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of Ancient Egypt in the lower Nile Valley from about 3000 BC to 100 AD. Ancient Egyptian art reached a high
level in painting and sculpture, and was both highly stylized and symbolic. Much of the surviving art comes from
tombs and monuments and thus there is an emphasis on life after death and the preservation of knowledge of
the past.
Ancient Egyptian art was created using media ranging from drawings on papyrus through wood, stone, and
paintings. Ancient Egyptian art displays an extraordinarily vivid representation of the Ancient Egyptian's
socioeconomic status and belief systems. Egyptian styles changed remarkably little over more than three
thousand years.
Symbolism[edit]
Symbolism also played an important role in establishing a sense of order. Symbolism, ranging from the
pharaoh's regalia (symbolizing his power to maintain order) to the individual symbols of Egyptian gods and
goddesses, is omnipresent in Egyptian art. Animalswere usually also highly symbolic figures in Egyptian
art. Colours were more expressive rather than natural: red skin implied hard working tanned youth, whereas
yellow skin was used for women or middle-aged men who worked indoors; blue or gold indicated divinity
because of its unnatural appearance and association with precious materials; the use of black for royal figures
expressed the fertility of the Nile from which Egypt was born. Stereotypes were employed to indicate the
geographical origins of foreigners[1]
Hierarchical scale[edit]
Painting[edit]
Not all Egyptian reliefs were painted, and less prestigious works in tombs, temples and palaces were just
painted on a flat surface. Stone surfaces were prepared by whitewash, or if rough, a layer of coarse mud
plaster, with a smoother gesso layer above; some finerlimestones could take paint directly. Pigments were
mostly mineral, chosen to withstand strong sunlight without fading. The binding medium used in painting
remains unclear: egg tempera and various gums and resins have been suggested. It is clear that true fresco,
painted into a thin layer of wet plaster, was not used. Instead the paint was applied to dried plaster, in what is
called "fresco a secco" in Italian. After painting, a varnish or resin was usually applied as a protective coating,
and many paintings with some exposure to the elements have survived remarkably well, although those on fully
exposed walls rarely have.[3] Small objects including wooden statuettes were often painted using similar
techniques.
Many ancient Egyptian paintings have survived due to Egypt's extremely dry climate. The paintings were often
made with the intent of making a pleasant afterlife for the deceased. The themes included journey through the
afterworld or protective deities introducing the deceased to the gods of the underworld (such as Osiris). Some
tomb paintings show activities that the deceased were involved in when they were alive and wished to carry on
doing for eternity.
In the New Kingdom and later, the Book of the Dead was buried with the entombed person. It was considered
important for an introduction to the afterlife.
Egyptian paintings are painted in such a way to show a profile view and a side view of the animal or person at
the same time. For example, the painting to the right shows the head from a profile view and the body from a
frontal view. Their main colors were red, blue, green, gold, black and yellow.
Sculpture[edit]
The monumental sculpture of Ancient Egypt is world-famous, but refined and delicate small works exist in much
greater numbers. The Egyptians used the distinctive technique of sunk relief, which is well suited to very bright
sunlight. The main figures in reliefs adhere to the same figure convention as in painting, with parted legs
(where not seated) and head shown from the side, but the torso from the front, and a standard set of
proportions making up the figure, using 18 "fists" to go from the ground to the hair-line on the forehead. [4] This
appears as early as the Narmer Palette from Dynasty I, but there as elsewhere the convention is not used for
minor figures shown engaged in some activity, such as the captives and corpses. [5] Other conventions make
statues of males darker than females ones. Very conventionalized portrait statues appear from as early as
Dynasty II, before 2,780 BC,[6] and with the exception of the art of the Amarna period of Ahkenaten,[7] and some
other periods such as Dynasty XII, the idealized features of rulers, like other Egyptian artistic conventions,
changed little until after the Greek conquest.[8]
Egyptian pharaohs were always regarded as gods, but other deities are much less common in large statues,
except when they represent the pharaoh as another deity; however the other deities are frequently shown in
paintings and reliefs. The famous row of four colossal statues outside the main temple at Abu Simbel each
show Rameses II, a typical scheme, though here exceptionally large. [9] Most larger sculpture survives
fromEgyptian temples or tombs; massive statues were built to represent gods and pharaohs and their queens,
usually for open areas in or outside temples. The very early colossal Great Sphinx of Giza was never repeated,
but avenues lined with very large statues including sphinxes and other animals formed part of many temple
complexes. The most sacred cult image of a god in a temple, usually held in the naos, was in the form of a
relatively small boat or barque holding an image of the god, and apparently usually in precious metal none
have survived.
By Dynasty IV (26802565 BC) at the latest the idea of the Ka statue was firmly established. These were put in
tombs as a resting place for the ka portion of the soul, and so we have a good number of less conventionalized
statues of well-off administrators and their wives, many in wood as Egypt is one of the few places in the world
where the climate allows wood to survive over millennia, and many block statues. The so-called reserve heads,
plain hairless heads, are especially naturalistic, though the extent to which there was real portraiture in Ancient
Egypt is still debated.
Early tombs also contained small models of the slaves, animals, buildings and objects such as boats necessary
for the deceased to continue his lifestyle in the afterworld, and later Ushabti figures.[10]However the great
majority of wooden sculpture has been lost to decay, or probably used as fuel. Small figures of deities, or their
animal personifications, are very common, and found in popular materials such as pottery. There were also
large numbers of small carved objects, from figures of the gods to toys and carved utensils. Alabaster was
often used for expensive versions of these; painted wood was the most common material, and normal for the
small models of animals, slaves and possessions placed in tombs to provide for the afterlife.
