Feline fine art II – Predynastic Period (until 3000 BCE)

Our journey through the ancient depiction of cats begins with an artifact from the Predynastic period. Even than, cats had been a part of domestic life for thousands of years. But it is the lion that often takes center stage. At around 3100 BCE, the Battlefield Palette showcases this wild relative of a cat, the lion. It emphasizes the prestige and power of these creatures held in the eyes of the ancient Egyptians.

Battlefield palette (ca. 3100 BCE)

The Battlefield Palette is one of the earliest known depictions of a battle from ancient Egypt. It was likely commissioned by a regional ruler before Egypt’s unification to enhance their influence. Intended for early power rituals, it portrays the aftermath of a battle. It shows a lion attacking a prisoner and vultures assaulting bound figures.

This artifact features scenes in low relief and a specific area for mixing ceremonial substances. Probably intended as an early form of hieroglyphic representation. Made of grey mudstone during the Naqada III period (circa 3150 – 3000 BC), the palette’s significance grew from a cosmetic tool to a ceremonial item. It is displayed at the Ashmolean Museum in Oxford.¹

Feline fine art II – Early Dynastic Period (3000 – 2675 BCE)

Lion cub (3100 – 2900 BCE)

You’re looking at a lion cub figure of almost magical 5,000 year old beauty! Carved of Quartz, what is very difficult to work with without cracking, the artisan must have great skills. Especially at this scale as the item is only about 9 inches long. Its shimmering material lends it a special beauty. It was found in a temple of the goddess Hathor which seems unusual at first as she is usually depicted as a cow. But in one legend, she was born with the face of a lioness. This makes it possible that we are looking at a depicting of her young son.²

Feline fine art II – Old Kingdom (2675 – 2130 BCE)

Statuette of a lion (ca. 2250 BCE)

This ancient red statuette from around 2250 BCE is made from Terracotta and about 16.7 inches high. It depicts a lion with a distinctive, small mane across its chest. But researchers speculate about its significance. Some suggest the mane symbolizes royalty. Akin to the lappets on a pharaoh’s headcloth, potentially linking the lion to kingly power. Others argue it represents a real lion’s mane from a time when there were still lions around Egypt. Changing climates led to lions with smaller manes, marking an adaptation to warmer weather. This piece was found in the Hierakonpolis tomb.^3,4

Feline fine art II – Middle Kingdom (1980 – 1630 BCE)

Cosmetic vessel in the shape of a cat (1990 – 1900 BCE)

This cosmetic jar, shaped like a cat, is the earliest known three-dimensional representation of the animal in Egyptian art. Crafted from travertine, commonly known as Egyptian alabaster, the jar features intricate detailing with rock-crystal eyes outlined in copper, which lend the figure a vivid expression. This portrayal contrasts with the more composed and detached depictions that emerged in later periods. The sculptor’s acute observation of the cat’s physical attributes is evident, capturing its tense and attentive demeanor. The jar measures approximately 5.5 inches cm in height.⁵

Feline fine art II – New Kingdom (1539 – 1075 BCE)

Sacrophagus of Prince Thutmose’s cat (1539 – 1292 BCE)

Thutmoses ensured that his beloved cat received only the finest in her afterlife. Her sarcophagus, crafted from limestone, was adorned with images of a lavish banquet, including three pints of wine, a goose, and an ox leg. Additionally other depictions showcased other delectable items, creating a sumptuous visual feast fitting for his cherished companion. Read more about Ta-Miu’s interesting fate on our article about history’s most famous cats.

Tomb of Nebamun, hunting scene (1400 – 1350 BCE, Thebes)

Ancient Egyptian art is well-known for its murals, reliefs, and architectural decorations, but there aren’t standalone paintings like those of Renaissance artists from the common folk. Certainly the majority of well-preserved art from tombs, temples, and palaces, were commissioned by the elite or royal patrons.

One of the tombs that actually shows scenes of various aspects of society outside of palaces and temples, is the tomb of Nebamun in Thebes. Obviously Nebamun was a scribe and not a common laborer, and wall paintings seemingly provide glimpses into the daily activities of regular people. In this mural, a cat assists him in hunting. Especially its golden eye and a successful hunt might symbolize Nebamun being blessed by the sun-god Ra. Specifically emphasizing the divine protection and celestial connection for his afterlife.

