Beruflich Dokumente
Kultur Dokumente
qxd
10/7/02
11:09 AM
Page 75
Abstract
A fourteenth-century BC alabaster vase found at Ugarit on the coast of Syria bears a representation of
a man and a woman often interpreted as husband and wife. The man is identified as Syrian both in an
inscription stating he is Niqmaddu, ruler of Ugarit, and in his physical rendering. The identity of the
lady, dressed in Egyptian court fashion, remains uncertain. The image has been used both to support
and refute a claim made in a contemporary international letter that Egypt never gave its princesses in
marriage to foreign rulers. This article examines how the image deploys the indeterminate identity of the
woman within an explicitly identified scene of royal representation. The rationale for such intentional
ambiguity lies in Ugarits role in the political relations of the Late Bronze Age, a world of diplomacy in
which the Ugaritic king operated on both the foreign and domestic levels. The element of ambiguity
serves as a critical component in status negotiations, and images present an ideal vehicle for coding
flexible messages in diplomatic maneuvers.
Introduction
Rulers of the ancient Near East arranged interdynastic marriages among themselves and their
offspring as a primary mechanism for developing and preserving international alliances. This
practice, in its intensified and formulaic structure, is well documented in the written sources
of the fifteenth through thirteenth centuries BC
(the extended Amarna age). In general, these
transactions involved the giving of a kings
daughter to another king to be installed in his
court. The event was preceded by elaborate
negotiations and accompanied by the exchange
of great quantities of wealth in the form of both
bride-price and dowry. At least four of the
major powers of this time are known to have
participated in such marriage alliancesMit-
The Continuum Publishing Group Ltd 2002, The Tower Building, 11 York Road, London SE1 7NX and 370 Lexington Avenue, New York, NY 10017, USA.
04 Q_JMA15.1_Feldman.qxd
76
10/7/02
11:09 AM
Page 76
Feldman
Figure 1. Map of the eastern Mediterranean and Near East during the extended Amarna age (After Cohen and
Westbrook 2000).
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 77
Ambiguous Identities
77
Figure 2. Photograph of alabaster vase fragments from royal palace at Ugarit (Ras Shamra), Syria, Damascus
National Museum (courtesy of the Mission de Ras Shamra).
Figure 3. Drawing of alabaster vase fragments from royal palace at Ugarit (Ras Shamra), Syria, Damascus National
Museum (after Schaeffer 1956: fig. 118).
04 Q_JMA15.1_Feldman.qxd
78
10/7/02
11:09 AM
Page 78
Feldman
both the inscription and in his physical rendering, the womans identity remains indeterminate. It is precisely this visual ambiguity of
identity and rank that this paper explores in
light of diplomatic marriages and political negotiation. Ambiguity and multivalency are relied
upon as tools in the process of negotiation that
is central to political relations, and evidence of
their deployment survives in written diplomatic
documents of the time (Meier 2000: 173). Yet
visual forms and images present more conducive vehicles for coding ambiguous messages,
being removed from the verbal realm by which
the ancient participants evaluated claims
(Baxandall 1985: 1-11; Uehlinger 2000: xxvii).
As has been noted by many art historians,
unlike words, even those fixed in a written text,
visual images have an almost infinite capacity
for verbal extension, because viewers must
become their own narrators, changing the
images into some form of internalized verbal
expression (Brilliant 1984: 16). In other words,
no image, and especially not one depicting an
elite person on a prestige object, reflects a simple, literal reality. Rather, it presents a view that
was carefully constructed by the patron and/or
artist with the intention of conveying particular
signification. Because of this, we must accept
that images were important means of expression, and like all forms of expression, could be
more or less explicit depending on the desires of
the producer (here, the patron, rather than the
manufacturer, is taken as the primary agent in
determining the iconography of the work). It is
suggested in this article that the ladys visually
ambiguous identity and lack of inscription permitted implicit messages that were intentionally deployed for purposes of status negotiation.
The enigmatic imagery on the vase fragments,
when connected with the Late Bronze Age
world of political (both international and
domestic) relations, can be understood as a
vehicle for expressing diplomatic rhetoric.
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 79
Ambiguous Identities
Ras Shamra finds both in its imagery and its reference to a specific Ugaritic ruler (Caubet
1991: 213).
