Kirstin Purtich

The Goddess Ma’at: A Physical Manifestation of Cosmic Order

Although any of the ancient artifacts housed in the RISD museum would justly deserve a conscientious analysis, the artifact that immediately drew my attention was a particular representation of the Egyptian goddess Ma’at. Maybe it was the figure’s apparent fragility or its distinct elegance of form, but there was something especially arresting about this object above all the other artifacts in the room, and it was edifying to consider an artifact in so much depth. Usually when one visits a museum there is only a fleeting connection with the objects on display, but this sort of project motivates a deeper understanding of an individual object, both in its physical presence and its historical context.

Before contemplating this artifact in a tangible sense, it is useful to understand what it was intended to depict in its most literal sense. The goddess Ma’at personified the ideal of cosmic order in Egyptian religious doctrine, and she was recognized by the ostrich feather that she wears atop her head in this figurine. It was said that she would use this feather to weigh against the heart of a deceased person in order to determine whether the person had lived a righteous life, ultimately condemning the deceased to die a second death if the heart proved heavier than the feather. Ma’at was a crucial component of Egyptian dogma, and as such she is depicted seated atop a richly decorated altar, elevating her to be revered.

One of the most striking physical aspects of the figure is its material, which is a highly polished bronze molded according to the lost-wax process. Egyptians had already been casting in bronze for centuries prior to the production of this object, but still, this figurine is a marvel of technical achievement, especially considering its extreme attention to detail. Also, the use of such a fine material implies that this object was crafted for someone of considerable wealth, perhaps for the king.

Another notable element of this piece is its miniscule size, which was probably due in part to the Egyptians’ relatively limited metalworking technology. At a mere nine inches high, and roughly one or two inches wide and deep, this artifact is the complete opposite of the colossal sculpture of the Egyptians, which intended to astound the viewer with size and mass. This object was likely meant to be appreciated on a more personal level, perhaps as an amulet or reminder for the king who might have owned it of the importance of Ma’at, both as a goddess and as a principle. Whatever its purpose, however, its size, like its material, adds to the object’s sense of expert craftsmanship.

Despite the apparent limitations of size and material, this object boasts a tremendous amount of detail. While some of the detailing serve a definite purpose, like the fine patterns of lines that define the goddess’ hair and the ostrich feather atop her head, other details seem to be more decorative, such as the tiny triglyphic pattern that borders the faces of the altar. Likewise, the collar that the goddess wears is barely visible nestled under her chin and hair, but it is nevertheless carefully etched in to the bronze, presumably to preserve the full conventional depiction of the goddess.

The extraordinary detailing also imbues the piece with a certain fragility, particularly emphasized by the element of openwork in the scenes on the altar’s faces, which in turn is an interesting play on positive and negative space. Meanwhile, the altar scenes as a whole are barely decipherable for their size (dim museum lighting does not help the matter), but if one does look closely, these tiny pictures lose none of their clarity. Perhaps the purpose of this fastidious detail in such a small scale was in fact to draw the viewer in and encourage him or her to consider the scenes more closely.

When one is finally able to decode what is depicted on the faces of the altar, it becomes clear that these scenes are meant to reinforce the symbolic significance of the seated figure above. On each of the sides of the altar to the goddess’ right and left, a smaller, two-dimensional version of the goddess’ head is flanked by two identical winged hybrid animal figures. Again, the scale makes the figures difficult to recognize, but these surrounding figures may be representations of the falcon god Horus, in an additional representation of Egyptian theology.

The scenes depicted on the front and back faces of the altar, on the other hand, are more of a mystery. These scenes show what appear to be three huddled figures, discernible only by a series of three small circles (presumably heads) atop rounded bodies. Their exact significance may not be clear, but surely they were an integral part of the symbolism of the object as a whole.

Aside from the technical specifications of material, size, and context, probably the most remarkable aspect of this figurine is its distinct elegance of form. From the subtly shaped, almost abstracted body and long, lean limbs typical of Egyptian conventions to the goddess’ graceful facial features, everything about this portrayal of the goddess Ma’at is sleek and sophisticated. With its long neck and unusually elongated neck, this figure is typical of the stylized Egyptian beauty that fascinated and inspired artists of the Art Deco period many centuries later. After all this discussion of form and style, it is also essential to understand the ideology behind this object. Not only was Ma’at a goddess known for her role as a judge in the afterlife, but she also represented the essential Egyptian concept of truth, justice, and proper action both on earth and in the cosmos. It was one of the king’s main duties to preserve ma’at by maintaining legal and moral order, and as such, it is possible that this object served some kind of ritual purpose for the king’s use.

As one considers the driving principles behind this object, it is remarkable how even the structure of the figurine reinforces those ideals. For instance, the perfect symmetry of the object, from the identical scenes on the sides and front and back faces of the altar to the symmetry of the goddess’ face and body, helps to illustrate the idea of balance, as does the symmetry within the side altar scenes themselves. In that same vein, the goddess’ very position, perched as she is on her altar with her characteristic feather secured atop her neatly parted hair evokes a perfect equilibrium.

Overall, the meticulous care given to creating this essentially decorative object must demonstrate the importance of Ma’at, both as a goddess and as a concept, to the ancient Egyptians. It is interesting to note that this figure likely came from late in the Egyptian dynastic era, during the 26th dynasty also known as the Saite period. Dynasty 26 was in fact the last dynasty of truly Egyptian rule, during which Egypt’s kings promoted a certain nostalgia for past eras, especially the Old Kingdom. With this kind of reminiscence for bygone eras of Egyptian dominance as well as the imminent threat of conquest by the Persians, it is not surprising that the preservation of ma’at would be a genuine concern at this time in Egyptian history. This exquisitely crafted statuette, with its painstaking detail and elegant form was likely meant as a reminder and a symbolic protector in a time of uncertainty, and it is only after considering this object in all its aspects both physical and symbolic that one can convincingly arrive at this conclusion.

Works Cited

Allen, James, and Marsha Hill. "Egypt in the Late Period (ca. 712–332 B.C.).".Heilbrunn Timeline of Art History. 2004. The Metropolitan Museum of Art. 27 Sep. 2008 <http://www.metmuseum.org/toah/hd/lapd/hd_lapd.htm>.

Helen M. Strudwick, et al. "Egypt, ancient." Grove Art Online. Oxford Art Online. 27 Sep. 2008 <http://www.oxfordartonline.com/subscriber/article/grove/art/T025075pg7>.

Scott, David C. “Egypt: The Gods of Ancient Egypt – Ma’at (Maat).” Tour Egypt. 2004. 27 Sep. 2008 <http://www.touregypt.net/godsofegypt/maat.htm>.