藝術

室內設計及裝飾

鑽石及寶石

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時尚及運動

錢幣及郵票

漫畫及動畫

經典汽車，摩托車及汽車用品

葡萄酒、威士忌與烈酒

亞洲及部落藝術

集換式卡牌

玩具及模型

考古學及自然歷史

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音樂、電影及相機

書籍及歷史紀念品

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Ruth Garrido Vila

Ushabti

Ancient Egypt, Late Period, 664 - 332 BC 

MATERIAL: Faience 

SIZE: 7 cm height

PROVENANCE: Private collection, France, 1980s. 

CONDITION: Good, see photos.

The faience shabti has and fine modelled details of the face, the plaited beard, striated tripartite wig, hands and hoes. The figure has a pedestal and a back pillar.

The Egyptian Afterlife was understood as a mirror of the real world, where both good and evil had their place. Those who were unfair or evil were punished for eternity, while the just enjoyed a comfortable existence travelling with the solar god. Even then, the deceased who were so blessed were still obliged to fulfil human responsibilities and needs, in the same way they had to in life. Their need to have food and drink in the Afterlife was a constant worry for them. If they were obliged to work in the Fields of Aaru, in the Realm of the Dead, and as members of a society which was a hierarchy governed by the gods, everyone – men and women, lords and servants, kings and queens – had to be willing to cultivate, sow and harvest the crops.

In the world of the living these basic tasks of production were carried out by the lower classes in society. To avoid this fate, Egyptians looked for a magic solution: they created one or more figures of themselves to be able to hand over to the emissaries of the reigning god, Osiris, when these called on the deceased to fulfil his obligations. These statuettes, placed amongst the grave goods in the tomb, were images which represented both the master and the servant.

They are known by the name of ushabtis, the term coming from sabty or shabty, derived from Sawab, the meaning of which corresponds to the Greek word “persea”, a sacred tree from whose wood the ancient Egyptians began to produce these funerary effigies. It was towards the Third Intermediate Period, in Dynasty XXI, around 1080 BC when they began to use the term wsbty, that is, “ushebty”. From then on the name “ushabti” derived from the verb wsb meaning “to answer” was used to name “he who answers”. 

The use of ushabtis was incorporated into the burials in Ancient Egypt from the First Intermediate Period on. Their use grew during the Middle Kingdom, the time when the Egyptians began to write a spell in the Coffin Texts, number 472, so that the ushabtis would answer to the call: “The justified N. says ‘Oh ushabti, allotted to N, if N is summoned to do any work, or if a disagreeable task was asked of N as for any man for his duty, you are to say ‘I am here’. If N is called to watch over those who work there, ploughing the new fields to break the earth, or to ferry sand in a boat from east to west, you will say ‘I am here’. The justified N.”

This spell or utterance went on to be inscribed on ushabtis, and so in most cases, it appears there engraved. From the New Kingdom on, a great number of innovations were introduced. Examples with texts started to proliferate. Some of these were somewhat longer texts from Chapter VI in the Book of the Dead. Even so, in many cases the text simply indicates the name of the deceased, or a basic utterance, with the name of a family member or the posts that he held.

Ushabtis at first were made above all from wax, later from wood, and then towards the end of the Middle Kingdom they appeared in stone. From the New Kingdom on, the material par excellence was faience. We know they were produced in multiples thanks to moulds which have been preserved, and where in some cases, the engraved texts were unfinished, as the name of the owner was missing. The most popular form was that of the mummy until the introduction, towards the end of Dynasty XVIII, of figures decorated with everyday clothing. Many carried implements to work in the fields, such as a basket, a hoe or a pick, as a reference to the task to be carried out which was awaiting them in the Afterlife, as the symbolic representation of their master. The iconography, texts, materials, colours and their placing in the tomb could suggest other symbolic meanings. 

Sometimes they were placed in wooden boxes, which could be either simple ones or with sophisticated decoration. In the New Kingdom they came to be placed in miniature sarcophagi.

While at first they were considered to be replicas of the deceased, in the New Kingdom and later, the ushabtis came to be seen as servants or a manner of slave, and for this reason they were produced en masse. There were both women and men, including specialists in different activities. Sometimes they were under the supervision of overseers, and these were distinguished by the use of a kilt. This is the case for the pharaoh Tutankhamun: he had three hundred and sixty five ushabtis at his command, one for each day of the year; thirty six overseers, one for each team of ten workers; and twelve master overseers, one for each month of the year. This came to a total of four hundred and thirteen servants in the Otherworld. The fear of having to carry out these tasks demanded of  the dead by Osiris meant that in some burials there were even ushabtis who were there to act as substitutes or stand-ins, if necessary, for the main ones.
 
