Download Chapter Three – Art of Ancient Egypt

Chapter Three – Art of Ancient Egypt
By 8000 BCE the Egyptian valley was inhabited and was considered to be Neolithic by
5000 BCE. By 3500 BCE several large states or chiefdoms would appear in the lower
Nile. Prehistoric Egypt was divided into 2 kingdoms: Northern delta Lower Egypt and
the swampy southern delta- Upper Egypt.
The pre - dynastic period was between 5400- 3100 BCE. After 3100 there would
be a major power transition from two rulers to one ruler. Menes of the upper
kingdom conquered the lower kingdom and united Egypt under one rule. From
that point onward the Egyptians would develop and solidify their concept of
kingship. Simply put the pharaohs were considered divine. This is explained in
their myths that the god Amon Ra impregnated a queen therefore creating an
actual divine blood line. Incest was a common enough practice so that the royal
bloodline would remain “pure”. In Egyptian history there have only been 3
women who were pharaohs. Women were never meant to be kings, so there is
very little known about these women pharaohs. Pharaohs ruled based the
principles of a divinely principled order called and personified by the goddess
Maat.
Ancient Egyptian history is divided into 3 parts: Old Kingdom, Middle Kingdom
and New Kingdom. Near the end of Egypt’s power they would experience rule
by foreign powers. While in recent years the accomplishment of the Near East
cultures have been found to be a major influence on western civilization, Egypt
has always been a part of the history of Western civilization. Egypt, unlike their
contemporary Near East counter part, would remain a stable government for
centuries with only an occasional problem from their neighbors.
Pre-Dynastic and Early Dynastic
period 5450-2649 BCE
The Palette of Narmar is considered to be the earliest historical document. This stele is a
relief carving that shows the Upper Egyptian king defeating the Lower Egyptian king.
Narmar is believed to be Menes. The event is told in pictograph, and uses hieratic scale.
As we can see this palette establishes the accepted visual style of ancient Egypt. The
portraiture of royalty was definitely different than the depiction of lower rank individuals
and commoners. In conjunction with hieratic scale, Egyptian would differentiate the
most important to the least by abstracting the royal portraitures.
The face is in profile, the torso is in a frontal pose, so are the hips, and the legs are in
profile. The eye is seen as if from the front. The Egyptians would stay pretty consistent
with their 2 dimensional art work. The little guy on the left is a servant or slaves. It is not
only the size that gives us a clue of his status, but also he appears to be more naturalistic.
This palette also gives us the icons that were used by the Egyptians. The cow=protective
goddess Hathor, bull’s tail on Narmar’s waist (strength), Narmar barefoot- pre ordained
as king, Horus is the falcon. Narmar wears the Upper Egypt headdress; the defeated ruler
wears the head dress of Lower Egypt. The back of palette shows 2 long necks lioness are
intertwined as well as Narmar in a royal procession wearing a headdress that is a
combination of Upper and Lower Egypt. Of course this is meant to symbolize a united
Egypt.
Old Kingdom
2649-2150 BCE
As we look at the art of Egypt there will be very few variations. The ground
work of Egyptian culture was laid out by the beginning of the Old Kingdom. By
this time the government was stable, the economy rich. The Egyptians built their
civilization on the Nile. Because of the regularity of the flood season, they were
able to create a stable agrarian economy. Also the Egyptian religious belief
would be the main motivation for their art. The ancient Greek philosopher
Herodotus wrote that Egyptians were the most religious people he has ever
encountered. This was probably because their art and architecture reflected their
belief in an afterlife. Through the main patron was government (Pharaohs),
always keep in mind that the Pharaohs were venerated as descendants of gods.
Monumental architecture was first
reflected in the early step pyramids called mastabas. Originally built from mud
bricks, a veneer would later be added to help protect the exterior from the
elements. Each pharaoh was expected to build is own burial place. King Zoser’s
funerary complex was designed by Imohotep (the earliest name of an actual artist
to be recorded).
Imohotep was Zoser’s prime minister, architect and probably
high priest. Imohotep placed 5 decreasing sized tableaus on a large rectangular
base. His name is inscribed on the pyramid.
