Kárpáti Zoltán - Liptay Éva - Varga Ágota szerk.: A Szépművészeti Múzeum közleményei 101. (Budapest, 2004)
HEDVIG GYŐRY: On the Collars of the Gamhud Coffins
the Third Intermediate Period on. 58 In this epoch, a variation of this pattern existed where the three-striped square has been replaced by a thick band in the middle and the squares adorned with only one disc. 59 2. The Gamhud collection in Budapest also includes a pattern where the squares are divided into small triangles by an X-cross. The triangles are painted red, blue and green; as a rule, the ones opposite show the same colour. Two squares constitute a unit, since, as compared to the first square, the colours in the second square were rotated at 90 degrees. The triangles are outlined with a single line, for example on the coffin inv. no. 51.1993 or double black lines on the coffin inv. no. 51.1994. 60 This last case is exemplified by a coffin in Cracow, but there the dividing column has been given a perforation-like pattern. 61 A slightly different variation can be observed on a bulked Gamhud coffin in Vienna, where the X-cross line is applied with a "barrier" motif. 62 The second type of the square pattern does not manifest on the cartonnage collars in the collection, and infrequent on coffins from elsewhere, although it may appear on Ptah-Sokar-Osiris statuettes. 63 Stroke pattern Definitely rare on the Gamhud coffins is the stroke pattern that probably imitates a chain of tubular beads. Lines of red and green strokes can be seen on a bulked coffin inv. no. 51.1992, slanting rightwards with ground-colour parting elements. The pattern is outlined in black. A variant of this pattern on the coffin inv. no. 51.2018/1 differs from the previous one in many respects. Twelve rough-painted lines of strokes compose three units and cover the entire neck-band. Each stripe is separated from its neighbours by red dividing bands which border vertical blue strokes at regular intervals in the first three rows of this sequence, and red vertical strokes in the fourth. A Viennese rhomboid coffin from Gamhud is decorated on the neck-band with one such a sequence. 64 The stroke pattern was characteristic for the earliest anthropoid coffins, 65 and in the late period, it can be found on the collars of coffins 66 and on Ptah-Sokar-Osiris statuettes 67 as well as on Sokar coffins 68 or on the neck-band of the cartonnage 58 London, British Museum, inv. no. EA 6659, see Davies 2001 (n. 20), pi. 53,1; London, British Museum, inv. no. EA 6686, see ibid., pl. 52,2; London, British Museum, inv. no. EA 24794, see ibid., pl. 2. 59 London, British Museum, inv. no. EA 30720 (ibid., pl. 53,4). 60 E.g. a yet unpublished coffin in the magazine of the Cairo Museum. 61 Babraj and Szymanska 2000 (n. 18), 1 14-15, no. 61. 62 Vienna, Kunsthistorisches Museum, AS 6688. 63 See U. Hübner, "Eine Osiris-Statuette aus Schweizer Privatbesitz," Göttinger Miszellen 74 (1984), 31—40. 64 Vienna, Kunsthistorisches Museum, inv. no. ÄS 6690. 65 London, British Museum, inv. no. 54521, see Davies 2001 (n. 20), pl. 50,2: Tanetimentet, 18th Dynasty; London, British Museum, inv. no. EA 24797, see ibid., pl. 3: 22nd Dynasty; cf. the collar of the famous statuette of Karomama in the Louvre. 66 E.g., Feucht 1986 (n. 20), 136-37, nos. 7, 306; Wiese 2001 (n. 35), no. 126. 67 E.g., Perdu and Mahéo 1994 (n. 41), 101, no. 175: Aklimirn?; Feucht 1986 (n. 20), 136-37, no. 306: el-Hibeh. 68 E.g., Perdu and Mahéo 1994 (n. 41), 150, no. 2443: Tehneh el-Gebel, Roman.
