24. Nofert
25. Ka-aper
26. Unknown
The celebrated figure of Ka-aper, or the “Sheykh el Beled,” belongs to the same period. The figure is so well known that it need not appear here, but the full face is less familiar ([fig. 25]). The mouth and chin are perhaps the most truthful part, and seem entirely free from convention. The eyes are excellent in form, but affected by the technical detail of inserting the eyeball of stone and crystal in a copper frame. The similar eyes in the head of Nofert are more carefully inserted, so that the frame is not obvious. The hair is represented as closely cut, so as to allow the wig to be put over it. We can, however, hardly judge of this figure as it is, stripped of the coat of coloured stucco which covered such work. The portions of similar wooden figures in the temple of Abydos had all been thus painted. Such a coat would modify the eye setting, and leave only the dark line visible which imitated the kohl on the eyelids.
Another work of the same age is the best for the pose of the figure ([fig. 26]). The vigorous, independent, frank attitude is perhaps the finest in any portrait, ancient or modern. The profile is of the same type as that of Nofert, alike in the strong brow and the form of the nose and chin; the eye is more prominent, and the mouth less luxurious, while the under-chin is firmer. Such differences are all in keeping with the character, that of an active mistress of an estate rather than an easy-going noble.
We shall not find in any of the subsequent work of the pyramid age—still less in the later ages—such vitality and strength of individual character as we have seen in these early portraits. With these stands also the minute head of Khufu ([fig. 123]), which we shall notice with the ivory-work.
OLD KINGDOM SCULPTURE
27, 28. King Khafra (IVth dynasty)
The statue of Khafra ([fig. 27]) carved in diorite is one of the grandest works of Egypt. The entire dignity and majesty shown contrast strongly with the active air of the subordinate classes. The muscular detail is powerful, but yet in keeping with the serenity of the figure. The whole is best grasped from below, as it was intended to be seen; but the head should be studied at its own level, and the profile, from a cast ([fig. 28]), shows the form as it originally appeared when covered with a facing which concealed the grain of the stone. The difference of character between the calm, easy dignity of this, and the terrible energy of Khufu ([fig. 123]), should be observed. It shows how free the art is from any mere convention of majesty. The hawk behind the king is shown as spreading out its wings to protect the royal head. This symbolism is ingeniously hidden in the front view, so as not to interfere with the effect of the whole figure as it was intended to be seen. The figures of the Vth and VIth dynasties have more vivacity than those earlier, but scarcely such a real vitality. The well-known scribe ([fig. 29]) is a good piece of expression, showing the attentive, waiting air of a man who is following dictation. The anatomy is not detailed, and the surfaces look rather blocked out and bald as compared with Khafra.