Pharaoh as a lion subduing the head of a Nubian

This piece, fashioned from Egyptian Blue and gold, presents a striking image of the head of a Nubian man engulfed by the jaws of a lion. Though compact in scale, the piece is monumental in its ideological intent. Most likely the terminal of a ceremonial fly whisk or whip, the handle is more than decorative; it is a potent visual expression of royal power and Ancient Egyptian supremacy.

The lion, sculpted in lustrous gold and detailed with stylised precision, symbolises the pharaoh himself, a living god and the ultimate authority over Egypt and its dominions. Its grip upon the Nubian’s head is not merely violent but symbolic, embodying Egypt’s dominance over its southern neighbours and reiterating the pharaoh’s divine role as protector and conqueror.

Nubia, from the Egyptian word nub, meaning “gold”, was not a unified kingdom in the strict sense, but rather a term used by the Egyptians to describe the diverse peoples who inhabited the region south of Egypt’s first cataract. These territories; rich in natural resources, particularly gold, became key targets for Egyptian expansion, especially during the New Kingdom. Colonisation brought both exploitation and cultural exchange, but Egyptian art and official iconography often portrayed Nubians as the quintessential “Other”: exotic, subordinate, and, in scenes such as this, vanquished.

The motif of a lion subduing a Nubian appears frequently in Ramesside art, especially under the reign of Ramesses II (1279–1213 B.C.), a king known for his military campaigns and for promulgating a highly centralised vision of Egyptian kingship. The present image echoes these propagandistic aims. With its simplified yet evocative composition, the handle distils a complex message of Egyptian nationalism, asserting cultural superiority, divine kingship, and territorial control. The piece has been attributed to the reign of Ramesses II on stylistic grounds, particularly due to the absence of lachrymal, or tear, lines beneath the lion’s eyes, a characteristic detail frequently seen in feline representations of the late Eighteenth Dynasty, yet notably absent in many early Ramesside depictions.

That such imagery adorned a royal fly whisk or whip, an emblem of authority and ceremony, only underscores its purpose. It was not created solely for ornament, but as a daily reminder, in the most literal sense, of Egypt’s power to command and to conquer.

The object is said to originate from Qantir, in the eastern Delta region of Egypt, the site of ancient Pi-Ramesses, the grand capital city established by Ramesses II. In the king’s day, this area would have been a flourishing centre of political power, military activity, and artistic production.

Situated strategically near the route to the Levant, Pi-Ramesses was both a royal residence and a critical base for Egypt’s northern campaigns. Its palatial complexes, temples, and extensive workshops made it one of the most important urban centres of the New Kingdom. The city was renowned for its opulence, housing elite craftsmen and artisans who produced luxury goods for the court. It is within this vibrant royal context that the object in question, imbued with political symbolism and crafted to the highest standard, likely took form.

Summary:

King of Egypt depicted as a lion, subduing a Nubian in his gaping jaw

New Kingdom, 19th Dynasty, reign of Ramesses II, c. 1279–1213 B.C.

Likely from Qantir, eastern Delta, ancient Pi-Ramesses

Gift of Norbert Schimmel Trust, 1989 to the Met Museum. 1989.281.92