Very strict conventions were followed while crafting statues and specific rules governed appearance of every
Egyptian god. For example, the sky god (Horus) was essentially to be represented with a falcons head, the
god of funeral rites (Anubis) was to be always shown with a jackals head. Artistic works were ranked according
to their compliance with these conventions, and the conventions were followed so strictly that, over three
thousand years, the appearance of statues changed very little. These conventions were intended to convey the
timeless and non-aging quality of the figure's ka. [11]
Facsimile of the Narmer Palette, c. 3100 BC, which already shows the canonical Egyptian profile view and
proportions of the figure.
Menkaura (Mycerinus) and queen, Old Kingdom, Dynasty 4, 2490 2472 BC. The formality of the pose is reduced
by the queen's arm round her husband.
Wooden tomb models, Dynastry XI; a high administrator counts his cattle.
Osiris on a lapis lazuli pillar in the middle, flanked by Horus on the left, and Isis on the right, 22nd dynasty,Louvre
The ka statue provided a physical place for the ka to manifest. Egyptian Museum, Cairo
Block statue of Pa-Ankh-Ra, ship master, bearing a statue of Ptah. Late Period, ca. 650633 BC, Cabinet des
Mdailles.
Egyptian faience, made from sand and chemicals, produced relatively cheap and very attractive small objects
in a variety of colours, and was used for a variety of types of objects including jewellery. Ancient Egyptian
glass goes back to very early Egyptian history, but was at first very much a luxury material. In later periods it
became common, and highly decorated small jars for perfume and other liquids are often found as grave
goods.
Ancient Egyptians used steatite (some varieties were called soapstone) and carved small pieces
of vases, amulets, images of deities, of animals and several other objects. Ancient Egyptian artists also
discovered the art of covering pottery withenamel. Covering by enamel was also applied to some stone works.
The colour blue, first used in the very expensive imported stone lapis lazuli, was highly regarded by Ancient
Egypt, and the pigment Egyptian blue was widely used to colour a variety of materials.
Different types of pottery items were deposited in tombs of the dead. Some such pottery items represented
interior parts of the body, like the lungs, the liver and smallerintestines, which were removed before embalming.
A large number of smaller objects in enamel pottery were also deposited with the dead. It was customary to
craft on the walls of the tombs cones of pottery, about six to ten inches tall, on which were engraved or
impressed legends relating to the dead occupants of the tombs. These cones usually contained the names of
the deceased, their titles, offices which they held, and some expressions appropriate to funeral purposes.
Papyrus[edit]
Papyrus was used by ancient Egyptians (and exported to much of the ancient Mediterranean world) for writing
and painting. Papyrus is relatively fragile, lasting at most a century or two in a library, and though used all over
the classical world has only survived when buried in the very dry conditions of Egypt, and even then is often in
poor condition. Papyrus texts illustrate all dimensions of ancient Egyptian life and
include literary, religious, historical andadministrative documents.
Amarna period[edit]
Architecture[edit]
Hieroglyphs[edit]
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Ancient Egyptian art is five thousand years old. It emerged and took shape in the
ancient Egypt, the civilization of the Nile Valley. Expressed in paintings and
sculptures, it was highly symbolic and fascinating - this art form revolves round the
past and was intended to keep history alive.
In a narrow sense, Ancient Egyptian art refers to the canonical 2D and 3D art
developed in Egypt from 3000 BC and used until the 3rd century. It is to be noted that
most elements of Egyptian art remained remarkably stable over the 3000 year period
that represents the ancient civilization without strong outside influence. The same
basic conventions and quality of observation started at a high level and remained near
that level over the period.
Ancient Egyptian art forms are characterized by regularity and detailed depiction of
human beings and the nature, and, were intended to provide company to the deceased
in the 'other world'. Artists' endeavored to preserve everything of the present time as
clearly and permanently as possible. Completeness took precedence over prettiness.
Some art forms present an extraordinarily vivid representation of the time and the life,
as the ancient Egyptian life was lived thousand of years before.
Egyptian art in all forms obeyed one law: the mode of representing man, nature and
the environment remained almost the same for thousands of years and the most
admired artists were those who replicated most admired styles of the past.
Periods
Predynastic
Old Kingdom (2680 BC-2258 BC)
Middle Kingdom (2134 BC-1786 BC)
New Kingdom (1570 BC-1085 BC)
Amarna Period (1350 BC-1320 BC)
Ptolemaic
Cartouche
Homeometric regularity, keen observation and exact representation of actual life and
nature, and strict conformity to a set of rules regarding representation of three
dimensional forms dominated the character and style of the art of ancient Egypt.
Completeness and exactness were preferred to prettiness and cosmetic representation.
Because of the highly religious nature of Ancient Egyptian civilization, many of the
great works of Ancient Egypt depict gods, goddesses, and Pharaohs, who were also
considered divine. Ancient Egyptian art is characterized by the idea of order. Clear
and simple lines combined with simple shapes and flat areas of color helped to create
a sense of order and balance in the art of ancient Egypt.
Ancient Egyptian artists used vertical and horizontal reference lines in order to
maintain the correct proportions in their work. Political and religious, as well as
artistic order, was also maintained in Egyptian art. In order to clearly define the social
hierarchy of a situation, figures were drawn to sizes based not on their distance from
the painter's point of view but on relative importance. For instance, the Pharaoh would
be drawn as the largest figure in a painting no matter where he was situated, and a
greater God would be drawn larger than a lesser god.
Of the materials used by the Egyptian sculptors, we find - clay, wood, metal, ivory,
and stone - stone was the most plentiful and permanent, available in a wide variety of
colors and hardness. Sculpture wasoften painted in vivid hues as well. Egyptian
sculpture has two qualities that are distinctive; it can be characterized as cubic and
frontal. It nearly always echoes in its form the shape of the stone cube or block from
which it was fashioned, partly because it was an image conceived from four
viewpoints. The front of almost every statue is the most important part and the figure
sits or stands facing strictly to the front. This suggests to the modern viewer that the
ancient artist was unable to create a naturalistic representation, but it is clear that this
was not the intention.
