In Egyptian sculpture, this work is the “counter” to the bust of Senusret III
because it is less specific and more typical of that culture’s style: Forms
reduced to their geometric essences and arranged to maintain an austere
resemblance of what they’re depicting. The individual Pharaoh, Taharqo, is
recognizable, rendered as a hybrid creature (lion-man, or sphinx). The original
was located at the Temple of Kawa, where this vision of him stood guard. |
Merging the man with a lion illustrates his character: brave, loyal, strong, in control, many of the traits the ancients tended to associate with the lion. His over-enlarged eyes’ focii do not converge, and instead run parallel into the distance, which, as a man in charge, suggests something about his state of mind: His eternal vision is surveying all that he owns and is responsible for. His facial features are specific to the individual man, because the individual forms are not reduced to the same sort of geometry as the facial features of an Easter Island statue, or the Statue of Liberty, as examples.
As with all works of sculpture, mass and volume are primary. In this case, shape and space support. Forms and the figure’s expression are reduced to a very general level; providing an idealized, placid portrait of the individual, and expressing the idea of vigilance, are communicated. A vague reference to timeless is made, and not much else. In keeping with the impression of order this work creates, horizontal symmetric balance applies when viewed from the most intended angle, which is head-on.
This might be a characteristic of the medium, but edges seem to be softened somewhat with a slightly rounded treatment. Though a living hybrid creature is the subject, many of its surfaces are flattened. Human and animal features do not contrast but blend; this is not characteristic of, for example, Greek works that emphasize this difference.
The idealistic rendering of the face and the inaccessible mood it communicates draw the most effort from the observer. This in-the-round work is developed in an austere style from all angles more so than many of ancient times, which usually were meant to be viewed from one or two perspectives.
In practice, this work was created in the context of foreign invasion. The conquering ruler was rendered in works such as this one to maintain peace by keeping with Egyptian customs. In this case, the conquering ruler’s portrait was installed in a combination of formal sculptural elements traditional to ancient Egypt. Overall this work is meant to place formal order ahead of interest, possibly to the point of causing boredom, but I believe to criticize this piece for that reason is to miss the creator’s intention.
Merging the man with a lion illustrates his character: brave, loyal, strong, in control, many of the traits the ancients tended to associate with the lion. His over-enlarged eyes’ focii do not converge, and instead run parallel into the distance, which, as a man in charge, suggests something about his state of mind: His eternal vision is surveying all that he owns and is responsible for. His facial features are specific to the individual man, because the individual forms are not reduced to the same sort of geometry as the facial features of an Easter Island statue, or the Statue of Liberty, as examples.
As with all works of sculpture, mass and volume are primary. In this case, shape and space support. Forms and the figure’s expression are reduced to a very general level; providing an idealized, placid portrait of the individual, and expressing the idea of vigilance, are communicated. A vague reference to timeless is made, and not much else. In keeping with the impression of order this work creates, horizontal symmetric balance applies when viewed from the most intended angle, which is head-on.
This might be a characteristic of the medium, but edges seem to be softened somewhat with a slightly rounded treatment. Though a living hybrid creature is the subject, many of its surfaces are flattened. Human and animal features do not contrast but blend; this is not characteristic of, for example, Greek works that emphasize this difference.
The idealistic rendering of the face and the inaccessible mood it communicates draw the most effort from the observer. This in-the-round work is developed in an austere style from all angles more so than many of ancient times, which usually were meant to be viewed from one or two perspectives.
In practice, this work was created in the context of foreign invasion. The conquering ruler was rendered in works such as this one to maintain peace by keeping with Egyptian customs. In this case, the conquering ruler’s portrait was installed in a combination of formal sculptural elements traditional to ancient Egypt. Overall this work is meant to place formal order ahead of interest, possibly to the point of causing boredom, but I believe to criticize this piece for that reason is to miss the creator’s intention.
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