Download Ancient Egyptian Art Powerpoint (Part 3)

Ancient Egyptian Art
EC1 Art History (Part 3)
Hatshepsut, the fifth pharaoh of the Eighteenth dynasty of Ancient
Egypt, ruled from c. 1479–1458 B.C.E.
Fragmentary statue of Hatshepsut,
quartz diorite, c. 1498–1483 BC
Museum of Fine Arts, Boston
A stone statue of Hatshepsut
She was the daughter of Thutmose I and was queen of her half-brother
Thutmose II, and she became pharaoh circa 1479 BCE.
On her death Thutmose III, son of Thutmose II and Iset, became
pharaoh.
Relief of Thutmose II in
Karnak Temple complex.
Early 18th dynasty statue head,
perhaps Thutmose I (British
Museum)
Thutmose III statue in
Luxor Museum
During her 22-year reign,
Hatshepsut encouraged peace
instead of war, established
trade networks, commissioned
great building projects.
A myrrh tree in front of Hatshepsut's temple,
claimed to have been brought from Punt by
Hatshepsut's Expedition which is depicted on
the Temple walls.
Trade with other countries was re-established;
here myrrh trees transported by ship from Punt
are shown being moved ashore for planting in
Egypt—relief from Hatshepsut mortuary temple.
She built an outstanding mortuary temple for herself at Deir el-Bahri.
The buildings of Hatshepsut's Deir el-Bahri complex are considered to
be significant advances in architecture.
Djeser-Djeseru is the main building of
Hatshepsut's mortuary temple complex at Deir
el-Bahri. Designed by Senemut, her vizier, the
building is an example of perfect symmetry that
predates the Parthenon, and it was the first
complex built on the site she chose, which
would become the Valley of the Kings
The temples at Deir el Bahri photographed
from behind at the top of the cliff.
The tomb complex consists of tiered colonnades (rows of columns)
and two long sloping causeways (one formerly lined with sphinxes).
The series of terraces were once glorified with lush gardens.
Egyptian soldiers from Hatshepsut's expedition to
the Land of Punt, depicted on her temple at Deir elBahri.
Sanctuary doorways of Hatshepsut’s Temple
Hieroglyphic decorations inside the
Temple of Hatshepsut
Hatshepsut assumed all of
the symbols of the
pharaonic
office
in
official
representations
like the Sphinx in the
Metropolitan Museum of
Art in New York City.
Large granite sphinx of the pharaoh
Hatshepsut, depicted with the traditional
false beard, a symbol of her pharaonic
power—Metropolitan Museum of Art
Amenhotep IV (c. 1353–1336 BCE), a pharaoh of the 18th dynasty,
created a new monotheistic religion in Egypt, centred on the sun god
Aten.
Small statue of Akhenaten wearing the
Egyptian Blue Crown of War
Pharaoh Akhenaten (center) and his family
adoring the Aten.
Amenhotep IV closed down temples, especially those dedicated to
Amun (King of the gods and god of the wind), whose priests were
powerful and tried to stop the new religion from being established in
Egypt.
Head of Akhenaten
Depiction of Amun in a relief at
Karnak (15th century BC)
Amun,
Ra/Re - God of the Sun
Re-Horakhty the fusion of Ra and Horus
This Third Intermediate Period amulet from
the Walters Art Museum depicts Amun fused
with the solar deity, Re, thereby making the
supreme solar deity Amun-Re.
Zeus Ammon. Roman copy of a Greek
original from the late 5th century BC. The
Greeks of the lower Nile Delta and Cyrenaica
combined features of supreme god Zeus with
features of the Egyptian god Ammon-Ra.
Staatliche Antikensammlungen Munich.
Amenhotep, which means “Amun is Satisfied”, changed his name to
Akhenaten meaning "Effective for Aten".
Bronze plate with the title of
Amenhotep IV before he changed his
name to Akhenaten, British Museum.
Relief representing Amenhotep IV before he
changed his name to Akhenaten, Neues
Museum, Berlin
Akhenaten
then
moved the capital
from Thebes to a new
location that he titled
Akhetaten (“Horizon
of Aten”), modern day
Amarna.
