Note su Bes. Le sculture del Metropolitan Musem of Art e del Museo Egizio di Firenze (Contributo in volume (capitolo o saggio))

Type
Label
  • Note su Bes. Le sculture del Metropolitan Musem of Art e del Museo Egizio di Firenze (Contributo in volume (capitolo o saggio)) (literal)
Anno
  • 2011-01-01T00:00:00+01:00 (literal)
Alternative label
  • Giuseppina Capriotti Vittozzi (2011)
    Note su Bes. Le sculture del Metropolitan Musem of Art e del Museo Egizio di Firenze
    in Aegyptiaca et Coptica. Studi in onore di Sergio Pernigotti, 2011
    (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#autori
  • Giuseppina Capriotti Vittozzi (literal)
Pagina inizio
  • 69 (literal)
Pagina fine
  • 84 (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#titoloVolume
  • Aegyptiaca et Coptica. Studi in onore di Sergio Pernigotti (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#volumeInCollana
  • 2264 (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#affiliazioni
  • CNR - ISCIMA (literal)
Titolo
  • Note su Bes. Le sculture del Metropolitan Musem of Art e del Museo Egizio di Firenze (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#isbn
  • 978-1-4073-0835-7 (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#curatoriVolume
  • P. Buzi; D. Picchi; M. Zecchi (literal)
Abstract
  • The deity usually identified with Bes can be called with other names and figures similar to Bes can actually be identified with other gods. The personality of this peculiar deity is complex and, above all in the Late Period, he is a sort of mask, hiding or revealing other divine forms. The popularity of the god in Mediterranean area is linked to the issue of his identity. In this respect, in the regions where he is present, as for example in the Phoenician-Punic world, there is no certain attestation of his name. The figure of Bes spread well beyond Egypt, both alone or as a double image, particularly with architectonic functions in the temple precincts. This study presents two nteresting sculptures, one of the Metropolitan Museum of Art of New York and the other of the Museo Egizio in Florence. Very likely they were part of two couples of gods. If the figure was used as an architectonic support, the deity, besides his traditional role of protector of childhood and of the feminine world, was also a sign of divine manifestation and a supporter of the sky. (literal)
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