The carefully incised design preserves the
upper part of a meeting between a woman and
a man that takes place beneath a portico or
kiosk supported on either side by columns surmounted with ornate lotus, papyrus and
volute capitals of Egyptian type. The cornice
and columns frame the upper and side boundaries of the image, while the lower extent does
not survive. Five columns of Egyptian hieroglyphs run below the cornice and read from
right to left, the chief [ruler] of the land of
Ugarit, Niqmaddu (wr n h st Jkrt,
Nyq mdy). Immediately below the inscription is the upper part of a mans head; the rest
of his body is lost beyond the break. Facing
him to the right stands the woman in Egyptian
dress, coiffure and headdress. She holds a
cloth in one hand and with the other pours
liquid from a slender vessel. In between the
two figures sits a profile rendering of a spotted
cows head that resembles rhyta of Aegean
type known from examples found on Crete
and pictured as tribute in early 18th Dynasty
Egyptian private tombs (Desroches-Noblecourt 1956: 191). Comparable scenes of
women pouring wine for the king seated under
a columned portico appear in Egyptian art.
One example, from the tomb of Meryra II at
Amarna, presents an almost identical composition, though in reverse, to that on the
alabaster vase fragments (Figure 4; Davies
1905: pl. 32). In the tomb relief, Queen Nefertiti bends slightly forward as she pours wine
from a tall slender vessel, through a strainer
and into a shallow cup held by the seated
Akhenaten. The two are enclosed in an elaborately ornamented portico supported by two
columns. The double cornice features two
rows of closely set uraei.
In addition to the inscription on the vase fragments, which explicitly identifies the man as an
The Continuum Publishing Group Ltd 2002.
79
Ugaritic ruler, the representation provides physiognomic and dress-related markers of his Syrian
identity (Desroches-Noblecourt 1956: 190;
Caubet 1991: 213). Although only the upper
part of his head survives and the alabaster fragments are relatively small in size, the features of
the upper profile and headdress are clearly visible. The face and head (bearing headdress) are,
moreover, generally the most important locations for signaling personal/group identification
(Wobst 1977: 328-35). His full rounded head
and prominent nose recall images of men from
the Syro-Palestine area, as well as depictions of
Syrians in Egyptian tombs, as does the hairstyle
bound by a wide fillet.1 The larger size of his
head relative to the womans figure indicates
that he was probably seated. The proportions of
the womans body and the detailing of the cornice and columns when compared to dated
Egyptian examples provide a late fourteenthcentury date, roughly contemporary with the
end of the 18th Dynasty, from the reign of
Akhenaten through Ay (Desroches-Noblecourt
1956: 209-18). The vase can therefore be placed
in the reign of Niqmaddu II (ca. 1350-1315),
the only Ugaritic king by that name to have
reigned during the time to which the imagery
stylistically belongs.
A brief review of scholarly art historical opinion regarding this piece serves to emphasize the
competing interpretations and general lack of
consensus. In all cases, interest has rested with
the identification of the woman and its implications for the work as a whole. In the initial
1956 publication, Christine Desroches-Noblecourt proposed that the scene might commemorate a marriage between an Ugaritic king and
an Egyptian princess. Although the lady would
be smaller than the seated man should he stand,
she occupies an important position within the
portico and faces him at eye level, which
Desroches-Noblecourt (1956: 191) interprets as
indicating roughly equal rank. According to
Egyptian parallels such as that from the tomb of
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 80
80
Feldman
Figure 4.
Drawing of Queen Nefertiti pouring wine for Akhenaten, Tomb of Meryra II, Amarna, Egypt (after
Davies 1905: pl. 32).
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 81
Ambiguous Identities
Meryra II, the woman shown on the fragment
from Ugarit might be interpreted as a subject of
high enough rank to occupy a royal portico, a
favorite daughter, or an attentive wife
(Desroches-Noblecourt 1956: 197). DesrochesNoblecourt rejects the second possibility, claiming that the Egyptian-looking lady could not
possibly be the daughter of an Ugaritic king as
they are two different ethnic types, that is,
physiognomically they appear ethnically differentiated.2 She excludes the first possibility
because if the woman in question is a subject,
then she is an Egyptian sent to Ugarit on official business (e.g. as a messenger or ambassador)
and such a role is not known for a woman
81
except as a wife. Thus, only the third identification remains as a possibility for DesrochesNoblecourt. The iconography of the scene may
further support this interpretation. The act of
pouring liquid before a man carries potentially
erotic or sexual overtones in Egyptian art, seen
for example in a panel on a gold shrine from
Tutankhamuns tomb (Troy 1986: 59, fig. 38).
For Desroches-Noblecourt (1956: 198), the
headdressa box-like platform surmounted by
circular flowersis the most critical iconographic element in the identification of the
figure, and she uses it to support her interpretation: that the woman is an Egyptian married to
Niqmaddu. The best-known Egyptian image
Figure 5. Drawing of detail of the daughters of Menna, Tomb of Menna (Theban Tomb 69), Egypt (after Troy
1986: fig. 50).