[Cat statues] engraved with the scarab and wedjat eye represent Bastet.

Sekhmet & Bastet – The Feline Powers of Egypt

Ostracon cat and mouse (1295 – 1075 BCE)

This limestone piece shows a humorous scene inked onto its surface, where a cat stands upright, fanning and offering a duck or goose to a mouse seated like royalty on a decorative stool. The mouse, wearing a long skirt and with a flower on her head, holds a dish in one hand and in the other, a fish bone or flower and a piece of cloth – items often seen with pharaohs, hinting at a playful nod to royalty.

This ostracon could be seen as a lighthearted satire or perhaps an illustration of a tale now lost to us, subtly poking fun at societal or royal norms by reversing the roles of predator and prey. Despite some wear, its condition remains good, making it a captivating snapshot of ancient Egyptian humor and creativity. This ostracon is one of several still existing today. We display just the few here, as there are numerous other pieces we want to show you, each completely unique.⁶

Ostracon with Pharaoh spearing a lion (1180 – 1070 BCE)

Contrary to the just witnessed humor, here you see a not yet identified pharaoh who’s ending the life of an enemy of egypt, represented by a lion. It contains a blessful saying as well.⁷

The slaughter of every foreign land, the Pharaoh – may he live, prosper, and be healthy.

– unknown artist

Feline fine art II – Third Intermediate Period (1075 – 656 BCE)

Ring with cat and kittens (ca. 980 BCE)

This striking ring from ancient Egypt’s Third Intermediate Period is made of faience, a glazed ceramic material renowned for its bright, glass-like finish and vibrant colors. Depicting a cat with its kittens next to papyrus plants – imagery of a marsh – it serves as a talisman of the Faraway Goddess myth. In the story, the goddess’ absence disrupts balance, and her return signifies the restoration of order. The intricate faience work, capturing the fine details of the mythological scene, reflects the period’s peak of artistic craftsmanship. Worn during festivals, this ring was a celebratory piece invoking the deities’ blessings and the harmony of maat, the principle of cosmic order.⁸

Feline fine art II – Late Period (664 – 332 BCE)

Gayer-Anderson cat

Sculptures like this primarily represent female cats and are most commonly associated with Bastet, a goddess whose worship dates back to the Old Kingdom (ca. 2675 – 2130 BCE). Initially lioness-headed and embodying the sun’s aggressive power, Bastet evolved to embody the gentler characteristics of domestic cats, such as fertility and protective nature. These bronze statuettes, therefore, not only represent the animal itself but also symbolize the protective and nurturing qualities attributed to the goddess Bastet.⁹

Some statues like this served as containers for mummified cats who were put into the tombs of their owners to give them companionship.¹⁰ The scarab beetles on her forehead and chest stand for rebirth while the Wedjat amulet is a sign of protection. Today very tiny versions of them are sold as souvenirs to tourists in Egypt.

Cat statuette as container for a mummified cat

As you can see, even this container for a mummified cat has a wadjet eye carved into the chest, symbolizing the goddess Bastet. Bronze containers like this and later on, containers of linen, would be donated to her temples at Bubastis and Saqqara (and other places).¹⁰

Cat bronze votive statue with kittens

This art piece is a bronze sculpture featuring a mother cat reclining with her four kittens on a semi-circular bronze base that fits into a wooden base. The mother cat is depicted in a relaxed pose with varied leg positions and a slightly tilted head, as one kitten climbs toward her neck and three others nurse. The sculpture is detailed with a necklace marked by a potential Wedjat pendant. Not only that but also the inscription on the base Bastet, given life leads us to the assumption that we’re looking at a Bastet figurine here.

Though the bronze shows some light patches and minor scratches, it is generally well-preserved. The wooden base, originally black, shows some wear and loss of paint. This composition stands out due to its asymmetry, a notable deviation from the typical symmetry of three-dimensional Egyptian art, making this a truly unique piece of art.¹¹

We hope you enjoyed this journey to ancient Egypt. Be assured, there are tons of fascinating cat art more, so let us know if you want another article like this in the comments. And if you find it interesting, share this one with your friends!

