Professional Documents
Culture Documents
ARTISTS
AND PAINTING
IN ANCIENT EGYPT
Edited by
Valérie Angenot and Francesco Tiradritti
Montepulciano 2016
This article will appear in:
Angenot, Valérie, and Francesco Tiradritti. Eds. 2016. Artists and Colour in ancient
Egypt, Proceedings of the colloquium held in Montepulciano, August 22nd – 24th, 2008,
Studi Poliziani di Egittologia 1, Montepulciano: Missione Archeologica Italiana a Luxor.
ISBN 978-88-908083-0-2.
The paging is only provisional and will change on the printed version.
THE USE OF COLOR IN EGYPTIAN STATUARY
Loredana Sist
Sapienza Università di Roma
Though in the late 1700s scholars were aware of the multicolored hues of Greek and
Roman sculpture, color was considered a minor, insignificant aspect of these creations.
This inclination towards homogeneity dates back to the theories of Winckelmann,
for whom ultimate beauty was the whiteness and purity of marble. The most famous
pieces conform to the classical ideal of beauty, the ascendancy of form enhanced by the
pure translucence of white marble. Apparently, though, that is not exactly how it was.
A recent traveling exhibition, originated at Munich's Glyptothek, entitled in
Italy “I colori del bianco. Mille anni di colore nella scultura antica”, has demonstrated
that the use of brilliant pigments to paint statues, walls and buildings was routine.1
A series of groundbreaking examinations employing polarizing and scanning electron
microscopy, infrared spectroscopy and ultraviolet light have documented the true colors
of antiquity. Shortly after the pieces were carved they were painted either completely
or in part.
That was consistent with Egyptian practice, and the several surviving painted
examples spread all over the world, visible in museums and collections, have accustomed
us to consider Egyptian sculpture generally as painted, even if today most of this paint
has weathered away. Anyhow we are still unable - I think - to imagine the impact of
color when we have to deal with colossal architecture and sculpture, and our taste is
far away from the bright and intensely colorful world of ancient Egyptians.
1 Liverani 2004.
2 For example Baines 1985; Baines 2001; Colinart - Menu 1998; Tefnin 1997; Davies 2001; Tiradritti 2007.
20 LOREDANA SIST
The range of colors used is the same that we find on reliefs and I am not going to
analyze this aspect, on which eminent scholars have written a lot. I just would like to
draw attention to some few images and particularities. For example, the color generally
used to decorate the narrow central slit of the door from which, in Old Kingdom private
tombs, the deceased is represented striding forward to receive offerings is usually
orange, exactly the same color that we find in false-doors.3 We would expect a dark
color for the background of a statue appearing from the afterlife, such as sometimes
appears in niches;4 the orange instead suggests a bright and colorful world full of light,
a combination of red, which has solar meanings, and gold/yellow, which evokes the
brightness of the sun.5
I wonder if the red/orange color of a famous and enigmatic Old Kingdom image,
the bust of prince Ankh-haf dated to the 4th Dynasty, could have a similar meaning.
The statue was created as a bust and presents an incredibly realistic rendering of
individual traits.6 Quoting Dunham,7 “it was covered with a coating of red color of the
tone normally used to represent the flesh of men. The man is without a wig, but the
outlines of the hair are clearly indicated and show that he had a tendency to baldness.
This area also is colored red, contrary to normal practice, but whether because the
usual over-painting of black was never added, or for some less obvious reason, is not
clear. The eyes were originally white with dark pupils, but their colors have now faded
so as to be only faintly visible.” As Bolshakov has already pointed out,8 the color we
actually see is not the original: at some point “it was heavily retouched to reduce the
troubling unevenness of color”; anyhow, what is surprising is the uniform paint even
on the hair, as if the deceased was completely surrounded by the afterlife light such
as in false-doors. The connection with the false-doors statues has been discussed by
Bolshakov who proposes a reconstruction of the original setting of Ankh-haf’s bust
similar to Idu’s image in his tomb in Giza or to Nefer-seshem-ptah in his tomb in
Saqqara.
