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Key Concepts

Key Concepts CONCEPTS OF DEATH The Egyptian fascination with the afterlife is the focus of much of the art of this region and time period. Refer back to the discussion in Chapter 2 about the use of art in the service of religion. Look up the Book of the Dead for additional background.

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Key Concepts

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  1. Key Concepts CONCEPTS OF DEATHThe Egyptian fascination with the afterlife is the focus of much of the art of this region and time period. Refer back to the discussion in Chapter 2 about the use of art in the service of religion. Look up the Book of the Dead for additional background. THE AMARNA REVOLUTIONThe artistic revolution of Akhenaten is a major concept in the survey of Egyptian art, and one likely to appear on the AP* exam. Students should be able to explain how art of Dynasty 18 differed from the art that preceded it. Constructing a table of characteristics is a useful way to help students learn and understand the changes. PATRONAGE AND SYMBOLISMThe concepts of patronage and symbolism in ancient Egyptian art should be compared with examples from the Near East (Chapter 2a). EGYPTIAN MYTHOLOGYStudy the importance of the afterlife in Egyptian mythology in conjunction with this chapter can be useful in helping to see the pervasiveness of this concept. The story of Osiris is a good example. The annual flooding of the Nile serves as a loaded metaphor for this cycle of death and rebirth. Be able discuss how Egyptian pharaohs used symbols associated with Osiris in their own funeral trappings—for example, the inner coffin of Tutankhamun's sarcophagus.

  2. 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)

  3. More stable and hierarchal entity than Mesopotamia White Temple 3200-3000 bce Step Pyramid of Djoser 2630-2611 bce Gizeh 2520-2494 bce Rock Cut Tomb @ Beni Hasan 1950-1900 bce Ziggurat @ Ur 2100 bce Citadel of Saragon II 720-705 bce Temple of Horus 237-47 bce

  4. TheRosetta Stone 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!

  5. Egypt, the gift of the NileIt’s annual flood symbolized rebirth – the central concept of Egyptian’s religious beliefs Lower Egypt in the Northern part of the Nile Valley was opulent, urban, and populated. Upper Egypt was the southern, upstream part of the Nile Valley. It was dry, rocky, and culturally rustic. Old Kingdom New Kingdom Middle Kingdom

  6. People, Boats and AnimalsHierakonpolis, EgyptPredynastic3500-3200 bce The Predynastic period in Egyptian art refers to the earliest or Prehistoric art of Egypt. This particular image seems to be a funerary scene depicting people, animals and boats. These stick-like figures are very similar to those of the Neolithic paintings from Çatal Hüyük. Boats- symbolize the journey down the river of life and death The lower center of this image depicts a heraldic grouping of two animals flanking a human figure. The image suggests an influence of Mesopotamian art. It is interesting to note that Mesopotamian culture could have made its way over a thousand miles up the Nile

  7. Palette of King Narmer, Hierakonpolis, Egypt , Predynastic, ca. 3000-2920 BCE. Slate, approx. 2' 1 high Victory Narrative & Propaganda Profile views of his head, legs and arms with front views of his eye and torso = composite view (characterized Mesopotamian art and even some Stone Age paintings) Hierarchal Scale Relief SculptureAttendants wrangle elongated necks of two feline/snake composite creatures to form the circular depression that would have held eye makeup. The intertwining represent unification

  8. The Palette of King Narmer Hierakonpolis, Egypt, Early Dynastic 3000-2920 BC Predynastic Egypt was divided geographically and politically into two 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 historicalartworks preserved. It was, at one time, regarded as commemorating the foundation of the first of Egypt’s 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 for protecting their eyes against irritation and the sun’s 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 three thousand years.

  9. Establishes Canon of Proportion: acceptable method of representation • Descriptive (Composite) view Symbolism • Horus: Falcon king’s protector • Papyrus=lower Egypt • Bowling Pin= Upper Egypt • Top: Goddesses of Hathor • Betw: Narmer’s name & royal palace • Register format • King Narmer & prisoners • Unification: Intertwined felinenecks • Bull: icon for king • King is divine deity deified

  10. Meaning "house for eternity" or "eternal house") • Mastabas were constructed out of mud-bricks (from the Nile River) or stone. Mastaba • The above-ground structure was rectangular in shape, had sloping sides, a flat roof, was about four times as long as it was wide, and rose to at least 30 feet in height. • The mastaba was built with a north-south orientation. • This above ground structure had space for a small offering chapel equipped with a false door to which priests and family members brought food and other offerings for the soul of the deceased. • A second hidden chamber housed a statue of the deceased that was hidden within the masonry for its protection.