Small Temple of the Aten at Akhetaten
Children with pens and papyrus scrolls. Relief from Amarna
Akhenaten employed artists and architects to honour his new religion
by creating a new art style which is called the Amarna style by art
historians.
Two of Akhenaten's daughters, Nofernoferuaton
and Nofernoferure, c. 1375-1358 BC
Akhenaten in the typical Amarna
period style.
Princess of the Akhenaten family,
Louvre, Paris.
Amarna monkey. Blue faience from Brooklyn
Museum
Akhenaten had open-air temples built to venerate the light and love of
the sun god in a natural and open setting.
Akhenaten depicted as a sphinx at Amarna.
North Palace, Amarna
Digital reconstruction of Amarna
Honesty was of great importance in this new religion and as a result
artists depicted people more truthfully.
Akhenaten, Pharaoh of Egypt.
One of the most impressive examples of the Amarna style is the family
portrait relief of Akhenaten, his queen Nefertiti, and their three young
daughters.
The
youngest
daughter
plays
with
her
mother’s earring.
Akhenaten
affectionately
holds another princess in
his arms while she points
towards her mother and the
ankh (the ancient Egyptian
hieroglyphic character that
read "life").
The other princess holds Nefertiti’s hand and points towards her
father, helping to interconnect the family.
Intimacy between parents and children was a new departure in
Egyptian art.
The sun disk, which represents Aten in the relief, spreads its rays
equally on Akhenaten and Nefertiti postulating that they are co-rulers
of a balanced kingdom under one god.
This is a sunken relief as the artist incised the image into the stone
rather than that of a raised relief where the background is cut out.
The
painted
bust
of
Akhenaten’s queen Nefertiti
(ca. 1370 BC – ca. 1330 BC)
is the most famous female
portrait in Egyptian art.
Her
exceptional
jewelry
repeats the colour pattern of
the band in her headdress.
The queen is both realistic
and idealized.
This portrait highlights her
perfection and humanity.
Her name means “the
Beautiful one has come”.
When Akhenaten died so
did his religion.
When Tutankhaten, which
means "Living Image of
Aten", became pharaoh in
1333 B.C.E at the age of 9,
he ended the worship of
the god Aten and restored
the god Amun to power.
Tutankamun Amarna portrait. Altes
Museum, Berlin
The capital was moved
back to Thebes and the
city
of
Akhetaten/
Amarna was abandoned.
Tutankhaten then changed his name to Tutankhamun, which means
"Living image of Amun".
Bust of Tut found in his tomb, 1922.
Wooden bust of the boy king, found
in his tomb.
Tutankhamun’s funerary
mask illustrates that the
formality and rigidity of
Egyptian art reappeared
after the death of
Akhenaten.
Mask of Tutankhamun's mummy
featuring a uraeus, from the
eighteenth dynasty. The cobra image
of Wadjet with the vulture image of
Nekhbet
representing
of
the
unification of Lower and Upper
Egypt.
Tutankhamun is popularly known as King Tut ever since Howard
Carter discovered his intact tomb in 1922.
Howard Carter and associates opening
the shrine doors in the burial chamber
(1924 reconstruction of the 1923 event)
Howard Carter
The tomb revealed the abundance of Egyptian wealth and grandeur.
Tomb of Tutankhamun in the Valley of the Kings.
The outer golden shrine, now on display in the
Cairo Museum
The gilded bier from the base of Tutankhamun's
Sarcophagus.
A pectoral belonging to Tutankhamun
Tomb of Tutankhamun section of
antechamber. Date: ca. 1350 BCE
Tutankhamun receives flowers from
Ankhesenamun.
Tutankhamun and Ankhesenamun.
King Tutankhamun's throne with a painting of Ankhesenamun and Tutankhamun.
Tombs were also decorated with paintings of daily life and images of
the gods protecting the deceased.
The largest and most elaborate tomb in the Valley of the Queens is
that of Nefertari, wife of Rameses II.
Tomb wall depicting Queen Nefertari, the
great royal wife of pharaoh Rameses II
Goddess Hathor (goddess of love, joy and
motherhood) giving an Ankh to Nefertari
In vibrant colours, the gods escort Nefertari on her journey to the
afterlife.
