In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli’s Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not commonly accepted that an artist would lay claim to it, especially when the work’s scale imposed diversification of tasks to be performed or teamwork organized on a workshop basis. This article will present evidence discovered in the Chapel of Hatshepsut in her temple at Deir el-Bahari that can be interpreted as a self-portrait in assistenza and indicates that Djehuty, Overseer of the Treasury under Hatshepsut, took the lead role there. If this identification is valid, the room’s decoration gains an additional layer of meaning and may be “read” in terms of Djehuty’s message, comparable to Botticelli gazing out from his Adoration of the Magi. This ancient Egyptian case will illustrate how that artist-designer, in interweaving subtle indicators of his involvement in the work, expresses awareness both of his intellectual skills and of his pride in creation.

中文翻译：

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作者鞠躬：代尔巴哈里哈特谢普苏特神庙中阿西坦扎的自画像


从艺术史的角度来看，辅助自画像是指艺术家将自己的肖像插入到更大的作品中。在文艺复兴时期的艺术中，已发现了 90 多个例子，其中著名的包括波提切利的《东方贤士来朝》（约 1478/1483）。在那里，波提切利从画中向外望去，与观众进行直接的目光接触，这一特征也出​​现在其他同类自画像中。在古埃及，人们并不普遍认为艺术家会声称拥有它，特别是当作品的规模要求要执行的任务多样化或在工作坊的基础上组织团队合作时。本文将介绍在代尔巴哈里寺庙的哈特谢普苏特教堂中发现的证据，该证据可以解释为协助中的自画像，并表明哈特谢普苏特领导下的财政部监督者杰胡蒂在该处发挥了主导作用。如果这种识别有效，房间的装饰就会获得额外的一层意义，并且可以根据 Djehuty 的信息来“解读”，就像波提切利在他的《东方贤士来朝》中凝视着外面一样。这个古埃及案例将说明这位艺术家兼设计师如何通过将他参与工作的微妙迹象交织在一起，表达对他的智力技能和他对创作的自豪感的认识。