| Summary: | Thesis (DPhil)--Stellenbosch University, 2004. === ENGLISH ABSTRACT: This dissertation examines illustrated funerary papyri and wooden funerary stelae for
information they can provide about the organization of artists in the 21st and 22nd
Dynasty. It is an inquiry into the relationship between visual representation on the
funerary papyri of the 21st Dynasty and wooden stelae of the 22nd Dynasty. An attempt is
made to determine whether it is possible to identify the work of individual artists and
workshops involved in producing the illustrated funerary papyri and wooden stelae, and
in what way they may be related. This study covers a representative sample of
workshops or individuals from around the beginning of the 21st Dynasty to the early 22nd
Dynasty.
Methodology involved undertaking the research on a descriptive and
interpretative/comparative level. Panofsky's (1972: passim) model for describing pictorial
works was used to interpret the iconography. The comparisons between the papyri and
stelae were based upon a combination of the models developed by Freed (1996:
passim) and Niwinski (1989a: passim). These models functioned as a control or
corrective in order to formulate an interpretation.
It was possible to definitively place 208 manuscripts out of 214 papyri into seven
individual workshops. This was based upon their stylistic similarities and corresponding
content. Papyri Workshop 1 is comprised of fifty-six manuscripts, and constitutes the
largest group. The highest quality manuscripts were produced in this workshop, which
was patronized by the high priests of Amun and their families. Papyri Workshop 2 is the
smallest group consisting of only seven manuscripts. These two workshops contain the
earliest manuscripts, which were generally executed in the Ramesside tradition. Papyri
Workshop 3 contains the second largest grouping with fifty-two, and Papyri Workshop 4
consists of eleven. The majority of the members of this workshop belong to a
homogenous, almost analogous group, in terms of content and composition. In the
twenty-five manuscripts that belong to Papyri Workshop 5, it can be observed that the
artists have taken complete liberties with the mass of iconography at their disposal. They
have adapted and transformed the existing symbols into new compositions, so that no
two manuscripts are alike. Papyri Workshop 6 is comprised of thirty manuscripts, and
Papyri Workshop 7 has twenty. As opposed to Workshop 5, these two workshops
display an economy of style and execution. They are also generally outlined in black.
Furthermore, several subgroups are evident in the workshops, especially those that
span many decades, such as Papyri Workshop 1 and 3.From a comprehensive examination of 103 stelae, it was possible to group 100
stelae into nine workshops. It is important to note that Stelae Workshop 1 is, in fact,
linked to Papyri Workshop 1, to which thirteen stelae can be attributed. The stelae
contain the same attributes and style of execution as the papyri. Stelae Workshop 2
consists of fifteen stelae, these are skilfully executed, and appear to be custom-made for
the deceased. Workshop 3 comprises of fourteen stelae. Stelae Workshop 4 contains
five, and Workshop 5 has nine. In contrast to Stelae Workshop 1, the principal
representations within the stelae from Stelae Workshops 2 to 5 are generally
standardized in form and format. Stelae Workshop 6 has six, while 7 and 8 are the two
largest workshops with sixteen members each. These three workshops represent a
general degradation of proficiency, culminating in a provincial folk-art quality of Stelae
Workshop 7 and 8. Stelae Workshop 8 represents the final transition in style and format
to the stelae of the Late Period. Stelae Workshop 9 is comprised of five stelae. The style
of execution corresponds to the first phase of the Late Period stelae style.
It is possible to observe the hand/s of individual artists or a master and student in
the study selection, even within one workshop. === AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek ge"illustreerde begrafnispapiri en hout stelae met die oog op die
inligting wat hulle oor die kunstenaarsorganisasie in die 21ste en 22ste dinastie kan
verskaf. Die navorsing ondersoek die verband tussen visuele afbeeldings op die
begrafnispapiri van die 21ste dinastie en hout stelae van die 22ste dinastie. Daar word
gepoog om vas te stel of dit moontlik is om die werk van individuele kunstenaars en
"werkswinkels" wat by die totstandkoming van die ge'illustreerde begrafnispapiri en hout
stelae betrokke was, asook die wyse waarop hulle moontlik verwant is, te identifiseer.