Black is the color used especially in Old Kingdom for bases, dorsal slabs and
sometimes also seats. It is the color of soil and was naturally connected with the idea
of land. The parts that represent the empty space between the body and the arms or
the legs, which, as we know, were usually not cut away, are painted the same color as
the background, as if this could be really seen, or they are painted black. In this case
black is probably referring to the dark color of the shadow.
White was used as a sort of neutral hue in some New Kingdom images to
emphasize particular details or texts.9 Painters were very careful about details; they
usually preferred the contrast of colors, leaving out the use of tinges. However, some
slight allusion to the use of half-tones can be traced.
The second factor that must be considered is the material used in the manufacture
of statues.10 In fact the application of paint depends on the kind of stone: soft stones,
such as limestone and sandstone, are generally completely painted; hard and dark
3 See for instance Mereruka’s image in his mastaba in Saqqara; the false-doors in Meref-nebef’s and in Kagemni’s
tombs; the New Kingdom red granite false-doors from Puyemra’s tomb in Thebes.
4 For example in Iru-ka-ptah’s tomb at Saqqara.
5 Pinch 2001, 184.
6 See Assman 1996, 55-57.
7 See Dunham 1929.
8 See Bolshakov 1991, note 19.
9 See for example the Old Kingdom seated statue of Hetep-ni in the Egyptian Museum of Berlin, 1/83; the New
Kingdom statues of Si-aset from Thebes again in the Egyptian Museum of Berlin, 2314, and of Amen-em-ipet
from Deir el-Medina in the Egyptian Museum of Turin, Cat. 3038.
10 See Baines 2000.
THE USE OF COLOR IN EGYPTIAN STATUARY 21
stones, such as granite, basalt, greywacke and quartzite, present a limited use of color
just to highlight physiognomic details (eyes, mouth, hair, beard) and ornamental parts
(jewels, dresses, insignia). The flesh instead, has the color of the bare stone. Precious
stones which present veins and translucent surfaces, such as alabaster, diorite, and
gneiss, except for a few details, are normally left unpainted.11 Steatite statues are not
painted but instead are covered by a turquoise or blue glaze. Wooden12 and metal
statues (made out of copper, bronze, gold and silver) always present colorful details,
realized, of course, in different ways: painted on wooden surfaces;13 engraved or inlaid
with other metals or precious stones in metal figures.14
The use of color on limestone sculpture dates to the most ancient times and
continued until the Roman period either on royal or on private statues. When the
surface was properly smoothed and plastered, pigments made from naturally
occurring minerals were applied by mixing them with a medium such as plant gum
or animal glue.15 There are several combinations of colors to which gilded details were
often added, especially on royal statues. Reuterswärd16 has analyzed a lot of examples.
Even indurated limestone which now appears almost perfectly smooth and white was
originally painted.17
Speaking of white stones, alabaster has to be remembered. Its translucent surface
which has connections with the idea of light and life, is sometimes either decorated by
painted physiognomic details18 or embellished by precious inlaid stones and metals.
Sometime limestone was painted to imitate alabaster19 as in the Turin statue of
Amehotep I, whose skin is purposely depicted in white.20 The “reserve heads” are also
white: the general absence of color must have a special meaning in these enigmatic
monuments.
The use of paint in both royal and private statues made in hard stone, is documented
from the Old Kingdom. Color was applied only on some parts of the figure, usually on
face, ornaments, and dress21 and finally the surface was highly polished. Often the
contrast between unpolished and polished area,22 and the skillful use of stone veins can
be noticed.23 In some cases the unpolished areas were originally covered with a gold
leaf which constitutes the only colored detail, as on the statue of Queen Aset, mother
11 See the magnificent sphinx of Senusret III carved in a beautiful grained gneiss from the quarries of Nubia
(usually known as “Chefren’s diorite”) in the Metropolitan Museum of Art of New York, 17.9.2.
12 Davis 1989, 17: “Wooden statues were often made in pieces, and there may be some essential conceptual difference
between stone sculptures extracted from a quarried block and wooden statues built up from separately turned
units”.
13 See the ebony statuette of Amenhotep III with gilding and with inlaid eyes and eyebrows in the Brooklyn
Museum of Art, 48.28; the Old Kingdom statuette of Metjetjy from Saqqara in the Brooklyn Museum of Art, 51.1.