  11. IMHOTEP Stepped Pyramid of Djoser Saqqara, Egypt Dynasty III, ca. 2630-2611 BCE. • The first monumental royal tomb, built in stone by the architect Imhotep for King Djoser at Saqqara, comprised a: • Stepped pyramid( series of mastabas) • Temple • Additional storage buildings • A large, rectangular enclosure surrounded by a high wall • IMHOTEP first known artist of recorded history who achieved lasting architectural structures • Cardinal Points • Resembles Mesopotamian Ziggurats • Gigantic size symbolize godlike power • Underground galleries resembling a palace Stairway to Heaven LOL

  12. Restored plan of the mortuary precinct of Djoser Saqqara, Egypt Dynasty III, ca. 2630-2611 BCE. • Djoser's funerary temple was one of many buildings arranged around several courts. • Most were dummy structures with stone walls enclosing fills of rubble, sand, or gravel. • The buildings imitated in stone masonry various types of temporary structures made of plant stems and mats erected in Upper and lower Egypt to celebrate the Jubilee Festival. • Wall is 37 ft high- 5,400 ft long • Compared to Cemetery at Ur where there was no wall Entrance Portico

  13. Columnar entrance corridor to the mortuary precinct of Djoser Saqqara, Egypt Dynasty IIIca. 2630-2611 BCE Fluted columns & papyrus capitals Engaged (attached) Columns First appearance of stone columns in the history of architecture (Influenced Greeks) The translation into stone of structural forms previously made out of plants Columns resemble bundles of reeds - Papyrus columns are associated with lower Egypt Engaged rather than supporting than free-standing Fluted Capitals IMHOTEP

  14. 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

  15. Columnar entrance corridor to the mortuary precinct of Djoser, Saqqara, Egypt 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

  16. Façade of the North Palace of the mortuary precinct of Djoser, Saqqara, Egypt Dynasty III Ca. 2630-2611 This is an example of anengaged column Notice that they are less functionalthan they are decorative.

  17. Great Pyramids Gizeh, 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 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. The Great Pyramid at Gizeh is the oldest of the seven wonders of the ancient world

  18. Great Pyramids Gizeh, Egypt Dynasty IV. From left: Menkaure, ca. 2490-2472 BCE Khafre, ca. 2520-2494 BCE Khufu, ca. 2551-2528 BCE • Great Pyramids were built in the course of 75 years. The Great Pyramid at Gizeh is the oldest of the seven wonders of the ancient world • Giant monuments to deadpharaohs • Each pyramid had an enjoining mortuary temple. • 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 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

  19. Section of the Pyramid of Khufu, Gizeh, 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.

  20. Great Sphinx, Gizeh, Egypt, Dynasty IV ca. 2520-2494 bc The Sphinx 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.

  21. Great Sphinx (with Pyramid of Khafre)Gizeh, Egypt Dynasty IV ca. 2520-2494 BCE. Sandstone, approx. 65' high, 240' long 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. Very generalized features, although some say it might be a portrait of Khafre •Carved in Situ from a huge rock •Body of a lion, head of a Pharaoh and/or god •Sphinx seems to protect the pyramids behind it •Originally brightly painted to stand out in the desert

  22. now it’s time for a POP QUIZ! What function did the PALETTE of NARMER serve, andwhy was it important? What was the name of the first recorded architect in Egyptian history? ANSWER: Imhotep (designed Djoser’s mastaba) What were the names of the three Egyptian rulers to whom the Great Pyramids were built? ANSWER: Khufu, Khafre and Menkaure

  23. Khafre Khafre, Gizeh, Egypt, Dynasty IV Ca 2520-2495 BC 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 artist’s 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.

  24. The intertwined lotus and papyrus plants between the legs of Khafre’s throne are thought to be symbolic of the united Egypt. The Falcon god Horus extends his protective wings to shelter Kafre’s 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.

  25. Menkaure and Khamerernebty Gizeh, Egypt Dynasty IV, ca 2490-2472 BC Standing (common pose), both have left foot forward, yet they are not moving forward- Figures 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.

