Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Late Egyptian Costumes in Persian Taste
Tamer Fahim
Faculty of tourism and Hotels, Fayoum University
Abstract
The Egyptians had kept their civilization for thousands years away from foreign
influences. They hadn't the real desire to imitate or borrow any style of art from the
Persians. On contrary, they showed increasing nostalgia for their authenticity. It is no
doubtless that Persian policy was based on submission all over the world, so they were
attempting to rule the world empire, and they had begun their goals through the so-called
'Persianization'.i Persians had adopted and adapted elements to create their own
civilization; so the Persianization is a process of two-way acculturation. After the Persian
invasion to Egypt 525 B.C, The Persian rulers make a concerted effort to appear as
indigenous pharaohs during the first domination of Egypt. They tried hard to apply a
variation style of art based on combination between Egyptian and Persian traits. Persian
rulers had executed their goals by elevated the Egyptian officials to a high position that
encouraged their counterpart and others to imitate them; some of the Egyptian officials
who worked as a collaborative for Persian rulers, appeared with Persian influence on their
costumes the Egyptian costumes. Weather is the reason behind this Persian influence; this
article is calling attention to the Persian taste on Late Egyptian costumes. In selecting the
masterpieces of Egyptian art, so the author chooses the Egyptian costumes (headdress,
jewelry, and clothing), which would illustrate the Persian traits as wide a range of the
crafts and techniques as possible; it can be concluded that some Egyptian costumes carried
the Persian taste; it had become a new style of costumes which combines between
Egyptian and Persian style.
Key words: Collaborative- Costumes- Egyptian- Innovation- Persianization.
Introduction
Although the Egyptian civilization is a conservative, but during New Kingdom Egypt had
adopted many foreign influences, particularly in trade and war, innovation ideas
deliberately imported from Syria and western Asiaticii (Mumford, 2007: 225-288;
Olmstead, 1948: 471; Perdu, 2002:1234-45; Dillery, 2005: 387-406). And then, Egypt had
passed a decline period and suffered from Persian invasion during Late Egyptian Period,
nobody can doubt that Egyptians revolted against them to repulse themiii (Shubert,
1993:27- 47). We haven't enough information concerning the Persian invasioniv to Egypt
525 B.C. (Atkinson, 1965: 167-177; Rosaria, 2009: 457-470; Cooney, 1954:1-16; Chimko,
2003:15-56; Root, 1991: 1-25). It is known that Persians were considerably harder handed
towards the Egyptians than their conquering predecessors; they were certainly not as
familiar with Egyptian art as were the Nubianv (Chimko, 2003:15-56; Cruz-Uribe, E.2003:
9-60).Egyptian artisans ignored the impact of Persian influence as much as possible in
their artistic production. The Persian policy after first domination was unanimously to
adopt the Egyptian customs, so they exploited the Egyptian officials to play this role and
let them compose the appropriate actions. The author introduces the Persian influence on
some Egyptian costumes during Late Egyptian Period;vi (Wright, 2009:1-28; Christopher,
2011:150-182; Christopher, 2011:162; Josephson, 1997:109-113). Egyptians all over
history tried hard to keep their civilization with its remarkable features far from the Persian
influences, but the Egyptian costumes may reflect some Persian influence such as, clothing
(Persian jacket or chemisevii), hair wigs, and jewelryviii was inlayed with distinguish style
of Persian lion's head (Roes, 1952:17-30; Cooney, 1954:17-25; Johnson, 1999: 211-222).
450
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Egyptian Costumes in a Persian Taste
The stela of Djedherbesix is an important evidence of Persian policy to adapt the Egyptian
indigenous customs (fig.1) (Mathieson, 1995:23-41). The stela is divided into two main
registers and a lunette, which are decorated with winged sun disk; the lunette is
represented as an Egyptian convention, except the tight spiral, which was depicted on a
number of reliefs at Persepolisx (Schmidt, 1953, pls. 22, 105; Shahbazi, 1974:135-44; id.,
1980:119-47; Calmeyer, 1979:347-65). The upper register depicts the scene of
mummification, which is paralleled on the Egyptian funerary stela of Late Egypt Period
(fig. 2)xi (Munro, 1973, fig. 24, Abb.86). Artistically, the upper register is designed as
Egyptian convention, except the lion-bier, which is depicted as Persian representation of
lionxii (Schmidt, 1997, pls. 19-20, 61-2, 153A; Root, 1979:169, pl. 28b; Culican, 1965, pl.
26). The lower register is a witness to the Persian influence on Egyptian art; the scene
represents a seated Persian dignitary high rank appears sitting on throne. His hair and dress
is pure Achaemenid court iconography (fig.1).
Although there is no parallel for the Persian dignitary in Egyptian art, but the offeringtable in front of him is of Egyptian type and of simple wooden construction utilizing
timbers apparently of square section;xiii it looks like the stool of Middle kingdom,xiv which
were generally low and had four legs, (fig. 3) (Malek, 2002: 240, 243; Wilkinson., 1955:
213-224). It is designed with supporting parts from the middle which rise vertical and
diagonal struts supporting a plain flat top; it heaps with duck and other offerings. There are
two offering bearers facing the Persian dignitary, it is so interesting to see Egyptian men in
Persian's fashion dress, the first figure appears wearing un-Egyptian length tunic with short
faring sleeves,xv which falls loosely worn under a long wrap-round skirt (Bongionni,
2001:205; Schneider, 1981, nr. 81; Riefstahl, 1970:244-259; Vogelsang-Eastwood, 1993,
fig. 8:3-4). It can be noticed, that the bottom of dress is decorated with fringe or the
pleated edge of a fine lower garmentxvi (Munro, 1973, pl. 34, Fig. 124, pl. 35, Fig. 130, pl.
