One of the most iconic of ancient Egyptian symbols, the scarab represents the Scarabaeus sacer (dung beetle) that Egyptians observed pushing large balls of animal dung across the desert—sometimes against great odds—and depositing them underground. They associated this practice with the sun’s daily journey across the sky and nightly descent into the Duat (underworld). By extension, the morning incarnation of the sun god, Khepri, appears in the form of a scarab pushing the round sun into a new day. As a hieroglyph, the scarab, 𓆣, which has the phonetic value “kheper,” is used to write the verb “to come into being” and other related words. Through these connections, the scarab became a potent symbol of renewal and rebirth.1

Small amulets that could double as stamp seals represent the most ubiquitous class of object to employ scarab imagery, so much so that scholars simply call these artifacts “scarabs.”^[1] The top and sides of a scarab amulet is a miniature sculpture depicting a dung beetle, often complete with anatomical details such as elytra (wing cases), prothorax, clypeus, and legs. The oval-shaped bottom of the amulet provided a smooth surface perfectly suited to the addition of incised geometric, figural, or textual decoration, sometimes in combination. The amuletic value of the object was enhanced when it included divine imagery, a king’s name, or even simple wish statements. Most scarab seals were carved from steatite (soapstone), a medium that enabled artisans to achieve crisply defined details in spite of the amulets’ small size. Often, a vibrant blue-green glaze was applied, accentuating the incised details.2

A Scarab with a Personal Name (Cat. 86)

While the use of scarab amulets began in the Old Kingdom, changes in state administration during the Middle Kingdom led to a significant increase in scarab production. One subtype of scarabs that gained prominence in this era was scarabs bearing the names and titles of their owners. This glazed steatite scarab has a column of hieroglyphs carved in the center that is surrounded by a spiral border, an arrangement that was fashionable in the late Middle Kingdom. The inscription provides the title and name of the amulet’s owner: The “Great One of the Tens of Upper [Southern] Egypt, Senebtifi.”^[2] Senebtifi’s name means the “one who will be healthy.” The Great One of the Tens of Upper Egypt was responsible for organizing labor, and likely worked in the legal realm as well.^[3] Many scarabs belonging to men with this title are known.^[4]3

Scarabs with personal names or marks of office could be mounted on finger rings that swivel to reveal the inscription on the underside (see cat. 67 for an example that retains its ring band). Since each design was unique and personalized, the inscribed surface could be pressed into wet clay, acting as a stamp seal for documents or other goods, although it seems that in practice these scarabs most important function was as amulets.^[5]4

A Scarab with Divine Imagery (Cat. 87)

The other scarab—also carved from steatite and then glazed blue green—dates to Dynasty 19, several hundred years later than cat. 86. Text and image are carved into the underside. At the left stands Ptah, the chief god of Memphis, which was the capital city of Egypt throughout much of its ancient history. Ptah was a patron of craftsmen, and also a creator god who was believed to have thought and spoken creation into existence. Bearded and wearing a skullcap, Ptah is represented mummiform, with his hands reaching out from his shroud to hold the was scepter, an emblem of power. In front of him, two djed pillars act as stands for a pair of bearded bas, each of whom is crowned with a solar disk. The ba is an aspect of the soul that was depicted as a human-headed bird. In the plural, the bas of deities were manifestations of their power. The image of two bas on djed pillars first appears during Dynasty 19 on tomb walls, in temples, and on smaller objects like this scarab.^[6] In combination with Ptah, they were a popular subject for scarab decoration.^[7] Although the image is less than 2 cm tall, it is remarkably detailed. Above the scene, small hieroglyphs read “Usermaatre-Setepenre,” the throne name of King Ramesses II (reigned about 1279–1213 BCE). A single-line border encloses the entire design. As with cat. 86, this scarab is pierced through the center lengthwise so that it can be mounted onto a metal ring or strung and worn with the divine images and royal name pressed close against the owner’s skin.5

Additional Views of Cats. 86–87

For more on amulets, see About Amulets.6

Provenance

86.
Reverend Chauncey Murch (1859–1907), Luxor, Egypt; sold to the Art Institute of Chicago, 1894.7

87.
Reverend Chauncey Murch (1859–1907), Luxor, Egypt; sold to the Art Institute of Chicago, 1894.8

Publication History

87.
Garrett Chatfield Pier, “Historical Scarab Seals from the Art Institute Collection, Chicago,” The American Journal of Semitic Languages and Literatures 23, no. 1 (Oct. 1906): 82, pl. XI, no. 1452. 
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