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Art of Ancient Egypt Art of Ancient Egypt The materials in this curriculum packet are designed to be used by students of all ages and their teachers. The curriculum packet contains • Posters of twelve artworks from the collection of the Saint Louis Art Museum. Each poster has information about the work of art and suggested questions for discussion with younger and older students. • CD of the twelve images and additional supplementary material • Teacher’s guide with maps, images, teaching suggestions, an annotated list of source materials on ancient Egypt, and a glossary of terms used in the guide We encourage classes to visit the Saint Louis Art Museum to view the works in this curriculum packet. Tours are free and may be scheduled for school groups (prekindergarten through college) as well as for other institutions. All groups, whether led by a Museum docent or self-guided, must preregister with the Museum to arrange a tour or reserve a time in the galleries. Allow at least four weeks’ notice. To schedule a tour, complete the tour request form on the Museum’s website at www.slam.org or telephone the Tour Hotline at (314) 655-5484. Written by Louise Cameron, Marianne Cavanaugh, Mariel Gonzalez, Emily Horton, Andréa Morrill, Anne Treeger, Lisa Stelling-Jokisch With assistance from Sid Goldstein, Ann Burroughs Edited by Kate Weigand Designed by Lauri Kramer © 2005 Saint Louis Art Museum Cover Image: Mummy Mask; Egyptian, Dynasty 19 (1307–1196 B.C.); plaster, linen, resin, glass, wood, gold, and pigment; 21 1/16 x 14 9/16 x 9 3/4 inches; Friends Fund and funds given by Mr. and Mrs. Christian B. Peper, Mrs. Drew Philpott, the Longmire Fund of the Saint Louis Community Foundation, The Arthur and Helen Baer Charitable Foundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M. Getty, by exchange, Florence Heiman in memory of her husband, Theodore Heiman, Ellen D. Thompson, by exchange, Dr. and Mrs. G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory of Donna and Earl Jacobs, Friends Fund, by exchange, and Museum Purchase 19:1998 Table of Contents Introduction Introduction 3 Map of Ancient Egypt 5 Vessels 6 Striding Man 7 Hippopotamus 8 Figure of a Woman 9 Mummy Mask 10 Mummy Case of Amen-Nestawy-Nakht 11 Butchering Scenes, Tomb of Prince Mentuemhat 12 God Horus 13 Set of Canopic Jars for the Royal Scribe Khera 14 Shabti of Keb-It 15 Nefertem 16 Cat 17 Social Studies Teaching Suggestions 18 Fine Arts Teaching Suggestions 19 Kinetic/Performing Arts Teaching Suggestions 20 Science and Math Teaching Suggestions 21 Communications Arts Teaching Suggestions 23 Glossary of Egyptian Terms 24 Suggested Resources 25 Useful Websites 26 Notes 27 2 The dependable inundation of the Nile, along with the area’s physical geography and its centralized political control, gave Egypt stability that was unique in the ancient world. Some historians believe this stability produced a ponderous artistic tradition with little variation; others perceive Egyptian art as a dynamic tradition that accepted external influences and adapted them to its use. During Egypt’s prehistory, a thousand years before the invention of writing, smaller tribes consolidated in two major kingdoms that followed the flow of the Nile from south to north. The kingdoms were Upper Egypt, which occupied the long narrow Nile Valley, and Lower Egypt in the Nile Delta area. Around 3200 B.C., King Menes united the two areas under his rule and established a system of divine kingship that lasted several thousand years until Cleopatra’s death in 31 B.C. The Old Kingdom (3200–2195 B.C.) was a time of political stability during which the guidelines and formulas that governed Egyptian art were established. Dating back to the Pre-dynastic period, Vessels (poster 1) are among the oldest and most numerous finds in Egyptian burials. As an important element in early tombs, stone vessels held foodstuffs and liquids for the soul of the deceased. These objects of daily life, unearthed from graves and shrines in ancient cemeteries, show the skill and fine sensibilities of ancient artisans. Sculpted figures from the Old Kingdom follow a formula. They are idealized, and even small figures project a monumentality of form. Wooden figures were often placed in tombs so that the ba (soul) and ka (vital force of the deceased) could identify the tomb. The small wood sculpture of Striding