Tomb of
Nefertari,
Valley of
the
Queens
In the Old Kingdom, texts were inscribed on pyramid walls
Part of the
Pyramid
Texts, a
precursor of
the Book of
the Dead,
inscribed on
the tomb of
Teti
During the New Kingdom, similar texts were published in papyrus
scrolls called Books of the Dead.
The mystical Spell 17, from the Papyrus of Ani.
The text comprises a number of magic spells intended to support a
dead person's journey through the underworld, and into the afterlife.
Two 'gate spells'.
In the Judgement scene of Hunefer from the Book of the Dead Anubis, the jackalheaded god of the underworld, leads Hu-Nefer’s ka (soul) to the judgment scales.
Anubis holds an ankh, the symbol of life, in his left hand.
At the scales Anubis weighs the heart, which is contained in a jar on the left scale.
The feather of truth (symbol of Maat, the goddess of truth) rests on the right-hand
scale. If the sin weighs more than the feather, he will be condemned.
Judgment before Osiris, c. 1290 – 1280 B.C.E, Papyrus, British Museum London.
A monster named Ammit who sits between the scales will eat the heart of an evil
soul.
The hawk-headed Horus leads Hu-Nefer’s ka to the temple of Osiris.
Inside Osiris’s temple, Hu-Nefer encounters the four miniature sons of Horus
standing on a lotus blossom, a symbol of resurrection.
Maat, the goddess of truth, soars overhead ensuring that Hu-Nefer’s heart is light.
Osiris’s wife Isis and his sister-in-law Nephthys (Goddess of death) are located behind
him.
Ramesses II, a pharaoh of the 19th dynasty, ruled Egypt from 1279 BC
to 1213 BCE for 66 years and 2 months and supposedly sired 100
children.
Ramesses II: one of four external seated statues
at Abu Simbel
The Younger Memnon part of a colossal
statue of Ramesses from the Ramasseum,
now in the British Museum
Ramesses built enormous monuments to himself throughout Egypt,
especially at Abu Simbel, Karnak, and Luxor.
Entrance of Luxor Temple
Sitting Ramesses II Colossus inside Luxor Temple
A panoramic view of the great hypostyle hall in the Precinct of Amun Re, Karnak.
Karnak
Four colossal 20 metre statues of the pharaoh guard the entrance to
his massive temple in Abu Simbel.
Abu Simbel Temple of Ramesses II
The hypostyle hall of the Great Temple, with eight Osiris (God of the afterlife) pillars.
Smaller statues of family members
and his queen Nefertari are
located beside the gigantic statues.
The Great Temple of Ramesses II is on the left and
the Small Temple of Nefertari is on the right.
Nefertari's Temple at Abu Simbel
Nefertari beside a colossus of Ramesses II
Ramesses II also used art as
propaganda, for example, reliefs
that flaunted a great victory for
him at the Battle of Kadesh.
The Egyptians fought against the
Hittites in which the outcome
was indecisive as both sides
claimed victory and negotiated a
peace treaty.
The Kadesh
peace
agreement—
on display at
the Istanbul
Archaeology
Museum—is
believed to be
the earliest
example of
any written
international
agreement of
any kind
Ramesses atop chariot, at the battle of Kadesh.
(Relief inside his Abu Simbel temple.)
In 1799, Captain PierreFrancois Bouchard, one of
Napoleon’s
officers,
discovered the Rosetta Stone
(196 B.C.E) in the city of
Rosetta (present-day Rashid).
The Rosetta Stone
A decree, issued on behalf of
Ptolemy V, was inscribed on
the stone in three scripts –
Ancient Egyptian hieroglyphs,
Demotic and Ancient Greek.
One possible
reconstruction
of the original
stele
Thomas Young, an
Englishman,
who
studied Ancient Egypt
as a hobby matched a
number of the names
in hieroglyphs on the
top of the Rosetta
Stone with the Greek
equivalents in the
bottom register.
In 1822 Jean-Francois
Champollion,
a
French scholar and
philologist, developed
Young’s work and
finally published the
first
correct
translation of the
hieroglyphs and the
key to the Egyptian
grammatical system.
Jean-François Champollion, by Léon
Cogniet