'Scènes de Gynécées' : figured Ostraca from New Kingdom Egypt : iconography and intent

'Scènes de Gynécées' Figured Ostraca from New Kingdom Egypt: Iconography and intent examines images of women and children drawn on ostraca from Deir el-Medina, referred to in previous scholarship as 'Scènes de Gynécées'. The images depict women with children either sitting on beds in a domestic setting or in outdoor kiosks. The former are likely to show celebrations carried out in the home to mark the birth of a child. This may have included the bringing of gifts, mainly consumables and small household items. It is possible this was recorded in hieratic texts, also on ostraca, described in earlier research as gift-giving lists. The kiosk scenes may have depicted the place women gave birth in or more likely the place of confinement after birth. However, given the dense nature of settlement at Deir el-Medina it is possible these scenes were symbolic evoking the protection of Isis who nurtured Horus in the papyrus thicket of the Delta. In order to understand the purpose and intent of these images, repeat motifs are considered and their similarities to wall paintings within the village are examined. The objects are important as they represent rare examples of regional art, found only at Deir el-Medina. Also, women are the main protagonists in the scenes, which is unusual in Egyptian art as women are generally depicted alongside the male patron of the work, as his wife, daughter or sister. This publication represents the first systematic study of this material and it brings together ostraca from museums worldwide to form a corpus united contextually, thematically and stylistically. Cover Title Page Copyright Page Contents List of Figures General Abbreviations Acknowledgements Introduction Deir el-Medina: The History of Excavation and the Nature of the Site Deir el-Medina: The History of Excavation and the Nature of the Site Figure 1.1: Linear design of houses at Deir el-Medina (Bruyère 1939: 50, Figure 15) © IFAO. Figure 1.2: The site of Deir el-Medina (Image produced by Peter Robinson based on Bierbrier 1982a: 66-67). Figure 1.3: Types of ‘lit clos’ found at Deir el-Medina, as identified by Bruyère (Bruyère 1939: 57, Figure 18) © IFAO. Figure 1.4: Figured ostracon from Deir el-Medina showing Meretseger on a raised platform, before a table of offerings, Louvre E 25301 (Photograph Author’s own). Catalogue of Painted Wall Decoration Found in the Village Figure 2.1: Wall decoration when excavated by Bruyère, House S.E. VIII, Deir el-Medina (Vandier d’Abbadie 1938: 28, Figure 1) © IFAO. Catalogue of Painted Wall Decoration Found in the Village Figure 2.2: Wall decoration of House S.E. VIII, Deir el-Medina as published by IFAO 2006 (Cherpion 2006: 17, Figure 8) © IFAO. Figure 2.3: Figured ostracon of a dancer from Deir el-Medina, IFAO VA 2868 (Photograph Author’s own) © IFAO. Figure 2.4: Figured ostracon depicting a musician from Deir el-Medina, IFAO VA 2399 (Photograph Author’s own) © IFAO. Figure 2.5: Scene of dancing from the Nineteenth Dynasty tomb of Harmose at Hierakonpolis (Wreszinski 1927: Plate 44). Figure 2.6: Remains of the ‘lit clos’ House S.E. I at Deir el-Medina when excavated by Bruyère (Bruyère 1939: 60, Plate X) © IFAO. Figure 2.7: Remains of the painted wall decoration of House S.E. I at Deir el-Medina as published by Bruyère (Bruyère 1923: Plate I) © IFAO. Figure 2.8: Location of the painted