The mastabas had several chambers. The most important was a room called a
serdab. A serdab was small room were ka statue would be kept, and also a chapel
were mourners would gather. Even though this is a mastaba the basic plans did
not change when the mastaba evolved into the more recognizable pyramid.
Funerary Complex: Temples
were built to prepare the bodies as well as serve as a place for worship. The
Egyptians would incorporate the natural environment into their art and architecture.
The temple walls and gates had engaged columns topped with a fluted capital and
shafts that resembled papyrus stalks. The deceased were prepared for life after death
behind the walls of these temples. The internal organs were removed under the
supervision of a priest and placed in a vat with a salt solution that would help to
preserve the organs. The canopic jars held the organs. These canopic jars were
assumed to be under the protection of Horus’ 4 sons. Each jar would have a top that
was an attribute of each son.
After embalming the skin would blacken, but the priest would dye the skin using red
ochre for man and yellow for women. The body cavities were packed with herb
soaked linen (provided by the family). The final step was to wrap the body in cloth
and in a shroud. The priests would often insert good luck charms and other small
charms to protect the spirit.
Great Pyramids of Giza: During the 3rd and 4th century, Egypt would go through
some major building projects. The pyramids at Giza are the result. This necropolis
(city of dead), is built along the west bank of Nile. Since it was believed that the
kings were the sons of Ra the sun god, the sons would join their father after death in a
solar boat. The pyramids not only meant to speak of a pharaoh’s greatness but it was
also believed that these structures pleased the gods.
The priests would give food and clothing (provided by the families) to the deceased
kings. The bodies were transported across Nile from the palace to valley temples,
family presented food to the priest, and priest performed rites of opening the mouth of
deceased to feed to the king. The body would than be entombed in one of the burial
chambers in the pyramid.
The shape and site of the pyramids was no accident. The angled sides are meant to
represent the rays of sun and the site was carefully chosen to follow the sun’s path.
The Giza pyramids are considered one of the 7 wonders of world. Khufu’s pyramid
is the largest of the necropolis (13 acres, 450 ft high); stones weigh approximately 2.5
tons. Grave robbing was a problem in ancient Egypt, so the pyramids were built
many layers and false chambers and entrances to deter thieves. Khufru’s burial
chamber located in the middle; his chamber measures 34’ x 17’, with a roof of 9 slabs
of granite on top. The granite sarcophagus too large to travel though the passage of
the pyramid, so basically the pyramid was built around it.
The Sphinx: The Sphinx (Khafra’s
head with a lion’s body) guarded the processional road that led to his valley temple.
The fact that the sphinx faces the east helps to reinforce the idea that pharaohs were
sons of gods. The Sphinx is a guardian figure and the monumental size of this
sculpture was meant to be a warning to all those who would come to desecrate the
tombs of the pharaoh.
Inside these pyramids and temples would be everything that a person would need in the
after life. The Egyptians called the spirit Ka. The ka would need a place to inhabit or
rest. That is the reason that the mummification process was developed; so that the ka
would be able to inhabit the body. Also the Egyptians would carve a ka statue.
Khafra: In 3- dimensional artwork the need to be more naturalistic was more
important since the religion believed that in an afterlife that was very similar to
earthly life. This is Khafra’s ka statue that was found in his tomb. The king is seated
on a lion leg throne, carved from the diorite stone that was imported from Nubia.
This was not an easy stone to carve. It was only used for royal patronage partly
because it was an expensive material but also when the sunlight hits the stone one can
see the deep blue color of the stone. Blue was a color that was associated with the
god Horus. Khafra wears a Lower Egypt headdress but with a cobra in the center
(cobra is the symbol for Ra). Khafra wears the short kilt and false beard which is the
typical garb of royalty. The closed form statue, and stiff appearance is another case
of material dictating the style of art.
