EGYPTIAN ART EGYPTIAN ART Egyptian Art Why is UPPER EGYPT south of LOWER EGYPT? EGYPTIAN ART Egyptian Art CHRONOLOGY Three major periods of Egyptian history: Pre-Dynastic Period 4350-3150 BCE Early Dynastic Period 3150-2670 BCE Old Kingdom 2670-2150 BCE
Middle Kingdom 2150-1800 BCE New Kingdom 1550-1070 BCE (includes Amarna period-1370-1350 BCE) EGYPTIAN ART Egyptian Art Rosetta Stone Granodiorite, 196 BCE In 1799, Napoleon took a small troop of scholars, linguists and artists on a military expedition of Egypt and found the Rosetta Stone (named for the Rosetta coast of the Mediterranean where it was discovered) Composed of three languages:
Formal Egyptian Hieroglyphic Demotic (Late Egyptian) Classical Greek (which they knew how to read) This stone became the key to unlocking the meanings behind Egyptian hieroglyphics! EGYPTIAN ART Egyptian Art The Palette of King Narmer, Early Dynastic 3000-2920 BCE Predynastic Egypt was divided geographically and politically into 2 regions: Upper and Lower Egypt. Upper Egypt was the southern, upstream part of the Nile Valley. It
was dry, rocky, and culturally rustic. Lower Egypt in the Northern part of the Nile Valley was opulent, urban, and populated. The Palette of King Narmer is one of the earliest historical artworks preserved. It was, at one time, regarded as commemorating the foundation of the first of Egypts thirty-one dynasties around 2920 BC (the last ended in 332 BC) This image records the unification of Upper and Lower Egypt into the Kingdom of Two Lands at the very end of the Predynastic period. Egyptians prepared eye makeup on tablets such as this to protect
their eyes against irritation and the suns glare. This palette is not only important because of its historical content, but it also serves as a blueprint of the formula for figure representation that characterized Egyptian art for 3000 years. EGYPTIAN ART Egyptian Art The back of the palette depicts the king wearing the bowling-pinshaped crown of Upper Egypt accompanied by an official who carries his sandals. The king is in the process of slaying his enemy and is significant in the pictorial formula for signifying the inevitable triumph of the Egyptian god-kings. The Palette of King Narmer, Early Dynastic 3000-2920 BCE
Used to hold the eye makeup The falcon is a symbol of Horus, the kings protector. Below the ground-line are two of his fallen enemies. Above the king are the two heads of Hathor a goddess of favorable dispose to Narmer and shown as the cow with a womans face. Between these two faces is the hieroglyph of Narmers name with a frame representing the Royal Palace. Symbolic of the unification The front of the palette depicts the king wearing the red cobra crown of
Lower Egypt. The bodies of the dead are seen from above, as each body is depicted with its head severed and neatly placed between its legs. EGYPTIAN ART The Palette of Narmer (Detail at top) Egyptian Art EGYPTIAN ART Djosers Step Pyramid Egyptian Art Imhotep, Stepped Pyramid and mortuary precinct of Djoser, Saqqara Egypt Dynasty III Each person must provide for the happiness of his
afterlife- would reproduce daily life in tombs for their Ka (spirit) to enjoy- blurring of line between life and death Tomb was like afterlife insurance 3000 BC -the start of the old kingdom Pharaoh was supreme ruler and a god- basis of all civilization and of artwork Knowledge of civilization rest solely in tombs Imhotep: First recognized artist or architect in history Built on a mastaba, burial chamber deep underground with a shaft linking it to the
pyramid, meant to serve as a great monument Part of a huge funerary district with temples and other buildings, scenes of religious celebration before and after death EGYPTIAN ART Egyptian Art Egyptian architecture began with mud bricks, wood, reeds- Imhotep (first artist whose name was part of recorded history) used cut stone masonry Style was similar to less enduring material columns are always engaged rather than free-standing Now columns had an expressive purpose rather than just functional Tapering fluted columns were designed for harmony and elegance, not just to hold things up
Images of Papyrus columns are associated with lower Egypt Columnar entrance corridor to the mortuary precinct of Djoser, Saqqara, Egypt EGYPTIAN ART Egyptian Art This is an example of an engaged column. Notice that they are less functional than they are decorative. Faade of the North Palace of the mortuary precinct of Djoser, Saqqara, Egypt Dynasty III Ca. 2630-2611