Die navorsing dek 'n verteenwoordigende korpus van die werkswinkels of individue uit
die tydperk van die begin van die 21ste dinastie tot die vroee 22ste dinastie.
Die metodologie het navorsing op 'n deskriptiewe en interpretatiewe!
vergelykende vlak behels. Panofsky (1972: passim) se model vir die beskrywing van
kunswerke is gebruik om die ikonografie te interpreteer. Die vergelykings tussen die
papiri en die stelae is gebaseer op 'n kombinasie van die modelle wat deur Freed (1996:
passim) en Niwinski (1989a: passim) ontwikkel is. Hierdie modelle het as 'n kontrole of
korrektief gedien vir die formulering van 'n interpretasie.
Dit was moontlik om 208 manuskripte uit 214 papiri met sekerheid in sewe
individuele "werkswinkels" in te dee!. Die indeling is gebaseer op die stilistiese
ooreenkomste en ooreenstemming in die inhoud. Papiruswerkswinkel 1 bestaan uit 56
manuskripte, en maak die grootste groep uit. Die hoogste gehalte manuskripte het in
hierdie werkswinkel ontstaan en kan met die hoepriesters van Amun en hulle gesinne
verbind word. Werkswinkel 2 is die kleinste groepie en bestaan uit net sewe
manuskripte. Hierdie twee werkswinkels bevat die vroegste manuskripte.
Papiruswerkswinkel 3 bevat die tweede grootste groepering met 52 manuskripte, en
Papiruswerkswinkel 4 bestaan uit 11. Die meerderheid van die manuskripte van hierdie
werkswinkel behoort aan 'n homogene, byna analoe groep, wat betref inhoud en
samestelling. Uit die 25 manuskripte wat aan Papiriwerkswinkel 5 behoort, is dit duidelik
dat die kunstenaars hulle vryhede veroorloof het met die massa ikonografiee tot hulle
beskikking. Hulle het die bestaande simbole aangepas en tot nuwe komposisies
verander, sod at nie twee manuskripte dieselfde is nie. Papiruswerkswinkel 6 en 7 is
saamgestel uit onderskeidelik 30 en 20. In teenstelling met Werkswinkel 5 vertoon
hierdie twee werkswinkels 'n "ekonomie" van styl en uitbeelding. Hulle het ook oor die
algemeen 'n swart buitelyn. Daarbenewens is dit duidelik dat daar verskeie subgroepein die werkswinkels is, in die besonder die wat oor baie dekades strek, 5005
Papiruswerkswinkels 1 en 3.
Uit 'n omvattende ondersoek van 103 stelae was dit moontlik om 100 stelae in
nege werkswinkels te groepeer. Dit is belangrik om daarop te let dat Werkswinkel 1 in
werklikheid met Papiruswerkswinkel 1, waaraan 13 stelae toegeskryf kan word, verbind
kan word. Die stelae vertoon dieselfde kenmerke en styl as die papiri. Werkswinkel 2
bestaan uit 15 stelae wat kunstig gemaak is en wat Iyk asof hulle op bestelling vir die
oorledenes vervaardig is. Werkswinkel 3 bestaan uit 14 stelae. Werkswinkel 4 bevat
vyf, en in Werkswinkel 5 is daar nege. In teenstelling met Werkswinkel 1 is die
belangrikste afbeeldings by die stelae in Werkswinkels 2 tot 5 meestal gestandaardiseer
wat betref vorm en formaat. Werkswinkel 6 het ses, terwyl 7 en 8 die twee grootste
werkswinkels is met 16 stelae elk. Hierdie drie werkswinkels verteenwoordig 'n
algemene degradering van vakmanskap, wat daartoe lei dat die gehalte van
Werkswinkels 7 en 8 die is van 'n "provinsiale volkskuns". Werkswinkel 8
verteenwoordig die finale oorgang in styl en formaat na die stelae van die Laattyd.
Werkswinkel 9 bestaan uit vyf items. Die sty I stem ooreen met die eerste fase van die
styl van die stelae uit die Laattyd.
Die studie toon aan dat dit wei moontlik is om die hand(e) van individuele
kunstenaars of 'n meester en sy student te onderskei, selfs binne net een werkswinkel.
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