Menukaura and Khamerernebty: The royals’ were often
idealized in sculptural work. Menukaura (Khafra’s son) and his wife, is carved from
a single block of stone. Their pose is a little livelier since they both are striding. This
symbolizes that they are “stepping into” the afterlife. Menukaura wears a traditional
royal kilt and beard. He appears in good health and youthful. Khamerernebty wears
a form fitting sheath dress and her hair is coiled. Both have a smile of confidence on
their faces. There is no real attempt to create true portraitures of royals. It was more
important that the artists create work that fell into the accepted style convention of
that culture. This statue was never finished, there was some evidence that they did
get some painting was done on them. Even though this statue was not finished, the
artist would not have cut the figure completely from the stone. Egyptian ka statues
were not “in the round”; they were never meant to be viewed by an audience from all
angles. The sculptors would approach the statue as if they were doing a relief. The
master artist would draw full image on block of stone then their apprentices would
begin to carve out the image. Read the blue box on page 96 on interpreting artwork.
Rahotep and wife: Rahotep may have been a son of a Pharaoh. His darker
complexion might have meant that he worked outside, more than likely he was in the
military. His wife is a lighter complexion. This is probably a truer portrait of this
couple than that of Menukaura and his wife. Still they are portrayed as athletic and
youthful, eyes were inlaid with rock crystals. However as we move down the social
ladder, we see a more realistic portrayal of the subject matter.
Seated Scribe: This is a fine example of less prominent individuals portrayed more
realistic. This was found in the tomb of a vizier which is like a prime minister. He
sits cross leg with a papyrus scroll in lap, as if show what he did in life. He is
definitely not idealized; there are rolls of flesh on his body. He is portrayed older,
more serious. Because his irises are off center, his eyes appear to be moving. Scribes
were highly educated, and therefore had a relatively high social status. This is also
lets us know that royals were not the only ones to build their own tombs.
The Egyptians were very consistent in their art. They did not have
just one artist working on everything. The artists worked in service to the patrons,
therefore their individual talents were not important. But how were the Egyptians
able to maintain a consistent style for centuries?
Canon of Proportion: Artists would work
with a set of rules or laws called a canon of proportion. Several cultures have a canon
of proportions that they would develop. These canons are often based on
mathematics. The Egyptians would draw out a grid of so many squares and than
draw the figures based on the grid. We see this mostly in the tomb paintings. The
artist would have to first prepare the surface to paint by adding plaster to the walls to
make a smooth surface. A grid would than be drawn out, the images would be added
according to the established proportions defined by the grid.
The walls of the tombs were often Egyptian
religious stories. Images were often of an ordered cosmos. All images were
sometimes of just daily activities. All this is meant to create a sense of order and
balance so that death was not meant to be feared. Hunting Scene: Some of the scenes
found on the walls were of people enjoying themselves in everyday life. The royals
are sown in the traditional head and legs in profile, torsos and hips in a frontal view.
Also hieratic scale is used. As we move down the social hierarchy we continue to see
a more natural appearance; especially in the depiction of foliage and wildlife. The
foliage and wild life are portrayed more realistic. This is a clear indication that
ancient Egyptian artists could replicate reality on a 2 –dimensional surface. It is
sometimes not a question of whether or not an ancient or primitive culture is able to
recreate realistic or naturalistic art work, but that for the most part will not because of
a cultural aesthetic that does not favor that particular style of art
Middle Kingdom
1991-1700 BCE
After the collapse of the Old Kingdom, there would be 150 years of political turmoil
referred to as the First intermediate (2143BCE-1991BCE). The Middle Kingdom is
characterized as a darker period in ancient Egyptian history. There was less
centralized governmental authority. The kings would maintain a standing military
force because of the threat of invasion by foreign military forces. Also there was a
drought that would cause hard economic times for Egypt. The local governors of
Egyptian territories would become more powerful. The art and architecture would
reflect this rather difficult period in Egyptian history, definitely in construction of
funerary complexes. The sculpture, especially of the royalty will be more naturalistic
and less idealized.
Rock Cut Tomb of Beni Hasan: During the
11th – 12th dynasties at the beginning of the middle kingdom period, pharaohs would
commission in the rock tombs. These tombs were burial chambers that were
hollowed out of the natural cliffs. These structures seem more sculptural than
architectural: the columns, lintels, false doors are carved out of solid rock. The tombs
typically had an entrance portico that opened into a main hall that had a shrine with a
burial chamber under the chapel. Interiors of tombs still painted with scenes
depicting, stories of the gods and people going about their everyday life and
activities.