It is logical to think that no pharaoh would have wanted to carry out this type of task personally, and so at the necessary moment the utterance written on the body of the ushabti was read out so that this  object acquired life to answer to the call, substituting for the pharaoh in the work.

Late Period 664-332 B.C . - 不明

古埃及 沙布提。高7厘米。晚期，公元前664年至公元前332年。 小雕像 - 7 cm

鋼筆及打火機

底價

沒有保留價

立即購買

预算

結束日期

明天

14 一月

星期五

星期四

星期日

星期六

13 一月

今天

星期一

15 一月

位置

義大利

西班牙

荷蘭

日本

德國

法國

葡萄牙

比利時

土耳其

羅馬尼亞

丹麥

希臘

奧地利

波蘭

安道爾

美國

拉脫維亞

捷克共和國

英國

立陶宛

保加利亞

瑞士

愛沙尼亞

克羅埃西亞

匈牙利

尺寸

高度

寬度

深度

品牌

Montblanc

Zippo

S.T. Dupont

Cartier

Marlen

Visconti

Aurora

派克

Waterman (華特曼)

Montegrappa (萬特佳)

Dunhill

Maita

Cross

Omas

Delta

Pilot

Sheaffer (美國西華)

Pelikan (德國百利金)

Ronson

Caran d'Ache

Ferrari

Swan

Gucci

Namiki (日本並木)

Faber Castell (德國輝柏)

物品

自來水筆

打火機

袖珍打火機

圓珠筆

鋼筆

滾珠筆

筆套裝

煙斗

自動鉛筆

筆盒

保濕煙罐

桌上型打火機

雪茄切割器

煙灰缸

鉛筆盒

煙盒

桌上用品套裝

雪茄盒

香煙架

音樂香煙分配器

細線筆

帶打火機菸盒

書法筆

原產國

不明

歐洲

愛爾蘭

北美

加拿大

多明尼加

印度

越南

美屬維京群島

澳大利亞

梵蒂岡

俄國

物料

珍貴樹脂

鍍金

樹脂/聚酯

鋼（不銹鋼）

黃銅

.925 銀

金色

塑料

鍍銀

.585 (14 kt) 黃金

賽璐珞

.750 (18 kt) 黃金

皮革

銀盤

瑪瑙

鍍鉑金

鐵（鑄／鍛）

金屬

野蔷薇

性別

男士

中性

狀態

全新－未使用

良好 - 有使用痕跡、些微老化跡象和小瑕疵

極佳 - 幾乎沒有 使用痕跡/老化/小瑕疵

一般 - 大量使用痕跡或遺失部分零件

狀態良好- 使用過，亦有些微老化跡象

不佳 - 大量使用痕跡，裂縫、損壞或遺失主要零件

全新一樣，未曾使用但沒有原裝包裝

極好

良好狀態

優良的條件，幾乎沒有使用最少的磨損跡象

時期

2000-2010

20世紀末

2020+

2010-2020

1990-2000

20世紀下半葉

1970-1980

20世紀中葉

1980-1990

Unknown

1960-1970

1950-1960

20世紀上半葉

1940-1950

20世紀初

11世紀末

2025

1930-1940

1920-1930

2023

2024

1910-1920

1850-1900

2021

1900-1910

證明

沒有實驗室報告

細度

18 克拉

款式

Vintage

現代的

古董

古風

藝術裝飾

新藝術風格

鋼筆及打火機

此物品不再提供，但還有更多精彩待探索

古埃及沙布提。高7厘米。晚期，公元前664年至公元前332年。小雕像 - 7 cm

人氣鋼筆及打火機

2132件物品

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鋼筆及打火機

此物品不再提供，但還有更多精彩待探索

古埃及 沙布提。高7厘米。晚期，公元前664年至公元前332年。 小雕像 - 7 cm

人氣鋼筆及打火機

2132件物品

相關收藏品

古埃及沙布提。高7厘米。晚期，公元前664年至公元前332年。小雕像 - 7 cm