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Identification and Creation

Object Number
1977.216.1987
Title
Standing Osiris
Classification
Sculpture
Work Type
sculpture, statuette
Date
mid 7th-late 1st century BCE
Places
Creation Place: Ancient & Byzantine World, Africa, Egypt (Ancient)
Period
Late Period to Ptolemaic
Culture
Egyptian
Persistent Link
https://hvrd.art/o/303992

Physical Descriptions

Medium
Leaded bronze
Technique
Cast, lost-wax process
Dimensions
10.6 x 3.3 x 2.1 cm (4 3/16 x 1 5/16 x 13/16 in.)
Technical Details

Chemical Composition: ICP-MS/AAA data from sample, Leaded Bronze:
Cu, 68.61; Sn, 5.23; Pb, 25.69; Zn, 0.004; Fe, 0.02; Ni, 0.05; Ag, 0.11; Sb, 0.09; As, 0.19; Bi, less than 0.025; Co, 0.016; Au, less than 0.01; Cd, less than 0.001
J. Riederer

Technical Observations: The patina is dark brown. The surface appears to have been stripped; it does not have the corrosion products indicative of long-term burial. There appear to be core material remains on the underside of the base. A threaded hole remains from a previous mount.

The figure was cast by the lost-wax process, and the crook was modeled directly as a thin coil of wax. There are casting flaws along the sides of the hollow base. The inscribed lines on the headdress, the beard, the top lip, the flail on the chest, and the space between the hands, however, look like they were fashioned (or perhaps refashioned) with a punch or dull chisel in the metal.


Francesca G. Bewer (submitted 2002)

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Transfer from the Department of the Classics, Harvard University, Purchased in Rome
Accession Year
1977
Object Number
1977.216.1987
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Descriptions

Published Catalogue Text: Ancient Mediterranean and Near Eastern Bronzes at the Harvard Art Museums
The crudely modeled, flat form of this Osiris reverses the crook and flail from their normal positions. The hands are side-by-side. The atef feather on the proper left side of the headdress is broken. A slightly obtuse angle joins the legs to the feet, which sit on a hollow square base that is incomplete on the right side and back.

Osiris was one of the most popular gods of the Egyptian pantheon. Early in Egyptian history he represented a chthonic fertility god that later acquired the royal insignia of the crook and flail. He came to be identified as the ruler of the underworld. The Egyptian ruler, perceived during his lifetime as the incarnation of Horus, became Osiris after death. Over time, Osiris was equated with all deceased individuals and became a symbol of resurrection. The major cult shrine of Osiris was at Abydos in Middle Egypt, where Seti I (c. 1294-1279 BCE) built a magnificent temple in Dynasty 19.

Small bronze figurines representing Osiris show the god wrapped in a form-fitting garment, perhaps denoting a mummified shroud, and carrying the symbols of rulership—the crook and flail—in each hand. Enveloped in his shroud, Osiris’ arms are bound close to his body and his feet and legs stand together. The god is usually depicted wearing the White Crown of Upper Egypt, ornamented with a uraeus (cobra) on the front and sometimes flanked by two feathers (the atef crown). In addition, this crown can rest on a set of spiraling ram’s horns that project to either side.

The bronze figurines take two basic forms: seated or standing. Within each group, several subgroups can be distinguished according to the placement of the hands. The hands can be side-by-side without overlapping, the proper right hand above the left in a vertical alignment, or crossed over one another at the wrists. G. Roeder associates the different poses to geographical areas within Egypt: those with hands side-by-side in Middle Egypt, those with hands one above the other in Lower Egypt, and those with the hands crossed over one another in Upper Egypt (1). The position of the hands also appears to correlate with other broad stylistic features. For example, the ridge created by the shroud pulled around the shoulders occurs primarily on figurines in which the hands are arranged one above the other.

NOTES:

1. G. Roeder, Ägyptische Bronzewerke, Pelizaeus-Museum zu Hildesheim, Wissenschaftliche Veröffentlichung 3 (Hamburg, 1937) 89; and id., Ägyptische Bronzefiguren, Staatliche Museen zu Berlin Mitteilungen aus der Ägyptischen Sammlung 6 (Berlin, 1956) 133. See also M. Wuttmann, L. Coulon, and F. Gombert, “An Assemblage of Bronze Statuettes in a Cult Context: The Temple of ‘Ayn Manâwir,” in Gifts for the Gods: Images from Egyptian Temples, eds. M. Hill and D. Schorsch, exh. cat., Metropolitan Museum of Art (New York, 2007) 167-73, esp. 169-70.


Marian Feldman

Subjects and Contexts

  • Ancient Bronzes

Related Works

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu