Egyptian, Classical, Ancient Near Eastern Art
Although this snake goddess is not named in an inscription, her human face and the two finger-shaped feathers on her crown identify her as Meretseger (She Who Loves Silence), a patroness of fertility and the harvest. Like this statue, most images of Meretseger are modest in quality and were placed in small chapels or shrines to be visited by local farmers.
ca. 1479–1400 B.C.E., or later
XVIII Dynasty, or later
14 x 4 5/8 x 8 7/8 in. (35.6 x 11.7 x 22.5 cm) (show scale)
This item is not on view
Charles Edwin Wilbour Fund
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Meretseger, ca. 1479–1400 B.C.E., or later. Sandstone, paint, 14 x 4 5/8 x 8 7/8 in. (35.6 x 11.7 x 22.5 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 37.1749E. Creative Commons-BY (Photo: Brooklyn Museum (Gavin Ashworth,er), 37.1749E_Gavin_Ashworth_photograph.jpg)
overall, 37.1749E_Gavin_Ashworth_photograph.jpg. Brooklyn Museum photograph (Gavin Ashworth, photographer), 2012
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One sandstone votive figure of the goddess Meretseger. Meretseger is here represented as a human headed cobra. Sculpted in the round, the figure is fairly rectangular-- there being no smooth transitions from side to front view, or at least totally so. From the side we see the coiled body on the snake; two coils being indicated on each side, forced up into loops. From the front the human face (much rubbed down) is shown wearing a tripartite wig capped by a crown composed of a ka sign embracing a solar disc, a vertical line above the disc divides the apex of the roughly triangular crown. The area behind the crown and when viewed from the side, above the coils is left uncarved, save for a smoothing down which has left the piece of untouched stone. The figure sits on a rectangular plinth.
Condition: The whole of the body is superficially pitted--a small chip is noted above the sun disc on the crown. Traces of red paint exist on the front of the cobra body and on the rim of the crown as well as the solar discs. CRW mentions traces of paint on the flanks. These are not evident today.
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