Ushebti for Taiouert, Ancient Egypt, Third Intermediate Period, 21st Dynasty, c. 1069–945 B.C.

Ushebti of Taiouert, Ancient Egypt, Third Intermediate Period, 21st Dynasty, c. 1069–945 B.C.
Faience.
Condition: Intact.
Provenance: Acquired at the P. Y. Clarel auction house on June 28, 1987. Private collection, France.
Measurements: 10.7 cm high; 13 cm with base.

An Egyptian ushabti made of turquoise-blue faience, dating to the Third Intermediate Period, 21st Dynasty. The figure follows the mummy-like typology characteristic of these funerary sculptures, with the body wrapped in a tight shroud and the arms crossed over the chest. The face, with schematic features and a hieratic expression, is framed by a three-part wig, while the surface retains traces of decoration and an inscription painted in dark pigment, arranged vertically on the front of the body.

The piece features an intense blue vitreous glaze, typical of Egyptian faience, a material particularly valued for its symbolic connotations. In the funerary context, bluish and greenish hues were associated with regeneration, fertility, and rebirth—essential concepts within the Egyptian conception of the afterlife. The glossy surface further accentuates the object’s magical and ritualistic dimension, as it was conceived not merely as a representation but as an active figure within the funerary grave goods.

The ushebtis, also known as shabtis or shawabtis, were small figures placed in tombs to serve as substitutes for the deceased in the tasks that might be required of them in the Afterlife. In many examples, the inscription includes formulas inspired by Chapter VI of the Book of the Dead, through which the figure was magically prepared to respond in place of its owner. In this case, the identification of the piece as an ushebti for Taiouert allows it to be directly linked to a specific owner, reinforcing its historical and funerary value.

During the 21st Dynasty, the production of ushabti figurines underwent significant development, both in terms of the abundance of examples and the variety of qualities, formats, and finishes. This piece is part of that tradition, standing out for its excellent state of preservation, its vivid colors, and the preservation of decorative elements that clearly reveal its original function. Its design, simple yet expressive in form, reflects a deeply symbolic conception of the image, in which ritual effectiveness takes precedence over naturalism.