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.)

The introductory text belonging to the same hour and describing the sunrise, on the other hand, unifies several creation conceptions:- beside the rebirth in the form of a scarab, the birth from the body of the sky-goddess as a child appears, as well as the stepping forth of the light from the darkness, or the emergence from the Primaeval Water in the moment of creation.

6 From all these, however, the closing scene takes out but one: the picture of the sun rising as a scarab. 4 FUNERARY PAPYRUS. RICHMOND. VI RGI

NIA MUSEUM OF FINE ARTS Analyzing the scene in the tomb of Ramesses IX, Darnell outlines the development which led from the Amduat-moúí used originally in New Kingdom royal tombs with the mediation of the Ramesses IX composition of the late Twentieth Dynasty to the versions appearing on the Twenty-first Dynasty papyri.

7 On the "Schlußszene"-versions of Twenty-first Dynasty funerary papyri using and revising the closing scene of the Amduat, three important innovations can be observed compared to the arche-versions:

8 1. the figure of Osiris "grows", and stepping out of the lower register gradually becomes the dominant figure of the scene;'' 2. the relationship of the three deities (Osiris, the scarab-shaped sun-god, Shu) becomes closer and closer;

10 3. the representations start emphasising the ithyphallic character of the mummyshaped god." On the Budapest papyrus, a sun-disc spreading its arms is placed in front of the traditional semicircular closing. These iconographie features strongly remind us of the original closing motif of the Amduat. In other respects, however, the papyrus breaks with the classical Amduattraditions: e.g., it does not have the three-register division and the accompanying text. And the figure of the mummy-shaped god evidently recalls the figure of the tomb of Ramesses IX. Thus, the Budapest papyrus occupies an intermediate position between the traditional Amduat-versions of the Twenty-first Dynasty and the adaptations of the Ramesses IX version.