wall decoration in House S.E. I at Deir el-Medina (Bruyère 1923: 122, Figure 1) © IFAO. Figure 2.10: Reconstruction of the painted wall decoration of House S.E. I, Deir el-Medina by Brunner-Traut (After Brunner-Traut 1955: 15, Figure 5). Figure 2.9: Reconstruction of the painted wall decoration of House S.E. I, Deir el-Medina by Bruyère (Bruyère 1923: 132, Figure 5) © IFAO. Figure 2.11: ‘Lit clos’ with painted decoration in House N.O. XII, Deir el-Medina (Bruyère 1939: Plate IX) © IFAO. Figure 2.13: Remains of additional decoration from the ‘lit clos’ at House N.O. XII, Deir el-Medina (Bruyère 1939: 287, Figure 158) © IFAO. Figure 2.14: Figured ostracon from Deir el-Medina, showing a woman in a papyrus skiff, IFAO VA 3019 (Photograph Author’s own) © IFAO. Figure 2.12: Line drawing by Bruyère of the surviving decoration of House N.O. XII, Deir el-Medina (Bruyère 1939: 286, Figure 157) © IFAO. Figure 2.16: Line drawing by Bruyère of surviving painted decoration in House C.VII, Deir el-Medina (Bruyère 1939: 311, Figure 182) © IFAO. Figure 2.15: ‘Lit clos’ with painted decoration in House C.VII, Deir el-Medina (Bruyère 1939: Plate IX) © IFAO. Figure 2.17: ‘Lit clos’ with painted decoration in House N.E. XIII, Deir el-Medina (Bruyère 1939: Plate IX)© IFAO. Figure 2.19: Wooden panels depicted the god Bes, from a bed from the tomb of Yuya and Tuya, Cairo 51110 (Davis 1907: 36). Figure 2.18: Line drawing by Bruyère of surviving painted decoration in House N.E. III, Deir el-Medina (Bruyère 1939: 259, Figure 136) © IFAO. Figure 2.21: Line drawing by Bruyère of surviving painted decoration in House S.O. VI, Deir el-Medina (Bruyère 1939: 330, Figure 202) © IFAO. Figure 2.22: Line drawing by Bruyère of surviving painted decoration in House N.E.X, Deir el-Medina (Bruyère 1939: 255, Figure 131) © IFAO. Figure 2.20: ‘Lit clos’ with painted decoration in House S.O. VI, Deir el-Medina (Bruyère 1939: Plate IX) © IFAO. Figure 2.25: Reconstruction of wall painting, found in House 3, Main St, Amarna, by Kemp (Kemp 1979: 48, Figure 1) Image courtesy of the Egypt Exploration Society. Figure 2.23: Line drawing by Bruyère of surviving painted decoration in House N.E. XII, Deir el-Medina (Bruyère 1939: 257, Figure 133) © IFAO. Figure 2.24: Wall painting found in House 3, Main St, Amarna, when excavated by Kemp (Kemp 1979: Plate VIII) Image courtesy of the Egypt Exploration Society. Figure 2.26: Fragments of moulded clay representing the god Bes, from House S.E. XI, Deir el-Medina, as found by Bruyère (Bruyère 1939: 276, Figure 148) © IFAO. Figure 2.27: Line drawing by Bruyère of surviving painted wall decoration in House C.V, Deir el-Medina (Bruyère 1939: 305, Figure 136) © IFAO. Catalogue of ‘Scènes de Gynécées’ Figured Ostraca and Comparative Evidence WoB.1: Cairo JE 63806 (Vandier d’Abbadie 1937: 69, Plate L) © IFAO. Catalogue of ‘Scènes de Gynécées’ Figured Ostraca and Comparative Evidence WoB.2: IFAO VA 2338, © IFAO. WoB.3: IFAO VA 2343 (Photograph Author’s own) © IFAO. WoB.4: VA 2345 (Vandier d’Abbadie 1937: 71, Plate LIII) © IFAO. WoB.5: IFAO VA 2346, © IFAO. WoB.6a: IFAO VA 2349, © IFAO. WoB.6b: IFAO VA 2349 (Vandier d’Abbadie 1937: 72, Plate LIV) © IFAO. WoB.7: IFAO VA 2350 (Photograph Author’s own) © IFAO. WoB.8: VA 2353 (Vandier d’Abbadie 1937: 73, Plate LVII) © IFAO. WoB.9: IFAO VA 2355 (Photograph Author’s own) © IFAO. WoB.10: IFAO VA 2359 (Photograph Author’s own) © IFAO. WoB.11: IFAO VA 