37. Fig. 137). There are men and women worn the multi-layered dress with pleated edge
dated to Late Egypt period (fig. 4). It has to be mentioned that the reliefs of the tribute
processions on the North and East Stairways of the Apadana at Persepolis show the
members of the Egyptian delegation wearing the same style of garment xvii (Schmidt, 1997:
36; Roaf, 1974:138-156; Bolshakov, 2010, p. 45-56; Goldstein, 1990: 1-52).The hair or
wig, short and rounded, revealing the ear with a slight bulge at the back, is a
predominantly female style in the Late Period, especially Saite Period, (fig. 5); it is
occasionally shown on males.xviii
The facial features of the offerer are represented in the same way of the Persian dignitary;
it is un-Egyptian facial features with thick protuberant lips and rather bulbous cheeks, but
the heavily lidded eye and the prominent, slightly hooked nose give to the facial features a
Near Eastern cast. First offerer introduces ring to the Persian dignitary; the floral ornament
not known in Egyptian civilization.xix The so-called 'Persian gesture', is represented by the
second offerer who clasps the right wrist with the left hand before the waist, in such a
manner that the right palm and the back of the left hand face the viewerxx (Steindorff,
1946, no. 276; Bothmer, 1960: 83-4). This is the so-called 'Persian gesture', which appears
on some Egyptian monuments (fig. 6), although this gesture appeared with the Twentyseventh Dynasty, but it may well occur earlier and have Egyptian roots xxi (Root, 1979:
272-6; Schmidt, 51, 57-8, 72D, 87; Peck, 1969: 101-146). The second offerer with hair, is
of the same style as that of the first offerer, but protrudes less at the rear. The facial
features are also very similar, as is the dress, except that it has no fringe or pleated element
at the bottom, and the sleeve, somewhat fuller, reaches the wrist. Overall, the stela of
Djedherbes is assuring the Persian's influence on Egyptian art; it is considered a witness to
the union between a Persian and an Egyptian art. Mathiesonxxii suggests that the seated
451
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
high dignitary figure may depict Djedherbes as a Persian high rank, and accepts the
offerings from his Egyptian officials (Mathieson, 1995: 23-41).
The statue of Udjahorresnet in Vatican museumxxiii is considered an important witness of
the Persian policy in Egypt after invasion 525 B.C. (Cooney, 1954: 1-16; Peck, 1969: 101146) (fig. 7).The Persian rulers had appointed some Egyptian officials in high rank, and
gave those gifts; also they had been allowed making statues. Udjahorresnet is among those
officials, who gained the trust of Persiansxxiv (LIoyd, 1982: 166-180; Cooney, 1954: 7-10).
He appears wearing a long skirt held by a prominent knot on the breast; this skirt had the
Egyptian authenticity, it appears during the Middle kingdom for high officials xxvfor
example, the Statue of Sobekmsaf, which dates back to the Second Intermediate Period;
(Sätzinger, 1987: 45; Saleh &Sourouzian, 1987, nr. 106). He is wearing the long skirt
covering the body from breast to ankle; it is a wrap-round the body by prominent knot
under right breast.xxviThis long skirt still appear in Late Egyptian art; the statue of Henat of
Saite Period is depicted wearing the long skirt with distinguish prominent knot under the
breast xxvii(Vittmann, 1992: 89) (fig. 8).
The kneeling Naophouras statue of Somututfnakht appears wearing long skirt which is held
by a pleated prominent knot;xxviii it is similar to the skirt of Udjahorresnet's statue of
Vatican museum, except that the upper edge of the skirt of Udjahorresnet's statue is
characterized with more pleats, which is resulted by the pulling out the skirt under the
breast (Leahy, 2011: 197-223), (fig. 9). It is no doubt that the Egyptian skirt had been
developed, Persians had their own style in costumes and the Persian skirt on the
sarcophagus lid is a clear example to the Persian authenticity xxix (Albersmeier, 1988, n.
514; 100 n. 570; Daressy, 1958: 114, no.129). It is a long Persian wrap-around skirt with a
fringe down the long edge, and then knotted at its top to a scarf, which passes over the left
shoulder (fig. 10).The upper part of Udjahorresnet's statue is covered by a length sleeves
chemise or jacket; it is un-Egyptian dress, probably appeared end of Saite Period (Daressy,
1958: 114, no.129). Bothmer'sxxx argue that the earlier example of this dress is shown on
Florence's statue MA.1784, and then in Persian period 525 B.C through Egyptian officials
(Bothmer, 1960: 97). The jacket is a piece of cloth which is cut to cover the upper part,
with long sleeves differ in cut-design from statue to another; it means that the sleeves of
Udjahorresnet's statue is a tight long sleeves, while Ptahhotep's statue is a flaring loose
sleeves (Cooney, 1954: 1-16).
Udjahorresnet's statue is adorned by a rounded bracelet; it is worn on the right arm with
two prominent lion's head; the lion is represented with open mouth which as typical to
Persian convention.xxxi It is known that this representation of aggressive lion was
introduced into Egypt only under Persian rule. The representation of lion has the Egyptian
origin in treating the shape, but in Persian taste such as; ridging of the roof of the mouth
with teeth indicated xxxii (MacKay, 1949: P1. LVII 2; P1.LVI; Pl. LV 2; Hesse & Wapnish,
2002: 457-468; Pope, 2002: pl. 30; Herzfeld, 1998: 56, 58). It is known that the lion is an
important subject in Egyptian art; Persians had produced Egyptian lions permanently
influenced by the Persian traits. There are many statues of a lion-god who guarding a
vessel; all these statues still ambiguous for a long time and chaos of conflicting dating to
many scholars. They supposed many theories deal with the dating either pure Egyptian or
Persian. This is an interesting statue of Egyptian lion-god Mahes who appeared for first
time during 18th Dynasty,xxxiii and then his cult become popular when he associated with
god Nefetum. At first glance the compositions of statue in Egyptian art(fig. 11).There are
similarities between the treatment of lion with open mouth, ear and the more detail of
muscles and other examples in Persepolis which showing the combat of lion.
452
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
More obvious example for this confusing dress is the statue of Ptahhotep, xxxiv(figs. 12, 13)
he appears standing, and is wearing a composite garment; a long skirt reaches to his ankle
and is held by prominent wide knot which is hanging down. The upper part of the statue is
hidden under a new style jacket with flaring sleeves xxxv (Bongionni & Croce, 2001: 205;
Schneider, 1981, nr. 81; Roes, 1951: 137-141). This new style jacket may is held with the
long skirt under the breast with prominent knot and more pleats on two armpits. Roe’s
comments on the dress of Ptahhotep's statue, xxxvi that, it is one piece of cloth, which is
wrapped-around the body, and it has a slit hole for the head, it is held by a belt at the waist
(Roes, 1951: 137-141). She suggested that the origin of this robe date to the Medes, and
then the Persian adapted it, they are considered more beautiful, fit than the nomad clothing.
