Ancient Egyptian Green Faience Ushabti Funerary Figure | Late Period, Circa 664–332 BCE

Historical Context & Origin

Region: Ancient Egypt
Material: Turquoise-green glazed Egyptian faience (siliceous glazed composition)
Period: Late Period, circa 664–332 BCE (attributed)

Description

An Egyptian faience ushabti funerary figure attributed to the Late Period, circa 664–332 BCE, representing the enduring traditions of ancient Egyptian funerary sculpture. Modelled in the conventional mummiform posture, the statuette features a rounded tripartite wig, elongated ceremonial false beard, and hands positioned across the chest. Its surviving turquoise-green glaze, distinctive proportions, and integral rectangular base reflect the established artistic conventions of Egyptian funerary imagery during the later dynastic periods.

The figure stands upright with the body enclosed within a closely fitted funerary shroud, forming an elongated silhouette that narrows gradually toward the feet. The shoulders are comparatively broad, transitioning into a slender lower body supported by a substantial rectangular plinth. This balanced, columnar composition is characteristic of numerous faience ushabtis produced during the Late Period.

The head is crowned by a rounded tripartite wig, with elongated frontal lappets descending along either side of the face toward the upper torso. Beneath the wig, the facial features are rendered in shallow relief, including defined eyes, a prominent nose, and a small closed mouth. A long, narrow ceremonial false beard extends from the chin across the upper chest, reflecting the Osirian iconography traditionally associated with funerary representations of the deceased.

The forearms emerge prominently from the funerary shroud, with the hands positioned across the chest in the traditional arrangement associated with agricultural implements. In Egyptian funerary sculpture, ushabtis frequently carried a hoe and pick, symbolizing their responsibility to perform agricultural labour on behalf of the deceased in the afterlife. The sculptural details surrounding the hands are softened by surface wear and encrustation, while the overall arrangement remains clearly recognizable.

The lower body is elongated and gently tapered, terminating in an integral rectangular base. The figure's upright posture, ceremonial beard, frontal arm arrangement, and substantial plinth correspond to the formalized funerary representations characteristic of the Saite and subsequent periods of Egyptian history.

The reverse is comparatively broad and flattened, retaining substantial areas of turquoise-green glaze. A shallow horizontal delineation extends across the upper back beneath the wig, while the elongated lower section displays irregular glazing, scattered pitting, and areas of beige-brown discolouration. The reverse follows the simplified sculptural treatment commonly employed in funerary statuettes intended for placement within tomb assemblages.

Particularly notable is the surviving turquoise-green faience glaze, which varies considerably in colour and texture throughout the figure. Richer blue-green tones remain visible across the shoulders, torso, and upper legs, while softer green hues extend across portions of the lower body and reverse. The head, lower legs, and rectangular base exhibit contrasting pale beige, sandy-yellow, and brown surface deposits.

Egyptian faience was a highly valued material in ancient religious and funerary art. Composed principally of finely ground quartz and other mineral ingredients, the material was finished with a vitreous glaze, commonly coloured blue or green through the use of copper-bearing compounds. Its luminous appearance was closely associated with regeneration, vegetation, and renewal, making it particularly appropriate for objects intended to accompany the deceased into the afterlife.

The surface retains a complex combination of surviving glaze, granular textures, localized pitting, and pale-coloured accretions. These characteristics are especially pronounced around the crown, facial features, shoulders, and lower extremities. The contrasting surface colours and textures lend the figure a distinctive weathered appearance while preserving its principal sculptural and iconographic features.

No clearly legible hieroglyphic inscription is visible on the exposed surfaces, and the figure is presented as apparently uninscribed. Uninscribed faience ushabtis are documented in established museum collections, including examples attributed to Egypt's 26th Dynasty.

The figure's proportions and iconographic characteristics are comparable to Late Period shabtis represented in major museum collections, including examples associated with the 26th Dynasty. The rounded wig, projecting beard, crossed hands, elongated mummiform body, and integral rectangular base reflect the conventions of Egyptian funerary sculpture during the final centuries of dynastic civilization.

Features

- Egyptian faience ushabti funerary figure attributed to the Late Period, circa 664–332 BCE

- Traditional upright mummiform representation with elongated, tapering proportions

- Rounded tripartite wig with extended frontal lappets

- Modelled facial features, including eyes, prominent nose, and closed mouth

- Elongated ceremonial false beard associated with Osirian funerary iconography

- Raised forearms and hands positioned across the upper torso

- Traditional arm arrangement associated with agricultural implements carried by funerary ushabtis

- Slender lower body terminating in an integral rectangular pedestal base

- Broad, flattened reverse with a shallow horizontal delineation beneath the wig

- Surviving turquoise-green faience glaze with variations in colour and surface texture

- Granular surface characteristics, scattered pitting, and localized glaze loss

- Pale beige, sandy-yellow, and brown surface accretions concentrated around the head, shoulders, lower legs, and base

- Apparently uninscribed, with no clearly legible hieroglyphic text on the exposed surfaces

Cultural Significance

Ushabtis, also known as shabtis or shawabtis, were among the most enduring and recognizable objects associated with ancient Egyptian funerary traditions. These small figures were placed within tombs to serve as substitute workers for the deceased, reflecting the belief that existence continued beyond death and that certain responsibilities of earthly life could persist in the afterlife.