Hippopotamus: Artists of
middle kingdom started to replicate the natural world in art in 3d objects. This
exquisite blue hippo was created in faience. Faience is a glass making process that
has been around since pre –dynastic period and was used for small objects, beads,
charms, color inlays. Glass paste is fired into a smooth shining opaque finish. Several
small hippos were found in the tombs. Hippopotamus hunting was a favorite pastime
of the royalty. Hippos were associated with Seth, who was the god of darkness in the
Egyptian pantheon of gods. Hippos would cause major damage to crops on the Nile,
so one can see why they were considered the evil minions of Seth. So hippo hunting
was not only a sport but also was considered an official duty of the royals. Very
naturalistic is decorated with plant life that was a part of the Nile.
Lady Senuwy: The Middle Kingdom sculpture would definitely reflect problems
that seem to be happening for Egypt at this time. The sculpture of this period had lost
some of its imposing quality found in the Old Kingdom. The sculpture of this period
would have more roundness. There is an attempt to make more art that is more “in
the round”. This sculpture found in Assuit is of very high
quality. The style
is still very traditional; however there are slight curvature to the sides and back that
do suggest a concern for a more 3-dimensional look. There is also a sense of true
portraiture of the royals. Her high cheek bones, thin nose and large eyes are not as
idealized; it could be possible that Senuwy actually may have sit for this portrait.
Sesostris I: As stated the Middle kingdom is often described as the down period of
Egyptian history. And the art would reflect a national mood. The material used to
make the art and build the architecture would not be of a high quality. This statue of
Sesostris I is made out of wood (use of cheaper easily more available materials)
completely made in the round, slimmer and less imposing, less than life size. Not the
imposing figures of the Old Kingdom.
King Senusret III. It would be under the rule of Senusret that Egypt
would begin to grow in prosperity. Senusret was a very dynamic leader in the Middle
Kingdom period. He would successfully recentralized power back to the royals as
well as build their military forces. The portrait of this leader does show that time has
taken its toll. Senusret looks tired, world weary; his puffy cheeks, worry lines on
face, etc, are definitely not idealized. However we can see that Senusret had a strong
and forceful personality. The youthful optimism of Old Kingdom is gone and in its
place we see a more mature and resolved look of royalty.
Pectoral of Senusret: During the Middle Kingdom the more precious stones and
metals were for small items like jewelry. This pectoral (chest piece) that is inlaid
with gold and with semi precious stones. The name of Senusret is spelled out in
hieroglyphics. The different symbols on the pectorals are Horus is the falcons, pair of
wild cobras is the god Ra, the ankhs (cross with loop on top) is the symbols for life.
The cartouche is the oval formed by loop of rope – hieroglyphics of Senusret name
“May the sun god give eternal life to Senusret II” Ra is also the sun disk & scarab
beetle,
Rosetta stone: The culture of Egypt has been so
well studied because of this stone. The Rosetta stone was founded by Napoleon’s
men in 1799. Stele has 3 distinct writings systems on it. The Rosetta stone was
done to honor the king (Ptolemy, not Elvis, by a priest in Memphis (Egypt not
Tennessee). The top tier is hieroglyphic, 2nd tier hieratic a simplified hieroglyphics a
much quicker way to write, 3rd demotic. Each system of writing had a specific
purpose: hieroglyphics used as inscription on monument, hieratic religious
documentation, and demotic for all other type of documentation. This stone, since
Ancient Egyptian language and writing had died out, enabled scholars to translate the
ancient language.
A second intermediate period (1650-1550) invaded by the Hykosos in the northern
region. By the 18th dynasty power would be regained on the Nile and thus would
begin the New Kingdom (1550-1069). Thutmose was the 1st ruler to refer to himself
as Pharaoh (Great House). The Egyptian and Near East royalties will forge alliances
through marriages. Egypt would begin ambitious and extensive building projects.
While Thebes was the capital of Egypt, the areas of Karnak and Luxor were the main
temple districts. The pantheon of gods did not change, but the Egyptians would
emphasize some gods more than others at different times. The Karnak and Luxor
temples were dedicated a “family” of gods: Amun, Mut (wife) Khons (son).