This Persian robe is designed as two parts; first one is a narrow skirt made of pieces, and
second part is the upper part, which is adorned. Thompsonxxxvii agrees on Roes' opinion
(Thompson, 1965:121-126). Beckxxxviii introduces a different point of view as same as to
(Beck, 1972:116- 123) Cooney'sxxxix opinion; Beck's opinion summarizes; that it is
impossible that the Persian robe consist of two parts (Cooney, 1954: 1-16).
Finally, Ptahhotep appears wearing an interesting necklace (fig. 14). It is a distinguish
necklace, which melange between Egyptian relief and the Persian torque.xlThe relief is
pure Egyptian, which is represented by king offered figure of Maat to god Ptah in his
shrine and goddess Sekhmet, it is probably that the king here incarnate himself as Nefetum
to complete the triad. The necklace itself is designed with two recumbent ibex facing each
other; the Persian art style represented the animal in more details of muscles, aggressive.
The ibex or gazelle on Ptahhotep's necklace is represented as Persian convention with
more accurate details, and then the thick torque (fig. 14). It can be concluded that, after the
first domination of Egypt 525 B.C under Cambyses, who needed help from the Egyptian
side to control all political affairs; the Persian rulers managed to convince some Egyptian
officials staying in their offices. Some of Egyptian officials accepted engaging with the
Persian in political affairs to restore the order and keep the Egyptian authenticity. The
Egyptian high officials may appear wearing this type of Persian torque as a reward from
the Persian ruler 'gold of honor'. The Persian policy was based on melting quickly in
Egyptian society; so they adapted many Egyptian indigenous customs, and allowed for
Egyptians appearing by Persian costumes. Persians sent many Egyptian artists to
Persepolis and Susa, to training the Persian artists. The Persian jacket is one of the
innovation elements, which is added to the Egyptian skirt, the result is a new style of
garment combined the Egyptian tradition with Persian innovation.
There is an important statue for a lady with Persian costumed. The statue of Brooklyn
Museum 63.37, which is known to Egyptian lady in a Persian costumes;xli Cooney argued
that it may be discovered at Memphis where Persian influence would be at its greatest in
Lower Egypt(fig. 15). It is worth noting the unique style of this statue is a combining of
Persia and Egypt. The face and facial features are so delicate, which fit in to the NeoMemphite style.xlii The lady appears wearing a distinguish hair wig with the frontality
which may derived from Egypt,xliii but another argue probably frontality is copied from the
Persian art (Cooney, 1965, p. 39-48). The hair wig is tied by duplicated rosettes diadem in
gold; it can be noticed that the most details of hair wig is Persian. It so interesting to notice
that, the bracelet of this lady is the same of Udjerhressent statue in Vatican museum; it is
designed circle torque around the wrist ending with lion's head which is purely Persian.
The Persian's lion is represented as snarling with open mouth.xliv The Persian gesture is
represented through the gesture of the left hand clasping the right wrist. The dress of the
lady consists from an outer and under robe with flaring sleeves which is typical to the
Persian fashion; the cut of the sleeves is designed so loose falling down. The robe is
divided into two main parts; the upper part follows the design of Persian men jacket and
453
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
ending at the waist. The lower part of the robe is a unique flounced skirt trails down onto
the ground; its style had the Mesopotamian's root, but there are Syrians are worn the same
skirt in Egyptian representations of late Eighteenth Dynasty. The lady appears wearing
heavy earrings which are certainly un-Egyptian; and it is probable that they too are
Persian. The necklace follows Egyptian models but not in detail. Cooney argued, that this
statue would have been made as a private cult status for a Persian resident in Egypt; this
statue was probably an Egyptian working in the Persian taste and the Egyptian artist who
was execute this work doubtless had this description from the Zend-Avesta before him.
Overall, The Brooklyn statue is certainly an important witness survive from Persian time,
and a document of major interest for both Persian and Egyptian art.
Conclusion
Egyptians didn't accept the Persians, so the Egyptian objects didn't show the Persian
influence not numerous nor is the degree of the Persian influence. Egyptian artists seem to
have ignored the impact of Persian rule as much as possible. They had not the desire to
borrow motifs from Persian; perhaps they were consciously rejecting them in favor of an
ever increasing nostalgia for her own art of earlier period No influences can be borrowed
from invaders who were as eager to adopt Egyptian customs and costumes. We have to
keep in our minds the Persian policy to submit Egypt under their control in short time; so
they succeed attracting some Egyptian high officials, helping those controlling political
affairs in Egypt. Ptahhotep and Udjarresenet are salient examples for the Persianization to
the Egyptian art. The Persian choose some important elements such as; lion's torque,
jacket, distinguish wig, jewelry. They are added on the Egyptian costumes mingled a new
style of art which combined the Egyptian tradition and Persian innovation, but we have to
keep in our minds that these influences limit on some costumes, and it did not occupy
changing in ancient Egyptian trend, but may it referred to the slight innovations.
The costumes which are included headdress, jewelry and clothing, they showed the UnEgyptian in style; it may be innovated during the end of Saite-period and Persian and the
survival masterpieces which are examined by author assure that headdress of Egyptians
included a new type style rounded, short revealing the ear and with a slight bulge at the
back. The jewelry is distinguished with gazelle and lion decoration, the two animals are
portrayed with Persian style, Ptahhotep and Ujadehresenet statues appear with these
unique jewelry (bracelet- necklace). Finally the complicated dress which appear on
majority of statues of Egyptian high officials in Twenty-seventh Dynasty indicate two
separate items of clothing; Egyptian long skirt with prominent knot, and Persian Jacket;
this combination was carried out by Egyptian artists and this was reflected on the spirit of
the clothing's design; for example the Persian jacket has been executed in different manner
in compare with the Persian Jacket. Overall, Persians managed to Persianization some
Egyptian costumes after their invasion Egypt for first time 525 B.C. the Persianization had
a political reasons at first place; they claimed that, they came to Egypt not as invaders, but
to save Egypt from decline. They melted in Egyptian society by appearing worn their
costumes, and adapting some Egyptian indigenous customs, but keeping with some Persian
authentic.
Bibliography
Albersmeier, M., Untersuchungen zu den Frauenstatuen, 1988.
Atkinson. K. M. T., 'The Legitimacy of Cambyses and Darius as Kings of Egypt', JAOS
76, 1965, p. 167-177.
Beck, P.,'A Note on the Reconstruction of the Achaemenid Robe', Iranica Antiqua, 1972,
p.116- 123.