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Paleolithic Europe (ca. 40,000 BC – 10,000 BC)

German Lion-Man figurine (40,000 BC – 32,000 BC)

One of the oldest figurative works of art in the world shows only the head of a large relative of our favorite animal. The Lion-Man Figurine with a lion head on a human body is one of the earliest known depictions of a somewhat feline creature. The exact age of this artifact varies according to different sources.

It’s about 31 centimeters (12 inches) tall, made of mammoth ivory, and was found in the Hohlenstein-Stadel cave in Germany. Because it did not have many other things from everyday life in it, the assumption is that this place had been reserved for ritualistic ceremonies. It could indicate early human beliefs in the power of animals and the desire to embody or invoke their strengths.¹ It’s possible that this sculpture shows a shaman or a mythical creature.²

The discovery of the Lion-Man was groundbreaking as it pushed back the known date of figurative sculpture and complex symbolic thinking in early human culture. The piece is held at the Ulm Museum in Germany, where it is a highlight of their prehistoric collection and continues to be an object of intrigue and study for archaeologists and art historians.²

Alongside the Lion-Man, there have been other remarkable prehistoric finds from the same region, including various animal figurines that date back to the Upper Paleolithic period, among which are representations of cave lions which were common in the fauna of that period.³

Apart from intriguing figures like these, paleolithic art extends further into the captivating world of wall paintings, revealing another dimension of prehistoric artistic expression.

French Chauvet-Pont-d’Arc cave paintings (ca. 36,000 BC – 30,000)

In 1994, an extraordinary site was discovered in the Ardèche river valley, France, known as the Chauvet-Pont-d’Arc Cave. This cave is adorned with an extensive array of animal depictions. Prominently featured are big cats such as cave lions and leopards.⁴

Within this cave, the “Alcove of the Lions,” stands out as a remarkable section where the paintings create the illusion of lions emerging from the rock’s crevices. These depictions offer a raw and direct representation of the Paleolithic environment, providing a glimpse into the everyday sights and experiences of our earliest ancestors. Here, scenes of cave lions and other animals capture aspects of nature integral to their daily lives.⁵

As we move from the vivid depictions of wild animals in the Chauvet Cave, our journey takes us next to Çatalhöyük. Here, the artistic focus shifts to more divine scenes, reflecting the transition of human societies toward a more settled way of life.

Neolithic Anatolia (ca. 10,000 BC – 2,200 BC)

Turkish Çatalhöyük Mother Goddess (ca. 7,500-6,200 BCE)

The “Seated Woman of Çatalhöyük,” a remarkable sculpture discovered at the Çatalhöyük archaeological site in modern-day Turkey, is a vivid representation of Neolithic artistry. This baked-clay, nude female figure is substantial in size, especially when compared to other artifacts from the site. She is depicted in a seated position, exuding an aura of corpulence and fertility that has led many to believe she represents a Mother Goddess. The statue, dating back to approximately 6000 BC, is notable for its unique design: the arms of the throne on which she sits terminate in feline heads, possibly lionesses, leopards, or panthers, evoking a “Mistress of Animals” motif. These animalistic features add a layer of mystique and power to the figure, suggesting her dominion over the natural world.⁶

Currently housed in the Museum of Anatolian Civilizations in Ankara, Turkey, the “Seated Woman of Çatalhöyük” is often compared to other prehistoric figurines, such as the Venus of Willendorf, due to its emphasis on fertility and feminine form. Mellaart’s interpretation of the figure as a deity of fertility worshipped by the Neolithic inhabitants of Çatalhöyük adds to the intrigue and importance of this artifact in understanding early human civilizations.⁶

Even though no depictions of our beloved house cat have been found yet, as we move from Neolithic Anatolia to the Minoan Civilization, we witness an artistic evolution from simple representations, supported by natural observations, to complex, mythological elements.