Symbolism
Papyri
The word paper is derived from "papyrus", a plant which was cultivated in the Nile
delta. Papyrus sheets were derived after processing the papyrus plant. Some rolls of
papyrus discovered are lengthy, up to 10 meters. The technique for crafting papyrus
was lost over time, but was rediscovered by an Egyptologist in the 1940s.
Papyrus texts illustrate all dimensions of ancient Egyptian life and include literary,
religious, historical and administrative documents. The pictorial script used in these
texts ultimately provided the model for two most common alphabets in the world, the
Roman and the Arabic.
Pottery
Ancient Egyptians used steatite ( some varieties were called soapstone) and carved
small pieces of vases, amulets, images of deities, of animals and several other objects.
Ancient Egyptian artists also discovered the art of covering pottery with enamel.
Covering by enamel was also applied to some stone works.
Different types of pottery items were deposited in burial chambers of the dead. Some
such pottery items represented interior parts of the body, like the heart and the lungs,
the liver and smaller intestines , which were removed before embalming. A large
number of smaller objects in enamel pottery were also deposited with the dead. It was
customary to craft on the walls of the tombs cones of pottery, about six to ten inches
tall, on which were engraved or impressed legends relating to the dead occupants of
the tombs. These cones usually contained the names of the deceased, their titles,
offices which they held, and some expressions appropriate to funeral purposes.
During Neolithic times, known to Egyptologists as the Predynastic period, the dead
were buried in a contracted position in shallow pits dug in the sand and were
surrounded by grave goods consisting of pots that probably contained food and drink,
and personal items such as cosmetic palettes. These objects suggest that there was
already a belief in the afterlife. The vessel illustrated here is typical of the Naqada II
period, being decorated in red line on a light background. The elaborate motifs relate
in part to life on the Nile, and show oared boats, water plants, standards, and birds.
Other examples also include wild animals and male or female figures. Such vessels
were probably made specifically for burial, rather than for everyday use.
The beginning of the arts of weaving and dyeing are lost in antiquity. Mummy cloths
of varying degrees of fitness, still evidencing the dyer's skill, are preserved in many
museums.
The invention of royal purple was perhaps as early as 1600 B.C. From the painted
walls of tombs, temples and other structures that have been protected from exposure
to weather, and from the decorated surfaces of pottery, chemical analysis often is able
to give us knowledge of the materials used for such purposes.
Thus, the pigments from the tomb of Perneb (at estimated 2650 B.C.), which was
presented to Metropolitan Museum of New York City in 1913, were examined by
Maximilian Toch. He found that the red pigment proved to be iron oxide, hematite; a
yellow consisted of clay containing iron or yellow ochre; a blue color was a finely
powdered glass; and a pale blue was a copper carbonate, probably azurite; green were
malachite; black was charcoal or boneblack; gray, a limestone mixed with charcoal;
and a quantity of pigment remaining in a paint pot used in the decoration, contained a
mixture of hematite with limestone and clay.
Hieroglyphics
Literature
The Scribe
Ancient Egyptian literature also contains elements of Ancient Egyptian art, as the
texts and connected pictures were recorded on papyrus or on wall paintings and so on.
They date from the Old Kingdom to the Greco-Roman period. The subject matter of
such literature related art forms include hymns to the gods, mythological and magical
texts, mortuary texts. Other subject matters were biographical and historical texts,
scientific premises, including mathematical and medical texts, wisdom texts dealing
with instructive literature, and stories. A number of such stories from the ancient
Egypt have survived thousand of years, the most famous being Cinderella, where her
names is Rhodopis in the oldest version of the story.
Paintings
Ancient Egyptian paintings survived due to the extremely dry climate. The ancient
Egyptians created paintings to make the afterlife of the deceased a pleasant place.
Accordingly, beautiful paintings were created. The themes included journey through
the afterworld or their protective deities introducing the deceased to the gods of the
underworld. Some examples of such paintings are paintings of Osiris and Warriors.
In the New Kingdom and later, the Book of the Dead was buried with the entombed
person. It was considered important for an introduction to the afterlife.
During the Eighteenth dynasty of Egypt the Pharaoh Akhenaten took the throne. He
worshiped a monotheistic religion based on the worship of Aten, a sun god. Artistic
changes followed political upheaval, although some stylistic changes are apparent
before his reign. A new style of art was introduced that was more naturalistic than the
stylized frieze favored in Egyptian art for the previous 1700 years. After Akhenaton's
death, however, Egyptian artists reverted to their old styles, although there are many
traces of this period's style in late art.
The Ancient Egyptian art style known as Amarna Art was a style of art that was
adopted in the Amarna Period (i.e. during and just after the reign of Akhenaten in the
late Eighteenth Dynasty, and is noticeably different from more conventional Egyptian
art styles.
It is characterized by a sense of movement and activity in images, with figures having
raised heads, many figures overlapping and many scenes are crowded and very busy.
The illustration of hands and feet were obviously thought to be important, shown with
long and slender fingers, and great pains were gone to be show fingers and finger
nails. Flesh was shown as being dark brown, for both males and females (contrasted
with the more normal dark brown for males and light brown for females) - this could
merely be convention, or depict the life blood. As is normal in Egyptian art,
commoners are shown with 2 left feet (or 2 right feet).
The depiction of the Royal Family is often seen as being informal, intimate and with a
family closeness, but this hides the conventions of the style. Central to most scenes is
the disc of the Aten, shining down on the Royal Family and literally giving life and
prosperity to Akhenaten and Nefertiti. Royalty are shown with left and right feet, each
with a big toe.
The decoration of tombs of non-Royals is quite different from previous eras, with not
many agricultural scenes, and the image of the king being central, rather than that of
the actual owner of the tomb.Obviously, the lack of depiction of gods other than the
Aten makes the style of decoration quite different from the standard tomb decoration.