454
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Bolshakov, A. O., ‘Persian and Egyptians: Cooperation in Vandalism?’, In. Offerings to
the Discerning Eye, An Egyptological Medley in Honor of Jack A. Josephson, Sue
H. D’Auria (ed.), 2010, p. 45-56.
Bongionni, A-Croce, M., Official catalogue of Egyptian Museum, Cairo, 2001.
Bothmer B., Egyptian Sculpture of the Late Period, 700 BC-AD 100, Brooklyn, 1960.
Brosius, M., ‘Keeping Up with the Persians: Between Cultural identity and Persianization
in the Achaemenid Period’ in Erich S. Gruen (ed.), Cultural Identity in the Ancient
Mediterranean, 2011, p. 135.
Charles K. Wilkinson., ‘Assyrian and Persian Art’, The Metropolitan Museum of Art
Bulletin, New Series, Vol. 13, No. 7, Mar., 1955, p.213-224.
Charlotte R. Clark., ‘Costume Jewelry in Egypt in the XVIII Dynasty’, The Metropolitan
Museum of Art Bulletin, New Series, Vol. 8, No. 5, 1950, p.154-156
Chimko, Corey J., 'Foreign Pharaohs: Self-Legitimization and Indigenous Reaction in Art
and Literature', JSSEA 30, 2003, p. 15-56.
Christopher T., ‘the Limits of Persianization: Some Reflections on Cultural Links in the
Persian Empire’ in Erich S. Gruen (ed.), Cultural Identity in the Ancient
Mediterranean, Los Angeles: Getty Research Institute, 201, p. 162.
Cook, J.M., 'Persian Empire', CAH IV, Cambridge, 1988, pl. 101.
Cooney, J. D 1954b 'The Lions of Leontopolis,' BMB 15/2, p. 17-25.
---------------- ' Persian Influence in Late Egyptian Art', JARCE, Vol. 4, 1965, pp. 39-48.
--------------- 'the Portrait of an Egyptian Collaborator', BMB 15 No, 2, 1954, Brooklyn,
p.1-16.
Cruz-Uribe, E., “The Invasion of Egypt by Cambyses,” Transeuphratène 25, 2003, p. 960.
Culiacan, W., the Medes and Persians, London, 1965.
Daressy, G., Recuill de Travaux Relatifs a la Philology et Archéologie Égyptienne et
Assyriennes, 1958, XVII, p.114, no.129.
Dillery, J., ‘Cambyses and the Egyptian Chaosbeschreibung Tradition’, The Classical
Quarterly, Vol. 55, No. 2, 2005, p. 387-406.
Fazzini, R., Egypt Dynasty XXII-XXV, Leiden, E.J. Brill, Iconography of Religions XVI,
1988.
Gardiner, A. H., Ancient Egyptian Onomastica Vol. I. Oxford: Oxford University Press,
1933.
Goldstein, S. M., ‘Egyptian and Near Eastern Art’, Bulletin (St. Louis Art Museum), New
Series, Vol. 19, No. 4, Egyptian and Near eastern studies art, 1990, p. 1-52.
Herzfeld, E., Iran and the Ancient near. East, pl. LXXII; Encycl. Photograph, du Louvre,
II, 1992.
Hesse & P. Wapnish, An Archaeozoological perspective on the Cultural use of Animals in
the Levant, in; A History of the Animals in the Animal World in the Ancient Near
East, Boston, 2002, p. 457- 468. Instituut, p. 237-83.
Johnson, J. H., “Ethnic Consideration in Persian Period Egypt,” in E. Teeter & J. Larson,
(eds.), Gold of Praise: Studies on Ancient Egypt in Honor of Edward F. Wente.
SAOC 58, Chicago: Oriental Institute, 1999, p. 211-222.
Josephson, J. A., “Archaism” in The Oxford Encyclopedia of Ancient Egypt, Vol. I: 1997,
p.109-113.
---------------.,“Egyptian Sculpture of the Late Period Revisited,” JARCE 34, 1997, p.1-20.
Kitchen, K. A., the Third Intermediate Period in Egypt, Warminster: Aris & Phillips, 1986.
Leahy, A., “Kushite Monuments at Abydos,” in C. Eyre, et al., (eds.), The Unbroken Reed.
London: EES, 1994, p.171-192
455
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Leahy, A., 'Somututfnakht of Heracleopolis: the Art and Politics of self-Commemoration
in the Seventh Century B.C', La XXVI Dynastie: Continuites et Ruptures: actes du
Colloque International organisé les 26 et 27, 2004, 2011, p. 197-223.
LIoyd, A., 'The Inscription of Udjahorresnet, A Collaborators Testament', JEA 68, 1982, p.
166-180;
---------------.. “The Inscription of Udjahorresnet: A Collaborator’s Testament,” JEA 68,
1982, p. 166-80.
MacKay, D., ‘The Jewellery of Palmyra and Its Significance", Iraq, vol.XI, I949, P1. LVII
2; P1.LVi; Pl. LV 2.
Margaret C. Root, ‘Art and Archaeology of the Achaemenid Empire’ in Jack M. Sasson
(ed.), Civilizations of the Ancient Near East vols. III & IV, New York: Scribner,
1995, p. 2615.
Mathieson, I and Elizabeth B, Sue Davies and H. S. Smith., 'A Stela of the Persian Period
from Saqqara', JEA 81, 1995, p. 23-41.
Mumford, G., Egypto-Levantine relations during the Iron Age to the early Persian Period
(dynasties late 20 to 26), in. Egyptian stories; A British Egyptological tribute to
Alan B. LIoyd on the occasions of his retirement, AOAT, 2007, p. 225-288.
Munro, P., Die Spätägyptischen Totenstelen, Verlag, 1973.
Mykliwiec, K., Royal Portraiture of the Dynasties XXI-XXX. Mainz/Rhein, Verlag Philipp
von Zabern, 1988
Olmstead, A. T., History of the Persian Empire, Chicago, 1948.
Peck, E.H., ‘The Representation of Costumes in the Reliefs of Taq-i-Bustan’, Artibus
Asiae, Vol. 31, No. 2/3 (1969), p. 101-146.
Perdu, O., ‘Saites and Persians (664-332 B.C), In. Blackwell companions to the ancient
world: A companion to ancient Egypt, 2002, p. 1234-45.
Pope, A.U., Masterpieces of Persian Art, 1997.
