This stela features four distinct sections: the …show more content…
In this stela, the offering formula is composed of six registers: five above the figures and one under. The five registers of hieroglyphs above the figures are oriented both horizontally and vertically. The line of hieroglyphs below the figures is oriented horizontally. The horizontal lines of hieroglyphs are read from right to left. The vertical columns of hieroglyphs are read from top to bottom, left to right. The offering formula begins in the right hand corner of the stela with the hieroglyphs . This directionality is visually explained, with the assistance of numbers, in Figure 2. While initially the orientation of the hieroglyphs may seem odd, the use of horizontal and vertical inscription registers was likely used to balance the piece so that it may be aesthetically pleasing. The figures and offering scene create weight on the left side of the piece, while the hieroglyphs balance this weight on the right side. The need for a balance in pieces derives from the Ancient Egyptian tradition of duality. Similarly, this fundamental aspect of duality is depicted in the pairing of the offering formula and the offering scene. In this pairing, the hieroglyphs are not simply an offering formula but they function as a written description of the offering …show more content…
Similar to the stela of Satsobek, Senusretseneb’s stela is comprised of an offering scene, an offering formula, and a torus molding and cavetto cornice frame. In addition, the stela is made of limestone and measures 53.5 centimeters in height, 35.5 centimeters in width, and 9 centimeters in depth. This seated positioning discussed earlier is also present in this stela. Robins writes that this seated position is common amongst the owners of funerary stelae (104). The differences in each stela, however, lies in the figures depicted. Senusretseneb’s stela features seven figures in comparison to Satsobek’s that only has two figures. Senusretseneb’s stela also omits the large wadjet eyes featured on Satsobek’s