  26. The Scribe is a high court official- most scribes were sons of pharaohs. (Alert expression in face, individualized torso- flabby 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. Seated Scribe Saqqara, Egypt, Dynasty IV Ca 2450-2350 BC

  27. 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 fifth 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. Ka-Aper Saqqara, Egypt, Dynasty V Ca 2450-2350 BC

  28. Ka-Aper, from his mastaba at Saqqara, Egypt Dynasty V ca. 2450-2350 BCE. Wood, approx. 3' 7 Relaxed formality and increased realism Ka-Aper assumes the traditional pose of an official Attention to detail in the face Imbedded rock crystal into the eyes of the sculpture for added life 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 fifth 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

  29. Ka-Aper Saqqara, Egypt, Dynasty V Ca 2450-2350 BC Menkaure and Wife Gizeh, Egypt Dynasty IV, ca 2490-2472 BC

  30. Ti watching a hippopotamus huntRelief in the mastaba of Ti Saqqara, Egypt Dynasty V ca. 2450-2350 BCE Painted limestone, hunting scene approx 4' high Egyptian tombs tell of who (and how) the deceased was in life, so that he/she would continue this lifestyle in the hereafter. Mastaba of Ti Painted relief in the mastaba of Ti, a government official Ti was the royal hairdresser during the early V Dynasty, as well as the controller of the farms and stock that belonged to the royal family. Ti’s boat glides through the gigantic papyri, which flower into a fan of birds and foxes Hunt takes place as a memorial to the deceased; success in the hunt is a parallel with the fight against evil Because of his notability, Ti is shown as being much larger (H-SCALE) He stands away from the action of the hunt to supervise Papyrus flowers appear, as do animals and birds, water and hippopotamus at bottom

  31. The Middle Kingdom Interior hall of the rock-cut tombs of Amenemhet Beni Hasan, Egypt, Dynasty XII, ca 1950-1900 BC About 2150 B.C., the Egyptians challenged the pharaoh’s power, and for more than a century the land was in a state of civil unrest and near anarchy. In 2040 B. C. the pharaoh of Upper Egypt, Mentuhotep I, managed to unite Egypt again under the rule of a single king and established the so-called 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.

  32. FLUTED COLUMN A groove (or channel) used decoratively as along the shaft of a column. There are usually many such flutes running parallel. Interior hall of the rock-cut tomb of AmenemhetBeniHasan, Egypt Dynasty XIIca. 1950-1900 BCE. Rock-cut tombs of the Middle Kingdom largely replaced the Old Kingdom mastabas and pyramids. RESERVED COLUMNS- not weight bearing. Carved around and were already attached to top and bottom. 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.

  33. Queen Hatshepsut’s 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. 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.

  34. Hatshepsut with offering jars, Deir el-Bahri, Egypt, ca 1473- 1458 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 Hatshepsut’s 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 pharaoh’s 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 woman’s breasts.

  35. Seated Queen Hatshepsut Early 18th Dynasty, joint reign of Hatshepsut and Thutmose III (1479-1458 B.C.) Western Thebes, Deir el-Bahri Limestone, painted

  36. The New Kingdom Ramses was Egypt’s 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 façade. The temple is dedicated to the most important gods of the New Kingdom, Ptah (the creator god of Memphis), Amun-Re (the great god of Thebes) and Re-Harakhte (sun god of Heliopolis), as well as to the Pharaoh Ramses II himself. The four colossi, statues of Ramses II (c. 1290-1224 BCE), are more than 20 meters high and about 4 meters from ear to ear. Temple of Ramses II Abu Simbel, Egypt, Dynasty 19 Ca 1290-1224 BC

  37. A statue of Re-Harakhte with the falcon head is in a niche over the entrance. The god is flanked by low relief depictions of Ramses II who presents him with a tiny statuette of Maat--goddess of Truth and Justice. The cornice above the entrance has a frieze design of uraei (the sacred asp) and above the cornice there are twenty-two high relief statues of seated baboons with their hands raised in worshipping the sun. Smaller sculptures between the legs and at the base of the colossi represent members of the royal family: "Princess Nebt-taui, Princess Bant-anat and an unidentified princess on the southernmost colossus; Queen Tu'e, the King's mother, Queen Nefertari, his wife, and his son prince Amen-hir-khopshef to the left of the doorway; and beside the statues to the right, Queen Nefertari, twice represented, and Prince Ramses"

  38. Abu Simbel, Egypt, Dynasty XIX, Ca 1290-1224 BC Between 1964 and 1968, the entire site was carefully cut into large blocks (up to 30 tons, averaging 20 tons), dismantled, lifted and reassembled in a new location 65 meters higher and 200 meters back from the river, in one of the greatest challenges of archaeological engineering in history.[3] Some structures were even saved from under the waters of Lake Nasser

  39. Interior of the Temple of RamsesAbu Simbel, Egypt, Dynasty XIX, ca 1290-1224 BC 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.

  40. Temple of Amen-Re, Karnak Egypt, Dynasty XIX Ca 1290-1224 BC 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.

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