DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18905#0038
20
THE PAPYRUS 0F ANHAI.
otherwise known from the papyrus of Ani recitecl
by Anhai at the entrance of the Ilall of Judgment;
with vignette.
5. The Judgment; with vignette, wherein
the hawk-headed god who wears the crowns of
the South and of the North, ancl who though
usually called “ Horus the avenger of his father,”
is here styled “ Horus-Thoth,”1 introduces Anhai
to Osiris.
6. Part of Chapter CX. of the Book of the
Dead recitecl by Anhai at the entrance to the
Elysian F ielcls ; with vignette.
7. The “ Negative Confession,” from Chapter
CXXV. of the Book of the Deacl recited by
Anhai, standing at the entrance of the Hall of
Double Truth ; with vignettes.
8. Vignette of the mummy of Anhai lying
on the top of the double staircase in the city of
Hermopolis.
9. Vignette of the Creation, in which the
boat containing the Sun and the other great gods
is being lifted up out of the watery abyss by the
god Nu.
Comparing the texts and vignettes in the
papyrus of Anhai with those of the older papyri,
we learn that the priests of Amen did not
conhne themselves to traditional forms and ideas
in their funeral papyri; they hacl no hesitation in
introclucing new vignettes ancl cletails, many of
which are not only entirely unknown in the olcler
Theban texts, but even have no connection with
their subject matter. The following are the more
important variations characterizing the papyrus of
Anhai.
I. The fimire of Anhai is taller than the
o
figures of the women in the olcler papyrp and
instead of white garments she wears a diaphanous
material reaching quite to the ground ; the cone
on the heacl is much lower, she wears earrings,
the waviness of her hair is well marked, ancl a
long vine branch clroops from her hand.
II. In the vignette accompanying the hymn
to the rising sun, the artist has representecl the
hawk perching upon the emblem of Amentet, or
the West, which is usually characteristic of the
settinsr sun ; he has also introduced a number
of bearded figures, some of whom stancl, and
others lie prostrate, in acloration, ancl two winged
Utchats, each typifying one-half of the sun’s
orbit. It must be noted, too, that the clisk upon
1 Tl ^ WA~'£| ^ “ Saith Horus-Thoth
(J \ AW\M flA k \\V I ^ i—l /VWVAA 0 i—l
to [his] father Un-nefer.”
the hawk’s heacl is gilclecl : this is probably the
earliest known instance of the use of qtoIcI in
illuminated papyri. The text of the hymn to
the rising sun is different from any other known.
III. The scribe began to inscribe a speech
by “ Horus, the avenger of his father ” (see
Plate II.), but, having written only a single line,
he went 011 with the speech of Thoth, ancl added
the remainder of the speech of “ Horus, the
avenger of his father,” at the end of it (see
Plate I.). The terms of the speech of Thoth
are peculiar to the papyrus.
IV. I he artist has drawn only six (see
Plates II. and III.) out of the twenty-one pylons
which are describecl in Chapter CXLVI. of the
Book of the Dead, and the scribe has omitted
the texts which should accompany two of them,
probablv for want of space ; by the side of two
of the pylons he has written wrong texts. From
the position of the fragment of Chapter CXLV.
as given here, we may, perhaps, assume that the
Egyptians believed that the deceased would have
to pass through these pylons on the way to the
Hall of Judgment.
V. The Judgment Scene has been very
considerably modified in lts arrangement and
details.
The following objects in the British Museum
were founcl with the papyrus of Anhai :—
1. The papyrus was cleposited inside a
wooclen figure of the gocl Osiris, which rests
upon a hollow pedestal made in the form of the
hieroglyphic for Maat The face and hands
of the god are painted green, his crown is white,
the plumes are green, ancl a flail and crook
are paintecl across his breast ; over his shoulders
is a brown cape ornamented with large green
spots surrounded by white annular ornaments,
and his body and legs are drapecl in white, orna-
mented with “ feather work ” in green and red
(see B.M., No. 20, 868).
2. Wooclen box, with three divisions, each of
which has a cover inscribed with the name of
Anhai. The insicle is distemperecl white, but
the outsicle is covered with a thin layer of painted
plaster of a greenish-black colour, on which are
tracecl in yellow outline the following figures :—
1. The lady Anhai, kneeling with her soul before
a sycamore tree, ancl catching in her hands the
water of life which the goddess Nut is pouring out
upon them. The hieroglyphics reacl : “ Osiris,
the lady of the house, the singer of Amen,
THE PAPYRUS 0F ANHAI.
otherwise known from the papyrus of Ani recitecl
by Anhai at the entrance of the Ilall of Judgment;
with vignette.
