Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ÉVA LIPTAY: Between Heaven and Earth II: The Iconography of a Funerary Papyrus from the Twenty-First Dynasty (Part II)

BETWEEN HEAVEN AND EARTH II THE ICONOGRAPHY OF A FUNERARY PAPYRUS FROM THE TWENTY-FIRST DYNASTY PART II ÉVA LIPTAY The first part of the present study

1 has ended with the iconographie analysis and interpretation of the second scene of the Budapest funerary papyrus (fig.l). It has been suggested that the closing (fourth) scene must be considered as the key motif of the papyrus, in the centre of the composition with the mummy-shaped, ithyphallic divine figure standing at the entrance of the eastern horizon, a scene going back to a New Kingdom precursor: one of the motifs of the tomb of Ramesses IX. The same royal pattern had been adapted by two other papyri also dated to the Twenty-first Dynasty. During the analysis it came to light that an in-depth study of the symbols occurring in the royal original and the later variants renders significant assistance in the exploration of the complex symbolism of the Budapest papyrus. FUNERARY PAPYRUS, BUDAPEST, MUSEUM OE FINE ARTS 4. SOLAR EYE IN THE BARK (FIG. 2) Following the line of the mummy-shaped, chthonic figures standing among the coils of Apophis (first scene) and the motif of the double-headed and four-legged snake-like creature (second scene), the figure in action in the third scene of the papyrus is a human headed /??-bird worshipping the divinity and presenting an offering to him that in this case appears in the sun barque,