my art gallery

by Steven Cowell

This bust depicts the goddess Isis wearing pleated garments, armlets, a necklace with a scalloped pendant, beaded choker, earrings, and a jeweled diadem surmounted by two large rosettes and the crown of the goddess. Isis was the most prominent Egyptian goddess, as the wife of the god of the Netherworld, Osiris, and the mother of the sun-god Horus, whose manifestation on earth was the king of Egypt. Her origins are obscure, but she is attested by about 2400 B.C., and her worship in Egypt continued until the 6th century A.D. In time she became a universal goddess, subsuming other deities, and her cult spread throughout the Mediterranean world.
Nimrod is a landmark in Israeli art; no other sculpture provoked such strong responses when it was created or continued to fascinate and engage generations of viewers in the way that Danziger’s sculpture did. The biblical character Nimrod is described as “a mighty hunter before the Lord.” But the root from which his name comes means “to rebel,” and in Talmudic literature, he is the despised idolater who erected the Tower of Babel in order to overthrow God. Nimrod, or Namrood, also features in ancient Near Eastern mythology as a mighty figure with divine powers. Here he is portrayed as a man-beast with prominent sense and sex organs, a hunter-warrior whose bow has become his backbone. Danziger took the hawk on Nimrod’s shoulder from Egyptian art, underscoring the link between his sculpture and the ancient pagan world. The absence of legs likens the figure to an archaeological find, as does the reddish sandstone from Petra. In the 1940s, a group of intellectuals calling themselves “Young Hebrews” identified closely with this sculpture. Dubbed “Canaanites” by their opponents, they connected to the ancient cultures of the land and called for a total break with Judaism and Jewish history. Nimrod became a symbol for many youngsters at the time, as the most extreme expression of a native identity based solely on this ancient geographic heritage.
Kneeling statue in dark grey granite representing Senenmut proferring symbol composed of the "ka" hieroglyph surmounted by a cobra with cow horns and sun disk, the whole forming a rebus of the name Makara, that of Hatshepsut. Senenmut wears a wide striated wig covering his shoulders, a short beard, and a kilt from the waist to just above the ankles. One line of text round base, one line on top of base left side, front, right side; three columns of text on back-pillar which ends on triangular top inclined toward back of Senemuts head. One column on left side of back pillar and one column on right side; cartouche of Makara on right upper arm.Condition: Figure perfect, but inscription shows erasures and slight damage in several places. Base chipped.
Black granite statue inscribed for Kaiemwaset. The nobleman is represented as kneeling and profferinga large Hathor-sistrum. Kaiemwaset is fressed in a long skirt. The figure is inscribed on the right shoulder, the back pillar, the front, sides and upper front surface of the base, and on the sides of the mass of stone which connects the sistrum and chest. There is some red pigment preserved in the hieroglyphs on the front of the base. The figure bears the cartouche of Tuthmosis IV.Condition: The head, except for the parts of the wig, neck and beard, is missing. Large chips in the front, right side and rear of base. The left arm, left foot and left side of the base are mostly chipped away: the back pillar is only partially preserved. There are smaller chips in many places, and there is dried mud on much of the surface.
Head of a king in unidentified green stone, originally furnished with back pillar. Full, almost square face with eyes and brows originally inlaid, bull neck. Skin areas polished scalp area dull and covered with close fitting ‘cap’ with small, rounded flaps near ears; uraeus with wide curve. Condition: Inlays lost, right eyelid chipped. Ears slightly chipped. Headdress apparently has been hammered though possibly it was covered with metal fitting in antiquity.
Credits: All media
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