5. The Judgment; with vignette, wherein
the hawk-headed god who wears the crowns of
the South and of the North, ancl who though
usually called “ Horus the avenger of his father,”
is here styled “ Horus-Thoth,”1 introduces Anhai
to Osiris.
6. Part of Chapter CX. of the Book of the
Dead recitecl by Anhai at the entrance to the
Elysian F ielcls ; with vignette.
7. The “ Negative Confession,” from Chapter
CXXV. of the Book of the Deacl recited by
Anhai, standing at the entrance of the Hall of
Double Truth ; with vignettes.
8. Vignette of the mummy of Anhai lying
on the top of the double staircase in the city of
Hermopolis.
9. Vignette of the Creation, in which the
boat containing the Sun and the other great gods
is being lifted up out of the watery abyss by the
god Nu.
Comparing the texts and vignettes in the
papyrus of Anhai with those of the older papyri,
we learn that the priests of Amen did not
conhne themselves to traditional forms and ideas
in their funeral papyri; they hacl no hesitation in
introclucing new vignettes ancl cletails, many of
which are not only entirely unknown in the olcler
Theban texts, but even have no connection with
their subject matter. The following are the more
important variations characterizing the papyrus of
Anhai.
I. The fimire of Anhai is taller than the
o
figures of the women in the olcler papyrp and
instead of white garments she wears a diaphanous
material reaching quite to the ground ; the cone
on the heacl is much lower, she wears earrings,
the waviness of her hair is well marked, ancl a
long vine branch clroops from her hand.
II. In the vignette accompanying the hymn
to the rising sun, the artist has representecl the
hawk perching upon the emblem of Amentet, or
the West, which is usually characteristic of the
settinsr sun ; he has also introduced a number
of bearded figures, some of whom stancl, and
others lie prostrate, in acloration, ancl two winged
Utchats, each typifying one-half of the sun’s
orbit. It must be noted, too, that the clisk upon
1 Tl ^ WA~'£| ^ “ Saith Horus-Thoth
(J \ AW\M flA k \\V I ^ i—l /VWVAA 0 i—l
to [his] father Un-nefer.”
the hawk’s heacl is gilclecl : this is probably the
earliest known instance of the use of qtoIcI in
illuminated papyri. The text of the hymn to
the rising sun is different from any other known.
III. The scribe began to inscribe a speech
by “ Horus, the avenger of his father ” (see
Plate II.), but, having written only a single line,
he went 011 with the speech of Thoth, ancl added
the remainder of the speech of “ Horus, the
avenger of his father,” at the end of it (see
Plate I.). The terms of the speech of Thoth
are peculiar to the papyrus.
IV. I he artist has drawn only six (see
Plates II. and III.) out of the twenty-one pylons
which are describecl in Chapter CXLVI. of the
Book of the Dead, and the scribe has omitted
the texts which should accompany two of them,
probablv for want of space ; by the side of two
of the pylons he has written wrong texts. From
the position of the fragment of Chapter CXLV.
as given here, we may, perhaps, assume that the
Egyptians believed that the deceased would have
to pass through these pylons on the way to the
Hall of Judgment.
V. The Judgment Scene has been very
considerably modified in lts arrangement and
details.
The following objects in the British Museum
were founcl with the papyrus of Anhai :—
1. The papyrus was cleposited inside a
wooclen figure of the gocl Osiris, which rests
upon a hollow pedestal made in the form of the
hieroglyphic for Maat The face and hands
of the god are painted green, his crown is white,
the plumes are green, ancl a flail and crook
are paintecl across his breast ; over his shoulders
is a brown cape ornamented with large green
spots surrounded by white annular ornaments,
and his body and legs are drapecl in white, orna-
mented with “ feather work ” in green and red
(see B.M., No. 20, 868).
2. Wooclen box, with three divisions, each of
which has a cover inscribed with the name of
Anhai. The insicle is distemperecl white, but
the outsicle is covered with a thin layer of painted
plaster of a greenish-black colour, on which are
tracecl in yellow outline the following figures :—
1. The lady Anhai, kneeling with her soul before
a sycamore tree, ancl catching in her hands the
water of life which the goddess Nut is pouring out
upon them. The hieroglyphics reacl : “ Osiris,
the lady of the house, the singer of Amen,