Kárpáti Zoltán - Liptay Éva - Varga Ágota szerk.: A Szépművészeti Múzeum közleményei 101. (Budapest, 2004)

HEDVIG GYŐRY: On the Collars of the Gamhud Coffins

with red disks, e.g., on coffins inv. nos. 51.1992 and 51.1996. The presence of these disks suggests that the pattern may originate from the combination of the lotus flower pattern with various other floral motifs,

76 while from the rectilinear shaping it could be assumed that the pattern may derive from the rows of lotus petals alternating with coloured bands.

77 Such a band can still be seen also on a cartonnage collar from Gamhud, such as inv. no. 51.2116. lb. This variant differs from la in that the two vertical side units of the standing wedge-shaped triangles are painted green instead of red. Sometimes the upper corner happens to be painted blue, as in inv. nos. 51.1990, 51.1997, 51.2007, 51.2017, 51.2107. le. Similar to la, but the lowermost unit has been transformed by two transversal strokes into a small triangle pattern in the centre, and there is no colouring (inv. no. 51.1992).

78 Id. Four transversal and horizontal lines comprise the motif, and a red disk is placed inside the lower side units of the standing triangle (inv. no. 51.1989). 2. The pattern is simplified to a band of green or blue wedges bordered by a double line (inv. no. 51.2018/1). 3. In some cases, the transversal wedge chain is drawn with only one line, and the hanging triangles are coloured (inv. nos. 51.1997, 51.2016). In these cases, the standing triangles may include smaller, upside-down placed, red triangles laid on the central horizontal line. 4. Upward-looking lotus flowers alternating with lotus buds are also present on the Gamhud coffins, although they are rather infrequent. It exemplifies a more naturalistic manner of representation. Up to now, this pattern has only been known from the collar of Iri-khet-es in Cracow.

79 The plants are interconnected with curving stalks. The lotus flower motif on coffin-collars came about still in the New Kingdom and became especially popular in the circles of Amun-priests during the 21st Dynasty.

80 The pattern was often stylised to various extent on Late Period coffins,

81 and the variants were used universally on Ptolemaic coffins. A form with upright flowers is also known in this period; it may come from the upright garland flowers.

82 R. Egner and E. Haslauer, Särge der Dritten Zwischenzeit I, Corpus Antiquitatum Aegyptiacarum, Kunsthistorisches Museum, Vienna 1994, no. 15, inv. no. ÄS 6276a: the inner coffin of Ankhefenmut; Davies 2001 (n. 20), pl. 51,2; Priese 1991 (n. 69), 211, no. 128; Loin du sable. Collections égyptiennes du Musée des Beaux-Arts et d'Archéologie de Besançon, Besançon 1990 (henceforth abbreviated Loin du sable), 20-22, no. 1. E.g., Davies 2001 (n. 20), pis. 50,2, 54,2; Z. Hawass, "Tutankhamun and The Golden Age of the Pharaohs," KMT 16 (2005), 24. The collar of Nefertiti see D. Arnold, The Royal Women of Amarna. Images of Beauty from Ancient Egypt, The Metropolitan Museum of Art, New York 1996, 64, fig. 58. It occurs also on the collar of the Ptah-Sokar-Osiris statuette, e.g. Loin du sable 1990 (n. 76), 70, no. 68. See Babraj and Szymanska 2000 (n. 18), 10-105, no. 57. It appears rarely in the el-Hibeh group, too, see Both 1958 (n. 44), pi. 41. E.g., Andreu, Rutschowscaya, and Ziegler 1997 (n. 21), 167 68, no. 80: Thébes. E.g., The Exhibition 1988-89 (n. 33), no. 123, Vienna, Kunsthistorisches Museum; Davies 2001 (n. 20), pi. 55,1 ; Botti 1958 (n. 44), pis. 3, 18, 20, 22, 34, 38, 43; Lacovara and Trope 2001 (n. 20), 6, no. 44. E.g., Buhl 1959 (n. 27), 158.