EGYPTIAN ART Egyptian Art Great Pyramid at Giza, Giza, Egypt, Dynasty IV Burial Chamber is in the center of the pyramid rather than underneath Originally covered in smooth stone that would be reflective in the sun. (Almost blinding to the eyes.) Funerary district is much more organized than Djoser - surrounded by mastabas and smaller pyramids Fourth Dynasty pharaohs considered themselves to be the sons of the sun God Re and his incarnation on Earth. Egyptians
always buried their dead on the west side of the Nile, where the sun sets. The Great Pyramid at Giza is the oldest of the seven wonders of the ancient world The largest of the pyramids is about 450 feet tall and has an area of almost 13 acres. It contains almost 2.3 million blocks of stone, each weighing about 1.5 tons. EGYPTIAN ART Egyptian Art
Section of the Pyramid of Khufu, Giza, Egypt Tomb Raiders tunnels are marked in this schematic drawing by the dotted lines. The thieves were unable to locate the carefully sealed and hidden entrance, so they started their tunneling about 40 feet above the base and worked their way into the structure until they found the ascending corridor. Many of the royal tombs were plundered almost immediately after the
funeral ceremonies had ended. The immense size of these pyramids was an invitation to looting. EGYPTIAN ART Egyptian Art Great Sphinx Giza, Egypt, Dynasty IV ca. 2520-2494 BCE 65 feet tall The Sphinx commemorated the pharaoh and served as an immovable, eternal silent guardian of his tomb. This guardian stood watch at
the entrances to the palaces of their kings. It gives visitors coming from the east the illusion that it rests on a great pedestal. The face of the Sphinx is thought to be an image of the pharaoh Khafre. EGYPTIAN ART Egyptian Art Great Sphinx, Giza, Egypt, Dynasty IV ca. 2520-2494 BCE EGYPTIAN ART Egyptian Art
now its time for a POP QUIZ! What function did the PALETTE of NARMER serve, and why was it important? ANSWER: Palette for eye makeup, which illustrated the unification of Upper and Lower Egypt What was the name of the first recorded architect in Egyptian history? ANSWER: Imhotep (designed Djosers mastaba) What were the names of the three Egyptian rulers to whom the Great Pyramids were built? ANSWER: Khufu, Khafre and Menkaure EGYPTIAN ART Egyptian Art
Khafre, Giza, Egypt, Dynasty IV Ca 2520-2495 BCE Khafre Made of carved of extremely hard stone called diorite which would have been brought seven hundred miles down the Nile from royal quarries in the south This sculpture shows the enthroned king with the falcon of the god Horus Demonstrates the artists cubic view of the human figure- created by drawing the front and side view of the figure on the block of stone and then working
inward until the views met The figure is immobile and firm- the body is impersonal but the face has some individual traits Sculptures such as this would serve as home for the Ka to exist should the mummies be destroyed. EGYPTIAN ART Egyptian Art Khafre, Giza, Egypt, Dynasty IV Ca 2520-2495 BCE EGYPTIAN ART
Egyptian Art Khafre, Giza, Egypt, Dynasty IV Ca 2520-2495 BCE The intertwined lotus and papyrus plants between the legs of Khafres throne are thought to be symbolic of the united Egypt. The Falcon god Horus extends his protective wings to shelter Kafres head. Khafre wears the royal fake beard fastened to his chin and wears the royal linen nemes ( the royal headdress worn by the pharaoh containing the uraeus cobra of kingship on the front.) His proportions are idealized and are appropriate for representing majesty. This sculpture is indicative of the block statue standard of Egyptian sculpture.
EGYPTIAN ART Egyptian Art Menkaure and Khamerernebty Giza, Egypt Dynasty IV, ca 2490-2472 BCE Standing (common pose), both have left foot forward, yet they are not moving forwardFigures are sculpted in the same height, provide a comparison of male and female beauty. The stone from which they were created still is still visible, maintaining the block form. These figures were meant to house the ka . This was the stereotypical pose that symbolized marriage. Notice how the figures are idealized and emotionless. The artists depiction of these two people is indicative of the formula for depicting royalty in Egyptian Art.
