Here are a handful of examples which demonstrate the evolution of some signs: in an article published elsewhere99 I explored the evolutionary process in the writing of Hathor’s name, but the process is noticeable for other signs, too. he example I wish to show here is for the arrow sign (: Fig. 2.18—20). he first departs from the norm in showing the shaft of the arrow throughout its length. he barb has the appearance of an arrow with lint inserts — which was one of the main techniques of making these weapons. he second example produces a type of arrow known from other art forms, with a squared apex that lares out at its impact edge, but the third example is not like an arrow at all, and has become another new sign. he arrow seems to have been reversed, with its sharp end at the top, but the manner of writing the sign shows hasty brushwork, not the carefully drawn examples shown previously. his sign has been taken from hieratic writing of the tenth to eleventh Dynasty: there is an exact parallel from the graffiti at the Hatnub quarries.100 his example illustrates one of the features of the Akhmim repertoire, which is the occasional inclusion of hieratic signs among the hieroglyphic texts — both on the coffins and on the tomb walls.
Just one more indication of the way in which the Akhmim artists played with their signs are these inventive examples for the emblem of the nome of Akhmim (Fig. 2.21—24). All of these are very different variants of © (Gardiner R23). he first is a standard sign for the nome (also used by an Akhmim artist). In the second example, the ostrich feathers have been replaced with reed feathers — perhaps because, as a lax-growing region, the Akhmim landscape featured marshes where reeds proliferate. Sign R23 here is less elaborate and shows two objects like gaming pieces lanking the central circular sign. In the third example, there are two sets of gaming pieces on each side lanking the central circle. he ostrich feathers are used for the emblem’s feathers, but they have a less rigid form than either the first or the second example, and one curves appreciably to the left. In the fourth example, the gaming pieces are reduced to one set, but there are feathery reeds shown gracefully decorating the nome emblem. hese are very creative ways of playing with a most important religious sign for the nome to give a different interpretation to the meaning of the sign.
Hese hieroglyphs selected above are not the only ones to display an evolution from one idea to another and, as we shall see, there was clearly a purpose to most of these sign developments. Some of them substitute one idea for another, although at first glance we may not perceive just exactly what lies behind those changes, but the end result is that the artist has either used an example of word play or made a visual pun.
World History
