Bust of Ankh-haf
Title
Bust of Ankh-haf
Date
Dynasty 4, reign of Khafra (Chephren)
2520–2494 B.C.
2520–2494 B.C.
Artist or Workshop
Unknown
Materials
Painted limestone
Height of the work
50.48 cm tall
Provenience
Egypt, Giza, tomb G 7510
Current Location
Museum of Fine Arts, Boston
Description and Significance
Description:
In ancient Egypt, artists often gravitated towards abstract qualities in their portraiture, resulting in characteristics that some would not define as a “true portrait.” This decree is shattered in the Bust of Prince Ankh-haf, as it exhibits the details finessed by the hand of a master rather than the usual stylized representation. Plaster covers the limestone core of the bust, which has been painted red. This color is often associated with males in antiquity. There also appears to be damage to the forehead, nose, and chin of the bust. Ankh-haf’s features show evidence of traits that are comparable to mature men. His head appears bulbous in shape, but this observation can be attributed to his hairline, which starts at the tip of his scalp. This seemingly minute detail depicts Ankh-haf with a receding hairline – a detail absent from most ancient Egyptian sculptures of the Fourth Dynasty. His eyelids droop down towards his irides, which were originally painted white with brown pupils, but the paint has since faded from existence. Additionally, the puffy bags under his eyes show signs of age, complimenting his weary facade. The diagonal grooves in his cheeks set off his mouth, which gives him a sense of sternness. His ears have since been lost to antiquity, along with a separate piece of plaster that was once used as a beard. The absence of the statue’s arms and the surface damage surrounding the lower chest suggests that part of the statue was separated from the rest of its body.
Significance:
The Bust of Ankh-haf demonstrates a sense of realism that had not yet been attempted by Egyptians in antiquity. His expression might be described as either pensive or contemplative, both of which are frequent components of lifelike renderings. His gaze appears commanding and willful to the observer and may have been intentionally carved out to give his viewers a raw, yet true depiction of his facial traits. The Bust of Ankh-haf was not only significant for its accurate representation of the human image, but also for its practical use in ancient Egypt. It is believed that the bust was taken from a false door and offering table, which housed the remainder of the arms and torso. Historians claim that the aesthetic perception of the bust must have been used to evoke a sense of realism in the event of an offering. Ankh-haf is special because he is not like other Egyptian sculptures of his time. Tomb sculptures were often private and placed in serdabs, where they were hidden from the public eye; however, this is not the case with the Bust of Prince Ankh-haf since it was found in a chapel attached to the exterior of the prince’s tomb. This chapel showcased the bust in such a way that it took on the form of an offering table, so it would be easily accessible for visitors seeking to honor the memory of Ankh-haf.
In ancient Egypt, artists often gravitated towards abstract qualities in their portraiture, resulting in characteristics that some would not define as a “true portrait.” This decree is shattered in the Bust of Prince Ankh-haf, as it exhibits the details finessed by the hand of a master rather than the usual stylized representation. Plaster covers the limestone core of the bust, which has been painted red. This color is often associated with males in antiquity. There also appears to be damage to the forehead, nose, and chin of the bust. Ankh-haf’s features show evidence of traits that are comparable to mature men. His head appears bulbous in shape, but this observation can be attributed to his hairline, which starts at the tip of his scalp. This seemingly minute detail depicts Ankh-haf with a receding hairline – a detail absent from most ancient Egyptian sculptures of the Fourth Dynasty. His eyelids droop down towards his irides, which were originally painted white with brown pupils, but the paint has since faded from existence. Additionally, the puffy bags under his eyes show signs of age, complimenting his weary facade. The diagonal grooves in his cheeks set off his mouth, which gives him a sense of sternness. His ears have since been lost to antiquity, along with a separate piece of plaster that was once used as a beard. The absence of the statue’s arms and the surface damage surrounding the lower chest suggests that part of the statue was separated from the rest of its body.
Significance:
The Bust of Ankh-haf demonstrates a sense of realism that had not yet been attempted by Egyptians in antiquity. His expression might be described as either pensive or contemplative, both of which are frequent components of lifelike renderings. His gaze appears commanding and willful to the observer and may have been intentionally carved out to give his viewers a raw, yet true depiction of his facial traits. The Bust of Ankh-haf was not only significant for its accurate representation of the human image, but also for its practical use in ancient Egypt. It is believed that the bust was taken from a false door and offering table, which housed the remainder of the arms and torso. Historians claim that the aesthetic perception of the bust must have been used to evoke a sense of realism in the event of an offering. Ankh-haf is special because he is not like other Egyptian sculptures of his time. Tomb sculptures were often private and placed in serdabs, where they were hidden from the public eye; however, this is not the case with the Bust of Prince Ankh-haf since it was found in a chapel attached to the exterior of the prince’s tomb. This chapel showcased the bust in such a way that it took on the form of an offering table, so it would be easily accessible for visitors seeking to honor the memory of Ankh-haf.
References
Bolshakov, Andrey. "What Does the Bust of Ankh-haf Originally Look Like?" Journal of the Museum of Fine Arts, Boston 3 (1991): 1-13. Gizapyramids.org. Web.
Breckenridge, James D. Likeness: A Conceptual History of Ancient Portraiture. Evanston: Northwestern University, 1969. 37-38. Print.
Museum of Fine Arts, Boston: http://www.mfa.org/collections/object/bust-of-prince-ankhhaf-45982
Breckenridge, James D. Likeness: A Conceptual History of Ancient Portraiture. Evanston: Northwestern University, 1969. 37-38. Print.
Museum of Fine Arts, Boston: http://www.mfa.org/collections/object/bust-of-prince-ankhhaf-45982
Contributor
Ryan Tetter
Files
Citation
Unknown, “Bust of Ankh-haf,” Digital Portrait "Basket" - ARTH488A "Ancient Mediterranean Portraiture", accessed November 18, 2024, http://classicalchopped.artinterp.org/omeka/items/show/3.
Item Relations
This item has no relations.