Riefstahl, E., 'A Note on Ancient Fashions: Four Early Egyptian Dresses in the Museum of
Fine Arts, Boston', Boston Museum Bulletin, Vol. 68, No. 354, 1970, p. 244-259.
Roaf, M., 'The Subject-Peoples on the Base of the Statue of Darius', Cahiers de la
Delegation Archeologique Français en Iran 4, 1974, p.138-156.
Roes, A., 'Achaemenid Influence upon Egyptian and Nomad Art', Artibus Asiae, Vol. 15,
No. ½, 1952, p. 17-30.
Roes, A., 'The Achaemenid Robe', Bibliotheca Orientalias, III, 1951, p. 137-141.
Root, M. C., ‘Achaemenid History’, In. from the Heart; Powerful Persianism in the Art of
the Western Empire, 1991, p. 1-25.
Root, M.C., King and Kingship in Achaemenid Art: Essays on the Creation of an
Iconography of Empire, Leiden, 1979, p. 169, pl. 28b.
Rosaria, V. M., 'Who Are Herodotus' Persians?. Classical World, 102, 2009, p. 457-470.
Sätzinger, H., Ägyptisch-Orientalische Sammlung, Kunsthistorische Museum Wien, 1987,
p. 45.
Schmidt, E. F., Persepolis, I. Structures, Reliefs, Inscriptions, Chicago, 1953, pls. 22, 105.
Schneider, H. D. en M. J. Raven, De Egyptische Oudheid, Den Haag 1981, nr. 81.
Shahbazi, A. Sh., 'an Achaemenid Symbol: I. a Farewell to 'Fravahr' and 'Ahuramazda',
Archaologische Mitteilungen aus Iran, N.F. 7, 1974, p. 135-44.
Shahbazi, A. Sh., 'an Achaemenid Symbol: II. Farnah '(God Given) Fortune' Symbolised',
AMI 13, 1980, p. 119-47; Calmeyer, P., 'Fortuna-Tyche-Khvarnah', JDAI 94 1979,
p. 347-65.
Shubert, S.B., 'Realistic Current in Portrait Sculpture of the Saite and Persian periods in
Egypt', Society for the Study of Egyptian Antiquities, Toronto 19, 1993, p.27- 47.
Smith, W.S., the Art and Architecture of Ancient Egypt London 1981, p. 217.
456
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Soudavar, A., the Formation of Achaemenid Imperial Ideology and Its Impact on the
Avesta, In. The World of Achaemenid Persia, John Curtis and St John Simpson
(eds.), 2005, p. 112-134.
Steindorff, G., Catalogue of the Egyptian Sculpture in the Walters Art Gallery, Baltimore,
1946, no. 276.
Sternberg-el Hotabi, H., “Politische und sozio-ökonomische Strukturen im perserzeitlichen
Ägypten: neue Perspektiven,” ZÄS 127, 2000, p.153-167.
Thompson, G., 'Iranian Dress in the Achaemenian Period: Problems concerning the
Kandys and other Garments' Iran, III, 1965, p. 121-126.
Tuplin, C., “Darius’ Suez Canal and Persian Imperialism,” in H. Sancisi-Weerdenburg &
A. Kuhrt, (eds.), Achaemenid History IV: Centre and Periphery. (ed.). Leiden:
Nederlands, Instituut, 1991, p. 237-83.
Vogelsang-Eastwood, G., Pharaonic Egyptian Clothing, 1993.
Wright, A., 'Persianization’ in the Art and Architecture of Achaemenid Provincial Palaces,
550-330 B.C', Ex Historia, 2009, p. 1-28.
Figure Captions
Figure 1: Stela of Djedherbes, Egyptian Cairo, JE.98807, it dated back to Persian Period,
after, Mathieson, I and Elizabeth B, Sue Davies and H. S. Smith., 'A Stela of the Persian
Period from Saqqara', JEA 81, 1995, p. 23-41.
Figure 2: Stela of Edfu, it is depicted an Egyptian mummification scene; Edfu, Cairo
Egyptian Museum, CG. 22050; after Munro, P., Die Spätägyptischen Totenstelen, Verlag,
1973, fig. 24, Abb.86.
Figure 3:A stool for sitting people which similar to the offering table in Late Egyptian
period; Tomb of Nakht, after PM, I, 1970, p. 99-102; Malek, J, Egyptian Art, Phaidon
Press Limited, New York, 1999, reprinted 2002, p 240, 243.
Figure 4: Brussels stela, E.4338, dated back to Late Egypt Period; it is found at Abydos
and depicted an offerer wearing worn multi-layered ensembles with fringe or pleated edge,
after Munro, P., Die Spätägyptischen Totenstelen, Verlag, 1973, pl. 34. fig. 124, pl. 35. fig.
130, pl. 37. fig. 137.
Figure 5: Relief from Saite Period for Egyptian with a distinguish hair or wig; it is a
rounded a short hair, Egyptian Museum, EM. 10978, after; Maspero, G., Le Musee
égyptien: Recuill II, pls. xxxv.a, xxxvi
Figure 6: Persian gesture which means 'the Hand-Over-Wrist Gesture' on Egyptian stela,
Late Period, after; Steindorff, G., Catalogue of the Egyptian Sculpture in the Walters Art
Gallery, Baltimore, 1946, no. 276.
Figure 7: Statue of Ujadehresenet is offering Naos, wearing Persian jacket, Vatican
museum, cat. 22690, after, Cooney, J., op.cit, BMB 15/12, 1954, p. 1-16.
Figure 8: Statue of Henat, Florence Museum, no.1784, he appears wearing a long skirt
with prominent knot, see; Vittmann, G., Rupture and continuity on priests and officials in
Egypt during the Persian period, 1992, p. 89.
Figure 9: Statue of Somututfnakht, Cairo Museum, from Athribis, and dated back to Saite
Period, after; Leahy, A., 'Somututfnakht of Heracleopolis: the Art and Politics of selfCommemoration
in the Seventh Century B.C', La XXVI Dynastie: Continuites et
Ruptures: actes du Colloque International organisé les 26 et 27(2004), 2011, p. 197-223.
Figure 10: sarcophagus lid for a man with distinguish Persian skirt, Late Period, British
museum, EA.90, after; Albersmeier, S., Untersuchungen zu den Frauenstatuen, 1988, n.
514; 100 n. 570.
457
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 11: Statue of lion-god guards the vessel Brooklyn Museum No. 53.221.1, TwentySeventh Dynasty, after; Cooney, J. op.cit, 1954, p. 18-19.