Sculptures from the Amarna period were a lot more relaxed and depicted people as
they really were and not focusing on just some of their features.
Not many buildings from this persion have survived the ravages of later kings,
partially as they were constructed out of standard size blocks, known as Talatat, which
were very easy to remove and reuse.
On the Tree Of Life, the birds represent the various stages of human life. Starting in
the lower right-hand corner and proceeding counter-clockwise:
The light gray bird symbolizes infancy.
The red bird symbolizes childhood.
The green bird symbolizes youth.
The blue bird symbolizes adulthood.
The orange bird symbolizes old age.
In ancient Egypt, the direction east was considered the direction of life, because the
sun rose in the east. West was considered the direction of death, of entering the
underworld, because the sun set in the west. They believed that during the night, the
sun traveled through the underworld to make its way back to the east so it could rise
in the east again on the next day. On the tree of life, note that the birds representing
the first four phases of life all face to the east, but the bird representing old age faces
to the west, anticipating the approach of death.
In ancient Egypt, both men and women wore eye makeup, and to manufacture it they
ground up mineral pigments on a palette. Such palettes were often put into graves,
perhaps to ensure that the deceased had the means to grind eye makeup in the next
world.
This palette is made from polished green slate, with two bird heads carved in profile at
the top. Three holes have been drilled: a central one may be for hanging, whereas the
other two, serving as eyes for the birds, may originally have been inlaid. The birds are
possibly falcons, perhaps an early reference to the sky god Horus.
This rectangular coffin was put together from local timber for a priestess of the
goddess Hathor called Nebetit. The head end is identified by a pair of stylized eyes,
known as wedjat eyes, painted in a panel on the side. The coffin would have been
oriented in the tomb with the head end pointing north. This would have enabled the
deceased, lying on her side, magically to look out through the wedjat eyes at the sun
rising on the eastern horizon - a symbol of rebirth.
The coffin has hieroglyphic inscriptions on the sides, end, and lid. The vertical
inscriptions on the sides and ends identify the owner. The long horizontal inscriptions
consist of "offering formulae" and ask for offerings for the 'ka' (spirit) of Nebetit.
These include beef, fowl, bread, and beer, and also a request for "a good burial in her
tomb in the necropolis of the western desert."
Funerary Cones
Clay funerary cones originally decorated the mudbrick facades of private tombs at
Thebes. They were embedded in rows to form friezes and may have been intended to
represent the ends of roof beams. The flattened base of each cone, which was all that
remained visible, was stamped with the titles and name of the tomb owner. The cone
shown here bears the name of Merymose, the viceroy of Nubia during the reign of
Amenhotep III.
The cone bears three columns of hieroglyphic text reading from left to right. The
name of Merymose is found in the third column. The first column and the top of the
second form the phrase "revered before Osiris." This is followed by "king's son of
Kush," the title given to the viceroy of Nubia, a territory to the south of Egypt
stretching into modern northern Sudan that was conquered and ruled by the Egyptians
during the New Kingdom (1550 - 1070 B.C.).
Isis
The goddess Isis, sister-consort of Osiris, god of the dead, is represented seated with
her son placed at a right angle to her on her lap. She wears a tight-fitting dress and a
vulture headdress surmounted by a sun disk enclosed by a pair of cow's horns, which
are now broken. The horns and sun disk were originally associated with the goddess
Hathor, but later they were used by Isis too. The child is supported by his mother's left
arm, while her right hand offers her breast for suckling.
Horus is given the attributes of a child, being shown naked, with a single lock of hair
falling on the right side of his otherwise shaven head, and sucking his forefinger.
However, he is also closely associated with the ideal of kingship - the living king
being a manifestation of Horus - and so he wears a uraeus(cobra), a symbol of
kingship, on his forehead.
Temple Offerings
This fragment of temple relief comes from a scene that would have shown the king
offering to a standing or seated deity drawn on the same scale. The roundly modeled
high relief used here began to appear during the Late period and reached its peak
under the Ptolemies. Unfortunately, the royal cartouche is too damaged for the name
of the king to be identified lid depicts the deceased as a mummy wearing a divine,
tripartite wig and the long, braided beard associated with Osiris, god of the
underworld, with whom the deceased is identified.
The Book of the Dead is a funerary text that emerged in the New Kingdom as a
descendant of the
Depicted above is part of a painted scene or vignette showing the funeral procession to the tomb.
The procession moves to the left. On the left of the scene is Anubis, the jackal god of
embalming, on a shrine. In the middle, a priest drags the canopic chest containing the viscera of
the deceased. On the right is a line of women mourners. Two of them, facing one another, display
the characteristic gesture of mourning, which consists of raised arms and backward-facing palms,
as though beating the forehead or casting dust over the body. Between the two women stands a
small male figure who may be Paheby, the owner of the papyrus. If the fragmentary scene had
been complete, Paheby's sarcophagus would have been seen at the head of the procession.
Mummification
Canopic Jars
Canopic jars were used by the Ancient Egyptians during the mummification process to
store and preserve the viscera of their owner for the afterlife. They were commonly
either carved from limestone or were made of pottery. These jars were used by
Ancient Egyptians from the time of the Old Kingdom up until the time of the Late
Period or the Ptolemaic Period, by which time the viscera were simply wrapped and
placed with the body. The viscera were not kept in a single canopic jar: each jar was
reserved for specific organs. The name "canopic" reflects the mistaken association by
early Egyptologists with the Greek legend of Canopus. Canopic jars of the Old
Kingdom were rarely inscribed, and had a plain lid. In the Middle Kingdom
inscriptions became more usual, and the lids were often in the form of human heads.
By the Nineteenth dynasty each of the four lids depicted one of the four sons of
Horus, as guardians of the organs.