Man (poster 2) in his starched kilt seems to be frozen in motion. His features reflect a skillful sculptor’s use of the formula to produce an image that is not a portrait but rather the generic image of a court official. About a century and a half of instability followed the demise of the Old Kingdom. The rise of a royal ruler from Thebes ushered in the Middle Kingdom around 2000 B.C. The art of the Middle Kingdom is characterized by meticulous craftsmanship, brutal strength, and a more naturalistic approach. Hippopotamus (poster 3) is a realistic rendering of a huge animal that lived in the Nile marshes. Modeled of faience, this hippo is accurate in every detail, from its face to its posture and the Nile plants drawn on its body. The Figure of a Woman (poster 4), also from the Middle Kingdom, has a stern expression, and her linen gown suggests hips and knees underneath the cloth. The invasion of the Nile Delta by the Hyksos brought an end to the Middle Kingdom and caused another intermediate period of Egyptian decline. By 1570 B.C. Thebes again produced a royal family strong enough to expel the Hyksos and introduce a new period of power and prosperity. During this New Kingdom, Egypt engaged in military campaigns that extended its influence well beyond previous borders. The arts flourished, and they displayed sophistication, elegance, and luxury. The tombs in the Valley of Kings were carved out of rock walls, and monumental temples were built at Luxor and Karnak. The New Kingdom included the reigns of Pharaohs Akhenaten, Tutankhamen, and Rameses the Great. The Mummy Mask (poster 5) was created to fit over the head of a noblewoman possibly from the court of Rameses the Great. The mask portrays her youth and beauty for eternity. The decline of the New Kingdom was followed by another time of unrest. The Mummy Case of AmenNestawy-Nakht (poster 6) was created during this interim period. The style of painting used on the case invokes the beautiful images popular in New Kingdom tombs. The Late Period began in the eighth century B.C, when the African kings of Nubia ruled all of Egypt. As if to 3 restore Egypt’s traditional greatness, the art of the Late Period harked back to Old Kingdom styles. The imitation of earlier styles can be seen in Butchering Scenes, Tomb of Prince Mentuemhat (poster 7). These relief carvings are in a style that was popular two thousand years earlier. Mentuemhat’s tomb provides the first example of the combining of styles of Egyptian art. After the short renaissance of the Late Period, Egypt was invaded several times, with periods of self-rule interspersed. In 525 B.C. the Persians annexed Egypt to their empire, and they maintained power until the arrival of Alexander the Great in 332 B.C. Alexander’s empire was divided among his followers after his death, and Ptolemy Lagus, one of his generals, claimed Egypt in 305 B.C. The Ptolemaic dynasty ruled Egypt until the death of Cleopatra in 31 B.C. Throughout all the kingdoms and periods in the history of ancient Egypt, the pharaoh was the unifying force politically, economically, and religiously. As king and god, he wielded power over the natural world and annual cycles such as the flooding of the Nile. Preserving the pharaoh’s body for eternity guaranteed that the cycles would continue. The God Horus (poster 8) is closely identified with the pharaohs, who were thought to rule as Horus on earth. This statue of the god in the form of a falcon wears the pharaonic symbol of unification, the double crown of Upper and Lower Egypt. Before a body could be mummified the abdominal organs had to be removed. Each organ was dried, washed, and wrapped. Certain organs were placed in jars. The Set of Canopic Jars for the Royal Scribe Khera (poster 9) dates from the Late Period. Each jar has one of the four sons of Horus as its protector god. Imsety guards the liver, Hapy the lungs, Duamutef the stomach, and Qebhesenuef the intestines. Gods oversaw every aspect of life for the ancient Egyptians and were often the protective deities of cities. Nefertem (poster 11) was the god of the city of Memphis. The Delta town of Bubastis had Bastet as its patron goddess. The cat was the sacred animal of Bastet, and huge cat cemeteries have been found around the city. The Saint Louis Art Museum’s Cat (poster 12) is a large hollow-core bronze statue. Similar figures were used as sarcophagi for mummified cats that honored