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)
2 FUNERARY PAPYRUS:THIRD SCENE, BUDAPEST. MUSEUM OF FINE ARTS the bending prow and stern of which end in snake heads. The god himself manifests as a sun disc placed on an íht-sign with a wdit-tye inside. In the company of the god two m^Z-feathers are also represented in the front. Because of the damage to the papyrus only the handles of the two oars have remained visible, wdiile there is no visible trace of the snake head that would normally appear on the stern. The sun-god, manifesting in the shape of a scarab and holding a sun disc flanked by the right and left solar eyes, appears in a similar barque with snake heads at the left end of the middle register of the scene of the royal precursor that can be seen on the so-called enigmatic wall of the tomb of Ramesses IX, which has been mentioned in the first part of the present article. 2 Below the bark, a coiling serpent, called Apophis according to the inscription, can be seen, on whose back (bksw) the barque momentarily runs aground ( r h c w) only to pass on over it after having defeated the enemy. In regard to the first scene of the papyrus, 3 it has been already noted that the Twenty-first Dynasty iconography had shown a preference for applying the motif of the defeated Apophis lying beneath the bark. The other two individuals who adopted the scene from the tomb of Ramesses IX, i.e. the authors of the Heruben and Henuttawi papyri, did not, however, use the motif of the bark in this context. 4 The Budapest papyrus, on the other hand, had obviously not simply adopted the motif from the royal source: its creative re-use and improvement resulted in a solution that was both quite different and interesting.