Burial, Afterlife
Egyptian Afterlife
In order to enter the afterlife, it was important that the deceased have a proper burial
with all the correct rituals and traditional funerary equipment. First, the body had to be
preserved through mummification, a process by which it was artificially dehydrated
and then wrapped in linen bandages. The invention of mummification may have
stemmed from the initial practice during predynastic times of burying bodies directly
in the ground. The preservative properties of the hot, desiccating sand may have
suggested to the Egyptians that survival of the body was necessary for continued
existence in the afterlife. Later, in the Early Dynastic period, when the body was no
longer directly surrounded by sand but was placed in a specially constructed burial
chamber, the natural processes of decay set in. When they discovered this, the
Egyptians over the course of centuries developed a way of keeping the body intact
using resins and the naturally occurring salt, natron.
Scarabs
The winged scarab symbolized self-creation. This potent symbolism appears in tomb
paintings, manuscripts, hieroglyphic inscriptions on buildings and carvings. In
addition to its use as an amulet for the living and the dead, scarabs adorned jewelry
including necklaces, bracelets, wrist cuffs and wide decorative collars. A bracelet from
the tomb of Tutankhamun featured a bright blue scarab holding a cartouche between
its front legs. A cartouche is an oval frame that encloses a name. The ancient
Egyptians sometimes painted or carved scarabs on a deceased person's sarcophagus,
the human-shaped coffin that held the mummy. Scarabs often hold a sun disk over
their heads.
This wooden anthropoid coffin consists of a separate bottom and lid. It is plastered
and painted on the outside, but the inside was left undecorated. It is made of irregular
pieces of native Egyptian wood, and gaps between planks are filled in with mud. The
underside of the base is decorated with a large figure of the goddess of the west,
recognizable by the falcon emblem, the hieroglyph for west, that she wears on her
head. Because the sun sets in the west, where it was believed to enter the underworld,
the goddess was associated with the necropolis and helped the dead make the passage
from this life to the next. As such, she often appears in tombs and on coffins.
Below an elaborate collar, a winged goddess with a sun disk on her head kneels with
arms outstretched to protect the deceased. Beneath her, the mummy of the deceased
lies on the lion bed that was used in the ritual embalming. Under the bed are four
canopic jars to hold the viscera, with stoppers carved in the form of the four sons of
Horus. These beings appear again on the lower part of the lid with mummified bodies.
Between them are five columns of text. The outer two identify the figures, and the
three middle ones contain the traditional offering formula asking for a series of
benefits for the deceased in the next life. The name of the owner would have been
included at the end of this text but is now lost through damage. Figures of Anubis, the
god of embalming, in the form of two black jackals lying on pedestals decorate the
foot of the coffin.
The Tomb of King Tut is much smaller than, any of the other kings tombs, with plain
walls, until you reach the burial chamber. It took almost a decade of meticulous and
painstaking work to empty the tomb of Tutankhamen. Around 3500 individual items
were recovered. Tutankhamen is the only pharaoh, in the Valley of the Kings, still to
have his mummy in its original burial location.
Sculptures
The ancient art of Egyptian sculpture evolved to represent the ancient Egyptian gods,
and Pharaohs, the divine kings and queens, in physical form. Massive and magnificent
statues were built to represent gods and famous kings and queens. These statues were
intended to give eternal life to the god kings and queens, as also to enable the
subjects to see them in physical forms.
Very strict conventions were followed while crafting statues: male statues were darker
than the female ones; in seated statues, hands were required to be placed on knees and
specific rules governed appearance of every Egyptian god. For example, the sky god
(Horus) was essentially to be represented with a falcons head, the god of funeral
rites (Anubis) was to be always shown with a jackals head. Artistic works were
ranked according to exact compliance with all the conventions, and the conventions
were followed so strictly that over three thousand years, very little changed in the
appearance of statutes.
Egyptian Dynasties
David's work harnesses the power of spiritual symbols and sacred geometry from around the world to bring those wearing them health,
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A wall painting, dating back over 4,300 years, has been discovered in a tomb located
just east of the Great Pyramid of Giza. The painting shows vivid scenes of life,
including boats sailing south on the Nile River, a bird hunting trip in a marsh and a
man named Perseneb who's shown with his wife and dog. While Giza is famous for its
pyramids, the site also contains fields of tombs that sprawl to the east and west of the
Great Pyramid. These tombs were created for private individuals who held varying
degrees of rank and power during the Old Kingdom (2649-2150 B.C.), the age when
the Giza pyramids were built. The tomb contains a central room, offering room and
burial chamber. The complex was first recorded in the 19th century and was noted for
its 11 statues, which include depictions of Perseneb and his family. Archaeologists
were conducting restoration work and did not expect to make a new discovery. This
image shows part of the central room with four of the statues. More Photos ...
Egypt's Oldest Known Art Identified, Is 15,000 Years Old National Geographic - July
11, 2007
Rock face drawings and etchings recently rediscovered in southern Egypt are similar
in age and style to the iconic Stone Age cave paintings in Lascaux, France, and
Altamira, Spain, archaeologists say.
Palaeolithic rock art, like Lascaux caves in France, discovered in Upper Egypt AlAhram - June 19, 2007
The discovery of huge rocks decorated with Palaeolithic illustrations at the village of
Qurta on the northern edge of Kom Ombo has caused excitement among the scientific
community. The art was found by a team of Belgian archaeologists and restorers and
features groups of cattle similar to those drawn on the walls of the French Lascaux
caves. They are drawn and painted in a naturalistic style which is quite different from
those shown in cattle representations of the well-known classical, pre-dynastic
iconography of the fourth millennium BC. Illustrations of hippopotami, fish, birds and
human figures can also be seen on the surface of some of the rocks.
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Egyptian Paintings
Egyptian paintings were intended to help lead the dead into the
afterlife.