The Continuum Publishing Group Ltd 2002.
04 Q_JMA15.1_Feldman.qxd
82
10/7/02
11:09 AM
Page 82
Feldman
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 83
Ambiguous Identities
83
Figure 6. Drawing of relief from back of larger chair of Sitamun, from the Tomb of Yuya and Tuya, Egypt (after
Troy 1986: fig. 59).
Figure 7. Drawing of relief from back of smaller chair of Sitamun, from the Tomb of Yuya and Tuya, Egypt (after
Davis 2000: 43, fig. 4).
The Continuum Publishing Group Ltd 2002.
04 Q_JMA15.1_Feldman.qxd
84
10/7/02
11:09 AM
Page 84
Feldman
an Egyptian king has not been given in marriage to anyone (Schulman 1979: 179, 18791). The lack of any other textual evidence
for Egyptian brides sent abroad during the
New Kingdom further supports Schulmans
conclusion.4 He himself, however, does not
dissent from Desroches-Noblecourts interpretation of the vase imagery, but rather sidesteps the issue by seeing her as an Egyptian
court lady, not an actual daughter of the king
(Schulman 1979: 185 and n. 39).
A catalog entry for the alabaster fragments
when they were displayed in a major exhibition of Syrian archaeology in the early 1980s,
written by Marianne Eaton-Krauss, states the
change in opinion and introduces a new possibility that the ladyregardless of rankis not
an Egyptian at all. An early theory was that
the woman depicted was an Egyptian princess
(Weiss 1985, cat. no 156; Museum fr Vor- und
Frhgeschichte 1982, cat. no. 144). Citing the
same passage in EA 4 as Schulman, she continues, If the important king of Babylon was
refused an Egyptian princess, it is very unlikely
that this right would be granted to a mere Syrian prince. Probably the wife of Niqmaddu was
Syrian The most likely explanation is that
Niqmaddu ordered this vessel depicting himself and his Syrian wife to be made in the
Egyptian style.
This explanation, however, fails to account
for Niqmaddus explicitly non-Egyptian depiction and the substitution of ibex heads for uraei
on the portico cornice. A fragmentary ivory
plaque found at Megiddo from the end of the
thirteenth or beginning of the twelfth century
BC furnishes a useful comparison (Figures 8 and
9; Loud 1939: pl. 63). A scene at the top depicts
a man seated on the right while a standing
young woman presents flowers to him. The
entire scene is executed in a homogeneously
Egyptianizing manner, yet the inscription
identifies the man as prince of Ashkelon, a
small Levantine kingdom (Bryan 1996: 57-9).
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 85
Ambiguous Identities
Figure 9.
Figure 8.
85
04 Q_JMA15.1_Feldman.qxd
86
10/7/02
11:09 AM
Page 86
Feldman
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 87
Ambiguous Identities
as a clumsy attempt by a lesser ruler at imitating an Egyptian scene of domestic intimacy
between the king and his wife. The selective
nature of Egyptian versus non-Egyptian iconographic elements including the rendering of
Niqmaddu, however, suggests that this image
was carefully constructed in association with
the Ugaritic king.
I would like to propose an alternative interpretation, one that walks a fine line between
the aforementioned theories. Rather than
point in absolute terms to either the foreign
policy of the Egyptian kings or the ineptness of
the Ugaritic artists, the imagery can be understood as containing an ambiguous element
(the womans identity) within a clearly defined
scene of royal representation (Niqmaddu II).
To better grasp the rationale behind such
intentional ambiguity, the alabaster vase fragments must be viewed within the larger context of the kingdom of Ugarit and its position
in the political relations of the Late Bronze
Age. In the arenas of international and domestic rhetoric, ambiguity occupies a prominent
role as a means of maneuvering, and visual
media provides an ideal venue for it since, in
the absence of an inscription, an image never
explicitly commits to a single reading, while at
the same time it contains multivalent allusions. As Barthes (1977: 37-41) notes, all
images are polysemous; they imply, underlying
their signifiers, a floating chain of signified,
the reader able to choose some and ignore othersthe text helps to identify purely and simply the elements of the scene and the scene
itselfthe denominative function corresponds exactly to an anchoring of all possible
(denoted) meanings of the object by recourse
to a nomenclaturethe text directs the reader
through the signified of the image, causing him
to avoid some and receive others. The case of
Niqmaddu and his inscription serves to highlight the floating identity of the lady who is
not mentioned in any inscription. The king The Continuum Publishing Group Ltd 2002.