2360, © IFAO. WoB.12: IFAO VA 2362 (Photograph Author’s own) © IFAO. WoB.13: IFAO VA 2364 (Photograph Author’s own) © IFAO. WoB.14: IFAO VA 2365 (Photograph Author’s own) © IFAO. WoB.15: IFAO VA 2368 (Photograph Author’s own) © IFAO. WoB.16: IFAO VA 2369 (Photograph Author’s own) © IFAO. WoB.17: IFAO VA 2373 (Photograph Author’s own) © IFAO. WoB.18: IFAO VA 2374 (Photograph Author’s own) © IFAO. WoB.19: IFAO VA 2375 (Photograph Author’s own) © IFAO. WoB.20: IFAO VA 2376 (Photograph Author’s own) © IFAO. WoB.21: IFAO VA 2380 (Photograph Author’s own) © IFAO. WoB.22: IFAO VA 2381 (Photograph Author’s own) © IFAO. WoB.23: IFAO VA 2382 (Photograph Author’s own) © IFAO. WoB.24: IFAO VA 2385 (Photograph Author’s own) © IFAO. WoB.25: IFAO VA 2386 (Photograph Author’s own) © IFAO. WoB.26: IFAO VA 2859 (Photograph Author’s own) © IFAO. WoB.27: IFAO VA 2860, © IFAO. WoB.28: VA 2861 (Vandier d’Abbadie 1959: 188, Plate CXXI) © IFAO. WoB.29: IFAO VA 2862 (Photograph Author’s own) © IFAO. WoB.30: IFAO VA 2863 (Photograph Author’s own) © IFAO. WoB.31: IFAO VA 2866 (Photograph Author’s own) © IFAO. WoB.32: IFAO VA 2363 (Photograph Author’s own) © IFAO. WoB.33: Louvre E 14295 (Vandier d’Abbadie 1937: Plate XLIX) © IFAO. WoB.34: Louvre E 14375 (Photograph Author’s own). WoB.35: Louvre E 14336 (Photograph Author’s own). WoB.36: Louvre E 14337 (Photograph Author’s own). WoB.37: Louvre E 25302 (Photograph Author’s own). WoB.38: Louvre E 23518 (Photograph Author’s own). WoB.39: Louvre E 25324 (Photograph Author’s own). WoB.40: Berlin ÄM 21461, © Staatliche Museen zu Berlin – PK, Ägyptisches Museum und Papyrussammlung, photograph: Sandra Steiß. WoB.41a: Berlin ÄM 21773, © Staatliche Museen zu Berlin – PK, Ägyptisches Museum und Papyrussammlung, photograph: Sandra Steiß. WoB.41b: Berlin ÄM 21773 (Brunner-Traut 1956: 70, Plate XXV). WoB.42: Turin S.06305 (Photograph Author’s own). WoB.43: Turin S.07403, © Museo Egizio, photograph by Franco Lovera. WoB.44: Turin S. 06289 (Photograph Author’s own). WoB.45: Stockholm MM 14045 (Photograph Author’s own). WoB.46: Stockholm MM 14061 (Photograph Author’s own). WoB.47: Stockholm MM 14070 (Photograph Author’s own). WoB.48: Stockholm MM 14137 (Photograph Author’s own). WoB.49: Previously Munich Ä11, destroyed in WWII (Brunner-Traut 1956: 71, Figure III). WoB.50a: Munich ÄS 1543, © State Museum of Egyptian Art, photograph by Marianne Franke. WoB.50b: Munich ÄS 1543 (Brunner-Traut 1956: 71, Plate XXVI). WoB.53: O.WHTM 543, SCA Magazine near Carter House, Qurna, © Toivari-Viitala. EB.1: Berlin ÄM 21451, © Staatliche Museen zu Berlin – PK, Ägyptisches Museum und Papyrussammlung, photograph: Sandra Steiß. EB.2: Stockholm MM 14005 (Photograph Author’s own). EB.3: Petrie UC 45679 (Photograph Author’s own). Courtesy of Petrie Museum of Egyptian Archaeology. K.1: Louvre E 2533 (Photograph Author’s own). K.2: British Museum EA E8506,© Trustees of the British Museum. K.3: IFAO VA 2858 (Photograph Author’s own) © IFAO. F.1: IFAO VA 2348 (Photograph Author’s own) © IFAO. F.2: IFAO VA 2351 (Photograph Author’s own) © IFAO. F.3: IFAO VA 2356 (Photograph Author’s own) © IFAO. F.4: IFAO VA 2361 (Photograph Author’s own) © IFAO. F.5: IFAO VA 2370 (Photograph Author’s own) © IFAO. F.6: IFAO VA 2371 (Photograph Author’s own) © IFAO. F.7: IFAO VA 2372 (Photograph Author’s own) © IFAO. F.8: IFAO VA 2387 (Photograph Author’s own)© IFAO. F.9: IFAO VA 2864 (Photograph Author’s own) © IFAO. F.10: IFAO