the goddess. This one was probably a votive dedication for her temple. In his writings on Egypt, Herodotus, a Greek historian who lived in the fifth century B.C. and traveled all over the ancient world, noted that no other country possessed so many wonders or had so many traditions that defy description. The objects selected for this curriculum kit are not only important works of art that can be enjoyed in their own right, they also provide information on the Map of Ancient Egypt MEDITERRANEAN SEA Nile Delta Bubastis LOWER EGYPT Memphis ANCIENT EGYPT Map shows sites referred to in the text RED SEA r ve Ri ile N The Egyptians understood the process of decomposition. The practice of mummification quickly spread through the upper class to the middle class, resulting in the development of vast tomb complexes. The majority of artifacts that survive from ancient Egypt exist because they were installed in elaborate tomb structures built to ensure the deceased comfort in the afterlife. The Shabti of Keb-It (poster 10) was placed in a tomb to answer for the deceased when called to work in the fields in the next world. With legions of shabtis to provide labor for the deceased, he or she could enjoy the pleasures of this life extended into eternity. social structure and religion of ancient Egypt. By tracing the timeline of Egyptian history through these works from the Museum’s collection, students and their teachers can become involved first hand in the exploration of a fascinating ancient culture. Europe Atla n Oce tic an Asia Egypt Valley of the Kings Africa Karnak Thebes/Luxor Indian Ocean UPPER EGYPT 4 5 1 2 Vessels Egyptian, Pre-dynastic period (3100–2920 B.C.)–Middle Kingdom (2040–1640 B.C.) Striding Man Egyptian, Dynasty 6 (2323–2150 B.C.) stone, slate, breccia, and calcite tallest dimension: 6 11/16 inches; widest dimension: 9 1/2 inches Museum Purchase 296:1916, 209:1924, 26:1924, 208:1924, 142:1921 wood, ebony, plaster, and paint height: 16 inches Friends Fund 1:1986 Ancient craftsmen made these elegant stone containers with hand-powered tools. Drills, hammers, chisels, and files were used to form the containers from blocks of hard stone. To smooth the surfaces, craftsmen rubbed them with something rough like sand. The variety and complexity of the containers’ shapes and their polished finish tell us that these ancient craftsmen were very good at their jobs. For thousands of years Egyptians placed stone bowls and jars similar to these examples in tombs. They filled the containers with foods, drinks, and oils so the ka, or life force, of the deceased would not go hungry in the afterlife. 6 For younger students What colors do you see on these containers? If you were going to use these containers, what food or drink would you put in each? For older students Compare one of these vessels to a modern example from your home or classroom. How are the two similar? How are they different? Consider materials, shapes, colors, and usage. Leaving food for the deceased was an important funerary custom for ancient Egyptians. What are some of the customs associated with funerals in our society? How do these customs compare to those of the ancient Egyptians? Ancient Egyptians believed in an afterlife that mirrored life on earth. Images of the deceased, his family, and his servants were often included among items placed in graves. This statue of the deceased is unusual because it is in such fine condition, even though it is more than four thousand years old. Wooden statues from Egypt’s Old Kingdom were usually severely damaged by rot and insects, or they were destroyed by tomb robbers. This figure, probably a nobleman or official, was a survivor. He strides forward while grasping the loose end of his pleated kilt. The detailed workmanship includes hands with delicately carved fingernails. For younger students Use adjectives to describe how this man looks. Where do you think he is going? For older students Describe the Striding Man’s costume and hairstyle. If you didn’t know how old this figure is, would you guess it is ancient or modern? Why? 7 4 3 Hippopotamus Egyptian, Dynasty 13 (1794–1648 B.C.) Figure of a Woman Egyptian, Dynasty 12 (1991–1783 B.C.) faience 3 3/4 x 7 1/4 x 2 7/8 inches Funds given by Miss Martha I. Love 242:1952 limestone height: 6 1/2 inches Museum Purchase 30:1924 We think of hippos as cute and playful, but our impression comes from what we see at the zoo. In ancient Egypt, herds of hippos were a threat to farmers’ crops. Hippos became associated with chaos and evil, and the first pharaohs hunted them in the marshes. Small sculptures of hippos were placed in tombs as reminders of the Egyptians’ love of hunting. At least one leg was broken on each tomb hippo in order to make the animal harmless in the afterlife. The Saint Louis Art Museum hippo was molded in faience, a glazed crushed quartz. Copper salts in the glaze created the bright blue or blue-green color when the piece was fired. On the hippo’s body the craftsman painted lily plants that appear as a giant tattoo. 