87
04 Q_JMA15.1_Feldman.qxd
88
10/7/02
11:09 AM
Page 88
Feldman
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 89
Ambiguous Identities
tomb assemblage (Metropolitan Museum of
Art 1976: cat. nos. 16 and 20). Some of the
excavated objects of gold, ivory, alabaster and
faience were executed in a hybridized style that
was derived from styles of the constituent
regions, but combined in such a manner as not
to belong to any one in particular. By means of
such hybridization, these luxury goods that may
have been exchanged as gifts perfectly expressed a supra-regional community of rulers
who rhetorically professed their ties to one
another through the metaphor of brotherhood
(Feldman 2002: 17-24; 1998).
Such prestige objects have been found at
Ugarit, several in the royal palace where the
alabaster vase lay. These include ivory inlays of
a tabletop, a fragmentary ivory wing, the upper
plaques of a pair of ivory furniture panelsall
from the palaceand a gold bowl from a cache
buried on the acropolis (Feldman 1998).
Although Ugarit never attained the rank of
great power, sources indicate that its rulers
actively aspired to increase their status through
a number of diplomatic vehicles. Acceptance
and participation in the international network
of exchange was foremost among these. The
luxury goods found at the site, therefore, may
have operated on the level of emulation and
uncertain identification (Feldman 1998: ch.
5). Their formal features of hybridism appear
like prestige objects of the highest rank,
although their identification as greeting gifts
remains indeterminate. Because the designation of an object as a greeting gift depends on
an ultimately ephemeral act, that is the transfer from one party to another, once at their
place of rest, it becomes impossible to ascertain
or verify how the object arrived at its final
location. And because the international hierarchy was structured around such ephemeral
acts, manipulation of the system could effect
changes in real or perceived status.
Within this hierarchical and formalized
diplomatic system described by the letters,
The Continuum Publishing Group Ltd 2002.
89
princesses and their female attendants constituted a principal item of exchange (Artzi 1987;
Meier 2000; Pintore 1978). The subject of
interdynastic marriage occupies a large part of
the discussion in the letters, in which foreign
rulers negotiated for princesses in order to
place them in their harems. In the Amarna letters, the Mittanian king Tushratta recounted
how his daughter, given to the Egyptian king,
served to strengthen their ties, When I gave
my daughterand your father saw her, he
rejoiced. Was there anything he did not rejoice
about? He rejoiced very, very much! (EA 29:
28-30; translation by Moran 1992). Similarly,
Queen Puduhepa of Hatti, who was instrumental in negotiating a marriage between Egypt
and Hatti, wrote in one letter, The daughter of
Babylon and the daughter of Amurru, whom I,
the Queen, took for myselfwere they not
indeed a source of praise for me before the people of Hatti? It was I who did it. (KUB 21.38,
obv. 47-49 = CTH 176; translation by Beckman 1996: no. 22E).
In such situations, foreign princesses functioned in an analogous manner to the greeting
gifts. Not only did marriage create kinship
bonds, but like the gifts, their physical presence served as a lasting material embodiment
of the reciprocated friendly feelings established between two kingdoms. This analogy
with greeting gifts, in combination with the
establishment of familial relations, made foreign princesses primary markers of high status
for their new homeland. While the preceding
description of diplomatic relations is drawn
from the highest rankthat is, the great
kingsit is critical to recall that lesser polities
engaged in similar tactics. Among themselves
they exchanged letters, daughters, and gifts.
The lesser ranking kingdoms of Ugarit and
Amurru conducted such reciprocal relations,
including several interdynastic marriages
between the two states (Klengel 1992: 137,
141-42). What is rare is reciprocity between
04 Q_JMA15.1_Feldman.qxd
90
10/7/02
11:09 AM
Page 90
Feldman
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 91
Ambiguous Identities
Ugarit, constituted a primary concern for the
great powers. The kingdom immediately to
the south of Ugarit, Amurru, exemplifies the
active strategies these smaller kingdoms
enacted in their own quests for political betterment (Singer 1991). Although Amurru is
poorly known archaeologically, textual evidence documents the maneuvers of its wily
rulers, Abdi-Ashirta and his son Aziru. Aziru
reveals himself as a master of manipulating the
two great powers of Egypt and Hatti, claiming
loyalty to Egypt while at the same time forging
a treaty with the Hittite king Shuppiluliuma
(Liverani 1983). Liverani (1983: 119-21) has
stressed the use of verbal ambiguity in Azirus
letters to Egypt as a primary component in his
political double game playing and has suggested that this ambiguity may account for the
widely divergent interpretations by modern
scholars of Amurrus early history (Singer
1991: 143). Ugarits proximity to and intimate
relations with Amurru, in addition to evidence that Niqmaddu II corresponded with
both the Egyptian pharaoh and Shuppiluliuma, suggest that, at least during the reign of
Niqmaddu II, Ugarit engaged in its own political maneuvers (Singer 1999: 624-36). The
format and phrasing of Ugarits letters and
treaties with the two great powers reveal
rhetorical nuances that walk a line between
the suggestion of parity and the reality of
imbalanced relations (Zaccagnini 1990: 60).
