A wonderful statue of green basalt stone.
The polishing is so amazing that it seems that the statue is made of metal and not stone.
Statue of King Nectanebo II.
The Metropolitan Museum of Art.
The statue expresses one of a group of statues that appeared in the era of this king and united him with the falcon Horus. Nectanebo Babik, Nectanebo the falcon.
This is the sacred falcon in which Horus, the son of Osiris, and Isis, the heir to the throne from the divine royal family, whose first grandfather was Atum, personify. The king here reinforces the idea that he is that sacred divine hawk, a descendant of the House of the Divine Owner, and that he is the legitimate representative of Horus.
Horus wore the double royal crown and was not the first of the gods to wear this crown mythically; he inherited it from the first ancestor Atum, who appeared to wear that double crown at the beginning of time when he transfigured on the first eternal hill. Horus is the last incarnation of the gods of Ionu (Ain Shams), where he wears the crown and delivers it to his image (the king) on earth.
The crown is of divine origin, and the king is with him and protects the sacred falcon. Despite the obviousness of these ideas, the king confirms, reinforces, and consolidates them because he wants to prove the legitimacy of his rule, especially since he was at that time facing the attempts of the Persian invader who was seeking to occupy the country. In his late days and mysterious circumstances, he fled to Nubia and lived in the African jungles. Nubia is the best cultural extension of Egypt’s civilization. And he disappeared after the Achaemenid Persians entered Egypt, and we do not know his fate. The priests of Egypt relied on that end. After Alexander entered the country, they called the legend that “Ba” Nectanebo flew to Macedonia and embodied Amun-Ra in a divine form. Alexander thus had three fathers:
Nectanebo II. Philip the Macedonian, Amon Ra – Zeus.
On the Hurricane crown itself, we see the cobra, which is the eye of Ra, one of the greatest symbols of the ancient Egyptian monarchy. In the framework of the coronation rituals of the king, the king places this cobra on his forehead before the ritual of placing the crown on his head because it protects him from the destructive flames of the crown, making him absorb the dangerous negative effect of the crown without causing him any damage and make him control this negative effect and direct it as he wants against his opponents.
We note here the idea of returning to the sacred animal (or bird) as a sacred image of a divine falcon capable of flying and travelling to the heights of the sky to oversee from the highest levels of everything on earth. The falcon is distinguished by its great vision, comprehensive vision of everything on earth, and ability to pounce its victim at the right moment.
The king here reinforces the oldest ancient Egyptian royal heritage:
I am the hours, and the horus is me.
It is indeed a union, merging and blending of the King Horus falcon, but the size of the king is smaller than the size of the sacred falcon. Reminds us of the size of the statue of the falcon Horon compared to the size of King Ramses II in the Egyptian Museum. The difference between the ownership of the old state, especially the statue of Khafre in which the falcon appears in a small size compared to the size of the king. However, it spreads its wings behind his head as a sign of protection for it, and the statue of King Nectanebo II in which the king appears in a small size compared to the sacred falcon.
The monarchy in the later ages goes back to its divine roots, wears the double royal crown, and appears in the cobra (eye of Ra).
The king here is satisfied with the royal headdress and holding him with the insignia that express his name: Nakht Har Hob. Nakht sign was on his left-hand means strong or strong. Hurr is the falcon itself. Love on his right-hand means Eid. The force (in) the feast of Horus. The force that in the feast of Horus.
Such types of statues spread in ancient Egyptian temples in the era of King Nectanebo II and became a religious model for him to offer sacrifices and rituals are held for him so that the king benefits from the worship of Horus, and even turned into an artistic style in the Ptolemaic era and became a common artistic model where the king will appear Ptolemaic in the same style after the transformation of the art of the 30th Dynasty into a typical art in which all the Ptolemaic kings appear in the ancient Egyptian temples.
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