8 For younger students Make a list of words that describe this hippo. If you were going to name this hippo, what name would you choose? For older students What other animals are symbols of evil in art or literature? How big do you think this hippo statue actually is? Check your answer against the measurements above. How close were you? Itef, whose name is inscribed on this sculpture’s base, stands at attention with her long, delicate arms held at her sides. She wears a lightweight linen dress with wide straps over her shoulders. An enormous wig frames her delicate face. Two bound tresses that tuck behind her ears end in spirals. The stern face probably is not a portrait of Itef since Egyptian sculptures from this time did not portray women as individuals. From the inscription we conclude that this is most likely a funerary sculpture commissioned by a mother for her daughter. For younger students Show with your hands how big you think this sculpture is, then check the measurements in the information above. Were you correct? Itef’s mother wanted to remember her. What are some ways we remember people today who have died? For older students Compare this figure of a woman with the Striding Man (poster 2). How are they alike; how are they different? What can you deduce about the appearance of women in ancient Egypt from looking at this sculpture? 9 5 Mummy Mask Egyptian, Dynasty 19 (1307–1196 B.C.) 6 plaster, linen, resin, glass, wood, gold, and pigment 21 1/16 x 14 9/16 x 9 3/4 inches Friends Fund and funds given by Mr. and Mrs. Christian B. Peper, Mrs. Drew Philpott, the Longmire Fund of the Saint Louis Community Foundation, The Arthur and Helen Baer Charitable Foundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M. Getty, by exchange, Florence Heiman in memory of her husband, Theodore Heiman, Ellen D. Thompson, by exchange, Dr. and Mrs. G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory of Donna and Earl Jacobs, Friends Fund, by exchange, and Museum Purchase 19:1998 This mask, which would have covered the head and shoulders of a young woman’s mummy, is amazingly lifelike. The combination of glass inlaid eyes, a face covered with gold, and a realistic wig is startling. The skilled craftsman who fashioned the wig out of thick resin carefully cut and modeled the plaits of hair in the latest style. The colored glass used in the eyes and to decorate the diadem, or hair ornament, was costly and rare and demonstrated the young woman’s wealth. In each hand she holds a wooden amulet to signify strength and welfare. A delicate scene carved in relief on her arms shows her successful ascent into the afterlife on the boat of the Great God Osiris. 10 For younger students What colors do you see on this mask? Make up a story about this woman based on what you can see. For older students If you could talk with the woman portrayed in this mask, what would you say to her or ask her? This object, like almost everything known to us from ancient Egypt, came from a tomb. How do you feel about displaying tomb objects in a museum? Mummy Case of Amen-Nestawy-Nakht, c.900 B.C. Egyptian, Dynasty 22 linen, plaster, and pigment 67 x 16 x 14 inches Gift of Mr. and Mrs. Barney A. Ebsworth for the children of St. Louis 109:1989 X-ray of Amen-Nakht Amen-Nestawy-Nakht, a priest of Amun, was buried in this cartonnage, or painted plaster case. The resinsoaked linen strips that wrapped his body and the hard, shell-like cartonnage provided protection. The painted decorations, which contain both pictures and hieroglyphic writing, illustrate the deities who would escort the deceased into the afterlife and protect him for eternity. In the top register, or strip of painting, Amen-Nakht is led by the gods Thoth and Horus to meet Osiris, god of the underworld. In the bottom register, Amen-Nakht has passed the tests of piety and purity and is being anointed by Horus and Anubis as he is received into the next life. For younger students The pictures on this case tell a story. Use the pictures and your imagination to tell the story in your own words. If you could open this case what would you find inside? For older students The pictures on this case tell a story. How many different characters can you find? Who are they and what are they doing? Compose a list of questions you have about mummies and a list of places you would go to find the answers. 