For example, in the Amarna letters to Egypt,
Ugaritic kings, including Niqmaddu II, adopt
a subservient stance in the first part of the
salutations (I fall at the feet of the king, the
Sun, my Lord), but then wish the Egyptian
king well using the formula generally reserved
for equals (Singer 1999: 626-27). Aside from
the great kings, only Ugarit, the kingdom of
Tunip, and an independent Hittite prince
wish the Egyptian king well (EA 44, 45, 49,
and 59; Moran 1992: xxix and n. 83). These
manipulations could be achieved because of
the element of ambiguous meaning that
The Continuum Publishing Group Ltd 2002.
91
04 Q_JMA15.1_Feldman.qxd
92
10/7/02
11:09 AM
Page 92
Feldman
symbolically.
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 93
Ambiguous Identities
trasts with his presentation of the same event
to an external audience of royal peers as an
interdynastic marriage alliance, which would
have garnered prestige and status within the
international community (Liverani 1990a:
276-77).
Such recontextualizations provided opportunities for the negotiation of status and,
when uncovered by other parties, were often
met with resentment. While the Babylonian
king writing in EA 4 made explicit his
intended opportunistic use of the exchanged
woman, in other instances contempt for such
activity is evident. For example, possibly the
same Babylonian king, Kadashman-Enlil,
complained that chariots he sent to Egypt had
been displayed along with the tribute of vassal states, thereby devaluing them and consequently lessening his status (EA 1, quoted by
Amenhotep III; Liverani 1990a: 265; Liverani 1990b: 209-10). As with Gilu-Hepa, it
appears that Amenhotep III was implicitly
claiming to an internal Egyptian audience
that these items were tribute from a vassal.
In the same letter, Amenhotep responds to
concerns of Kadashman-Enlil for the health of
a Babylonian princess who was already settled
in the Egyptian harem. Once again, we see the
correlation between an exchanged womans
mutable identity and a potentially changed
status. Kadashman-Enlil, implying that the
princess had died and a substitute had been
installed in her place, wrote to Amenhotep
saying, Perhaps the [woman] my messengers
saw was the daughter of some poor man, or of
some Kaskean, or the daughter of some Hanigalbatean, or perhaps someone from Ugarit.
Denying the accusation, Amenhotep replied,
Did you, however, ever send a dignitary of
yours who knows your sister, who could speak
with her and identify her? (EA 1; trans. by
Moran 1992). In an ironic twist, the precise
trickery that the Babylonian king proposed in
EA 4 in order to acquire an Egyptian princess
The Continuum Publishing Group Ltd 2002.
93
04 Q_JMA15.1_Feldman.qxd
94
10/7/02
11:09 AM
Page 94
Feldman
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 95
Ambiguous Identities
might also speculate, perhaps again without
ever finding proof, that had an Egyptian
princess been granted in marriage to Niqmaddu
by an Egyptian king, the fact would have been
widely celebrated both by means of an inscription on this piece and in other documents. Situating a representation of Niqmaddu in an
Egyptian-looking scene complete with an intimate portrayal of an Egyptian-looking lady signaled the Ugaritic rulers cosmopolitan
position, without making an explicit claim to
what would have been a highly unusual interdynastic marriage. Visual ambiguity derives its
potency from the evidence that trappings
(visual appearance) were primary markers of
both identity and status. These outward, external attributes could be altered and manipulated, conveying imprecise messages that could
imply a range of meanings. The body of the
kings wife, moreover, served as a prime carrier
of the symbols of rank and was the perfect location for implied meaning, she being intimately
connected to the king yet not the king.8 As
Alan Schulman remarked in a footnote to his
seminal article, if Kadashman-Enlil was willing
to pass off any woman as an Egyptian princess,
who is to say that Niqmaddu was not unwilling
to do the same? (Schulman 1979: n. 39).
Acknowledgements
The ideas in this article were first presented at
the symposium, Courtly Ambiguities: Harems
and Gender in the Eastern Mediterranean,
held at the University of California, Berkeley
on 4 March 2000. Subsequent versions were
presented at the annual meetings of the
American Research Center in Egypt and the
American Schools of Oriental Research. I am
grateful to those who provided comments after
these talks, to several individuals who looked
at drafts of the manuscript, in particular Gregory Levine and Leslie Peirce, and to the
anonymous referees. For all their assistance
during the period of my research, I would like
The Continuum Publishing Group Ltd 2002.