Minoan Civilization (3,000 BC – 1,100 BC)

Minoan is the term for the earliest advanced civilization in the Aegean region, centered on the island of Crete, famous for its elaborate palaces and sophisticated art.

Cretan griffin fresco (1,700 BC – 1,450 BC)

The fresco at Knossos depicts two griffins, mythical creatures with the bodies of lions and the heads of eagles, positioned on either side of what is believed to be a royal throne. Their presence, in a state of repose, suggests a protective role, indicating the significance of griffins in Minoan culture as symbols of power and guardianship. Often they symbolized strength, bravery, and protection.⁷

The artistic style of the fresco, with its clear lines and stylized form, reflects the aesthetic preferences of the time, showcasing an interest in combining animal elements to create figures of mythological importance. This depiction of griffins, common in the art of the Eastern Mediterranean, speaks to the broader cultural and mythological exchanges in the region. The fresco’s location in the Knossos complex points to its possible role in ceremonial or royal contexts, offering a glimpse into how such mythical creatures were integrated into the everyday life and beliefs of the Minoans.

It seems like lions – and sometimes only their body features – were shared in artistic expression in different civilizations. What seems to be predominant in these pieces of art is that the lion stands as a symbol of power, maybe nobility, or protection.

Mycenaean Greece (ca. 1,600 BC – 1,100 BC)

Mycenaean refers to an ancient civilization centered on the Greek mainland, flourishing in the Late Bronze Age, known for its majestic palaces, rich tombs, and significant influence on classical Greek culture.

Greek lion’s head vessel (1,600 BC – 1,100 BC)

Unearthed from the storied soil of one of the Mycenae’s circular tombs, the Gold Rhyton in the shape of a lion’s head stands as a testament to the sophistication of the Late Bronze Age, circa 1,600 BC.

Preserved within the National Archaeological Museum of Athens, this exquisite piece showcases the Mycenaean civilization’s mastery in metalwork and their predilection for lion symbolism, which denoted strength and regality. The rhyton’s form suggests its sacred role in pouring rituals, offering us a glimpse into the ceremonial practices that wove through the fabric of Mycenaean society, leaving an indelible mark on the cultural heritage of the Aegean region.

Moreover, the era frequently showcased lions alongside divine figures, potentially alluding to the goddess Hera, weaving a narrative of religious symbolism and reverence into their artistry.

Early Iron Age Europe (800 BC – 400 BC)

Etruscan cauldron from Cerveteri (675 BC – 650 BC)

Etruria was an ancient region in central Italy, inhabited by the Etruscan civilization, renowned for its rich culture and significant influence on the development of Roman society.

Crafted from a single sheet of hammered bronze, this half-spherical vessel boasts five outward-facing lion protomes – lion’s heads – each affixed with riveted nails. It was found in the famous Regolini-Galassi-Grave in Cerveteri, and not just a cooking vessel, but a symbol of opulence, its design influenced by Oriental and Greek style.

In this Cerveteri grave, alongside a cauldron, other fascinating items surfaced, each adorned with big cat imagery, such as a belt, a bowl, and even a throne, hinting at the Etruscans’ admiration for these majestic creatures.

As we edge closer to the Common Era, we also get closer to the highlight: one of the earliest European depictions of a domesticated cat. Yet, let’s take a moment to delve into Greek mythology, as our next item beautifully narrates one of its classic tales which we can’t ignore.

Greek neck-amphora (540 BC – 530 BC)

This neck-amphora intricately depicts Hercules’ first labor, assigned to him as penance for the grievous crime of murdering his family. Tasked with defeating the Nemean lion, he discovered the beast’s hide was impervious to his arrows, a revelation that intensified the challenge.

The amphora vividly captures this intense struggle, showcasing Hercules’ strength and pragmatism. More than just a depiction of myth, this scene encapsulates the essence of confronting seemingly insurmountable odds. Hercules’ ultimate victory over the lion is not just a display of brute force; it symbolizes a deeper journey of redemption, reflecting the enduring human themes of resilience, resourcefulness, and the unyielding courage to face tremendous trials.