Paintings were created to decorate tombs with the intent of assisting the deceased in sustaining their lives in
the afterlife. Images often depicted the deceased completing daily tasks. The Egyptians believed they would
continue many of these activities in the afterlife. They were created with pigments made of minerals. Commonly
used colors were red, black, blue, green and gold. The dry temperatures in the area and lack of sun in the
tombs allowed many images to survive into modern times. Paintings generally depicted people or animals with
a profile, or side view, of the head. The body, however, was shown from a front view.
Egyptian Sculptures
Although the most well known sculptures from Egypt are the monumental sculptures, small sculptures and
reliefs have also been found. Sculptures were made of stone, wood and bronze. Statues of gods were often a
mixture of a human body with the head of an animal. For example, the god Horus was represented as a human
male with the head of a falcon.
Egyptian Pottery
Egyptians also created pottery out of clay. Pottery held images of gods, animals and people. Subjects were
depicted in the same manner as people in paintings, with a profile of the head and a frontal view of the body.
Some pottery included hieroglyphics, which was an ancient form of writing in Egypt. Within this writing system,
pictures and symbols were used to represent words or sounds. Ancient Egyptians also created canopic jars.
These funerary jars were made of stone, bronze, wood or gold. The jars were used to preserve organs
removed during mummification for the afterlife.
of these works were never intended to be seenthat was simply not their
purpose.
Painted sunk relief of the king being embraced by a goddess. Tomb of Amenherkhepshef (QV 55)
functions and retained the same type of formalization and frontality. Only
statuettes of lower status people displayed a wide range of possible actions,
and these pieces were focused on the actions, which benefitted the elite
owner, not the people involved.
Registers
Scenes were ordered in parallel lines, known as registers. These registers
separate the scene as well as provide ground lines for the figures. Scenes
without registers are unusual and were generally only used to specifically
evoke chaos; battle and hunting scenes will often show the prey or foreign
armies without groundlines. Registers were also used to convey information
about the scenesthe higher up in the scene, the higher the status;
overlapping figures imply that the ones underneath are further away, as are
those elements that are higher within the register.
Chaotic fighting scene on a painted box from the tomb of Tutankhamen in the Egyptian Museum,
Hierarchy of scale
Difference in scale was the most commonly used method for conveying
hierarchythe larger the scale of the figures, the more important they were.
Kings were often shown at the same scale as deities, but both are shown
larger than the elite and far larger than the average Egyptian.
identifying text will appear on the back pillar or base, and relief usually has
captions or longer texts that complete and elaborate on the scenes.
Hieroglyphs were often rendered as tiny works of art in themselves, even
though these small pictures do not always stand for what they depict; many
are instead phonetic sounds. Some, however, are logographic, meaning they
stand for an object or concept.
The lines blur between text and image in many cases. For instance, the name
of a figure in the text on a statue will regularly omit the determinative (an
unspoken sign at the end of a word that aids identificationfor example, verbs
of motion are followed by a pair of walking legs, names of men end with the
image of a man, names of gods with the image of a seated god, etc.) at the
end of the name. In these instances, the representation itself serves this
function.
Essay and photos by Dr. Amy Calvert
Neferefre
Niuserre Izi
Menkauhor
Djedkare Izezi
Unas
Rules of Painting
Pharaohs
Teti
Pepy I
Merenre Nemtyemzaf
Pepy II
Egyptian civilization was highly religious. Thus most Egyptian artworks involve
the depiction of many gods and goddesses - of whom the Pharaoh was one. In
addition, the Egyptian respect for order and conservative values led to the
establishment of complex rules for how both Gods and humans could be
represented by artists. For example, in figure painting, the sizes of figures
were calculated purely by reference to the person's social status, rather than
by the normal artistic rules of linear perspective. The same formula for
painting the human figure was used over hundreds if not thousands of years.
Head and legs always in profile; eyes and upper body viewed from the front.
For Egyptian sculpture and statues, the rules stated that male statues should
be darker than female ones; when seated, the subject's hands should be on
knees. Gods too were depicted according to their position in the hierarchy of
deities, and always in the same guise. For instance, Horus (the sky god) was
always represented with a falcon's head, Anubis (the god of funeral rites) was
always depicted with a jackal's head.
Use of Pigments
The use of colour in Egyptian paintings was also regulated and used
symbolically. Egyptian artists used six colours in their paintings red, green,
blue, yellow, white and black. Red, being the colour of power, symbolized life
and victory, as well as anger and fire. Green symbolized new life, growth, and
fertility, while blue symbolized creation and rebirth, and yellow symbolized the
eternal, such as the qualities of the sun and gold. Yellow was the colour of Ra
and of all the pharaohs, which is why the sarcophagi and funeral masks were
made of gold to symbolize the everlasting and eternal pharaoh who was now a
god. White was the colour of purity, symbolizing all things sacred, and was
typically used used in religious objects and tools used by the priests. Black
was the colour of death and represented the underworld and the night.
