The portrait the “Lady Sennuwy” depicts a female number seated ~ above a stone block v her foot together and arms placed on her thighs. The ideal hand is clasped into a fist, stop a lotus blossom, the prize of rebirth and also the assurance that eternal life. The left hand that the number rests through the palm flat on the thigh. The ingredient is frontal through the human body of the figure presented in axial alignment. The number wears a tightly fitted sheath dress that extends to she shins and also emphasizes the elegant proportions of she feminine shape, specifically her narrow waist and also full breasts. She is portrayed as an idealized young woman: slender and also eternally youthful. The confront of the figure is very closely modelled right into an expression the serenity; the challenge is delicate and refined so to express the within personality the the topic through expressive realism usual during the middle Kingdom period. The deep gray granodiorite rock of the number has been shaped and also smoothed by the unknown artist, who scholars suggest was trained in a imperial workshop. The sleek nature of the rock indicates the the portrait was never painted. The smooth quality of the skin and placid expression winter the symbolism of the lotus flower to suggest the sitter’s continuation into eternity. The wig worn through the figure is long and straight, falling come the breasts. The figure’s title and also veneration in the presence of Osiris and other deities of the immortality are listed in hieroglyphs in former of the feet and on the sides of the base whereby the number sits.  


As the wife of the provincial governor of Asyut, Lady Sennuwy had access to high quality materials and accomplished artists for she portrait representation, suggesting the remarkable wealth and importance that the pair during the power of Senwosret ns in the middle Kingdom. The portrait of Lady Sennuwy, in addition to a similar sculpture of she husband, Djefaihapi, was likely housed in a tomb chapel or sanctuary in their rock-cut dig (the biggest nonroyal tomb of the middle Kingdom). Despite the pointer of the initial placement the the portraits, at the moment of excavation in 1914, the two numbers were found hidden in Kerma, within of the tumulus of a Nubian king. Scholars believe that three-hundred year after the creation of the statues, castle were eliminated from their original context in ~ the couples’ tomb in Asyut and exported to Nubia (Sudan). Despite the reason for the statue’s exportation is quiet unknown, its prominence as a funerary portrait remains significant. Countless portraits the the middle Kingdom work-related towards a fidelity come nature in the presentation of the person body, and also the portrait the Lady Sennuwy is a wonderful instance as it is beautiful in its proportion and attention to detail, specifically in the rendering of the face features. The refined gray granodiorite provided for the production of the portrait was frequently utilized as a price in funerary portraiture come suggest new life, resurrection, and the resurrected god that the dead, Osiris, that is stated in the hieroglyphs ~ above the figure’s base. The importance placed on rebirth and the eternal in the figure, from she youthful appearance, allusions to Osiris, and also symbolization of the lotus flower, conveys the significance put on the preservation of an individual identity from the life of the sitter into the afterlife.

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Robins, Gay. The art of old Egypt. Rev. Ed., Cambridge, Harvard UP, 2008. 24. Print.

"Statue that Lady Sennuwy." Museum of fine Arts Boston,