VA 2865 (Photograph Author’s own) © IFAO. F.11: Berlin ÄS 21453, © Staatliche Museen zu Berlin – PK, Ägyptisches Museum und Papyrussammlung, photograph: Sandra Steiß. F.12: Berlin ÄS 21477, © Staatliche Museen zu Berlin – PK, Ägyptisches Museum und Papyrussammlung, photograph: Sandra Steiß. F.13: Brussels E 6382 (Vandier d’Abbadie 1957, 24, Figure 4) © IFAO. F.15: Petrie UC 33251 (Photograph Author’s own) Courtesy of Petrie Museum of Egyptian Archaeology. CE.1: Stockholm MM 14006 (Photograph Author’s own). CE.2: Ashmolean Museum HO 49 (Photograph Author’s own). CE.3: Louvre E 27661 (Photograph Author’s own). CE.4: Turin S.06287, © Museo Egizio, photograph by Franco Lovera. CE.5: IFAO VA 2383 (Photograph Author’s own)© IFAO. CE.6: IFAO VA 2336 (Vandier d’Abbadie 1937: 79, Plate XLIX) © IFAO. CE.7: IFAO VA 2342 (Vandier d’Abbadie 1937: 71, Plate LI) © IFAO. CE.8: O.BTdK. 139 (Cairo Pre-selection for GEM) © Andreas Dorn. CE.9: O.BRdK.140 (SCA Magazine near Carter House, Qurna) © Andreas Dorn. CE.10: O.BRdK.141 (SCA Magazine near Carter House, Qurna) © Andreas Dorn. CE.11: O.BRdK. 142 (SCA Magazine near Carter House, Qurna) © Andreas Dorn. CE.12: O.BTdK.143 Cairo (Pre-selection for GEM) © Andreas Dorn. CE.13: O.BTdK.144 Cairo (Pre-selection for GEM) © Andreas Dorn. CE.14: O.BTdK. 145 Cairo (Pre-selection for GEM) © Andreas Dorn. Figure 4.1: Provenance of ostraca which depict ‘Scènes de Gynécées’ (Graph Author’s own). ‘Scènes de Gynécées’: The Corpus ‘Scènes de Gynécées’: The Corpus Figure 4.2: Recorded find spots of ostraca which depict ‘Scènes de Gynécées’ found at Deir el-Medina (Graph Author’s own). Figure 4.3: Provenance of ostraca which depict comparative data (Graph Author’s own). ‘Scènes de Gynécées’: Repeat Motifs Figure 5.1: Scene from the Eighteenth Dynasty tomb of Sennefer (TT 99) (Bruyère 1939: 108, Figure 39) © IFAO. Figure 5.2: Wooden figures of Bes, as published by Bruyère, Brussels E 7415a-b, E 7416a-b, (Bruyère 1939: 98, Figure 32) © IFAO. Figures 5.3a-c: Wooden Bes legs, now in Leiden Museum, Leiden F 1964/1.4, Leiden F 1964/1.3, Leiden F 2011/2.1 (Courtesy of Maarten Raven) © Rijksmuseum van Oudheden. Figures 54a-c: Wooden furniture legs, with Bes, Taweret and serpent painted decoration, Swansea W 2052 a-c (Courtesy of Carolyn Graves-Brown) © Egypt Centre, Swansea University. Figure 5.5: Terracotta model bed from Amarna, Petrie Museum UC 46891 (Photograph Author’s own) Courtesy of Petrie Museum of Egyptian Archaeology. Figure 5.6: Image from the anonymous TT 345 Deir el-Medina (Cherpion 1999: Plate 41) © IFAO. Figure 5.7: Stela from Deir el-Medina, of the lady Wab, Turin 50060 (Photograph Author’s own). Figure 5.9: Scene from the tomb of Neferrenpet, Deir el-Medina TT 336 (Bruyère 1926: 87, Figure 53) © IFAO. Figure 5.8: Stela from Deir el-Medina, showing Meretseger and Hathor (Bruyère 1952: 76-77, Figure 156) © IFAO. Figure 5.10: Ostracon dedicated to Meretseger from Deir el-Medina, Turin C.1659 (Photograph Author’s own). Figure 5.11: Image from the Mammisi at Edfu, Hathor suckling Horus (Photograph Author’s own). Figure 5.12: Tomb of Ay, Amarna, scenes of the harem (Davies 1908: 20, Plate XXVIII)Image courtesy of the Egypt Exploration Society. Figures 5.13a-b: Terracotta figurine, with heavy tripartite wig and top knot, Munich 1559, © State Museum of Egyptian Art, photograph by Marianne Franke. Figure 5.14: Lid of pyxis decorated with the Mistress of Animals, Louvre