11 8 7 God Horus, 664–30 B.C. Egyptian, Late Period–Ptolemaic dynasty Butchering Scenes, Tomb of Prince Mentuemhat, c.680–650 B.C. Egyptian, late Dynasty 25–early Dynasty 26 bronze height: 6 1/4 inches Gift of Miss Cornelia Scott in memory of her brother, George Eaton Scott 27:1939 limestone 66 7/8 x 16 inches Museum Purchase 1:1958 This grisly butchering scene is carved into limestone in crisp detail. While butchers are cutting up bound cattle, an assistant carries off hearts and entrails in a large bowl. One butcher draws a sharpening stone from his belt and uses it on his machete-like knife. All of the elements in these scenes read as clearly as the hieroglyphs, or writing, which inform us that the choicest bits of meat are being prepared for Mentuemhat. Ancient Egyptians prepared food, both real and represented through art, for the deceased, and Mentuemhat would have appreciated having a good supply of meat in his next life. The subject matter of this relief sculpture tells us that Mentuemhat was very important. 12 For younger students How many people do you see in this scene? How many cattle? Make up a story about what will happen next. For older students Why do all the people in the scene look alike? If the ancient Egyptian afterlife was a copy of life on earth, what else would the deceased need in his or her tomb? The ancient Egyptian god Horus, represented as a falcon in this sculpture, stands motionless with his wings perfectly folded at his sides. He stares into the distance with a deep, intense gaze. On his head, he wears the double crown of Upper and Lower Egypt as a symbol of his power and close association with the pharaoh. Gods in Egyptian mythology are often represented as animals. Horus is shown as a falcon because he is the god of air and sky. In ancient Egypt many small, bronze statues of gods, such as this one, were produced as votive statues. Votive statues were dedicated to the gods and kept in homes or in chapels to worship a particular god. For younger students Make a list of adjectives that describe this falcon. Use your imagination to create a story about his life: What is he doing? Where did he come from? Where will he go next? Where does he live? For older students There are other images of animals in this packet, each symbolizing different aspects of ancient Egyptian life or mythology. Compare one of them to the image of the falcon, and discuss the similarities and differences in the way they are represented and the purposes for which they were created. Many cultures associate animals with leaders or gods. What are some of these animals? 13 9 10 Set of Canopic Jars for the Royal Scribe Khera Egyptian, Late Period (712–332 B.C.) Shabti of Keb-It Egyptian, Late Period, Dynasty 25 (712–657 B.C.) alabaster tallest dimension: 16 inches; widest dimension: 7 inches Museum Purchase 210–213:1924 glassy faience height: 6 3/8 inches Museum Purchase 29:1924 These canopic jars were found in the tomb of a scribe named Khera. The jars still hold some of the internal organs that priests or embalmers removed when they mummified Khera’s body. To keep these organs from decay, the priests or embalmers dried, washed, and wrapped them. The organs were then placed in these jars and encased in resin—a tar-like material. If you could look inside the jars today, you would see only the solid, black resin that surrounds the wrapped organs. The ancient Egyptians believed that the gods known as the sons of Horus would protect the organs for eternity. The tops of the canopic jars show these gods. The jackal-headed god, Duamutef, guards the stomach. Hapy, the baboon-headed god, protects the lungs. The human-headed god, Imsety, watches over the liver, and Qebhesenuef, the falcon-headed god, guards the intestines. The hieroglyphs on the front of the jars are prayers to the gods. 14 For younger