It is believed that some stucco works such as this
one functioned as aids for apprentices to learn
the art of sculpting before embarking upon royal
commissions where one mistake could mean
disaster. Similar pieces were unearthed in what
are thought to have been artist workshops, thus
their identification as models. Considering the
stylization of Egyptian art, it is clear that there
was not much room for individual interpretation.
When one realizes that many sculptors would
have been responsible for decorating a single
tomb or temple, stylistic unity becomes a
foremost concern. Today, these sculptures give
us unique insight into the creative process
behind some of the most endearing and
enduring artworks ever created by mankind.
The lion is a symbol of strength and ferocity. The
largest of the cat family, this animal is known as
the “king of the beasts.” They are equally feared
and respected for their power, speed, and
intimidating growl. Kings and rulers have
associated themselves with this noble creature
since the days of antiquity. However, the lack of
a bushy mane on this stucco work indicates that
it represents a lioness. Therefore, it is probable
that this head was a sculptor’s model employed
during the manufacturing of Sekhmet sculptures.
Sekhmet, along with her husband the creator-
god Ptah and their son Nerfertum, was part of
the powerful trio of deities that protected
Ancient Memphis. She was a sun goddess,
embodying the scorching, burning, destructive
heat of the sun. Fierce goddess of war, the
destroyer of the enemies of Ra and Osiris, she
was represented as having the head of a lioness
and the body of a woman. Like the sun, her
temper was uncontrollable. In the legend of Ra
and Hathor, Sekhmet's anger became so great,
she would have destroyed all of mankind if Ra
had not taken pity on us and made her
inebriated.
Many centuries ago, a master sculptor might
have corrected his apprentice by showing them
such a model. A useful tool for understanding
the dimensions and shape of the subject, such
models would have assisted young students
when natural observation was not possible.
Considering the subject of this work, a lioness’
head, it is unlikely that many artists would have
been keen to venture into the wild and sketch
likenesses of this beast. There is a royal
presence visible in the face of this lionness,
suggesting that she would be a suitable model
for a sculpture of the goddess Sekhmet.
- (X.0354)
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