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Amy Perry

The Statue of Amenemope-em-hat and Cosmetic Spoons in the Form of Swimming Girls

Art History 101

18 November 2015
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Statue of Amenemope-em-hat, c.a. 740-656 BCE. Sedimentary rock, Greywacke, H. 25.2 in.

Metropolitan Museum of Art.

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The statue of Amenemope-em-hat is complete, with an exception of the subject's: head,

right arm, left forearm, and left shoulder. This statue dates back to the 26th dynasty of Ancient

Egypt; although Amenemope has lost his head, "the statue [remains to be] a consummate

example of the artistic trends, both of its period and the part of Egypt where it was made" (The

Statue of Amenemope-em-hat). The original function of the statue was to be placed in "the main

temple of [Memphis's] major deities, Ptah and Sekhmet" (Egyptian Art); Amenemope-em-hat

holds on his knees the head of Hathor. In comparison to art in previous dynasties, the sculptor

emphasizes the human anatomy below the skin. This represents "a conscious attempt in the late

period to emulate the classic works of the old and middle kingdoms" (Egyptian Art). The greater

portion of detail is illustrated in Amenemope's chest, stomach, and limbs; however, his hands

and feet have a different style about them, they are flat and undefined much like hieroglyphics.

His muscles sit in a naturalistic way in relation to his pose. The subject's audience can notice

how he sits perfectly upright: exposing his pectoral muscles, his chest gradually pulls inward

toward his navel, and his calves spill over the side of his legs. Amenemope-em-hat's body

language conveys a sense of tensity, as if he has been holding in his breath.

It is interesting to note that this is a cult statue, thought to be associated with Amun of

Luxor and the two deities previously mentioned; suggesting, this statute represents Amenemope-

em-hat as "the overseer of Singers of Amun of Luxor" (Egyptian Art). It is fascinating and

ironic that the statue has lost his own head, yet he has been able to hold onto Hathor's since 740-

656 BCE. This statue has the potential to contrast, and at the same time complement the Ancient

Egyptian collection in the Virginia Museum of Fine Art. It would correlate with the other

headless statue: Senkamanisken, The King of Kush, from the 7th century BCE. Since both

pieces have no head, spectators can focus on the details of their bodies; the gap between
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dynasties allows for comparisons to be made. The statue would also fit in thematically with the

many other pieces such as: Statuette of Bastet, Ibis, and the Statue of the Seated Scribe, Sema-

Tawy-Tefnakht; all of which were created during the 26th dynasty.

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Cosmetic Spoons in the Form of Swimming Girls. ca 1400 BCE. Slate, Alabaster, and Siltstone,

L. 8.86 in. Metropolitan Museum of Art.

The cosmetic spoon, takes the shape of a female swimming with her pet gazelle, the

woman making up the handle and the gazelle the spoon cover; the head of the gazelle and

woman are separate works that have been cemented into the piece. The female’s feet have

broken off; however, the rest of the spoon remains intact. She has a long bob with bangs and a

thick "lock of youth" (Cosmetic Spoons in the Form of Swimming Girls) on the right side of her

head, her hips are bound by girdle, and her arms are extended outward holding her gazelle: she is

being pulled through the water by her pet. It is suggested that this piece dates back to around
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1400 BCE, about the time Amenhotep III ruled. The delicate nature of the piece leaves the

impression that the spoon was crafted for a member of a high society; "this craftsmanship and

sense of design reflect the mastery of the ancient artisans who excelled at combining functional,

decorative, and symbolic qualities in the objects they created" (Egyptian Duck Flask of Blue

Anhydrite). These spoons are an upgrade from previous methods of makeup storage; these are

sculptures that have protective lids, rather than the relief palettes.

This piece would fit perfectly with the mood that the Ancient Egyptian Collection

conveys. It expresses how the ancient Egyptian’s felt about their personal possessions, they must

fit the necessities of functional and symbolic. So what does this piece symbolize? It is unknown

“just what part swimming played in the life of ancient Egypt, and it is with real surprise that in

this country with its hot climate, [it’s] ominous present river.., and its many garden pools and

canals almost no reference to either swimming or bathing is found on the monuments or in

literature” (Cosmetic Spoons in the Form of Swimming Girls). The mystery of its symbolism

allows for the audience to make their own speculations and conclusions; however, it is clear that

functionality of the piece is less important in comparison to its decorative purpose. The spoon

gives today’s audience a look at the roles of hygiene of ancient Egyptian’s lives.
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Works Cited

Russmann, Edna R. "The Statue of Amenemope-em-hat." Metropolitan Museum Journal 8

(1973): 33. JSTOR [JSTOR]. Web. 5 Oct. 2015.

Phillips, Dorothy W. "Cosmetic Spoons in the Form of Swimming Girls." The Metropolitan

Museum of Art Bulletin 36.8 (1941): 173. JSTOR [JSTOR]. Web. 5 Oct. 2015.

Fay, Biri. "Egyptian Duck Flask of Blue Anhydrite." Egyptian Duck Flasks of Blue Anhydrite.

Vol. 33 (1998): 23. JSTOR [JSTOR]. Web. 5 Oct. 2015.

“Egyptian Art”. “Egyptian Art”. The Metropolitan Museum of Art Bulletin 41.3 (1983): 1–56.

Web. 5 Oct. 2015.