Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
ÉVA LIPTAY: Between Heaven and Earth II: The Iconography of a Funerary Papyrus from the Twenty-First Dynasty (Part I.)
Darnell discusses the two Twenty-first Dynasty papyri 12 as well, which are based on that composition and so are versions of one and the same topic. It is therefore worthwhile to compare the Budapest papyrus with the versions closest to the Ramesses IX depiction: the Cairo papyrus of Heruben 13 and the Richmond papyrus of Henuttawi 14 (fig. 4). 1. THE FIGURE OF THE "GREAT GOD" (FIG. 5) The frame of the Heruben and Henuttawi papyrus is made up of the same Nehep serpent 1 ' guarding and protecting the god, which appears in the scene of the Ramesses IX tomb and which is referred to in the accompanying text. 16 The figure of the serpent is missing from the scene of the Budapest papyrus, as it applies the traditional semicircular closing recalling the Amduat-books. It is worth mentioning that unlike the version of the royal tomb, where the serpent's tail serves as a kind of a support under the feet of the rising god, on the two Twenty-first Dynasty papyri, this motif appears only indirectly. On the Budapest version, however, where the serpent is not present, the maker of the scene felt the need to draw a diagonal base-line to "support" the god in his unstable position. The ithyphallic character of the god is emphasised on all three versions. The body-parts of the mummy are black on all three papyri. 1 On the Ramesses IX tomb depiction, the god's slightly bent arm is above his head, the palm of his hand faces outwards, in the direction of the scarab holding the rising sun. On the Heruben version, the arm is stretched, and the palm faces inwards, in the direction of the serpent. On the Henuttawi version, an important modification was made as compared to these: the hand is clenched in, fist. And finally, on the Budapest papyrus, the arm is bent at the elbow, and the clenched fist is even more emphasised. There are differences as to where the god figure is placed: within the sandy area chosen as the locale of the scene (Ramesses IX version, Henuttawi version, and the Budapest papyrus), or on top of it (Heruben version). The scarab with the sun-disc on the Ramesses IX version is an integral part of the scene: the scarab is heading for the stretched arm. On the Heruben-papyrus, on the other hand, still as part of the composition, it is placed in front of the god just like on the Budapest piece. (Though on the latter, the scarab is not holding a sun-disc, and his figure is doubled.) The motif-variant applied on the Henuttawi-papyrus, however, is evidently treated as a completely separate unit. Darnell discusses in detail the nature of the god appearing in the Ramesses IX tomb, comparing it with the scenes of the Tutankhamun and Ramesses VI tombs, which are similar in