students Choose one jar and compare it to the others. Include similarities and differences in your comparison. How do you think these jars were made? (See the back of the Vessels poster [poster 1] for clues.) For older students Hieroglyphic writing contains pictures of objects that ancient Egyptians saw around them everyday. What objects can you recognize in the hieroglyphs? Using what you already know about the ancient Egyptians’ beliefs regarding the afterlife, make up a statement that could appear on the front of these canopic jars. Would you do chores if you could have a substitute do them for you? Ancient Egyptians thought that in the next world they would be required to work in the fields to help provide an everlasting supply of food. They also believed that shabtis, small figures placed in tombs, could substitute for them. Some tombs had hundreds of shabtis, one to work each day of the year. Shabtis hold farm tools and usually bear a hieroglyphic inscription from the Book of the Dead that reads in part “O shabti, if the deceased is called upon to do any of the work required . . . you shall say ‘Here I am, I will do it.’” The mottled colors on this shabti’s surface were caused by the firing of the faience material from which it is made. For younger students See if you can pose exactly like this shabti. Describe some chores you are expected to do. What tools would a shabti need to do each of those chores? For older students Describe this shabti to a friend who is not looking at it. Then show them the image and ask if you did a good job of describing details. Shabtis were substitutes in the next world. Give some examples in our culture today of people who substitute for others. 15 12 11 This silver figure strides forward, his left arm clutching a sickle-shaped sword to his chest. His head tilts upward, balancing his outrageous lotus and feather crown. This crown was the emblem of Nefertem, major god of the ancient city of Memphis. Nefertem’s image was often painted on mummy cases along with other gods. When represented in sculpture he wears a kilt and a false beard and holds a scepter or sword, all signs of a king. Nefertem was one of the forty-two deities who sat in judgment in the hall of truth to review the life of the deceased. This group witnessed the weighing of the heart against the feather of truth. The silver used to make this small sculpture was a very precious material in the ancient world, just as it is today. 16 Nefertem Egyptian, Dynasty 25–26 (712–525 B.C.) Cat Egyptian, Dynasty 25–26 (712–525 B.C.) silver height: 9 3/4 inches Museum Purchase 223:1924 bronze 14 3/8 x 5 3/4 x 11 1/8 inches Museum Purchase 5:1938 For younger students See if you can stand in the same pose as Nefertem. Nefertem’s crown shows that he is an important figure. What people in our culture wear headdresses or hats that help identify who they are? For older students Compare the image of Nefertem to that of the Figure of a Woman (poster 4) in this packet. Which do you think is older and why? Check the dates to verify your answer. The ancient Egyptians revered cats and made many sculptures of them. Some hollow cat sculptures were used as sarcophagi for cat mummies brought as offerings to the goddess Bastet, whose sacred animal was the cat. In addition, hundreds of bronze cats were manufactured as offerings to the goddess. This cat’s erect ears and taut muscles are very realistic. Its eye sockets, which were once inlaid with shell, rock crystal, or glass, are now empty. Some cat sculptures were decorated with gold jewelry, particularly necklaces and earrings. Over fourteen inches tall, this cat is almost life-sized and is one of the largest examples known today. For younger students Do you think this cat looks like a real cat? Why or why not? Make up a story about this cat. How did it get to the Museum? For older students Describe this cat to a friend who is not looking at the image. What adjectives best describe the cat? What ideas do we have about cats in our modern society? How are those ideas different from the ones of ancient Egyptians? 