The term ushabti is traditionally associated with the concept of an "answerer," referring to the figure's intended role in responding when its owner was summoned to undertake labour in the next world. The practice developed from ancient Egyptian religious beliefs concerning resurrection, divine judgment, and the continuation of life after death.

The Egyptians envisioned the blessed afterlife as a realm of renewal and abundance, often represented by the Field of Reeds, an idealized agricultural landscape where the deceased could enjoy eternal existence. Although this realm promised prosperity and spiritual restoration, certain forms of physical labour could still be required. Ushabtis were intended to assume these obligations, allowing their owners to enjoy the benefits of the afterlife without personally undertaking agricultural work.

The religious function of these figures is closely associated with Chapter 6 of the ancient Egyptian Book of the Dead, commonly known as the shabti spell. This funerary composition instructed the figure to answer on behalf of the deceased when called upon to cultivate fields, irrigate land, transport sand, or perform other assigned tasks.

The tools represented in the hands of many ushabtis, particularly agricultural hoes and picks, directly expressed this symbolic responsibility. Some examples also incorporated seed baskets suspended over the shoulders, further emphasizing their intended role as agricultural servants in the afterlife.

Ushabtis were produced over many centuries, evolving in form, material, and quantity as Egyptian funerary customs developed. By the Third Intermediate and Late Periods, elaborate burials frequently included extensive groups of these figures, sometimes numbering several hundred. An idealized arrangement consisted of 365 worker figures, corresponding to the days of the Egyptian year, together with 36 overseers.

During the Late Period, faience remained an important material for funerary statuettes. Its versatility permitted the production of figures in established forms, while its characteristic blue-green coloration held religious significance. The association of these colours with vegetation, rebirth, and regeneration complemented the intended function of ushabtis as participants in the deceased's eternal existence.

The sculptural conventions of Late Period ushabtis frequently incorporated tripartite wigs, ceremonial beards, crossed hands, agricultural attributes, and rectangular bases. These features reinforced the connection between the deceased, the god Osiris, and the religious promise of resurrection.

This example represents the continuity of Egyptian funerary traditions during the later dynastic centuries. Its recognizable mummiform silhouette, surviving turquoise-green glaze, and established funerary iconography reflect the enduring relationship between religious belief, artistic production, and the ancient Egyptian conception of eternal life.

Condition

The figure presents with substantial surface wear, areas of discolouration, and localized material loss. Its principal sculptural features remain recognizable, including the rounded head, tripartite wig, ceremonial beard, crossed hands, elongated mummiform body, and integral rectangular base.

The turquoise-green glaze survives across significant portions of the figure, particularly the shoulders, torso, central sections of the lower body, and reverse. The glazed surface displays variations in colour intensity, scattered pitting, minor abrasions, and areas of reduced glaze coverage.

The head exhibits extensive pale yellow-brown discolouration and granular surface deposits, particularly across the crown, forehead, and facial areas. The eyes, nose, mouth, and elongated beard remain identifiable, although finer details are softened by surface wear and adhering accretions.

The tripartite wig retains its general form, with minor edge irregularities and surface losses along the lappets. The shoulders and upper torso exhibit textured turquoise-green glaze, with localized darker areas, scattered pitting, and pale surface deposits.

The raised hands remain prominent across the upper chest, while the finer details of the associated agricultural attributes are less distinct. Minor abrasions and surface irregularities are visible around the forearms and adjacent sections of the torso.

The elongated lower body retains extensive areas of green glaze, interrupted by localized surface losses, small pits, darker markings, and patches of beige-brown discolouration. Surface wear becomes more pronounced toward the lower legs and pedestal.

The reverse displays broad areas of surviving turquoise-green glaze, with irregular surface texture, scattered pitting, localized discolouration, and areas of exposed lighter material. A shallow horizontal delineation remains visible on the upper section.

The integral rectangular base exhibits pronounced surface wear, uneven edges, localized chipping, and accumulated pale-coloured deposits. The lower edges and corners display additional abrasions and minor losses.

Dimensions (Approximate)

Height: 5.25 in
Width: 1.5 in
Depth: 1.5 in

Age (Approximate)

2,350–2,700 years old

Provenance

Formerly part of the estate of the late Joseph W. Haley of Pride's Crossing, Massachusetts, United States. Haley was a lifelong collector and avid traveller whose extensive and diverse collection reflected a deep appreciation for history, fine art, antiquities, and objects of cultural significance. His collection encompassed American and European antiques, Asian ceramics, historical documents, silver, bronzes, and an extensive library of eighteenth- and nineteenth-century books, reflecting decades of collecting and international travel.

Learn More

Explore a comparable Dynasty 26 faience shabti belonging to Hekaemsaf, dating to circa 570–526 BCE, in the collection of The Metropolitan Museum of Art

Discover more ancient Egyptian funerary objects and historical artifacts in our Ancient Egyptian Mummies & Artifacts Collection