See Kozloff, Bryan 1992, 132-135, note 28.
14 For example the gold statuette of Amun in the Metropolitan Museum of Art of New York, 26.7.1412.
15 Robins 2001, 9-18.
16 Reuterswärd 1958, 7-65.
17 We can remember queen Hatshepsut’s beautiful statue in the Metropolitan Museum of Art, 29.3.2, or the
colossal group of Amun and Tutankhamun from Thebes in the Egyptian Museum of Turin, Cat. 768.
18 As in the fine hard white calcite statuette of Akhenaton from Amarna (Egyptian Museum of Berlin, 21835); or
on the lids of canopic jars from Tutankhamon’s tomb (Egyptian Museum of Cairo, JE 60687), and from KV 55
(Metropolitan Museum of Art, 30.8.54).
19 Reuterswärd 1958, 11 mentions some limestone back pillars imitating granite.
20 Egyptian Museum of Turin, Cat. 1372.
21 See the colossal quartzite statue of Tutankhamon in the Oriental Institute University of Chicago, OIM 14088; the
head of Amenhotep III wearing the Blue Crown in the Cleveland Museum of Art, 1952.513, with traces of gummy
pigments.
22 For example the Rameses II granite bust from Tanis in the Egyptian Museum of Cairo, CG 616.
23 As in the colossal granite statue of Rameses II in the British Museum, EA 19; or in the sandstone conglomerate
statue of Khaemwese in the British Museum, EA 947.
22 LOREDANA SIST
of Thutmose III, in the Egyptian Museum of Cairo, CG 42072, on the Amenhotep III
quartzite statue in the Museum of Egyptian Art of Luxor, and on Taharqo’s granite
head in the Egyptian Museum of Cairo, CG 560, which presents a rough part which
was probably covered with a veneer of gold.
Precious and rare colored stones were carved for images composed of several
elements, individually sculpted and assembled.24 This kind of material was preferred
for royal statues, but it became more and more diffused among private sculpture in
later times.
At this point it is clear that hard and dark stones were chosen for special reasons,
certainly not for the purpose of reproducing reality. Reuterswärd thinks that the reason
can be found in the symbolic meaning of colors.25 The most common are the solar
connections of red granite and quartzite and the fertility and regenerative properties
associated with black stones. But this is not the only and probably not the principal
reason. In these cases, in my opinion, the meaning of colors was less important than
the meaning of the stone itself. Dark stones are well known to be the most resistant
and durable, therefore the qualities of this kind of material were for the Egyptians the
real aim for the selection. Some Ramesside texts document the interest of the king in
choosing the right material for his images. Granite, diorite, basalt etc. were the most
suitable stones for creating long-lasting images, “monuments forever” as texts usually
define them.
If we consider, for example, the statuary of Thutmose III, collected by Dimitri
Laboury,26 we can note the large quantity of granite, diorite and schist statues in
comparison with the limestone and calcite ones. As Laboury has pointed out,27 details
dealing with jewels and insignia were often painted, and the inscriptions, as well, were
highlighted by the use of color (yellow, green, blue and red). Some of these details are
still visible on the beautiful red granite sphinx of Hatshepsut in the Egyptian Museum
of Berlin, ÄM 2299. Moreover, there is another point that could have influenced the
selection of a particular kind of material that must be considered, and to which we will
come back soon: it is the context in which a statue was placed. This is an aspect that
cannot be forgotten when we deal with sculpture, generally considered as a unique and
isolated object.
The durability of hard stones was at the basis of the selection, as we have said,
and this was considered the main quality also in the Late Period when a great deal
of royal and private statues were made out of these materials. Magic and religious
interpretations are often proposed to justify the choice, neglecting other aspects such
as, for instance, artistic needs in satisfying the wishes and taste of clients.