17 Social Studies Teaching Suggestions Write Like an Egyptian Hieroglyphs, an ancient Egyptian form of writing, are small pictures and symbols that are based on objects and activities found in Egyptian daily life. The word hieroglyph derives from the Greek hiero, meaning sacred, and glyph, meaning carving. Ask students to examine the hieroglyphic writing on the Mummy Case of Amen-Nestawy-Nakht (poster 6), the Butchering Scenes, Tomb of Prince Mentuemhat (poster 7), the Set of Canopic Jars for the Royal Scribe Khera (poster 9), and the Shabti of Keb-It (poster 10). Have students look for recognizable images within the hieroglyphs and research the meaning behind them. Students can record their findings on a chart. Egyptian Fashion Ancient Egyptians paid considerable attention to physical appearance. Observing fashion trends represented in artifacts provides a window into the cultural history, environmental conditions, and social status of ancient Egyptians. Ask students to look closely at the Striding Man (poster 2), Figure of a Woman (poster 4), Butchering Scenes, Tomb of Prince Mentuemhat (poster 7), and Nefertem (poster 11) and describe the dress, accessories, and hairstyle depicted in each. Have them compare and contrast these with contemporary choices in clothing and personal adornment. Ask students to use their findings to develop hypotheses about climate, geographical location, and class structure in ancient Egypt. Timeline Objects in this packet range in date from 3100 B.C., the Pre-dynastic period, to 30 B.C., the Ptolemaic dynasty. Have students create a timeline spanning these years and place each object in the packet along the continuum. Ask them to calculate the age of each object. Have students divide into teams to research historical events that took place during these periods and record them along the timeline. Discuss the social and political context in which the objects were made and how they may visually reflect this history. 18 Fine Arts Teaching Suggestions For younger students Ask students to draw their ideas for some new hieroglyphs based on everyday events in their own lives. For older students Have students research other forms of ancient Egyptian writing, such as hieratic and demotic, and compare and contrast them with hieroglyphs in a written report or class presentation. As an extension activity, students may research the writing of other ancient cultures. MAP Content Standards: SS6, SS7, FA4, CA7 MAP Process Standards: 1.2, 1.4, 1.8, 2.1 Egyptian Comics The story of Amen-Nestawy-Nakht’s journey to the afterlife is recorded on the Mummy Case of AmenNestawy-Nakht (poster 6) in four painted panels called registers. The registers have a narrative composition similar to a comic strip. Ask students to examine the characters depicted in the registers and discuss the scenes in which they participate. Have students design comic strips illustrating important journeys they have taken or will take in their own lives. For younger students Ask students to examine the animals represented in the Hippopotamus (poster 3), God Horus (poster 8), and Cat (poster 12) sculptures and on the Mummy Case of Amen-Nestawy-Nakht (poster 6). Animals were important symbols in Egyptian art and often were identified with gods. Ask students to draw an animal they identify with and have them explain their choice. For older students Ask students to develop written scripts to accompany their comic strips. MAP Content Standards: FA1, FA3, FA5, CA6 MAP Process Standards: 1.6, 1.9, 2.5, 4.1 How Was It Made? For younger students As a class, make a list of clothing appropriate in our culture for each season and a list of clothing appropriate for various jobs. Ask students to make guesses about weather and jobs in ancient Egypt based on clues they find in the artifacts. Have students search magazines for figures whose clothing reflects different seasons and occupations. For older students Have students research and prepare reports on materials and processes used to make clothes in ancient Egypt. Encourage students to produce drawings or models to accompany their reports. MAP Content Standards: SS5, SS6, CA6, PE2 MAP Process Standards: 1.9, 1.10, 3.5, 4.3 For younger students Working as a class, arrange the posters in chronological order from the oldest object to the most recent one. For older students Have students research another ancient culture and create a timeline documenting its history. Ask students to compare and contrast the cultural histories illustrated in the two timelines. The objects in this packet are made from a broad array of materials. Ask students to use the posters to examine all the objects and make a chart listing the materials used to create them. Students can then choose one