AO 11601 (Rama, Cc-by-sa-2.0-fr). Figure 5.15: Image from the royal tomb at Amarna, showing Meketaten, or her statue in a kiosk (Martin 1974: Plate 68) Image courtesy of the Egypt Exploration Society. Figure 5.17: Burial chamber of Khabekhnet, TT 2, Deir el-Medina (Bruyère 1952: Plate VII) © IFAO. Figure 5.16: West wall, Eighteenth Dynasty tomb of Amenemhat, TT 340 Deir el-Medina (Cherpion 1999: Plate 9) © IFAO. Figure 5.18. Facsimile by Norman de Garis Davies, tomb of Ipuy, TT 217, Metropolitan Museum 30.4.116, Creative Commons CC0.1.0. Figure 5.19: Scene from the tomb of Neferrenpet, TT 140 (Baud 1935: Plate XXV) © IFAO. Figure 5.20: Caryatid mirror with extended papyri form handle, Manchester 10963, Image courtesy of Manchester Museum. Figure 5.21: Wooden mirror handle from Gurob, Petrie UC 7913 (Photograph Author’s own) Courtesy of Petrie Museum of Egyptian Archaeology. Figure 5.22: Turin Erotic Papyrus, Vignette 4, Turin 55001 (Photograph Author’s own). Figure 5.23: Toiletry items from tomb 1270, Deir el-Medina (Bruyère 1937a: 72, Figure 35) © IFAO. Figure 5.24: Image from the tomb of Ukh-hotep, Meir (Blackman 1915: 24, Plate XV) Image courtesy of the Egypt Exploration Society. Table 1: Bronze caryatid mirrors with a firm context from New Kingdom Egypt Figure 5.25: Ostracon illustrating gift giving list, Petrie UC 39630 (Photo-graph Author’s own) Courtesy of Petrie Museum of Egyptian Archaeology. Figure 5.26: Convolvulus arvensis L. (Image by Emilian Robert Vicol at Pixabay). Figure 5.27: Convolvulus leaves (Image by Thomas B at Pixabay). Figure 5.28: Illustrations of ‘vine columns’ from Amarna, as drawn by Petrie (Petrie 1894: Plate 2.9). Figure 5.29: Scene from the tomb of Amenemheb, TT 278 (Vandier d’Abbadie 1954: Plate XXVI) © IFAO. Figure 5.30: Scene from the tomb of Nebamun and Ipuky, TT 181 (Davies 1925: Plate VII). Figure 5.31: Painted pavement from the palace at Amarna, showing a lake lush with vegetation (Petrie 1894: Plate II). Figure 5.32: Insert of painted pavement from Amarna, showing head cones decked with floral collars and lotus flowers (Petrie 1894: Plate II). Figure 3.33: Scene from the tomb of Sebeknekht at el-Kab (Tylor 1896: Plate VIII). Figure 5.34: Limestone figurine, depiction a woman lying on a bed having her hair dressed, Petrie UC 8650 (Photograph Author’s own) Courtesy of Petrie Museum of Egyptian Archaeology. Figure 5.35: Painted wall decoration from the House of Ra’nǔfer, Amarna, House N. 49.18 (Peet and Woolley 1923: 43-44, Plate XV). Figure 5.36: Additional painted wall decoration from the House of Ra’nǔfer, Amarna, House N. 49.18 (Peet and Woolley 1923: 43-44, Plate XV). Figure 5.37: Scene from the tomb of Userhat, TT 51 (Davies 1927: Plate V). Figure 5.38: Blue ware vase from Malquta, Metropolitan Museum of Art 11.215.462, Creative Commons CC0.1.0. Figure 5.39: Polychrome vase from the tomb of Sennedjem TT.1, Metropolitan Museum of Art 86.1.10, Creative Commons CC0.1.0. Figure 5.40: Facsimile by Norman de Garis Davies (restored), scene from the tomb of Ipuy, TT217, Metropolitan Museum of Art 30.4.114, Creative Commons CC0.1.0. Figure 5.41: Nymphaea cerulean/Blue lotus (Creative Commons Attribution 2.0 Generic). Figure 5.42: Nymphaea lotus/White lotus (Creative Commons Attribution 2.0 Generic). Figure 5.43: Stela of Pen-Amen, showing him as a child being nursed by this mother and as an adult, Louvre E 3447 (Photograph Author’s own). Conclusions