MIDDLE KINGDOM
Pharaohs
Inyotef I
Inyotef II
Inyotef III
Mentuhotep I
Mentuhotep II
Mentuhotep III
Mentuhotep IV
12th Dynasty (1937-1759 BCE)
Pharaohs
Amenemhet I
Senusret I
Amenemhet II
Senusret II
Senusret III
Amenemhet III
Amenemhet IV
Neferusobek
2ND INTERMEDIATE PERIOD
(13th-17th Dynasties)
(1759-1539 BCE)
13th Dynasty
Pharaohs
Wegaf
Amenemhat-senebef
Sekhemre-khutawi
Amenemhat V
Sehetepibre I
Iufni
Amenemhat VI
Semenkare
Sehetepibre II
Sewadjkare
Nedjemibre
Sobekhotep I
Reniseneb
Hor I
Amenemhat VII
Sobekhotep II
Khendjer
Imira-mesha
Antef IV
Seth
Sobekhotep III
Neferhotep I
Sihathor
Sobekhotep IV
Sobekhotep V
Iaib
Ay
Ini I
Sewadjtu
Ined
Hori
Sobekhotep VI
Dedumes I
Ibi II
Hor II
Senebmiu
Sekhanre I
Merkheperre
Merikare
14th Dynasty
Pharaohs
Nehesi
Khatire
Nebfaure
Sehabre
Meridjefare
Sewadjkare
Heribre
Sankhibre
Kanefertemre
Neferibre
Ankhkare
Relief Carvings
15th Dynasty
Pharaohs
The earliest incised figures and scenes in relief date from prehistoric times
when slate cosmetic panels and combs of wood, bone, and ivory were buried
in the graves of their owners. These were carved in the simple, effective
outlines of species familiar to the people of the Nile Valley - antelopes, ibex,
fish, and birds. More elaborate ivory combs and the ivory handles of flint
knives which probably had some ceremonial purpose were carved in relief, the
scene standing out from its background.
By the end of the prehistoric period Egyptian sculpture was unmistakable,
although up to this point there had been no great architectural monuments on
which the skill of the sculptors could be displayed. From the meagre evidence
of a few carvings on fragments of bone and ivory we know that the gods were
worshipped in shrines constructed of bundles of reeds. The chieftains of
Salitis
Bnon
Apachnan (Khian)
Apophis (Auserre Apepi)
Khamudi
16th Dynasty
Pharaohs
Anat-Her
User-anat
Semqen
Zaket
Wasa
Qar
Pepi III
Bebankh
Nebmaatre
Nikare II
Aahotepre
Aaneterire
Nubankhre
Nubuserre
Khauserre
Khamure
Jacob-Baal
Yakbam
Yoam
17th Dynasty
Pharaohs
Antef V
Rahotep
Sobekemzaf I
Djehuti
Mentuhotep VII
Nebirau I
Nebirau II
Semenenre
Suserenre
Sobekemzaf II
Antef VI
Antef VII
Tao I
Tao II
Kamose
NEW KINGDOM
18th Dynasty (1539-1295 BCE)
prehistoric Egypt probably lived in similar structures, very like the ones still
found in the marshes of South Arabia.
The work of sculptors was displayed in the production of ceremonial maceheads and palettes, carved to commemorate victories and other important
events and dedicated to the gods. They show that the distinctive sculptural
style, echoed in all later periods of Egyptian history, had already emerged, and
the convention of showing the human figure partly in profile and partly in
frontal view was well-established. The significance of many details cannot yet
be fully explained, but representations of the king as a powerful lion or a
strong bull are often repeated in Dynastic times.
Tomb Reliefs
Early royal reliefs, showing the king smiting his enemies or striding forward in
ritual pose, are somewhat stilted, but by the 3rd Dynasty techniques were
already very advanced. Most surviving examples are in stone, but the wooden
panels found in the tomb of Hesire at Saqqara, 2660-2590 BCE, show the
excellence achieved by master craftsmen (Egyptian Museum, Cairo). These
figures, standing and seated, carved according to the conventions of Egyptian
ideals of manhood, emphasized in different ways the different elements of the
human form. The head, chest, and legs are shown in profile, but the visible
eye and the shoulders are depicted as if seen from the front, while the waist
and hips are in three-quarter view. However, this artificial pose does not look
awkward because of the preservation of natural proportion. The excellence of
the technique, shown in the fine modelling of the muscles of face and body,
bestows a grace upon what might otherwise seem rigid and severe. Hesire,
carrying the staff and sceptre of his rank together with the palette and pen
case symbolizing his office of royal scribe, gazes proudly and confidently into
eternity. The care of the craftsman does not stop with the figure of his patron,
for the hieroglyphs making up the inscription giving the name and titles of the
deceased are also carved with delicacy and assurance, and are fine
representations in miniature of the animals, birds, and objects used in ancient
Egyptian writing. The animals and birds used as hieroglyphs are shown in true
profile.
The great cemeteries of Gizeh and Saqqara in which the nobles and court
officials were buried near their kings, provide many examples of the skill of
the craftsmen of the 4th, 5th, and 6th Dynasties, a skill rarely equaled in later
periods. The focus of these early tombs was a slab of stone carved with a
representation of the deceased sitting in front of a table of offerings. The latter
were usually placed above the false door, through which the spirit of the dead
person, called the ka, might continue to enter and leave the tomb. The idea
behind this was that the magical representation of offerings on the stelae,
activated by the correct religious formulas, would exist for the rest of eternity,
together with the ka of the person to whom they were made.
In single scenes, or in works filling a wall from ceiling to floor, every figure had
its proper place and was not permitted to overflow its allotted space. One of
the most notable achievements of Egyptian craftsmen was the way they filled
the space available in a natural, balanced way, so that scenes full of life never
Pharaohs
Ahmose
Amenhotep I
Thutmose I
Thutmose II
Hatshepsut
Thutmose III
Amenhotep II
Thutmose IV
Amenhotep III
Amenhotep IV / Akhenaten
Smenkhkare
Tutankhamun
Ay (Kheperkheperure)
Horemheb
Note: The rulers of Egypt were not
called Pharaohs by their own people.
This word was only used by the
Greeks and Hebrews. However,
today it is the accepted term for
for all the ancient Kings of Egypt.
complete the picture. The results of sharp-eyed observation can be seen in the
details that distinguish the species of birds and fish thronging the reeds and
shallow water of the marshes.