New Kingdom
1550-1070 BCE
Temple of Amun at Karnak: Karnak is located
in the north. Very little of the temples there have survived. We do know it had a
hypostyle hall which is a columned open corridor or hallway and constructed the post
and lintel system of elevation. These temples built between reign of Thutmose and
Ramses. Ordinary people could only go as for as the courtyard of hypostyle hall.
Even though these were temples to the gods, the pharaohs would still create a
memorial for themselves. Thutmose III had built a court and festival temple to his
glory, located behind the sanctuary of Amun, which was in the hypostyle hall.
Between pylons II and III at Karnak, a large memorial hypostyle hall was built in the
honor of Sety I and Ramses II (son). The columns are built to resemble the flowers
and foliage of the Nile, engraved with the hieroglyphics of the pharaohs exploits.
Pylon of Ramses II: The entrance to the hypostyle
halls was guarded by pylons. Pylons are massive gateway entrances. Beyond the
hypostyle halls are smaller halls, and open courts. Only priest and kings could enter
into the sanctuary and provide meals for Amun. The temples at Luxor were
Ramseses II would continue to expand the temples, as well as build memorials to
himself at the temple. He added a peristyle court (opened courtyard) and pylon gate
that are 2 colossal statues of him. A pair obelisk capped by a pyramidion flank the
statues (only one statue is present). The obelisks provide a yet another opportunity
for Ramses to crow about his military victories and accomplishment.
The New Kingdom is the most dramatic and notable in the history of ancient Egypt.
One of the most dynamic and mysterious leaders of the New Kingdom was Hatshepsut.
She is one of only 3 female rulers in Egyptian history
Queen Hatshepsut as Pharaoh
and Sphinx: Across the Nile is the funerary temple of Queen Hatshepsut. Only recently
has her mummy been identified and more is being discovered about her as a ruler. She
was the daughter of Thutmose I and married her half brother Thutmose II. It was
believed that she had no children of her own, but now we know she had at least one
daughter and it cannot be assumed that Thutmose II was the father. After Thutmose II
death she would become regent to Thutmose III (his mother was a consort to the king),
but instead of handing power over to her nephew when he became of age Hatshepsut will
continue to rule Egypt.
Hatshepsut’s image is often shown in the traditional pharaoh garb. She was called His
Majesty, and refers to herself in text as the female Horus (deity associated with kingship).
She did not have gender identity issues, but keep in mind that she was probably not very
popular with the administration because (a) she was a woman and (b) she did basically
steal the throne from the rightful heir. The gender bending pronouns and visuals was
probably a way for her to maintain ease the tension that was around her rule
Statue of Senenmut and Nefrura: Because of her controversial
role as Pharaoh, she selected her officials very carefully. Senenmut, a royal courier, was
the closet advisor to the queen. He would to carrying out the building projects of queen
as well as serve as guardian for her daughter Nefrura. There are sculptural portraits of
Senenmut and Nefrura are definitely in the very traditional Egyptian style. However
there is an actual sense of genuine affection and protectiveness that is apparent in this
portrait; also unusual that a non royal is seen in as a protector to a princess. This portrait
is done in granite and inscribed with hieroglyphics. Some historians (and gossip
mongers) have speculated that because there are so many statues of Senenmut that
chances are is that his relationship with Hatshepsut was more “involved”. Can you say
“Baby Daddy?”
Hatshepsut Funerary Temple: The upswing in the Egyptian economy would be made
apparent in the resurgence of monumental architecture. Hatshepsut’s would build her
funerary temple at Deir el-Bahri, facing Karnak. All the elements of the structure are
symmetrically arranged along a dominant center line (axial plan). Cut out from the cliffs,
open space before the colonnade on the first level, with a ramp that went up to the 2nd
level that had shrines to Anubis and Hathor. Hatshepsut’s exploits were also told in relief
on the columns and walls. The very top level is more colonnaded halls with massive
statues of the royal family. The hypostyle hall located behind with chapels to Hatshepsut,
Thutmose I and god royal family. This was only a funerary chapel; the actual body was
buried in the Valley of the Kings. Thutmoses III would eventually come into full power
and take over the throne. Thutmose would try to destroy all references and images of
Hatshepsut and her reign, but was not totally successful
Illustration from the Book of the Dead: The belief in
an afterlife was the major inspiration of Egyptian art and culture. By this time the
Egyptians would beliefs that an afterlife was only possible if ones life on earth was free
of sin. In order for the gods to determine if a person has lead a sin less life was though a
series of tests. There were basically 2 tests that were presided over by Anubis and
Osiris. The first test was a series of questions by the deities on deceased behavior in life.
