IVORY-WORKING
In prehistoric times ivory was much used, doubtless owing to the
elephant being still abundant in southern Egypt. The natural form of
the tusk was often left, and the surface worked in low relief; but
the earlier work was on small pieces, as in figs. 3, 15, 17. Not only
elephant ivory was used, but also that of the hippopotamus. At the
beginning of the Ist dynasty ivory was largely used for statuettes and
carvings. One of the best examples of this school is the figure of the
aged king (fig. 21). Many other carvings of girls, boys, apes, lions
and dogs were found with this at Abydos. At Hierakonpolis a great mass
of ivories was found in a trench six feet long, and many of them have
been preserved. They are figures of men and women, carved tusks, wands,
and cylinders. In the tomb of Mena’s queen at Naqadeh were ivory lions
and dogs, and such were also found in the tomb of King Zer at Abydos,
used for gaming pieces. All of this early ivory-work is vigorous, and
has the character and spirit of the early art.
The finest work known in ivory is the portrait of Khufu, the builder of
the great pyramid (fig. 123). It is here much magnified, as the face
is only a quarter of an inch high. Yet in this minute space one of the
most striking portraits has been given. The far-seeing determination,
the energy and will expressed in this compass, would animate a
life-size figure; indeed, it would be hard in the illustration to
distinguish it from a work on a large scale. The correct position of
the ear should be noted, as it is always put too high up in later
sculpture. Quite apart from the marvellous minuteness of the work,
we must estimate this as one of the finest character-sculptures that
remain to us.
A piece of open work, of a girl standing, is probably of the Old
Kingdom (fig. 124). It is not of the style of hair or treatment of the
Middle or New Kingdom; and in the Saitic age, when the older style
was copied, the work is worse in pose and much more detailed and
punctilious. There are some beautiful pieces of architectural models in
ivory, from the inlaying of a casket, and, also, a figure of the Vth
dynasty.
Of the Middle Kingdom an ivory baboon is perhaps the finest work;
it has disappeared from the museum when at Bulak, and its place is
unknown. A broken figure of a boy carrying a calf shows great truth and
spirit. Ivory was also used for lion-head draughtsmen in the XVIIIth
dynasty, but there are no fine works of that time.
Of the XXVIth dynasty two fine pieces have been found at Memphis, a
lotus flower (fig. 125) and a man bearing offerings (fig. 126). These
had been applied to the sides of caskets or other small woodwork. The
figure of the man is but a stiff and coarse copy of the Old Kingdom
work, lacking the truth and freedom of the early time.
There does not seem to have been any distinctive school of ivory-work
in Egypt. The methods and nature of the objects are just what might
have been done in stone or in wood at the same period. There is no
sign of a special development due to the material, as there is in the
Chinese ivory-carving.
[Illustration: IVORY
123. King Khufu
124. Girl, Old Kingdom
125. Lotus (XXVIth dynasty)
126. Bearer of offerings]