EGYPTIAN ART Egyptian Art Seated Scribe, Saqqara, Egypt, Dynasty IV Ca 2620-25000 BCE The Scribe is a high court official- most scribes were sons of pharaohs. (Alert expression in face, individualized torsoflabby and middle-aged) Old kingdom also invented the portrait bust - whether it was an abbreviated statue or had some greater significance is unknown. Notice the realism depicted in this sculpture, when compared to that of the Pharaohs. His depiction in this manner is a result of his lower
hierarchy in Egyptian society than that of a Pharaoh. It has been said that it could take up to 10 years for a scribe to learn the language of hieroglyphics that contained nearly 700 characters. EGYPTIAN ART Egyptian Art Ka-Aper, Saqqara, Egypt, Dynasty V Ca 2450-2350 BCE Here Ka-Aper assumes the traditional pose of an official, but notice the attention to detail in the face. The artists has imbedded rock crystal into the eyes of the sculpture for added life. This image is an example of combining the high status
pose with specific portraiture information that would be associated with a person of lower status than the Pharaoh. The 5th Dynasty in Egypt produced many wooden statues such as this one with an increased realism and relaxed formality. This is only the wooden core for the statue which was, at one time, covered with painted plaster. The walking stick and baton (missing from his right hand) were symbolic of his rank as an official. EGYPTIAN ART Egyptian Art Compare and Contrast the two poses.
Menkaure and Wife Giza, Egypt Dynasty IV, ca 2490-2472 BCE EGYPTIAN ART Ka-Aper Saqqara, Egypt, Dynasty V Ca 2450-2350 BCE Egyptian Art Tomb paintings (non-royal)- landscapes were popular (background is very active) Ti watching a hippopotamus hunt Saqarra, Egypt Dynasty V, ca 2450-2350 BC
Ti is much larger than others (shows importance) Ti isnt engaging in activity- hes watching- (shows his importance in his society) Action is going on after death- body does not respond, but the spirit appreciates the activity Scenes depicted in funerary tombs were of everyday life. They were created as an insurance that the ka of the dead will continue in the afterlife as it did in life on earth. The success of the hunt in Ancient Egypt was a metaphor for the triumph over the forces of evil. EGYPTIAN ART Egyptian Art
The Middle Kingdom Interior hall of the rock-cut tombs of Amenemhet, Beni Hasan, Egypt, Dynasty XII, ca 1950-1900 BC About 2150 BCE, the Egyptians challenged the pharaohs power, and for more than a century the land was in a state of civil unrest and near anarchy. In 2040 BCE, the pharaoh of Upper Egypt, Mentuhotep I, managed to unite Egypt again under the rule of a single king and established the socalled Middle Kingdom (Dynasties XI - XIV) Rock-cut tombs of the Middle Kingdom largely replaced the Old Kingdom mastabas and pyramids. The columns in this tomb serve no supportive function.
Notice the fluting on the columns. It is clear that the columns are not supporting the ceiling of the tomb, as many of the columns were broken, yet still attached to the ceiling in some cases. EGYPTIAN ART Egyptian Art Queen Hatshepsuts Funerary Temple Built 1480 BC (New Kingdom) against rocky cliffs, dedicated to Amun. Linked by ramps and colonnades to a small chamber deep in the rock, this is a great example of architecture within natural setting. ramps echo shape of cliffs and the horizontal rhythm of light and dark in the columns mimics that of the cliffs above. EGYPTIAN ART Egyptian Art
Queen Hatshepsuts Funerary Temple Queen Hatshepsut became the Pharoah when her husband Thutmose II had died. The heir to the throne was to be given to his twelve year old son, but he was too young to rule. Hatshepsut then assumed the role of King, and became the first great female monarch whose name was recorded. Many of the portraits of Hatshepsut were destroyed at the order of Thutmose III (the son too young to rule), as he was resentful of her declaration of herself as pharaoh. EGYPTIAN ART Egyptian Art Queen Hatshepsuts Funerary Temple EGYPTIAN ART Egyptian Art
Queen Hatshepsut This statue has been carefully reassembled after its destruction. Most of the statues of Hatshepsut had to be reassembled due to their destruction, as ordered by Thutmose III. Thutmose III was the son of Hatshepsuts husband (from a minor wife) and had to share the throne at one point with Hatshepsut. The female Pharaoh is seen here in a ritual that honors the sun god. A pharaoh could only be seen kneeling before a God but never anyone else. Her depiction as pharaoh is clear, as she is seen wearing the royal male nemes headdress and the pharaohs ceremonial beard. The uraeus cobra that once adorned the front of the
headdress was hacked off by the agents of Thutmose III. The figure is represented as anatomically male, but other statues have been found that represent her with womans breasts. EGYPTIAN ART Hatshepsut with offering jars, Deir el-Bahri, Egypt, ca 1473- 1458 Egyptian Art Queen Hatshepsut EGYPTIAN ART Egyptian Art
Queen Hatshepsut Seated Queen Hatshepsut Early 18th Dynasty, joint reign of Hatshepsut and Thutmose III (14791458 B.C.) Western Thebes, Deir el-Bahri Limestone, painted EGYPTIAN ART Egyptian Art Queen Hatshepsut Room at the Met (NYC) EGYPTIAN ART Egyptian Art
Queen Hatshepsut Room at the Met (NYC) EGYPTIAN ART Egyptian Art Queen Hatshepsut Room at the Met (NYC) EGYPTIAN ART Egyptian Art The New Kingdom Ramses was Egypts last great warrior pharaoh and ruled for
two thirds of a century. This monument was moved in 1968 to protect it from submersion. Ramses was very proud of his accomplishments and proclaimed his greatness by placing four colossal images of himself on the temple faade. Temple of Ramses II Abu Simbel, Egypt, Dynasty 19 Ca 1290-1224 BC EGYPTIAN ART Egyptian Art
Temple of Ramses II, Abu Simbel, Egypt, Dynasty XIX, Ca 1290-1224 BCE EGYPTIAN ART Egyptian Art Interior of the Temple of Ramses These atlantids were 32 feet tall and were carved from the cliff. They contain no load-bearing function (similar to those of Beni Hasan). The tomb is decorated with paintings and reliefs depicting Ramses and his royal sons with the major deities of Egypt.---Osiris, Isis, Hathor, Horus, and Thoth decorate the tomb walls. This tomb was robbed within a half century after its construction. The royal burials have not been found.