95
Notes
1.
Compare the hairstyle with that of a victorious warrior on a carved ivory plaque from a
furniture panel excavated in the palace at
04 Q_JMA15.1_Feldman.qxd
96
2.
3.
4.
5.
6.
7.
10/7/02
11:09 AM
Page 96
Feldman
Ugarit (Damascus Museum RS 16.56; Schaeffer 1954: pl. X). For some Egyptian examples,
see Smith (1965: fig. 41 [tomb of Nebamun],
and fig. 162 [Syrian ships at dock]).
The concept of ethnic groups has been the
subject of many studies in recent years (e.g.
Jones 1997), and the problems surrounding
the use of the term have been highlighted.
The gazelle protome has been associated with
foreign (that is, non-Egyptian) princesses;
however, it also appears with the platform
crown worn by Sitamun on the larger chair
from the tomb of Yuya and Tuya, where she is
clearly identified as the daughter of the king.
It should be noted that there is no connection
between these gazelle heads (with their
slightly S-shaped horns belonging to the antelope family) and the ibex heads on the top of
the cornice (with backward sweeping horns
and bearded chin of the goat family); for discussion and illustrations of Nubian ibexes and
Dorcas gazelles, see Houlihan (1996: 58-59,
61, 109-112).
Schulman (1979: 187) does present evidence
for Egyptian princesses marrying abroad during periods of Egyptian weakness, such as during the Hyksos period preceding the New
Kingdom and in the Third Intermediate
period following.
See same images as supra n. 1.
The term international is, strictly speaking,
anachronistic for the Bronze Age, since
nations did not exist according to current
definitions (Anderson 1991; Gellner 1983;
and Hobsbawm 1992). More properly, it might
be called intercultural. Nevertheless, the
ubiquitous nature of the term international
and its widespread association with interpolity
exchange best convey the desired connotation
of a supraregional system. Thus, it is retained
in this paper.
I purposely avoid the passive connotations
implicit in the term Egyptianizing here in
order to emphasize the highly active inclusion of things Egyptian.
8.
Compare with Troys (1986: 149-50) discussion of the Egyptian queen as representing
the feminine aspect of a royal duality.
References
Anderson, B.
1991 Imagined Communities: Reflections on the Ori gin and Spread of Nationalism. Revised edn.
London: Verso.
Arnold, D.
1996 The Royal Women of Amarna: Images of Beauty
from Ancient Egypt. New York: Metropolitan
Museum of Art/Harry N. Abrams.
Artzi, P.
1978 The rise of the Middle-Assyrian kingdom,
according to el-Amarna letters 15 & 16. In
P. Artzi (ed.), Bar-Ilan Studies in History, 2541. Ramat-Gan: Bar-Ilan University Press.
1987 The influence of political marriages on the
international relations of the Amarna Age. In
J.-M. Durand (ed.), La Femme dans le ProcheOriente antique. Compte Rendu de la 33e Rencontre Assyriologique Internationale (Paris,
710 Juillet 1986): 23-26. Paris: ditions
Recherche sur les Civilisations.
1997 EA 16. Altorientalische Forschungen 24: 320-36.
Barthes, R.
1977 Rhetoric of the Image. In Image, Music, Text,
32-51. New York: Hill and Wang. Originally
published in French as Rhetorique de limage, Communications 4 (1964).
Baxandall, M.
1985 Language and explanation. Introduction to
Patterns of Intention: On the Historical Expla nation of Pictures. New Haven: Yale University Press.
Beckman, G.
1996 Hittite Diplomatic Texts. Society for Biblical
Literature,Writings from the Ancient World
Series 7. Atlanta, Georgia: Scholars Press.
Bissing, F. W. von
1940 gyptische und gyptisierende Alabastergefsse aus den Deutschen Ausgrabungen in
Assur. Zeitschrift fr Assyriologie und Vorderasi atische Archologie 46: 149-82.
Bordreuil, P., and D. Pardee
1989 La trouvaille pigraphique de lOugarit. Ras
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 97
Ambiguous Identities
Shamra-Ougarit 5. Paris: ditions Recherche
sur les Civilisations.
Brilliant, R.
1984 Visual Narratives: Storytelling in Etruscan and
Roman Art. Ithaca: Cornell University Press.
1991 Portraiture. Cambridge, Massachusetts: Harvard University Press.
Bryan, B.M.