Little survives of the reliefs that decorated the royal temples of the early 5th
Dynasty, but from the funerary temple of the first king, Userkaf, c.2,460 BCE,
comes a fragment from a scene of hunting in the marshes (Egyptian Museum,
Cairo). The air above the graceful heads of the papyrus reeds is alive with
birds, and the delicate carving makes them easily distinguishable even without
the addition of colour. A hoopoe, ibis, kingfisher, and heron are unmistakable,
and a large butterfly hovering above provides the final touch.
Low Relief
The tradition of finely detailed decoration in low relief, the figures standing out
slightly above the background, continued through the 6th-Dynasty and into
the Middle Kingdom, when it was particularly used for royal monuments. Few
fragments of these remain, but the hieroglyphs carved on the little chapel of
Sesostris I, now reconstructed at Karnak, show the sure and delicate touch of
master craftsmen. During the late Old Kingdom, low relief was combined with
other techniques such as incision, in which lines were simply cut into the
stone, especially in non-royal monuments, and the result is often artistically
very pleasing. The limestone funerary stela of Neankhteti, c.2,250 BCE, is a
fine example (Merseyside County Museums, Liverpool). The major part of the
stela, the figure and the horizontal inscription above it, is in low relief, but an
incised vertical panel of hieroglyphs repeats his name with another title, and
the symbol for scribe, the palette and pen, needed for the beginning of both
lines, is used only once, at the point at which the lines intersect. The result is
a perfectly balanced design, and a welcome variation in the types of stelae
carved during the Old Kingdom.
A further development is shown in the stela of Hotep, carved during the Middle
Kingdom, 2000-1800 BCE (Merseyside County Museums, Liverpool). The
figures of three standing officials and the hieroglyphic signs have been crisply
incised into the hard red granite. Originally the signs and figures would have
been filled with blue pigment, to contrast sharply with the polished red surface
of the stone.
Sunk Relief
Pharaohs
Pedubaste I
Osorkon IV
Peftjauwybast
During the Middle Kingdom the use of sunk relief came into fashion, and in the
18th and early 19th Dynasties it was employed to great effect. The
background was not cut away as in low relief to leave the figures standing
above the level of the rest of the surface. Instead the relief design was cut
down into the smoothed surface of the stone. In the strong Egyptian sunlight
the carved detail would stand out well, but the sunk relief was better
protected from the weather and was therefore more durable.
Egyptian Painting
Wahkare Bakenranef
LATE KINGDOM
25th Dynasty (712-657 BCE)
Pharaohs
Piye
Shebaka
Shebitku
Taharqa
Tantamani
26th Dynasty (664-525 BCE)
Pharaohs
Psammetichus I
Nekau II
Psammetichus II
Apries
Amasis
Psammetichus III
27th Dynasty (525-404 BCE)
Pharaohs
Cambyses 525-522
Darius I 521-486
Xerxes I 486-466
Artaxerxes I 465-424
Darius II 424-404
28th Dynasty (404-399 BCE)
Pharaoh
Amyrtaios
29th Dynasty (399-380 BCE)
Pharaohs
Nepherites I
Psammuthis
Hakoris
Nepherites II
30th Dynasty (380-343 BCE)
The last Egyptian-born rulers
Pharaohs
Nectanebo I
Teos
Nectanebo II
31st Dynasty (343-332 BCE)
Pharaohs
Ochus (Artaxerxes III)
Arses
Darius III Codomannus
These coffins were placed in the small rock-cut chambers of Upper Egyptian
tombs, where the stone is often too rough or crumbly to provide a good
surface for painting. Fragments of painted murals do survive, however, and
some tombs have lively scenes of hunting in the desert or of agricultural work.
Acute observation also produced unusual subjects such as men wrestling or
boys playing games, shown in sequence like a series of stills from a moving
film. Others are painted with outstanding skill. Part of a marsh scene in a
tomb at Beni Hasan, c.1,800 BCE, shows a group of birds in an acacia tree.
The frond-like leaves of the tree are delicately painted, and the birds, three
shrikes, a hoopoe, and a redstart, are easily identifiable.
Tomb painting really came into its own, however, during the New Kingdom,
particularly in the tombs of the great necropolis at Thebes. Here the limestone
was generally too poor and flaky for relief carving, but the surface could be
plastered to provide a ground for the painter. As always, the traditional
conventions were observed, particularly in the formal scenes depicting the
dead man where he appears larger than his family and companions. Like the
men who carved the Old Kingdom reliefs, however, the painters could use their
imaginations for the minor details that filled in the larger scenes. Birds and
animals in the marshes, usually depicted in profile, have their markings
carefully hatched in, giving an impression of real fur and feathers; and their
actions are sometimes very realistic. In the tomb of Nebamun, c.1,400 BCE, a
hunting cat, already grasping birds in its claws, leaps to seize a duck in its
mouth.
Fragments illustrating a banquet from the same tomb give the impression that
the painter not only had outstanding skill but a particular delight in
experimenting with unusual detail. The noble guests sit in formal rows, but the
servants and entertainers were not so important and did not have to conform
in the same way. Groups of female musicians kneel gracefully on the floor, the
soles of their feet turned towards the viewer, while two in one group are
shown almost full-face, which is very rare. The lightness and gaiety of the
music is conveyed by their inclined heads and the apparent movement of the
tiny braids of their elaborately plaited hair. Lively movement continues with
the pair of young dancers, shown in profile, whose clapping hands and flying
feet are depicted with great sensitivity. A further unusual feature is the
shading of the soles of the musicians' feet and pleated robes.
Egyptian Frescoes
Painting not only decorated the walls of New Kingdom tombs, but gave great
beauty to the houses and palaces of the living. Frescoes of reeds, water, birds,
and animals enhanced the walls, ceilings, and floors of the palaces of Amarna
and elsewhere; but after the 19th Dynasty there was a steady decline in the
quality of such painting. On a smaller scale, painting on papyrus, furniture,
and wooden coffins continued to be skillful until the latest periods of Egyptian
history, though there was also much poor-quality mass-produced work.
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