Conclusions Bibliography Index ‘Scènes de Gynécées’ Figured Ostraca from New Kingdom Egypt: Iconography and intent examines images of women and children drawn on ostraca from Deir el-Medina, referred to in previous scholarship as ‘Scènes de Gynécées’. The images depict women with children either sitting on beds in a domestic setting or in outdoor kiosks. The former are likely to show celebrations carried out in the home to mark the birth of a child. This may have included the bringing of gifts, mainly consumables and small household items. It is possible this was recorded in hieratic texts, also on ostraca, described in earlier research as gift-giving lists. The kiosk scenes may have depicted the place women gave birth in or more likely the place of confinement after birth. However, given the dense nature of settlement at Deir el-Medina it is possible these scenes were symbolic evoking the protection of Isis who nurtured Horus in the papyrus thicket of the Delta. In order to understand the purpose and intent of these images, repeat motifs are considered and their similarities to wall paintings within the village are examined. The objects are important as they represent rare examples of regional art, found only at Deir el-Medina. Also, women are the main protagonists in the scenes, which is unusual in Egyptian art as women are generally depicted alongside the male patron of the work, as his wife, daughter or sister. This publication represents the first systematic study of this material and it brings together ostraca from museums worldwide to form a corpus united contextually, thematically and stylistically. New Kingdom Egypt,Deir el-Medina,figured ostraca,women,children,nursing,celebrations,kiosks,the god Bes,furniture,domestic decoration,wall paintings,regional art,figurines,figure vases and New Kingdom Love Poetry Scenes de Gynecees' Figured Ostraca from New Kingdom Egypt: Iconography and intent' examines images of women and children drawn on ostraca from Deir el-Medina, referred to in previous scholarship as 'Scenes de Gynecees'. The images depict women with children either sitting on beds in a domestic setting or in outdoor kiosks. The former are likely to show celebrations carried out in the home to mark the birth of a child. This may have included the bringing of gifts, mainly consumables and small household items. It is possible this was recorded in hieratic texts, also on ostraca, described in earlier research as gift-giving lists. The kiosk scenes may have depicted the place women gave birth in or more likely the place of confinement after birth. However, given the dense nature of settlement at Deir el-Medina it is possible these scenes were symbolic evoking the protection of Isis who nurtured Horus in the papyrus thicket of the Delta. In order to understand the purpose and intent of these images, repeat motifs are considered and their similarities to wall paintings within the village are examined. The objects are important as they represent rare examples of regional art, found only at Deir el-Medina. Also, women are the main protagonists in the scenes, which is unusual in Egyptian art as women are generally depicted alongside the male patron of the work, as his wife, daughter or sister. This publication represents the first systematic study of this material and it brings together ostraca from museums worldwide to form a corpus united contextually, thematically and stylistically