1996 Art, empire, and the end of the Late Bronze
Age. In J.S. Cooper and G.M. Schwartz (eds.),
The Study of the Ancient Near East in the
Twenty-First Century: The William Foxwell
Albright Centennial Conference, 33-79. Winona
Lake, Indiana: Eisenbrauns.
2000 The Egyptian Perspective on Mittani. In R.
Cohen and R. Westbrook (eds.), Amarna
Diplomacy: The Beginnings of International
Relations, 71-84. Baltimore: The Johns Hopkins University Press.
Bryce, T.R.
1989 Ahhiyawans and Mycenaeansan Anatolian
viewpoint. Oxford Journal of Archaeology 8:
297-310.
Caubet, A.
1991 Rpertoire de la vaiselle de pierre, Ougarit
1929-1988. In M. Yon (ed.), Arts et industries
de la Pierre. Ras Shamra-Ougarit 6: 205-72.
Paris: ditions Recherche sur les Civilisations.
Cochavi-Rainey, Z.
1999 Royal Gifts in the Late Bronze Age, Fourteenth
to Thirteenth Centuries B.C.E. Beer-Sheva
Studies by the Department of Bible and
Ancient Near East 13. Beer-Sheva: BenGurion University of the Negev Press.
Cohen, R.
1996 All in the family: ancient Near Eastern diplomacy. International Negotiation 1: 11-28.
2000 Intelligence in the Amarna Letters. In R.
Cohen and R. Westbrook (eds.), Amarna
Diplomacy: The Beginnings of International Rela tions, 85-98. Baltimore: Johns Hopkins University Press.
Cohen, R., and R. Westbrook (eds.)
2000 Amarna Diplomacy: The Beginnings of Interna tional Relations. Baltimore: Johns Hopkins
University Press.
97
Davies, N. de G.
1905 The Rock Tombs of El Amarna. Volume 2.
London: Egypt Exploration Society.
Davies, N. M.
1936 Ancient Egyptian Paintings. Chicago: University of Chicago Press.
Davis, T. M.
2000 The Tomb of Iouiya and Touiyou with the
Funeral Papyrus of Iouiya. London: Duckworth and Company. [Reprint. Original editions 1907 and 1908].
Desroches-Noblecourt, C.
1956 Interprtation et datation dune scne grave
sur deux fragments de rcipient en albtre
provenant des fouilles du palais dUgarit. In
C. F.-A. Schaeffer (ed.), Ugaritica 3: 179-220.
Paris: Librairie Orientaliste Paul Geuthner.
Eaton-Krauss, M.
1989 Walter Segals documentation of CG51113,
the throne of Princess Sat-Amun. Journal of
Egyptian Archaeology 75: 77-88.
Epigraphic Survey.
1980 The Tomb of Kheruef. Oriental Institute Publications 102. Chicago: University of Chicago
Press.
Feldman, M.
1998 Luxury Goods from Ras Shamra-Ugarit and
their Role in the International Relations of
the Eastern Mediterranean and Near East
during the Late Bronze Age. Unpublished
PhD dissertation, Harvard University, Cambridge, Massachusetts.
2002 Luxurious forms: redefining a Mediterranean
international style, ca. 14001200 B.C.E.
Art Bulletin 84: 6-29.
Gellner, E.
1983 Nations and Nationalism. Ithaca: Cornell University Press.
Grene, D. (translator)
1987 Herodotus, The History. Chicago: University
of Chicago Press.
Gterbock, H. G.
1983 The Hittites and the Aegean world: part 1.
The Ahhiyawa problem reconsidered. Ameri can Journal of Archaeology 87: 133-38.
Hobsbawm, E. J.
1992 Nations and Nationalism since 1780. Revised edition. Cambridge: Cambridge University Press.
04 Q_JMA15.1_Feldman.qxd
98
10/7/02
11:09 AM
Page 98
Feldman
Houlihan, P. F.
1996 The Animal World of the Pharaohs. London:
Thames and Hudson.
Jones, S.
1997 The Archaeology of Ethnicity: Constructing
Identities in the Past and Present. London:
Routledge.
Klengel, H.
1992 Syria 3000 to 300 BC: A Handbook of Political
History. Berlin: Akademie Verlag.
Kozloff, A. P., and B. M. Bryan
1992 Egypts Dazzling Sun: Amenhotep III and his
World. Cleveland: Cleveland Museum of Art.
Lilyquist, C.
1999 The objects mentioned in the texts. In Z.
Cochavi-Rainey, Royal Gifts in the Late Bronze
Age, Fourteenth to Thirteenth Centuries B.C.E.
Beer-Sheva Studies by the Department of
Bible and Ancient Near East 13: 211-18. BeerSheva: Ben-Gurion University of the Negev
Press.
