The Evolution of the Dragon. Grafton Elliot Smith
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Название: The Evolution of the Dragon
Автор: Grafton Elliot Smith
Издательство: Bookwire
Жанр: Языкознание
isbn: 4057664641304
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It is of fundamental importance in the argument set forth here to remember that these factors came into operation before the time of the First Dynasty. They were responsible for impelling the Proto-Egyptians not only to invent the wooden coffin, the stone sarcophagus, the rock-cut tomb, and to begin building in stone, but also to devise measures for the artificial preservation of the body.
But in addition to stimulating the development of the first real architecture and the art of mummification other equally far-reaching results in the region of ideas and beliefs grew out of these practices.
From the outset the Egyptian embalmer was clearly inspired by two ideals: (a) to preserve the actual tissues of the body with a minimum disturbance of its superficial appearance; and (b) to preserve a likeness of the deceased as he was in life. At first it was naturally attempted to make this simulacrum of the body itself if it were possible, or alternatively, when this ideal was found to be unattainable, from its wrappings or by means of a portrait statue. It was soon recognized that it was beyond the powers of the early embalmer to succeed in mummifying the body itself so as to retain a recognizable likeness to the man when alive: although from time to time such attempts were repeatedly made,[24] until the period of the XXI Dynasty, when the operator clearly was convinced that he had at last achieved what his predecessors, for perhaps twenty-five centuries, had been trying in vain to do.
[23] Op. cit. supra.
[24] See my volume on "The Royal Mummies," General Catalogue of the Cairo Museum.
Early Mummies.
Fig. 2.—Water-colour sketch by Mrs. Cecil Firth, representing a restoration of the early mummy found at Medûm by Prof. Flinders Petrie, now in the Museum of the Royal College of Surgeons in London
In the earliest known (Second Dynasty) examples of Egyptian attempts at mummification[25] the corpse was swathed in a large series of bandages, which were moulded into shape to represent the form of the body. In a later (probably Fifth Dynasty) mummy, found in 1892 by Professor Flinders Petrie at Medûm, the superficial bandages had been impregnated with a resinous paste, which while still plastic was moulded into the form of the body, special care being bestowed upon the modelling of the face[26] and the organs of reproduction, so as to leave no room for doubt as to the identity and the sex. Professor Junker has described[27] an interesting series of variations of these practices. In two graves the bodies were covered with a layer of stucco plaster. First the corpse was covered with a fine linen cloth: then the plaster was put on, and modelled into the form of the body (p. 252). But in two other cases it was not the whole body that was covered with this layer of stucco, but only the head. Professor Junker claims that this was done "apparently because the head was regarded as the most important part, as the organs of taste, sight, smell, and hearing were contained in it". But surely there was the additional and more obtrusive reason that the face affords the means of identifying the individual! For this modelling of the features was intended primarily as a restoration of the form of the body which had been altered, if not actually destroyed. In other cases, where no attempt was made to restore the features in such durable materials as resin or stucco, the linen-enveloped head was modelled, and a representation of the eyes painted upon it so as to enhance the life-like appearance of the face.
These facts prove quite conclusively that the earliest attempts to reproduce the features of the deceased and so preserve his likeness, were made upon the wrapped mummy itself. Thus the mummy was intended to be the portrait as well as the actual bodily remains of the dead. In view of certain differences of opinion as to the original significance of the funerary ritual, which I shall have occasion to discuss later on (see p. 20), it is important to keep these facts clearly in mind.
A discovery made by Mr. J. E. Quibell in the course of his excavations at Sakkara[28] suggests that, as an outcome of these practices a new procedure may have been devised in the Pyramid Age—the making of a death-mask. For he discovered what may be the mask taken directly from the face of the Pharaoh Teta (Fig. 3).
Fig. 3.—A mould taken from a life-mask found in the Pyramid of Teta by Mr. Quibell
About this time also the practice originated of making a life-size portrait statue of the dead man's head and placing it along with the actual body in the burial chamber. These "reserve heads," as they have been called, were usually made of fine limestone, but Junker found one made of Nile mud.[29]
Junker believes that there was an intimate relationship between the plaster-covered heads and the reserve-heads. They were both expressions of the same idea, to preserve a simulacrum of the deceased when his actual body had lost all recognizable likeness to him as he was when alive. The one method aimed at combining in the same object the actual body and the likeness; the other at making a more life-like portrait apart from the corpse, which could take the place of the latter when it decayed.
Junker states further that "it is no chance that the substitute-heads … entirely, or at any rate chiefly, are found in the tombs that have no statue-chamber and probably possessed no statues. The statues [of the whole body] certainly were made, at any rate partly, with the intention that they should take the place of the decaying body, although later the idea was modified. The placing of the substitute-head in [the burial chamber of] the mastaba therefore became unnecessary at the moment when the complete figure of the dead [placed in a special hidden chamber, now commonly called the serdab] was introduced." The ancient Egyptians themselves called the serdab the pr-twt or "statue-house," and the group of chambers, forming the tomb-chapel in the mastaba, was known to them as the "ka-house".[30]
It is important to remember that, even when the custom of making a statue of the deceased became fully established, the original idea of restoring the form of the mummy itself or its wrappings was never abandoned. The attempts made in the XVIII, and XXI and XXII Dynasties to pack the body of the mummy itself and by artificial means give it a life-like appearance afford evidence of this. In the New Empire СКАЧАТЬ