The second test was a little more involved. The heart which is the seat of the soul is
weighed against an ostrich feather, an attribute of Maat. If heart weigh less than the
feather than that person’s spirit could enjoy their afterlife, but if the hearts outweighs the
feather than person’s spirit would be devoured by the Ammit, the alligator looking dog.
In order to help the decease pass
these tests, The Egyptians created the Book of the Dead. Actually the book was a
papyrus scroll that was filled with spells and other text that would help the decease could
refer to and use. A person could actually purchase this book for their own use. This
book was entombed with the deceased so that they can use it.
The religion in Egypt was a major foundation in the culture of Ancient Egypt. It shaped
the aesthetic of the culture. But there was a major shift in the religious culture of Egypt.
That shift will be seen not only in the religious artwork but also in the portraitures.
Amenhotep IV reign for 17 years as pharaoh. But his reign was very
turbulent and controversial. Amenhotep would change his name to Akhaten; move the
capital city from Thebes to modern Tell – el Arman and worshipped Aten. He changed
his name to identify himself as a servant of Aten. This was a different mind set for a
pharaoh to see himself as a servant to the gods as oppose to the more acceptable concept
as sons of gods. Akhaten would introduce a revolutionary idea of only one god. As we
will see in the western prehistoric and ancient history, polytheism was very acceptable.
The idea of only worshipping one god, monotheism, was just too crazy. But that is
exactly what Akhaten did. This period is referred to as the Armana period. The new
religion did borrow the idea of divine truth from the Maat. Aten’s symbol was the sun
and ankh. The ceremonies were held in an open courtyard, so that altars would be bathed
in the sunlight. By moving the capital city Akhaten would also lessen the influence and
power of the established priest.
The art of this period would also shift. In royal portraitures there is a more naturalistic
representation of the figures. Akhaten is often portrayed with a small upper torso and full
hips and as a priest of Aten and not necessarily as a military or great king.
Some scholars believed that Akhaten suffered from an over active pituary gland, which
may explain his “coke bottle” shape. But some art historians simply see this as a
reflection of the changes taking place in the kingdom at the time.
Queen Tiy: Akhetan’s mother, Tiy, was married to Amenhotep III. She
was very involved in the running of the state with both her husband and son. This is
probably one of the truest portraitures in Egypt. Tiy is represented very naturalistically
and realistically. A truly successful portrait will not only capture some one likeness, but
also that person’s personality. There were actually 2 versions of this statue. The first
headdress was silver with gold cobras with jewelry that were symbols for the funerary
goddess Isis and Nephthy; after the change to monotheism the 2nd version would remove
the previous gold and jewels and replace it with a brown cap with gold beads and a plum
crown.
Nefertiti: Akhetan’s chief wife as well as chief priestess in the new religion. Unusual in
that bust was very rare in New Kingdom art. This was found in the studio of Thutmose
(sculptor, not pharaoh). The use of color is very naturalistic; the blue crown was unique
to her. Her beauty was often referred to in writing. Fair of face, great of love and
endowed with favors were just as some of the things that were written about her.
Royal Family: The Armana period did exaggerate the limbs and faces of the royal
family, staying traditional with Egyptian tendency to abstract royals. This is an
informal family portrait done in sunken relief. The artist carves into the stone instead
of cutting away. Akhaten and Nefertiti are enjoying the blessings of Aten with their 3
daughters. The Aten, represented by the sun, shines life giving rays. The sun rays
have hands that are giving ankh (Egyptian symbol for life) to the family.
Again one can see that there is a marked difference in the representation of the royal
family than what has been the norm in Egypt. The head is elongated for all members
of the family, the limbs thin and the protruding belly. The shape and features are
idealized, but also the sense of family unity and love is made important. The queen’s
throne a modified Egyptian plant, meant to symbolize a united Egypt.