The series of “green and black heads”, so called because of their color, were
associated by Reuterswärd with the idea of portraying the person as an Osiris. The
question seems to me a little more complex. All these heads originally belonged to
complete statues, now lost. The body was usually carved in a traditional and idealized
manner, as you can see for instance in the Ptolemaic statues of Hor-sa-tutu (Egyptian
Museum of Berlin, ÄM 2271), Hor-sa-hor (Egyptian Museum of Cairo, CG 697) and
24 See the colossal alabaster statue of Seti I in the Museum of Egyptian Art of Luxor, CG 42139; the Middle
Kingdom chlorite head of a queen in the Brooklyn Museum of Art, 56.85; the obsidian royal head from Karnak
in the Egyptian Museum of Cairo, CG 42101; Nefertiti’s quartzite head from Memphis in the Egyptian Museum
of Cairo, JE 45547; the yellow jasper fragmentary lower part of the face of a queen in the Metropolitan Museum
of Art, 26.7.1396.
25 Reuterswärd 1958, 55-56.
26 See Laboury 1998.
27 Laboury 1998, 449-451.
THE USE OF COLOR IN EGYPTIAN STATUARY 23
Panemerit (Egyptian Museum of Cairo, CG 27493 + Louvre Museum, E 15683); the
heads, instead, were personalized.28 A taste for realistic modeling of features emerged
– we can speak in these cases of real portraits - and for this purpose hard and dark
stones gave the possibility to work in a more incisive manner; surfaces could be
highly polished; physiognomic characteristics could be better underlined through the
contrast between light and shadow. The fact is that dark stones have a consistency
and a “thickness” unknown to white matte stones and these qualities seem to have
been preferred in the Late Period when attention to the smoothness and brilliance of
modeling reached new heights.29
Of course we cannot forget that also the color of stones has to be considered. The
meaning of color is the third aspect that must be analyzed.
Looking at statuary we can note that some images present paints which have
no correspondence with reality. Color, then, has the specific purpose of emphasizing
a particular meaning. The most famous example can be seen in the seated sandstone
statue of Mentuhotep II in heb-sed costume, found by Carter in a deep shaft in the
forecourt of his mortuary temple at Deir el-Bahari, and now housed in the Egyptian
Museum of Cairo, JE 36195. The skin is painted black because of the special Osiriac
character of the image, which was found linen-wrapped as a mummy, and the shaft
itself is thought to have been originally intended as the king's tomb but subsequently
converted to a symbolic cenotaph.
We are going to start with red, which already in protodynastic times was thought
to have apotropaic values:30 traces of red are still visible on the mane of a limestone
lion from Koptos, now in the Ashmolean Museum Oxford; the color strengthens the
protective role usually played by the image of the lion.31
Sometimes, in the absence of paint, a material naturally colored with that specific
color was chosen, so we find lion statues and some sphinxes made out of red granite.32
Some baboons, defined “you are Ra, the baboon lord of carnelian” in Edfu texts (IV,39,5;
V,27,1-2), are also red. The fury of the baboon was well known to Egyptians and was
considered a good defence against the enemies of the sun god; therefore red quartzite
was preferred for New Kingdom baboon statues.33 Traces of red paint are found on
other baboon statues34 and red granite was used for the New Kingdom groups.35
Red is the color of the image of Hathor as a cow suckling the king in the
statue once housed in a chapel in the funerary temple of Thutmose III in Deir
The last aspect that must be considered in our examination of painted statuary is
36 Egyptian Museum of Cairo, JE 38574-5; warm thanks are due to Mr. Franco Lovera for this picture.
37 Aufrère 1991 I, 123.
38 Traces of red pigment are visible on the New Kingdom calcite head in the Metropolitan Museum of Art, 1997.375,
and on the wooden statuette from Deir el-Medina now in the Egyptian Museum of Turin, Cat. 526.
39 Egyptian Museum of Cairo, CG 39194.
40 Aufrère 1991, II, 478-480.
41 Lapis lazuli together with turquoise is present in daily offerings and in embalming rituals: see Sauneron 1952,
22.
42 Egyptian Museum of Cairo, JE 60739.
43 British Museum, EA 2280. See also the cult image of the god Ptah in lapis lazuli dated to the Third Intermediate
Period in the Metropolitan Museum of Art, 2007.24.
