession of the National Museums of France until September 23, 1997. Said to have been collected in Elephantine, Egypt in 1909.
Condition
Despite being injured, the figure nevertheless has the essential characteristics that allow it to be recognized as a doll, such as the entire upper body without its arms and two thighs that are missing a portion of one enormous piece, allowing the viewer to see the grain. From the bottom of the visible wood grain a small dark brown trace can be found on the right side of the missing thigh. The body has a pinhole on either side where the arms should be.
Julia Ziyi Yang (’24), October 2023
Signatures, Inscriptions, and Markings
“Elephantine 1909” is written on the thigh of the figure's left leg.
Description
The figure is adorned with a wreath around its neck while its lower limbs and arms are conspicuously absent. A structural support with a pole is located at the base of the left side to uphold one of the amputated legs. The object's size, being smaller than a hand, suggests that it is probably not intended for ceremonial purposes since this statuette clearly deviates from the prevalent typologies of Egyptian statuary, which were often images of seated or standing male figures with their left leg outstretched. The difference should not, however, exclude the possibility that the object might potentially possess the possible funerary significance. Examining the figure’s facial features reveals a sense of tranquil composure, devoid of any discernible expression. The weathering of the wood material makes it challenging to discern the intricacies of the eyes. The sculpture's two legs exhibit a rhythmic back-and-forth motion, with only the upper part of the thighs remaining in view. Notably, there exists a visible gap between the left and right legs, suggesting that this artwork possesses the potential for movement when it was designed and made. The statuette has a more sensuous curve in its form, most notably in the graceful contour from its waist to its thighs, which emits a feminine character. When seen from the back, there is a substantial amount of muscle extending from the buttocks down to the thighs. However, when examined from the front, there appears to be a slight protrusion beneath its abdomen that could be interpreted as a representation of a male genitalia.The intricate bodily contours and the varied block-like protrusions create a challenge in identifying the gender of this figure. The object in question notably exhibits an absence of arms, with two discrete pinholes seamlessly integrated into its wooden surface. The subtle matching of the pinhole colors with the overall wood hue indicates their preexistence at the time of the sculpture's discovery. The presence of these pinholes additionally implies that the figure's arms were originally affixed in a lateral orientation, raising the intriguing prospect that the arms possessed mobility in their undamaged state. The figure exhibits an oval-shaped prominence atop its head, open to the interpretation as either a headdress or a distinctive hairstyle. The presence of bangs cascading onto the forehead adds an element of ambiguity, leaving us uncertain whether this design reflects characteristics of the historical period or represents a unique aspect of this particular object. Additionally, the figure's context raises intriguing possibilities: it might have been part of a group of figures created in a similar fashion, or there could have been adjacent objects with which it interacted, further enriching its narrative significance. The figure reveals a conspicuous crack extending from the belly to the inner right thigh when observing from the front. Furthermore, the texture of the skin on the belly feels notably coarse and uneven to the touch. This factor causes a sense of ambiguity in discerning whether the object is adorned with clothing or remains uncovered. If the object lacks clothing, it prompts the inquiry as to why the creator adorned it with a wreath decoration. When positioned in front of the object and observing from its right side, a diminutive burnt blackish-brown mark becomes apparent on the absent portion of its right leg. It remains uncertain whether the mark resulted from burning or were the result of contact with black paint from other objects on the floor. Direct your gaze once more to the right side, and there, in subtle lettering, you'll find the word “Elephantine." The alignment of this lettering runs nearly parallel to the truncated surface of the wood, strongly suggesting that the legs of this figure were already fractured at the time of its discovery.
The figure exhibits characteristics reminiscent of a Roman cupid, Eros, or Putto. The object’s chubby, youthful physique bears a striking resemblance to the way Cupid is portrayed in Roman art, while its full lip and flat nose might illuminate elements that recall its Egyptian origin. However, relying solely on the object's physical features proves insufficient for a precise determination of its origin. Additional sources such as archaeological findings need to be collected and analyzed to achieve a more comprehensive understanding and interpretation of the objects history, purpose, and potential ownership.
Historical accounts surrounding the island of Elephantine reveal that the final temple dedicated to the goddess Satet experienced dismantlement during the early Middle Ages for its stone resources. Thus, it is possible to assume that this artifact likely served as a decorative feature within the temple's ornate surroundings. The object appears to have incurred damage from falling rocks that impacted the ornament, leading to the loss of its original arm and head embellishments, which might be the ramifications of the temple's degradation. This conjecture further elucidates the somewhat rugged and irregular nature of the artifact's hairstyle, along with the presence of irregular cracks when scrutinized from its posterior aspect. The peculiar protuberance situated atop this artifact initially led to the hypothesis that it might represent a Phrygian bonnet. But after a comprehensive examination of sculptures and statuette dating from similar historical epoch in diverse geographic locales, this hypothesis was ultimately dismissed due to scaling and sizing considerations. The conventional Phrygian bonnet is of a slightly smaller dimension than the head, leaving a portion of the head exposed. The notable projection on this artifact, on the contrary, resembles a little square and conspicuously lacks the distinctive conical shape associated with the Phrygian bonnet. The absence of one shoulder on the figure suggests its mobility, potentially hinting at its role as an entertainment toy rather than a decorative item. Regarding the object's hand-held size instead of being mostly intended for static display, it lends itself to an entertaining purpose. The choice of wood as the main material for this item, rather than more prestigious options such as gold, ivory, or jade, offers insights into the owner's socio-economic standing. Moreover, the object's owner may well be an Egyptian individual with a preference for the exotic rather than domestic artifacts. The presence of a Cupid iconography within the object's context suggests an intent to showcase the owner's appreciation for Roman culture, possibly serving an educational purpose which might be similar to the idea of paideia. When the owner articulates their comprehension of the item, it presents an opportunity to elevate their prestige in the presence of friends and guests.
After being conquered by the Romans in the first century, Egypt thrived as a prosperous Roman province. It had a thriving industrial sector that produced papyrus, glassware, and a multitude of exquisitely crafted artisanal objects (see "Roman Egypt," Heilbrunn Timeline of Art History, Metropolitan Museum of Art). These high-quality products found their way into the hands of discerning consumers not only within Egypt but also beyond its borders, contributing to Egypt's role as an exporter to the broader Roman Empire during this era. This figure could potentially have been among the commodities exported from Elephantine to various Roman cities.
Julia Ziyi Yang (’24)