Prince A. 13 (Figure; shrine)
1 media/Prince A. 13 (Figure; shrine)_thumb.jpg 2024-11-05T16:32:55-08:00 Erica Belden 2c58317b5121252bb69543f897890ff8473677c5 44801 1 Anonymous, Figure;shrine, Ptolemaic Period (332 BC -31BC), gilded and inlaid wood, British Museum, London, https://www.britishmuseum.org/collection/object/Y_EA60904. plain 2024-11-05T16:32:55-08:00 Erica Belden 2c58317b5121252bb69543f897890ff8473677c5This page is referenced by:
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What does this relief tell us about the early global world?
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The influence of many cultures around the Mediterranean on Meroitic society is visible in this object. The Meroitic civilization traded not only with Egypt to the north, but also with Greece, Rome, and peoples of the Near East. Many details of the object point to this wide trading network, such as the metal sword and ax Arikankharer wields, which hint at the strong and lucrative trade in metal and related items at Meroë. The veristic depiction of the main figure’s chunky body and the realistic eyes of the dog seem Hellenistic in appearance. At the same time, Arikankharer’s imperial stride and “smiting gesture” are attributes often associated with Egyptian art.
This melting pot of cultural traditions is also visible in the figure of the winged goddess flying behind the king: her wings are attached to her shoulders in classical style, seen in representations of the Hellenistic goddess of victory, Nike (like the Winged Nike of Samothrace). This is in contrast to the usual Egyptian under-arm positioning of the wings seen in Figure;shrine. At the same time, the goddess’s dress is the traditional robe of an Egyptian goddess or woman. Arikankharer’s battle-ax is almost identical to the Egyptian representations, but it differs in the shape of the knob at each extremity and the form of the blade. By analyzing such details, we can paint a picture of an early African kingdom engaged in Mediterranean-wide cultural and commercial trade – and engaged, too, in violent displays of power aimed to be comprehensible across any number of cultures.
The mixing of Hellenistic and Egyptian visual language raises possible political readings of the work in the historical context of its creation. While Rome was the dominant power in the Mediterranean and North Africa at the time this relief was made, here we have Nubian rulers both incorporating elements of the dominant power, while simultaneously claiming affinity with the much older culture of Egypt through the use of Egyptian visual style. Might this suggest the Nubian rulers were using visual culture to present themselves as the rightful heirs of ancient Egypt, rather than the Romans?
Erica Belden, Class of 2026, College of the Holy Cross
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