Figure 12: The statue of Ptahhotep, gray schist, Brooklyn Museum no.37353, after;
Cooney, J., Op.cit, BMB, 1954, p. 1-16.
Figure 13: other side of Ptahhotep's statue clarifies the flare sleeves of the Persian jacket
form side, Cooney, J., op.cit, BBM 15/12, 1953, p. 1-16
Figure 14: Ptahhotep's necklace is combined Egyptian gods and Persian animal design,
designed by author.
Figure 15: Statue of lady in a Persian costume, Brooklyn Museum, 63.37, after, Cooney,
John D., 'Persian Influence in Late Egyptian Art', JARCE 4, 1965, p. 39-48, XXVI.
Figure 1: Stela of Djedherbes, Egyptian Cairo, JE.98807, it dated back to
Persian Period, after, Mathieson, I and Elizabeth B, Sue Davies and H. S.
Smith., 'A Stela of the Persian Period from Saqqara', JEA 81, 1995, p. 23-41.
458
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 2: Stela of Edfu, it is depicted an Egyptian mummification scene;
Edfu, Cairo Egyptian Museum, CG. 22050; after Munro, P., Die
Spätägyptischen Totenstelen, Verlag, 1973, fig. 24, Abb.86.
Figure 3:A stool for sitting people which similar to the offering table in Late
Egyptian period; Tomb of Nakht, after PM, I, 1970, p. 99-102; Malek, J, Egyptian
Art, Phaidon Press Limited, New York, 1999, reprinted 2002, p 240, 243.
Figure 4: Brussels stela, E.4338, dated back to Late Egypt Period; it is found at
Abydos and depicted an offerer wearing worn multi-layered ensembles with fringe or
pleated edge, after Munro, P., Die Spätägyptischen Totenstelen, Verlag, 1973, pl. 34.
fig. 124, pl. 35. fig. 130, pl. 37. fig. 137.
459
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 5: Relief from Saite Period for Egyptian with a distinguish hair or
wig; it is a rounded a short hair, Egyptian Museum, EM. 10978, after;
Maspero, G., Le Musee égyptien: Recuill II, pls. xxxv.a, xxxvi
460
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 6: Persian gesture which means 'the Hand-Over-Wrist Gesture' on
Egyptian stela, Late Period, after; Steindorff, G., Catalogue of the Egyptian
Sculpture in the Walters Art Gallery, Baltimore, 1946, no. 276.
Figure 7: Statue of Ujadehresenet is offering Naos, wearing Persian jacket, Vatican
museum, cat. 22690, after, Cooney, J., op.cit, BMB 15/12, 1954, p. 1-16.
461
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 8: Statue of Henat, Florence Museum, no.1784, he appears wearing a long
skirt with prominent knot, see; Vittmann, G., Rupture and continuity on priests and
officials in Egypt during the Persian period, 1992, p. 89.
Figure 9: Statue of Somututfnakht, Cairo Museum,
from Athribis, and dated back to Saite Period, after;
Leahy, A., 'Somututfnakht of Heracleopolis: the Art
and Politics of self-Commemoration in the Seventh
Century B.C', La XXVI Dynastie: Continuites et
Ruptures: actes du Colloque International organisé
les 26 et 27(2004), 2011, p. 197-223.
Figure 10: sarcophagus lid for a man with
distinguish Persian skirt, Late Period, British
museum, EA.90, after; Albersmeier, S.,
Untersuchungen zu den Frauenstatuen, 1988, n.
514; 100 n. 570.
462
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 11: Statue of lion-god guards the vessel Brooklyn Museum No. 53.221.1, Twenty-Seventh
Dynasty, after; Cooney, J. op.cit, 1954, p. 18-19.
Figure 12: The statue of Ptahhotep, gray schist, Brooklyn Museum
no.37353, after; Cooney, J., Op.cit, BMB, 1954, p. 1-16.
463
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 13: other side of Ptahhotep's statue
clarifies the flare sleeves of the Persian jacket
form side, Cooney, J., op.cit, BBM 15/12,
1953, p. 1-16
Figure 14: Ptahhotep's necklace is combined Egyptian gods and Persian
animal design, designed by author
464
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Figure 15: Statue of lady in a Persian costume, Brooklyn Museum, 63.37, after, Cooney, John D.,
'Persian Influence in Late Egyptian Art', JARCE 4, 1965, p. 39-48, XXVI.
465
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Footnote
i
Persianization, is an organize process that Persians had adopted and adapted elements to create their own
civilization; Brosius, M., ‘Keeping Up with the Persians: Between Cultural identity and Persianization in the
Achaemenid Period’ in Erich S. Gruen (ed.), Cultural Identity in the Ancient Mediterranean, 2011, p. 135.
ii
The trade and political expansionist with Syrian and Asiatic are probably behind the Egyptian innovation
and ideas, which appear during the Third Intermediate period to the Persian Period, for more information see;
Kitchen, K. A., The Third Intermediate Period in Egypt, 1986, pp. 233; Fazzini, R. 1988. Egypt Dynasty
XXII – XXV. Leiden: E.J. Brill. Iconography of Religions XVI; Gardiner, A. H., Ancient Egyptian
Onomastica Vol. I. Oxford: Oxford University Press, 1933, p. 32-37; Olmstead, A. T., History of the Persian
Empire, Chicago, 1948, p. 471.
iii
Shubert, S.B., 'Realistic Current in Portrait Sculpture of the Saite and Persian periods in Egypt', Society for
the Study of Egyptian Antiquities, Toronto 19, 1993, p.27- 47.
iv
Atkinson. K. M. T., 'The Legitimacy of Cambyses and Darius as Kings of Egypt', JAOS 76, 1965, p. 167177; Rosaria, V. M., 'Who Are Herodotus' Persians?. Classical World, 102, 2009, p. 457-470; Cooney. J. D.,
'the Portrait of an Egyptian Collaborator', BMM 15 No, 2, 1954, Brooklyn, p.1-16.
v
Chimko, Corey J., 'Foreign Pharaohs: Self-Legitimization and Indigenous Reaction in Art and Literature',
JSSEA 30, 2003, p. 15-56.
vi
Wright, A., 'Persianization’ in the Art and Architecture of Achaemenid Provincial Palaces, 550-330 BC',
Ex Historia, 2009, p. 1-28; Christopher, T., op.cit, in, Cultural Identity in the Ancient Mediterranean, 2011,
p. 150-182; Christopher T., ‘The Limits of Persianization: Some Reflections on Cultural Links in the Persian
Empire’ in Erich S. Gruen (ed.), Cultural Identity in the Ancient Mediterranean, Los Angeles: Getty
Research Institute, 2011, p. 162.
vii
I acknowledged Aleksandra Hallmann for her article at the 2013 Annual Meeting of the American
Research Center in Egypt about; it helps me to conclude and discuss important ideas deal with the Persian
jacket during Twenty-seventeenth Dynasty.
viii
Roes, A., 'Achaemenid Influence upon Egyptian and Nomad Art', Artibus Asiae, Vol. 15, No. 1/2 1952, p.