Leaving behind the legendary Hercules, a hero of Greek lore, we now turn to the mystical world of the Celts. Much like the Greeks, the Celts revered their own symbols of strength and valor. This admiration is beautifully encapsulated in our next artifact: the Celtic lion cauldron, a masterpiece that blends the Celtic reverence for majestic creatures with artistic influences from across Europe.

Celtic lion cauldron (ca. 530 BC)

We return to today’s Germany, more precisely Baden-Württemberg. In Hochdorf Chieftain’s Grave, a richly-furnished burial chamber, regarded as the “Tutankhamun of the Celts” was discovered. Among the found items was a remarkably big cauldron that was originally adorned with three Greek lion motifs. A celtic artist deliberately decided to replace one of those with his own artistic version of a lion. According to the curator of the exhibition, this shows the Celts dealt with the influence from the south at the time. According to him, this speaks for the great self-confidence of the Celtic elite.⁹

Advancing from the Etruscan cauldron in our timeline, we return to Etruria with excitement for the long-anticipated reveal of the domestic cat in ancient art! This moment marks a delightful highlight in our journey, as we finally unveil the presence of our favorite animal in the rich mosaic of ancient artistic expression.

Etruscan neck-amphora (ca. 490 BC)

Finally, the domesticated cat makes its appearance. This terracotta amphora showcases a remarkable tableau: a bare young man is extending a piece of food to an eager, long-tailed cat. The feline is illustrated in a side view with her face turned to us, her forelegs outstretched in mid-leap, eager to claim her snack.

Within Etruscan art, representations of big cats and domestic cats as companions are relatively common. However, this particular depiction of a playful moment with a cat is an unusual find, sharing more in common with the Greek artistic narrative than with the Etruscan.¹⁰ The social life with cats is further chronicled in other Etruscan art from around this time, like in the tomb of Triclinium (ca. 470 BC) and a funerary urn from Chiusi (ca. 500 BC), where they are portrayed in domestic settings, lurking under tables and couches at banquets.¹¹

That’s not all yet, folks!

Although evidence suggests that cat domestication occurred in Europe as early as the Neolithic period, artistic representations of these feline companions are sparse in European art history. While domestic cats featured prominently in artworks elsewhere, their presence in European art was notably less frequent.

Due to that, we turn our focus to Egyptian art next, a realm where cats held a significantly more esteemed position, revered not just as companions but as symbols of divine and everyday life. We invite you to join us in exploring the rich and diverse depictions of cats in Egyptian art, where they truly come into their own, celebrated for their grace, and revered for their mystique.

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Discover the delicate balance between simplicity and depth in these short poetic verses known as haikus. Originating in Japan, they have a rich history dating back centuries. Originally inspired by the appreciation of nature, these concise poems capture a single moment in time, often emphasizing the beauty of the natural world.

Through the 5-7-5 syllable structure, haikus encapsulate profound emotions and observations, inviting readers to contemplate the interconnectedness of all things. In this collection of cat haikus, the elegance of the poems merges with the grace and charm of feline companions.

Join us as we delve into the realm of whiskers and words, where each verse paints a vivid picture and evokes a sense of tranquility, mystery, and awe.

Sun embracing a purring ball

Purring ball of fur,
Curled up in a sunlit patch,
Dreams of mice and birds.

Gentle touch of velvet paws

Soft, velvet paw pads,
Nose nuzzles against my cheek,
Love in every purr.

A lap, a cat, and kneading bliss

Kneading on my lap,
Contentment in every purr,
Cat and human bond.

Moving still life

Silent forest stroll,
Eyes mirror the moonlit night,
Prowling nature’s art.

Nature’s golden symphony

Golden sunlight glows,
Cascading through dappled fur,
Nature’s living art

Eternal dance

Whiskers brush the breeze,
Pouncing shadows, agile leaps,
Nature’s ballet play.

As we come to the end of this poetic journey, we invite you to bask in the lingering essence of these cat haikus. Let their simplicity and beauty resonate in your heart. If you enjoyed this collection, we would love to hear from you. Leave a comment or react to this post to let us know that you would like to see more posts like this. Thank you for joining us on this enchanting exploration of feline poetry.

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