The Sarcophagus of the Mourning Women, as one of the most striking pieces in the collection of the Istanbul Archaeology Museums, holds a special position immediately following the Alexander Sarcophagus. The work received its name because of the depiction of 18 women mourning on its surface. Each of these figures, with their different postures and facial expressions, reflects a state of emotion, indicating distinct personalities. The relationship between the person interred within the sarcophagus and these sorrowful female figures continues to exist as an unresolved mystery.
History
In 1887, during the excavations conducted by Osman Hamdi Bey, the sarcophagus found in the Royal Necropolis of Sidon (today the city of Saida in Lebanon) was uncovered along with the Alexander Sarcophagus within large underground chamber tombs. This underground tomb complex is also described as an important royal necropolis, believed to belong to the Sidon dynasty. The total of 22 sarcophagi recovered from this area has attracted great interest among historians and archaeologists for reflecting the art and funerary traditions of the period.
In each chamber of the royal necropolis, there are sarcophagi belonging to individuals of the Sidon dynasty. Since these sarcophagi carry the artistic style and cultural characteristics of the period in which they were created, they provide important clues regarding which king or which reign they can be associated with. The oldest of the sarcophagi is the one known as “Tabnit’s Sarcophagus,” which was designed in a human-shaped form using black basalt or diorite in the Egyptian style, and which contains the mummy of Tabnit, known to have reigned in the 6th century BC. The latest sarcophagus of the dynasty is the Alexander Sarcophagus, which is thought to belong to Abdalonymos, the last king of Sidon.
The Sarcophagus of the Mourning Women, however, was found in a different chamber and, due to its artistic style that distinguishes it from the other sarcophagi, is dated to around 360 BC. During this period, both political and social transformations were taking place in Sidon and, more generally, in Phoenician lands, and it is noted that I. Straton—remembered by historians for his debauchery and vast harem—reigned during this process. This political and cultural environment paved the way for the emergence of works exhibiting distinct stylistic features, such as the Sarcophagus of the Mourning Women.
Sarcophagus of the Mourning Women, Istanbul Archaeology Museums (Photo: Nazlı Kemerkaya)
Characteristics and Descriptions on the Sarcophagus
The Sarcophagus of the Mourning Women is 2.97 meters high, 2.54 meters long, and 1.37 meters wide. Considered one of the best-preserved sarcophagi of antiquity, this work conveys the funeral ceremony performed for the king’s death and the expression of mourning for him through relief carvings. It is believed that the carved details on it were created through the joint work of more than one sculptor. The basic architecture of the sarcophagus draws attention due to its similarity to the proportions of an Ionic temple, and it is regarded as one of the important examples emphasizing the Eastern influence reflected in Hellenistic sculpture.
Sarcophagus of the Mourning Women Ionic Columns (Photo: Nazlı Kemerkaya)
Between the Ionic columns surrounding the sarcophagus, female figures numbering eighteen are positioned. Although each of these women expresses a common emotion with their sorrowful demeanor, their postures and gestures vary, creating dynamism and variety in the work. Shaven hair, bare feet, torn garments, and gestures that reflect pain evoke the mourning customs specific to Semitic communities. There are interpretations that these female figures, scattered among the columns, represent not professional mourners—which were common in Middle Eastern societies of the period—but rather the wives or harem members of the deceased king.
Female Figures (Photo: Nazlı Kemerkaya)
Female Figures (Photo: Nazlı Kemerkaya)
The ekphora scene located on the upper part of the sarcophagus depicts the transport of the coffin during the funeral ceremony. Because this scene resembles similar funeral processions found in the Persian Satrapy regions in Anatolia, it provides an opportunity for evaluations regarding the identity and origin of the owner of the sarcophagus. The fact that the male figures are dressed in Eastern-style garments while the female figures wear attire typical of the Greek tradition underlines the multicultural nature of this scene. At the very front of the procession, there are two men who bring together two unbridled horses side by side; immediately behind them is a war chariot (quadriga) pulled by four horses, which is regarded as a symbol of heroism and military might. The second quadriga following this vehicle carries the funeral chariot, transporting the owner of the sarcophagus. Although in some societies horses are buried together with high-status individuals, in this sarcophagus, in addition to a male skull, seven greyhound skulls have been found. This situation suggests that the Sidonian kings might have sacrificed the hunting dogs they used in their “paradeisos” (hunting grounds) during the funeral ceremonies and placed them inside the sarcophagus.
Ekphora Scene (Photo: Nazlı Kemerkaya)
Additionally, the small-scale hunting scene depicted at the lower part of the sarcophagus concretely expresses the deceased’s passion for hunting and the heroic ideals of the period.
Bottom Hunting Scene (Photo: Nazlı Kemerkaya)
