Ivory Gazelle

This gazelle figurine, made from the ivory of an elephant and now housed in The Metropolitan Museum of Art (26.7.1292), dates to the reign of Amenhotep III of the New Kingdom, c. 1390–1352 B.C.

Carved from elephant ivory, this delicate sculpture stands alert on a wooden pedestal adorned with inlaid blue pigment, depicting flora evocative of the gazelle’s semidesert habitat. Although broken with both ears and horns missing, the piece remains a testament to the artisans’ skill and the cultural significance of gazelles in Ancient Egyptian society.​

The statuette conveys a striking naturalism and quiet vigilance, capturing the creature mid-pause, ears once alert and horns now lost to time. Mounted on a wooden base inlaid with blue pigment evoking desert flora, it is both a masterpiece of craftsmanship and a symbol of the Egyptian affinity for the natural world.

Ivory

Ancient Egyptian artisans used a range of simple yet effective tools to carve elephant ivory, reflecting their advanced craftsmanship for the time. Early tools were made of copper and, later, bronze chisels, saws, and drills were commonly used, often with abrasive desert sand to aid in cutting the dense material. Flint tools, such as blades and scrapers, were also employed, particularly for finer details. Bow drills, operated with a string and tipped with stone or metal bits, allowed for precision work in hollowing or incising.

Once the carving was complete, rasps and abrasive stones helped refine the shape, and polishing tools, such as smooth stones, leather, or fine sand were used to give the ivory a glossy finish.

The ivory itself was primarily sourced from African elephants, acquired through long-distance trade with Nubia and regions further south, as well as through military campaigns and tribute from vassal states during the New Kingdom. This prized material was both a symbol of status and a testament to Egypt’s far-reaching connections across Africa and the Near East.

The Gazelle

In Ancient Egypt, gazelles were creatures of grace and beauty, admired not only for their physical elegance but also for the symbolic qualities they embodied, such as; speed, vitality, and a serene, alert poise. These gentle animals roamed the fringes of the desert and the Nile Valley, often seen near oases or semi-arid grasslands.

While they were hunted by pharaohs and nobles for sport, as shown in countless tomb paintings and reliefs, gazelles also occupied a more tender role in Egyptian life. They were sometimes tamed and kept as exotic pets by the elite, cherished not merely for novelty but for their delicate beauty and temperament. Archaeological finds have revealed several gazelle mummies, some likely offered in ritual contexts, others perhaps buried as beloved companions, a testament to the emotional bonds that could form between humans and animals in ancient times.

In the Ancient Egyptian spiritual aspect, gazelles were associated with deities such as Hathor, the goddess of love, beauty, and fertility. Their presence in funerary art often symbolised abundance, eternal sustenance, or the peaceful, idyllic landscapes of the afterlife. Gazelles appear frequently in artistic depictions: from dynamic hunting scenes showing noblemen in chariots to serene representations in statuary and decorative objects.

Thus, this ivory gazelle figurine (Met Museum. 26.7.1292) exemplifies this admiration. The gazelle, in its many roles; prey, pet, offering, or icon, embodied the harmonious balance the Egyptians sought between nature, art, and the divine.