et is listed as representing Isis, who was often depicted with the cow horns and solar disk during the later periods of ancient Egyptian history. The body of the goddess has fifteen piercings and two suspension loops on the reverse, whilst there are twelve and thirteen piercings on her wings. The goddess’ outstretched wings communicate protection offered by the image of the goddess to the wearer of the amulet and can also be seen on other amuletic examples, such as UC52591 and UC52592 from the Petrie Museum at University College London. This particular gesture of protection does not only appear to have been communicated in an amuletic form, but can be seen in many other instances. For example on coffin decoration27 and temple carvings, such as the image on the wall of the inner temple of Isis’ sanctuary at Philae which depicts the goddess actually wrapping her wings around the god Osiris (fig. 7). This suggests that actions of communication were not reserved for one medium only, but rather that these gestures and their communicative meaning were common to other forms of ancient Egyptian art.
Gestures Communicating Ideologies
Ancient Egyptian culture consisted of many beliefs and ideas that had been passed down through the generations over hundreds of years. Certain texts and objects of material culture communicated these aspects between the Egyptian people. Two particular amulets from the Eton Myers Collection at the University of Birmingham provide an idea of how actions were used to convey these beliefs.
ECM785 and ECM787 are both pale green faience amulets showing the goddess Isis in one of the most enduring images of ancient Egyptian culture; suckling her infant son Horus (fig. 8). Shown seated on a block throne, Isis supports Horus on her lap as she nurses him. This image does not only appear in an amuletic form, but many statuettes also display it, such as X722 housed in the Institute of Archaeology and Antiquity Museum at the University of Birmingham and UC42553 in the Petrie Museum.28 Isis’ action communicates the important mythological links between herself and the king, as the simple action of feeding her infant son relates to the goddess’ role of protector and aide to the king. The story of ‘Horus and Seth’,29 which details the conflict between the two deities upon the death of Osiris, consistently represents Isis as a protector and supporter to the rightful king, her son Horus. The text also refers to Isis as ‘the divine mother’30 which is a direct reference to her pivotal role as the mother of Horus and therefore of each king of Egypt who is always associated with Horus, hence, the ‘Horus Name’ and the ‘Golden Horus Name’ as part of the royal titulary.31 This seemingly simple gesture is one of the more complex discussed here and it communicates not only an emotion or direct action of protection, but it links with ideologies innate to the Egyptian people. They may have felt the need to communicate this belief through gesticular art forms not only to each other, but to ensure that the gods, who were believed to be ever watchful, were aware of the Egyptian’s knowledge of their divine power and presence within everyday life.
The study of these objects from the Eton Myers Collection at the University of Birmingham has shown that even the smallest of details can provide an insight into how the ancient Egyptians communicated with each other. The non-verbal interaction of gestures represent a range of feelings, cultural ideas and beliefs that cannot always be as easily gleaned from textual sources. Therefore, this selection of objects is highly valuable for researchers to gain a sense of how the Egyptians communicated their human emotions and cultural ideologies.
1. Wilkinson 1994:192.
2. Feyereisen and Lannoy 1991:49.
3. Andrews 1994:6 states that amulets served as a ‘talisman or charm’ and was believed to ‘endow the wearer by magical means with certain powers or capabilities’.
4. For brief details about the gestures of mourning in ancient Egypt see McDermott 2006:113-114; Meskell 2002:189-193; Szpakowska 2008:184;