<em>Erotic Composition</em>, 305–30 B.C.E. Limestone, pigment, 6 1/2 x 3 3/4 x 6 11/16 in. (16.5 x 9.5 x 17 cm). Brooklyn Museum, Gift in memory of Dr. Jacob Hirsch and Charles Edwin Wilbour Fund, 58.13. Creative Commons-BY (Photo: Brooklyn Museum, 58.13_SL1.jpg)

Erotic Composition, 305–30 B.C.E. Limestone, pigment, 6 1/2 x 3 3/4 x 6 11/16 in. (16.5 x 9.5 x 17 cm). Brooklyn Museum, Gift in memory of Dr. Jacob Hirsch and Charles Edwin Wilbour Fund, 58.13. Creative Commons-BY (Photo: Brooklyn Museum, 58.13_SL1.jpg)

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In the erotic art from Ptolemaic Egypt, why are the proportions of the genitals so unrealistic?

Keeping in mind that such pieces were made to be deposited in tombs scholars think that the oversized genitals may represent the person's wish to be sexually potent in the afterlife. Also, this is strong symbolism for fertility, of course! Much of ancient Egyptian myth revolves around birth, death, and resurrection, the central story involves the god Osiris, who impregnated his wife, Isis, after he was dead, thus creating an heir, after the fact. And I can guess that the idea of fertility on all levels must have been so central to their culture, the crops, the livestock, the continuity of the royal line.

Just the other day, I saw some graffiti of a giant phallus (shall we say) in a subway station. Some things are universal!

I know in Pompeii they were placed everywhere as a symbol of good luck. (Not to lead you to a brothel, which is a common misconception). The idea is that a phallus makes you laugh, which wards off bad luck!

I like that idea, I guess. I might not put it into practice in my own home, though!

What's going on here?

These had a religious connotation to propagate the idea of new life, rebirth, and fertility. Much of ancient Egyptian myth revolves around birth, death, and resurrection. The idea of fertility on all levels was central to their culture, the crops, the livestock, the continuity of the royal line.

Was this meant to be funny?

This is one of several enigmatic terracotta groups centered around figures with extremely oversized phalluses. Humor may have been a factor in such sexually graphic images, but the specifics of what would have been considered funny are very difficult to reconstruct. There is strong evidence, however, for the spiritual symbolism of such oversize phalluses, whose enormous size promised enormous fertility, and could therefore represent triumph over Death.

I was drawn to the case because I just assumed it was a visual gag, but I can't figure out what's going on here.

That may have been the intended effect! The visual complexity of some Ptolemaic art reflects innovations happening in Greek art, where works of art rapidly begin to exhibit interest in the raw, physical appearance of things. Many small figurines self-consciously emphasize these ambiguous, non-ideal aspects of life, and we begin to see depictions of old age, unusual body shapes, unbridled states of mind (people asleep, or drunk), or deliberately random activities (people scratching their back, people twirling their hair). Our erotic sculpture kind of falls squarely into that kind of taste.

This cultural shift (known as the Hellenistic period) reflects a newly globalized world made possible by Alexander the Great, who in just a couple of years around 330 BCE, made one giant empire of the known world, thrusting previously isolated civilizations into one big melting pot, Egypt among them. All of a sudden, carefully analyzing the different way others look became an unavoidable part of daily life.

What does this mean?

The ancient Egyptians venerated sexual love as an integral part of the reproductive process and therefore, essential to continued fertility. Fertility was an extremely important and religious concept to the Egyptians and many ancient cultures. Representations like these were both comedic and symbolic.

Does her mother know what she gets up to in her spare time?!

She might! Though this example is comedic, sexual imagery in ancient Egypt had important connotations of fertility.

The procreative union recalls the birth of Horus after the murdered Osiris posthumously impregnated his wife Isis.

Tell me more.

Eroticism played a significant role in the ancient Egyptian cosmology, which is understandable considering their heavy emphasis on concepts of rebirth, regeneration, and fertility.

The dynamic and comedic styling of these sculptures, in particular, reflect a Hellenistic influence in Egypt after the conquest by Alexander the great.

Is this a reference to Isis and Osiris?

Probably not, the story of Isis and Osiris is typically looked on a bit more seriously especially because Isis became pregnant after Osiris had already died and she had to put his body back together.

An image like this is likely more closely tied to the cult of Min, an ancient fertility god who is most often depicted with an erect phallus, or Hathor, a fertility goddess also closely tied to sexuality.

Erotic Composition

Egyptian, Classical, Ancient Near Eastern Art

On View: 19th Dynasty to Roman Period, Martha A. and Robert S. Rubin Gallery, 3rd Floor

Despite the overtly sexual imagery, this composition has important religious content. The procreative union recalls the birth of Horus after the murdered Osiris posthumously impregnated his wife Isis. This legend, one of ancient Egypt’s most important myths, was associated with fertility and resurrection. The six small figures probably represent priests. The bound oryx held by the two attendants at the right signifies the destruction of evil and reinforces Osiris’s triumph.

MEDIUM Limestone, pigment

Place Made: Alexandria, Egypt

DATES 305–30 B.C.E.

PERIOD Early Ptolemaic Period

DIMENSIONS 6 1/2 x 3 3/4 x 6 11/16 in. (16.5 x 9.5 x 17 cm) (show scale)

COLLECTIONS Egyptian, Classical, Ancient Near Eastern Art

ACCESSION NUMBER 58.13

CREDIT LINE Gift in memory of Dr. Jacob Hirsch and Charles Edwin Wilbour Fund

CATALOGUE DESCRIPTION Limestone group in the round on rectangular base. Erotic subject. In center nude woman wearing curled wig attended by six nude males each wearing the side-lock. In front right corner two boys (?) hold miniature figure of a bound oryx. Flesh of males painted a bright red, that of woman white, her wig black and the base a brown-yellow. Condition: Broken and assembled from many pieces but apparently complete. The base is intact.

EXHIBITIONS

MUSEUM LOCATION This item is on view on the 19th Dynasty to Roman Period, Martha A. and Robert S. Rubin Gallery, 3rd Floor

CAPTION Erotic Composition, 305–30 B.C.E. Limestone, pigment, 6 1/2 x 3 3/4 x 6 11/16 in. (16.5 x 9.5 x 17 cm). Brooklyn Museum, Gift in memory of Dr. Jacob Hirsch and Charles Edwin Wilbour Fund, 58.13. Creative Commons-BY (Photo: Brooklyn Museum, 58.13_SL1.jpg)

IMAGE overall, 58.13_SL1.jpg. Brooklyn Museum photograph

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RIGHTS STATEMENT Creative Commons-BY

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