EGYPTIAN ART Egyptian Art Temple of Amen-Re, Karnak Dynasty XIX Temple, 1550 BCE, Hall, 1250 BCE. This temple is mainly the product of the Eighteenth Dynasty pharaohs, but some of the Nineteenth Dynasty pharaohs contributed to it as well. Contributers include: Thutmose I and II, Hatshepsut, and Ramses II. This temple is a great example of the hypostyle hall. ( One roof supported by many columns). The central section of the roof is raised. This architectural feature is called a
clerestory. The function of this was to allow light to filter into the interior. The columns were decorated with a series of sunken relief sculpture. EGYPTIAN ART Egyptian Art Temple of Amen-Re, Karnak Dynasty XIX Temple, 1550 BCE, Hall, 1250 BCE. EGYPTIAN ART Egyptian Art
EGYPTIAN ART Egyptian Art The faade of this temple depicts Horus and Hathor witnessing an oversized King Ptolemy XIII striking down undesired enemies. Temple of Horus Edfu, Egypt, ca 237-47 BC The architecture of this temple is still rooted in the basic scheme that architects had worked out more than a thousand years before. This
type of temple with a simple massive gateway or pylon with sloping walls is known as a pylon temple. EGYPTIAN ART Egyptian Art Nebamuns official title in Egypt was scribe and counter of grain. Fowling scene, from the tomb of Nebamun, Thebes, Egypt, Dynasty XVIII, ca 1400-1350 BC Here he is shown standing in his boat, hunting birds in a papyrus swamp. Notice the hierarchy of scale and how the artist emphasized
the important character. This was created in the tomb to ensure the recreational enjoyment in the afterlife. Notice the contrast between this work and that of the relief sculpture in the tomb of Ti. ( how are their poses different, and how does it speak to their importance) The technique used in the creation of this painting is known as Fresco Secco. The artists would let the plaster dry prior to painting on it. This contrasts the true fresco technique on wet plaster. EGYPTIAN ART Egyptian Art
Fowling Scene, from the tomb of Nebamun. Thebes, Egypt, Dynasty 18 ca 1400-1350 BCE. Fresco on Dried Plaster. EGYPTIAN ART Egyptian Art Ti on a Hippo Hunt (Old Kingdom) Ti was an official in the 5th Dynasty Painted limestone relief The deceased is looking on, not participating sign of high-status Fowling Scene (New Kingdom) Nebamun was a scribe and counter of grain Painted in a Fresco Secca (where the plaster is applied and dried first)
The deceased is actually participating, not just looking on EGYPTIAN ART Egyptian Art New Kingdom Akhenaton, From the temple of Amen-Re, Karnak, Egypt, Dyanasty XVIII 1353-1335 BC Akhenaton is infamous for his religious revolution in Egypt during the eighteenth Dynasty. The revolution in religion gave way to an artistic revolution in which the figures became elongated and androgynous in their appearance.