44 Aufrère 1991, II, 501.
45 Schorsch 2001, 55-71.
46 We find gilded details for example in the Prince Ahmose limestone statue, now in the Louvre Museum, E 15682,
or yellow details with the same meaning of gold on the ram head of Amun in a private limestone statue from
Deir el-Medina, now in the Egyptian Museum of Turin, C 3032. See Daumas 1956; Aufrère 1998, 33-34.
THE USE OF COLOR IN EGYPTIAN STATUARY 25
Aufrère, Sydney. 1991. L'univers minéral dans la pensée égyptienne. Le Caire: Institut
français d'archéologie orientale.
Aufrère, Sydney. 1998. “Evolution des idées concernant l’emploi des couleurs dans
le mobilier et les scènes funéraires en Egypte jusqu’à l’époque tardive.” In La
couleur dans la peinture et l'émaillage de l'Égypte ancienne: actes de la Table
ronde, Ravello, 20-22 mars 1997, edited by Colinart, Sylvie, and Michel Menu, 31-
42. Bari: Edipuglia.
Baines, John. 1985. “Color Terminology and Color Classification: Ancient Egyptian
Color Terminology and Polychromy.” American Anthropologist 87: 282-297.
Baines, John. 2000. “Stone and other materials in ancient Egypt: usages and values.” In
Pierres égyptiennes: chefs-d’œuvre pour l'éternité, edited by Karlshausen, Christina,
Thierry de Putter, and Johan Buelens, 29-41. Mons: Faculté polytechnique de
Mons.
Baines, John. 2001. “Colour use and the distribution of relief and painting in the Temple
of Sety I at Abydos.” In Colour and Painting in Ancient Egypt, edited by Davies, W.
Vivian, 145-157. London: British Museum Press.
Bolshakov, Andrey. 1991. “What Did the Bust of Ankh-haf Originally Look Like?”
Journal of the Museum of Fine Arts 3: 4-14.
Bosticco, Sergio, and Gloria Rosati. 2005. “La coppia di babbuini nel tempio di Khonsu
a Karnak”, Egitto e Vicino Oriente 28: 219-225.
F. Daumas, “La valeur de l’or dans la pensée égyptienne.” Revue de l'Histoire des
Religions 149: 1-17.
Davis, Whitney. 1989. The Canonical Tradition in Ancient Egyptian Art. Cambridge:
Cambridge University Press.
Dunham, Dows. 1929. “The Portrait Bust of Prince Ankh-haf.” Bulletin of the Museum
of Fine Arts 37: 41-46.
Kozloff, Arielle P., Betsy Morrell Bryan, Lawrence Michael Berman, and Elisabeth
Delange. 1992. Egypt's dazzling sun: Amenhotep III and his world. Cleveland:
Cleveland Museum of Art in cooperation with Indiana University Press.
28 LOREDANA SIST
Laboury, Dimitri. 1998. La statuaire de Thoutmosis III: essai d'interprétation d'un
portrait royal dans son contexte historique. Liège: Centre Informatique de
Philosophie et Lettres.
Liverani, Paolo, ed. 2004. I colori del bianco: mille anni di colore nella scultura antica.
Roma: De Luca Editore.
Pinch, Geraldine 2001. “Red things: the symbolism of colour in magic.” In Colour and
Painting in Ancient Egypt, edited by Davies, W. Vivian, 182-185. London: British
Museum Press.
Reuterswärd, Patrik. 1958. Studien zur Polychromie der Plastik. I.: Ägypten. Stockholm:
Almqvist & Wiksell.
Sauneron, Serge. 1952. Rituel de l’embaumement. Pap. Boulaq III – Pap. Louvre 5.158.
Le Caire: Imprimerie Nationale.
Tefnin, Roland. 1979. “Image et histoire. Réflexions sur l’usage documentaire de l’image
égyptienne.” Chronique d’Égypte 54: 218-244.
Thompson, Evan. 1995. Colour Vision: a Study in Cognitive Science and the Philosophy
of Perception. London: Routledge.
Tiradritti, Francesco. 2008. Pittura murale egizia. San Giovanni Lupatoto, Verona:
Arsenale.