An artwork on Galleree from Cleveland Museum of Art.
About the artwork
Nome Gods Bearing Offeringsc. 1391–1353 BCE
These blocks from a temple wall have preserved their original painted decoration to a remarkable degree. The four portly figures in the lower register bear emblems on their heads identifying them as nomes, or provinces, of ancient Egypt. Carrying trays heaped with offerings and leading sacrificial animals, they personify the bounty of the land. First (on the right) is the Oryx Nome, followed by the Dog Nome, the Falcon Nome, and the Double Scepter Nome. The face of each nome figure is a miniature portrait of Amenhotep III, and each recites a speech in the king's name. The first figure says, "King Nebmaatra [Amenhotep III] has come, bringing to you every good thing that is in this land, that you may give him all life, stability, dominion, and all health from you." The second, third, and fourth figures bring "all greens," "the produce of the Two Lands [Upper and Lower Egypt]," and "all offerings and provisions." The god to whom the nomes bring offerings stood in the fragmentary upper register, facing a standing figure of the king, Amenhotep III. The pair of legs on the right belonged to the god; the single foot on the left belonged to the king. The god held a scepter, forked at the bottom, embellished with coils of rope (for eternity), tadpoles (for hundreds of thousands), and notched palm ribs (for years), the whole signifying "an eternity of hundreds of thousands of years." These blocks may be from Amenhotep III's temple at Kom el-Ahmar, ancient Hebenu, in Middle Egypt, dedicated to the god Horus. Hebenu was the capital of the Oryx Nome, which leads the procession of nome gods. Amenhotep III's temple was later dismantled, and its blocks were reused in the foundations of another structure, which would account for the excellent preservation of the paint.
Another block from the same temple wall was acquired 15 years earlier by the museum.
painted limestone
Overall: 66 x 133 cm (26 x 52 3/8 in.)
John L. Severance Fund
In the warm embrace of ancient sunlight, a temple wall whispers stories etched in vibrant colors and rich history. Here, preserved for countless years, are painted decorations that flicker with life, echoing the voices of a bygone era. The four portly figures that grace the lower register embody the essence of ancient Egypt's provinces, known as nomes. Each figure stands proudly, their heads adorned with emblems that proclaim their identity — proud guardians of tradition and bounty.
On the right, the figure of the Oryx Nome begins the procession. His arms are laden with trays heaped high with offerings, while he leads sacrificial animals, a testament to the fertility of the land. Next to him, the Dog Nome follows, and behind him, the regal Falcon Nome stands, both bearing their gifts to the gods. Finally, the Double Scepter Nome joins the celebration, each character a miniature portrait of Amenhotep III himself, the great king who once ruled.
As these figures speak, their words resonate like a softly sung hymn, addressing the god that awaits in the upper realm of the wall. "King Nebmaatra," they chant, invoking the name of Amenhotep III, "has come, bringing to you every good thing that is in this land, that you may give him all life, stability, dominion, and all health from you." With each figure following in turn, they declare their offerings: “all greens,” “the produce of the Two Lands,” and “all offerings and provisions.” Their voices build a chorus, an audible prayer of gratitude and reverence.
In that sunlit space, the god stands grandly, facing the king in a sacred exchange; the legs of the divine being partially emerge, strong and omnipotent, while a single foot of the king holds the ground. In the god’s hand, a scepter gleams — intricately adorned with coils of rope symbolizing eternity, tadpoles representing endless generations, and notched palm ribs signifying years of abundance. All together, they weave a powerful message: "an eternity of hundreds of thousands of years."
These blocks, thought to originate from Amenhotep III's temple at Kom el-Ahmar in ancient Hebenu, tell stories of power, reverence, and divine connection. Initially dedicated to Horus, it was once the bustling heart of the Oryx Nome, from which the procession began. Only to have the temple dismantled and its stones repurposed in later construction, protecting their painted tales from the ravages of time.
In this tranquil moment, centuries dissolve, and we find ourselves intertwined with the past, connected through the vibrant stories of the nomes. Each stroke of paint remains a testament to a civilization that revered its gods and celebrated its riches, inviting all who gaze upon it to partake in a history that pulses with life.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
The best place to view Cleveland Museum of Art‘s artwork is on Galleree. Hear the story behind this work, interact with the image, discuss with people, curate your own playlists, and discover so much more from great artists and institutions alike.