17-30; Cooney, J., 'The Lions of Leontopolis,' BMB 15/2, 1954, p. 17-25.
ix
Stela of the Egyptian Museum of Cairo, JE.98807, dated back to Persian Period; it was found Saqqara
necropolis, it displays an important combination of Egyptian and Persian costumes, for more information
see; Mathieson, I and Elizabeth B, Sue Davies and H. S. Smith., 'A Stela of the Persian Period from
Saqqara', JEA 81, 1995, p. 23-41.
x
Schmidt, E. F., Persepolis, I. Structures, Reliefs, Inscriptions, Chicago, 1953, pls. 22, 105; see; Shahbazi, A.
Sh., 'An Achaemenid Symbol: I. a Farewell to 'Fravahr' and 'Ahuramazda', Archaologische Mitteilungen aus
Iran, N.F. 7, 1974, p. 135-44; id., 'An Achaemenid Symbol: II. Farnah 'Fortune' Symbolised', AMI 13, 1980,
p. 119-47; Calmeyer, P., 'Fortuna-Tyche-Khvarnah', JDAI 94 1979, p. 347-65.
xi
There are many stelae sharing the Persian stela of Saqqara in the mummification scene; first stela is found
at Edfu, Cairo Egyptian Museum, CG. 22050. The other stela is in British museum, BM.8486; see; Munro,
P., Die Spätägyptischen Totenstelen, Verlag, 1973, fig. 24, Abb.86.
xii
The lion is depicted as Persian style of art in Persepolis with more details, especially the muscles and tuft
stands upright above the paw, seems unusual in Egyptian art; for more information see; Schmidt, E.F.,
Persepolis, pls. 19-20, 61-2, 153A; Root, M.C., King and Kingship in Achaemenid Art: Essays on the
Creation of an Iconography of Empire, Leiden, 1979, p. 169 , pl. 28b; Culican, W., The Medes and Persians,
London, 1965, pl. 26.
xiii
For offering-tables with similar groupings of objects see; Munro, Totenstelen, offering table in Cairo, JE
22139(Abydos), and same design of offering table in Cairo museum JE. 22143 see also, pl. 31. fig. 114, pl.
32. figs. 116-17; in British museum there is an square offering table without supporting diagonal struts, BM.
1730, Akhmim.
xiv
Tomb of Nakht introduces a stool for sitting people who visit the tomb; it looks like the offering table in
late Egypt period; PM, I, 1970, p. 99-102; Malek, J, Egyptian Art, Phaidon Press Limited, New York, 1999,
reprinted 2002, p 240, 243.
xv
Flaring sleeves which falls loosely worn under a long wrap-round skirt did not spread in Egyptian art; the
Egyptians designed sleeves as separate item which was linked to dress if necessity; it is a flaring short
sleeves, it appears on many statues during New kingdom, and it remarks with pleats with pointed ends, statue
of Ramses Nakht with two distinguished sleeves, Egyptian Museum in Cairo, CG. 42162; statue in EM, JE.
36988, and there is a statue of lady in Royal Museum, Netherlands AST 2; for more information see;
Bongionni, A-Croce, M., Official Catalogue of Cairo Museum, 2001, p. 205; Schneider, H. D. en M. J.
Raven, De Egyptische Oudheid, Den Haag 1981, nr. 81. for more information Riefstahl, E., 'A Note on
466
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
Ancient Fashions: Four Early Egyptian Dresses in the Museum of Fine Arts, Boston', Boston Museum
Bulletin, Vol. 68, No. 354, 1970, p. 244-259; Vogelsang-Eastwood, G., Pharaonic Egyptian Clothing, 1993,
fig. 8:3-4.
xvi
Brussels stela, E.4338, dated back to Late period; it is found at Abydos and depicted an offerer wearing
worn multi-layered ensembles with fringe or pleated edge, another stela indicates the multi-layered dress
with pleated edge in Cairo museum, JE.20240, for more information, see; Munro, P., Die Spätägyptischen
Totenstelen, Verlag, 1973, pl. 34. Fig. 124, pl. 35. Fig. 130, pl. 37. Fig. 137.
xvii
Schmidt, E.F., op.cit, Persepolis, p. 36 ; Roaf, M., 'The Subject-Peoples on the Base of the Statue of
Darius', Cahiers de la Delegation Archeologique Français en Iran 4, 1974, p.138-156.
xviii
The style of this hair which appear on the Persian stela of Saqqara, appeared before during Saite period
for both men and women; relief of Saite Period in Egyptian museum, EM 10978; another relief from
Egyptian museum for men are wearing short and rounded, revealing he ear and with a slight bulge at the
back, EM. 29211.
xix
The rings do appear among the offerings being brought to the Great King in the Apadana reliefs at
Persepolis; Schmidt, E.F., op.cit, Persepolis, p. 40.
xx
Steindorff, G., Catalogue of the Egyptian Sculpture in the Walters Art Gallery, Baltimore, 1946, no. 276;
Bothmer B., Egyptian Sculpture of the Late Period, 700 BC-AD 100, Brooklyn, 1960, p. 83-4.
xxi
Root, M.C., King and Kingship, Leiden, 1979, p.272-6, for the Hand-Over-Wrist Gesture, see Schmidt,
Persepolis, pls. 25B-c, 51, 57-8, 72D, 87B-C, 121, 123.
xxii
Mathieson, I, and others, 'A Stela of the Persian Period from Saqqara', JEA, Vol. 81, 1995, p. 23-41.
xxiii
Headless statue of Udjarresenet is found from Sais, Vatican museum, cat. 22690; it dates back to 27 th
Dynasty, the third year of reign of Darius 519 BC, it is made out of dark green basalt, see; Cooney, J., 'The
Portrait of an Egyptian Collaborators', BMB, 15/2, 1954, p. 1-16.
xxiv
Udjarresenet who is a distinguish personage in a critical moment of the history of Egypt, under the last
pharaohs of the Saite Dynasty, then he worked under the reign of Persian king 525 B.C, because his
confused situation toward the Persian rule, some scholars accused him as a collaborators to Persian; for more
information see; LIoyd, A., 'The Inscription of Udjahorresnet, A Collaborators Testament', JEA 68, 1982, p.