The pharaoh Amenhotep IV abandoned the worship of most of the Egyptian Gods in favor of the God Aton ( the god of the Sun). In honor of the new monotheistic religion, Amenhotep IV changed his name to Akhenaton. He then moved the capital city of Egypt down the Nile River to the city of Thebes, now called Tell elAmarna, where he built his own city and shrines. EGYPTIAN ART Egyptian Art Bust of Ahkenaton Tell el-Amarna, Egypt, Dynasty 18 1353-1335 BCE
White Limestone. 21 inches tall. EGYPTIAN ART Egyptian Art Akhenatons god was unlike any other Egyptian God in that it was not depicted by animal or human form. Instead, Aton was depicted only as a sun disk emitting life-giving rays. Akhenaton and Nefertiti From the temple of Amen-Re, Karnak, Egypt, Dynasty XVIII 1353-1335 BC Stylistic Changes during the Amarna Period included:
Effeminate body with curving contours Long full- lipped face, heavylidded eyes, and a dreamy expression. The body of Akhenaton is oddly misshapen with weak arms, a narrow waist, protruding belly, wide hips, and fatty thighs. EGYPTIAN ART Egyptian Art Akhenaton and Nefertiti, Amarna Period, 1353-1335 BCE EGYPTIAN ART Egyptian Art
Two Seated Princesses Bas Relief (low-relief) Tell el-Amarna, Egypt, Dynasty 18 1353-1335 BCE White Limestone. 9 x 9 EGYPTIAN ART Egyptian Art Bust of Nefertiti Tell el-Amarna, Egypt, Dynasty XVIII 1353-1335 BC Nefertiti, the queen of Akhenaton, exhibits the features indicative of the Amarna Style. The delicate curving contours demonstrate a clear stylistic difference from that of the traditional
Egyptian depiction of royalty. Nefertitis name means, The Beautiful One is Here. The subjects likeness has been adjusted to the new standard of spiritual beauty. Features to be noted in this piece are the serpentine narrow neck that supports the heavy weight of the royal crown. EGYPTIAN ART Egyptian Art Tiye was the mother of Akhenaton. The depiction of age is present here which is a new development in the style of art. Depictions of royalty did not illustrate the age of the subject
prior to the Amarna period. This image clearly demonstrates the relaxation of the artistic rules. Queen Tiye Dynasty XVIII ca 1353-1335 BC EGYPTIAN ART Egyptian Art Death mask and innermost coffin of Tutankhamen Dynasty XVIII 1323 BC Tutankhamen inherited the throne when he was only 8 years old. The high officials around the young pharaoh made many of the decisions for
the young ruler. Tutankhamen only ruled for only 10 years, and died when he was 18 years old. His death and funeral were sudden, and many scholars believe that it was no accident. The evidence of his murder lies in bone fragments found in his skull, and the lacking attention to detail in his burial tomb. The lacking detail suggests a hurried burial, which is a suspicious considering the status of Tutankhamen. EGYPTIAN ART Egyptian Art
Death mask and innermost coffin of Tutankhamen Dynasty XVIII 1323 BC Scientific studies of the remains of Tutankhamen have lead researchers to believe that he had two rare spinal cord diseases. His spinal cord had a slight curve to it and the vertebrate were non-flexible where they met his skull. The result of these rare diseases caused the pharaoh to need a walking stick as well as restricted the turning of his head.
Many depictions of the pharaoh illustrate him using a cane with his feet twisted beneath his body. EGYPTIAN ART Egyptian Art Last Judgment of Hu-Nefer, Dynasty 19 1290-1280 BCE Hu-Nefer was the royal scribe to the pharaoh Seti I. This tomb painting depicts the jackal-headed god, Anubis, leading Hu-Nefer down the hall of judgment. His soul has been favorably weighed and he is being brought by Horus to the presence of the green-faced Osiris. This formula for imagery in Hu-Nefers tomb demonstrates a return to the Old Kingdom funerary illustrations. EGYPTIAN ART
Egyptian Art The Late Period in Egyptian art demonstrates a return to the conservative. Pharaohs are again depicted as they were during the Old Kingdom, idealized and emotionless. Mentuemhet, Karnak, Egypt, Dynasty XXVI 650 BC. Only the double wig, characteristic of the New Kingdom, and the realism of the head, with its rough and almost brutal characterization, differentiate the work from that of
an earlier age. Conservatism was Egypts character trait, perhaps the principal trait. The ancient Egyptians resistance to significant change for almost three thousand years is one of the marvels of the history of art. EGYPTIAN ART
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SIMPOZIONUL NAŢIONAL "IOAN PETRU CULIANU"editia a XI-a, Iasi, 3 martie 2012 Juriul Concursului (secţiunea elevi):. NICU GAVRILUŢĂ, prof. univ. dr., Decanul Facultăţii de Filosofie şi Ştiinţe Social-Politice, Universitatea "Alex.