Liverani, M.
1983 Aziru, servitore di due padroni. In O. Carruba, M. Liverani and C. Zaccagnini (eds.),
Studi orientalistici in ricordo di Franco Pintore.
Studia Mediterranea 4: 93-121. Pavia: GJES.
1990a Prestige and Interest: International Relations in
the Near East ca. 16001100 B.C. History of
the Ancient Near East, Studies I. Padua: Sar gon Srl.
1990b Hattushili alle prese con la propaganda ramesside. Orientalia ns. 59: 207-17.
Loud, G.
1939 The Megiddo Ivories. Oriental Institute Publications 52. Chicago: University of Chicago
Press.
Meier, S. A.
1988 The Messenger in the Ancient Semitic World.
Harvard Semitic Monographs 45. Atlanta,
Georgia: Scholars Press.
2000 Diplomacy and international marriages. In
R. Cohen and R. Westbrook (eds.), Amarna
Diplomacy: The Beginnings of International
Relations, 165-73. Baltimore: Johns Hopkins
University Press.
Metropolitan Museum of Art
1976 Treasures of Tutankhamun. Exhibition catalog.
New York: Ballantine Books.
The Continuum Publishing Group Ltd 2002.
Moran, W. L.
1992 The Amarna Letters. Baltimore: Johns Hopkins University Press.
Museum fr Vor- und Frhgeschichte.
1982 Land des Baal: Syrien, Forum der Vlker und
Kulturen. Exhibition catalog. Berlin.
Petit Palais, Muse.
1983 Au pays du Baal et dAstart: 10 000 ans dart
en Syrie. Exhibition catalog. Paris.
Pintore, F.
1978 Il matrimonio interdinastico nel Vicino Oriente
durante i secoli XV-XIII. Rome: Istituto per
lOriente, Centre per le Antichit e la Storia
dellArte del Vicino Oriente.
Quibell, J. E.
1908 Tomb of Yuaa and Thuiu. Catalogue Gnral des
Antiquits gyptiennes du Muse du Caire,
nos. 51001-51191. Cairo: Institut Franais.
Schaeffer, C. F.-A.
1954 Les fouilles de Ras Shamra-Ugarit: quinzime,
seizime, et dix-septime campagnes (1951,
1952 et 1953), rapport sommaire. Syria 31:
14-67.
1956 Matriaux pour ltude des relations entre
Ugarit et lgypte. In C. F.-A. Schaeffer (ed.),
Ugaritica 3: 164-68. Paris: Librairie Orientaliste Paul Geuthner.
Schulman, A.
1979 Diplomatic marriages in the Egyptian New
Kingdom. Journal of Near Eastern Studies 38:
177-93.
Singer, I.
1991 A concise history of Amurru. In S. Izreel,
Amurru Akkadian: A Linguistic Study. Volume
2. Harvard Semitic Studies 41: 135-95.
Atlanta, Georgia: Scholars Press.
1999 A political history of Ugarit. In W.G.E. Watson and N. Wyatt (eds.), Handbook of Ugaritic
Studies, 603-733. Leiden: Brill.
Smith, W. S.
1965 Interconnections in the Ancient Near East: A
Study of the Relationships between the Arts of
Egypt, the Aegean, and Western Asia. New
Haven: Yale University Press.
Soldt, W.H. van
1991 Studies in the Akkadian of Ugarit: Dating and
Grammar. Alter Orient und Altes Testament
40. NeukirchenVluyn: Neukirchener Verlag; Kevelaer: Verlag Butzon and Bercker.
04 Q_JMA15.1_Feldman.qxd
10/7/02
11:09 AM
Page 99
Ambiguous Identities
Tadmor, H.
1979 The decline of empires in Western Asia ca.
1200 B.C.E. In F. M. Cross (ed.), Symposia Cel ebrating the Seventy-Fifth Anniversary of the
Founding of the American Schools of Oriental
Research (19001975), 1-14. Cambridge, Massachusetts: American Schools of Oriental
Research.
Troy, L.
1986 Patterns of Queenship in Ancient Egyptian Myth
and History. Uppsala: Acta Universitatis
Upsaliensis.
Uehlinger, C.
2000 Introduction. In C. Uehlinger (ed.), Images as
Media: Sources for the Cultural History of the
Near East and the Eastern Mediterranean (1st
Millennium BC). Orbis Biblicus et Orientalis
175: xv-xxxii. Fribourg: University of Fribourg
Press; Gttingen: Vandenhoeck and Ruprecht.
Weiss, H. (ed.)
1985 Ebla to Damascus: Art and Archaeology of
99