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Lot Essay
Identified by the lengthy dedicatory inscription on its base, this bronze figure represents Horus of Hebenu spearing Seth in the form of a bound oryx, which the falcon-headed deity is standing atop. Hebenu was located in the Oryx Nome, the 16th nome of Upper Egypt, and is probably to be identified with the region of modern Zawiyet Sultan. The type of dedicatory inscription, which extraordinarily seems to mention a donation to the temple of Horus of Hebenu, is typical of the period. This dating is reinforced by the personal name of the dedicatee Hor-(em)-Akh-bit’s father, Wah-ib-re, named after Pharaoh Apries of Dynasty 26. Intriguingly, a donation stela once in Berlin (lost during World War II) mentions “Wah-ib-re (son of) Hor-em-akh-bit,” or "Wah-ib-re's son Hor-em-akh-bit,” and dates to year 34 of the reign of Amasis (see K. Jansen-Winkeln, Inschriften der Spätzeit, vol. IV, 57.224, 510, line 4). It is plausible that the individual mentioned on the Berlin stele is the same as on the bronze presented here.
A close parallel in The Metropolitan Museum also depicting Horus of Hebenu has recently been discussed in relation to this type of donation formula (see fig. 3 in M. Hill, "Small Divine Statuettes: Outfitting Religion," in A. Masson-Berghoff, Statues in Context: Production, Meaning and (Re)uses). Both figures depict the bound oryx in raised relief on the top of the base, beneath the feet of the trampling incarnation of Horus. Another similar example in The Walters Art Museum depicting a syncretistic lion-headed deity has been identified by Hill as Horus-Mysis of Hebenu. He too stands atop a bound oryx in raised relief, and a donor stands opposite the god (op. cit., no. 53; compare also an example in Cairo, no. 54).
The oryx was considered a manifestation of the god of chaos, Seth, and an enemy of the sacred wadjet-eye (also known as the Eye of Horus). In pose and symbolism, this statue evokes the foundational myth of Egyptian kingship: the avenging of Osiris’ murder at the hands of Seth by his son Horus. Accordingly, Horus of Hebenu is central to the texts and depictions of Late Period and Ptolemaic temples, notably at Edfu, where numerous representations of Horus depict him spearing bound prisoners or animals with chaotic aspects.
A close parallel in The Metropolitan Museum also depicting Horus of Hebenu has recently been discussed in relation to this type of donation formula (see fig. 3 in M. Hill, "Small Divine Statuettes: Outfitting Religion," in A. Masson-Berghoff, Statues in Context: Production, Meaning and (Re)uses). Both figures depict the bound oryx in raised relief on the top of the base, beneath the feet of the trampling incarnation of Horus. Another similar example in The Walters Art Museum depicting a syncretistic lion-headed deity has been identified by Hill as Horus-Mysis of Hebenu. He too stands atop a bound oryx in raised relief, and a donor stands opposite the god (op. cit., no. 53; compare also an example in Cairo, no. 54).
The oryx was considered a manifestation of the god of chaos, Seth, and an enemy of the sacred wadjet-eye (also known as the Eye of Horus). In pose and symbolism, this statue evokes the foundational myth of Egyptian kingship: the avenging of Osiris’ murder at the hands of Seth by his son Horus. Accordingly, Horus of Hebenu is central to the texts and depictions of Late Period and Ptolemaic temples, notably at Edfu, where numerous representations of Horus depict him spearing bound prisoners or animals with chaotic aspects.