However, among the artifacts that provoke even greater curiosity, there is one that stands out—a sculpture created thousands of years ago, predating the appearance of the pyramids. The Starving of Saqqara is the name given to an ancient Egyptian sculpture believed to date to the Pre-Dynastic period.
The Starving of Saqqara is a limestone sculpture measuring at 67 cm (26 inches), and weighing about 80 kg (176.37 lbs). It portrays two figures of naked beings in a seated position, with remarkably elongated skulls and limbs. Intriguingly, these two figures face each other, locked in a gaze. One figure appears to be a man, while the other is a woman cradling an infant in her arms.
The sculpture was originally discovered in Egypt and later brought to Canada in the 1940s by Vincent and Olga Dinyakopoulos, Greek immigrants from France. They had assembled a unique collection of antiquities from various parts of the world. In 1999, the collection found its way to Concordia University, where research on this captivating sculpture commenced.
For over a decade, scientists from Concordia University have endeavored to unravel the origin and significance of this artifact. Yet, despite their concerted efforts, the mystery remains unsolved.
Inscriptions in an unknown language, etched onto the surface of the sculpture, have been discovered but remain undeciphered. The language is so ancient that no comparable texts exist, making it challenging to draw any linguistic parallels. Consequently, more questions arise about the sculpture’s origin and purpose.
Among the proposed theories put forth by researchers, one suggests a connection between the sculpture and ancient religious rituals and mythology.
It is posited that this artifact may be linked to the worship of a motherhood and fertility deity prevalent in ancient civilizations. However, this remains speculative, lacking concrete evidence to substantiate the theory.
The legitimacy of the Starving of Saqqara sculpture has faced scrutiny due to its unique nature, leaving experts puzzled about its origins.
However, prevailing consensus tends to support the sculpture’s authenticity. Concordia University’s experts, for instance, emphasize that the sculpture had obtained legal authorization for exportation.
Given that this transpired during an era when antiquities trade operated with a degree of informality and inadequate oversight, these experts posit that the sculpture is indeed genuine. Echoing this sentiment, Swiss art historian Jean-Jacques Fiechter asserts that the sculpture’s authenticity is credible.
He argues that its acquisition by seasoned collector Vincent Diniacopoulos, who went to the lengths of acquiring and transporting it to Montreal at a substantial cost, further bolsters its credibility.
The history of humanity is replete with enigmas and puzzles, and each new discovery only fuels our curiosity and compels us to solve these mysteries.
The perplexing sculpture found in Egypt is one such enigma, as its origin, meaning, and purpose continue to elude us. It continues to captivate the interest of researchers and archaeologists worldwide, serving as a testament to the enduring allure of ancient artifacts and the quest for understanding our past.