The new religion would only last as long Akhaten’s reign. His death is still wrapped in a
mystery. But the priest of Amun would regain power and the throne. Tutankhamen
would officially return Egypt to polytheism and move the capitol back to Thebes. King
Tut had a very brief reign; he died at the age 18 years old. His death was also suspicious.
Tutankhamen was buried in the Valley of the Kings. King Tut was not an exceptional
king. The reason that Tut is so important for Egyptian history is that his tomb was not
disturbed. Somehow everything was found intact. It is because of this
that so much is known about ancient Egypt. King Tut’s body was found inside 3 layers
of coffins that identified him with Osiris. This coffin is the made of several pounds of
gold and decorated with
colored glass and semi precious
gems. Linear designs and hieroglyphics are carved into the coffins, and the king holds
crock and flail threshing instruments also an attribute of Osiris.
King Tut’s funerary mask does show the continuing influence of the art of the Armana
period. The mask is more natural, but still not necessarily meant to be a true portrait.
This mask would actually be placed on the mummy.
Egypt is often considered the world’s first super power. They did do business with
people of the Near East and other countries in Africa. One of the countries whose history
is very tied up Egypt is Nubia or Kush.
Nubian Eggshell Vessel: Nubia is located south of the Nile. They Nubians developed a
distinctive pottery style, called eggshell because the walls of the pottery so thin. This is a
basket weave pattern that was painted on the pot. The Nile was also important to the
Nubians. Whoever controlled the Nile pretty much had all the power. In the Old
Kingdom era Egypt did invaded Kush, and continued to maintain control through out the
Middle Kingdom period. But during the Hykosos control of the Egyptian during the
second intermediate period, the Nubian would expand their territory. But by the official
beginnings of the New Kingdom, Egypt would re occupy Nubia
Nubian
Tribute King Tut: This wall painting was found in Theban tomb. The wall painting was
a local Nubian prince bowing paying tribute to King Tut, with a Nubian princess in ox
drawn chariot. Nubia was very rich in gold. Egyptian artists did draw the Nubian
royalties same way that they would have drawn Egyptian royalty.
Temple of Ramses II: King Tut may be one of the most well known of the Pharaohs,
but it is Ramses that was the most powerful. This extremely dynamic and powerful ruler
would make peace with the Hittites by marrying one the princesses. This alliance would
help to solidify his power base. This is also the Ramses of Moses. Ramses continued to
build temples to the gods at Karnak and Luxor. However he did have a rock cut temple
built for himself at Abu Simbel in Nubia. The outside of his temple is surmounted by
65 feet tall statues. Smaller carvings of his family surround himself. Hieroglyphics
document the triumphs of Ramses II, they also help to create a more a unified
composition. The interior has eight 33 feet tall statues of Osiris with Ramses’ face that is
meant to further exploit the king’s divine power. Ramses knew how to use art and
architecture to further promote his authority and intimidate his enemies.
It would be during the last 100 years of the New
Kingdom that Egypt’s and Nubia’s power would greatly decline. The Late period of
Egyptian power (747-332 BCE) would is when Egypt would be under foreign rule.
Royal Sphinx King: In the 7th century, the 25th dynasty of ruled Egypt was Nubian. This
period sees a revitalization of art and political power. The Nubians would continue to
practice traditional religion and art of Egypt. The Sphinx Tarharqo is a combination of
individualized features of Nubian king with the traditional cobra crown and symbolic
headdress of Egypt.
Meroe Pyramids: In the 7th
century the Assyrians would invade Egypt, and by the 3rd century a new cultural
development in the Nubian culture would be developed. This period is called the Merotic
period because of the burial site at Meroe. This cultural shift was influenced the culture
of sub Saharan Africa and Greece. This region served as a melting pot of cultures. The
pyramids are closer to size and form to the New Kingdom pyramids. Meroe stepped
pyramids had a flat top and a sun disk as well
In 332BCE Alexander the Great conquered Egypt. After his death Egypt would be ruled
by the Ptolemy’s, and by 30 BCE, The Romans would control Egypt. The last period of
ancient Egypt art definitely showed a classical influence that is often used to describe the
art of Rome and Greece. Fayum portraits were encaustic (wax) portraits on wood panels
that were inserted on top of the mummy wrappings.