166-180; Cooney, J., 'The Portrait of an Egyptian Collaborators', BMB, 15/2, 1954, p. 7-10
xxv
There are many examples of Egyptian skirt, which held by prominent knot under the breast; statue of
royal scribe Snnankh in Vienna museum, no.61; Sätzinger, H., Ägyptisch-Orientalische Sammlung,
Kunsthistorische Museum Wien, 1987, p. 45; statue of vizier in Egyptian Museum, CG. 42207; the long skirt
is held by two means; the prominent knot and a cord around the neck; Saleh, M- Sourouzian, H., Official
Catalogue of Cairo Museum, 1987, nr. 106.
xxvi
The Egyptian artist invented many ways to tie the dress around the body; the prominent knot under the
breast to hold the type of long skirt; the cord around the neck, and the shoulder straps. All these means were
developed to Late Egypt Period, statue of Sobekmsaf in Vienna Museum, No.5801, see; Smith, W.S., The
Art and Architecture of Ancient Egypt. London 1981, p. 217.
xxvii
Statue of Henat, Florence Museum, no.1784, he appears wearing a long skirt with prominent knot, see;
Vittmann, G., Rupture and continuity on priests and officials in Egypt during the Persian period, 1992, p. 89.
467
Journal of Faculty of Tourism and Hotels, Fayoum University, Vol. (10), No. (2/2), September, 2016
xxviii
Statue of Somututfnakht, Cairo Museum, from Athribis, and dated back to Saite Period, for more
information see; Leahy, A., 'Somututfnakht of Heracleopolis: the Art and Politics of self-Commemoration
in the Seventh Century B.C', La XXVI Dynastie: Continuities et Ruptures: actes du Colloque International
Organisé les 26 et 27(2004), 2011, p. 197-223.
xxix
It is a distinguish Persian skirt for a man on sarcophagus lid, Late Period, British museum, EA.90, for
more information see; Albersmeier, M., Untersuchungen zu den Frauenstatuen, 1988, n. 514; 100 n. 570.
xxx
Bothmer B., Egyptian Sculpture of the Late Period, 700 BC-AD 100, Brooklyn, 1960, p. 97.
xxxi
Root, M.C., King and Kingship, pl. 28b; Culiacan, W., The Medes and Persians, London, 1965, pl. 26;
Cook, J.M., 'Persian Empire', CAH IV, Cambridge, 1988, pl. 101; Schmidt, E.F., Persepolis, I. Structures,
Reliefs, Inscriptions, Chicago, 1953, pls. 19-20, 61-2, 153A.
xxxii
Hesse & Wapnish, P., 'An Archaeozoological perspective on the Cultural use of Animals in the Levant',
in; A History of the Animals in the Animal World in the Ancient Near East, Boston, 2002, p. 457-468; Pope,
A.U. , Masterpieces of Persian Art, pl. 30; Herzfeld, E., Iran and the Ancient near. East, pl. LXXII; Encycl.
Photograph, du Louvre, II, 1998, p. 56, 58.
xxxiii
Statue of lion-god guards the vessel Brooklyn Museum No. 53.221.1,Twenty-Seventh Dynasty, for more
information see; Cooney, J. op.cit, 1954, p. 18-19.
xxxiv
Ptahhotep is an Egyptian official, but in rare exceptions to Egyptian traditions and customs, he is
occupied high rank pose during Persian rule. The statue of Ptahhotep is made out of gray schist, in Brooklyn
Museum no.37353, see; Cooney, J., Op.cit, BMB1954, p. 1-16.
xxxv
The flaring sleeves was known in Egyptian costumes for both men and women during the New
Kingdom, it is designed as a short flaring loose sleeves, for more information revise; see statue of Ramses
Nakht with two distinguished sleeves, Egyptian Museum in Cairo, CG. 42162; another statue in EM, JE.
36988, and there is a statue of lady in Royal Museum, Netherlands AST 2; Bongionni, A-Croce, M., op.cit.,
2001, p. 205; Schneider, H. D. en M. J. Raven, De Egyptische Oudheid, Den Haag 1981, nr. 81.
xxxvi
Roes, A., 'The Achaemenid Robe', Bibliotheca Orientalias, III, 1951, p. 137-141.
xxxvii
Thompson, G., 'Iranian Dress in the Achaemenian Period: Problems concerning the Kandys and other
Garments' Iran, III, 1965, p. 121-126.
xxxviii
Beck, P.,'A Note on the Reconstruction of the Achaemenid Robe, 'Iranica Antiqua, 1972, p.116- 123.
xxxix
Cooney, J., op.cit, Brooklyn Museum Bulletin, 1954, 15, p. 1-16.
xl
The Persian torque is a circular necklace consists of narrow band with open decorated ends, Cooney, J.,
op.cit, Brooklyn Museum Bulletin, 1954, p. 12.
xli
It is made out of limestone, measures 15cm high, and dates back to the second half of the fourth century
B.C. or within Dynasty XXXI.
xlii
The Neo-Memphite style is carried out on the sculpture in the second half of the fourth century B.C. or
within Dynasty XXXI the period of the Second Persian Domination.
xliii
The well-known head of a prince from Persepolis as same as to the statue of lady, for more information
see; Ghirshman, Persia from the Origins to Alexander the Great, London, 1964, fig. 294.
xliv
The enraged or aggressive lion, is typical of Mesopotamian and in turn of Persian art, was introduced into
Egypt only under Persian domination; Hesse & P. Wapnish, An Archaeozoological perspective on the
Cultural use of Animals in the Levant, in; A History of the Animals in the Animal World in the Ancient Near
East, Boston, 2002, p. 457- 468; Pope, A.U., Masterpieces of Persian Art, pl. 30; Herzfeld, E., Iran and the
Ancient near. East, pl. LXXII; Encycl. Photograph, du Louvre, II, 1998, p. 56, 58.
468