object and research how it was made. Using materials available in the classroom (Model Magic, cardboard, papier-mâché, etc.), students can make a modern reproduction. Have students compare and contrast their reproduction with the real object. These activities could be done in small groups. For younger students Ask students to bring in a small object from home to compare and contrast with an ancient object found in this packet. For older students Ask students to write a narrative or deliver an oral presentation to the class highlighting the similarities and differences of the ancient object and their modern re-creation. They should explain each object’s creation and possible uses. MAP Content Standards: FA1, FA2, FA5, CA6 MAP Process Standards: 1.8, 1.9, 2.1, 2.3 Ancient Portraits Ancient Egyptian artworks often feature stylized portraits of individuals. Have students observe Striding Man (poster 2), Figure of a Woman (poster 4), and Mummy Mask (poster 5) and compare and contrast the facial characteristics of each. Have students create self-portrait mummy masks in relief by working on board using modeling compound, paint, glass, metal, or other materials inspired by those used in the Mummy Mask. For younger students Have students use mirrors to draw self-portraits. Ask them to render their faces and hair in ways that make them look like ancient Egyptians. For older students Ask students to create three-dimensional self-portraits. They can model their portrait after any of the threedimensional pieces in this packet. MAP Content Standards: FA1, FA3, FA5, SS6 MAP Process Standards: 1.5, 1.6, 2.4, 2.5 MAP Content Standards: SS2, SS5, SS7, MA1 MAP Process Standards: 1.6, 1.8, 2.1, 3.1 19 Kinetic/Performing Arts Teaching Suggestions Science and Math Teaching Suggestions Pose Like an Egyptian Fruit Mummies! The Mummy Case of Amen-Nestawy-Nakht (poster 6) features an array of figures engaged in the rituals of passage from one life to the next. Assign each student For younger students Have one student at a time pose like one of the figures on the case and ask the class to guess which character each student is enacting. a character and have the class create a tableau vivant, or living picture, of a scene on the case. Have students break into groups and choose a scene. They should discuss what might have happened before or after that scene and then act out that sequence for the class. For older students Have students investigate the ancient Egyptian “weighing of the heart” ceremony. Students could then conduct a mock trial in which Amen-Nestawy-Nakht’s heart is weighed against the feather of truth. MAP Content Standards: CA1, CA5, FA5, SS6 MAP Process Standards: 1.5, 2.1, 2.4, 4.6 What’s My Story? All of the objects in this packet tell a story. Have students choose an object from the packet that shows at least one human, god, or animal. Students can assume the role of that object and prepare a presentation (using the first person) for the class about the story of that object. Students might focus on the creation or use of the object or tell how it was found by archaeologists and put on display in the Museum. Students can work in groups. Ancient Drama Many of the objects in this packet depict people, gods, or animals that possess human qualities. Have students work in teams to choose one of these ancient objects to investigate. Ask each group to join with the others and write a script based on the imagined interaction of the people, gods, and animals represented. For younger students Teachers might assign an object and ask students to focus on a particular part of that object’s story. For older students Students should add props or costumes to their presentations. MAP Content Standards: CA1, CA5, FA5, SS6 MAP Process Standards: 1.5, 2.1, 2.4, 2.5 For younger students Play a game in which each student gives voice to one of the objects and the class guesses which object is speaking. For older students Assign parts to students and have the class act out the script. Have students film a movie from the script, taking turns directing and shooting scenes. The Mummy Mask (poster 5) was originally placed over the head and shoulders of a mummy. The Mummy Case of Amen-Nestawy-Nakht (poster 6) still contains the body of a man who lived over three thousand years ago. Ask students to research and discuss the mummification process. Then have students experiment with fruit to learn what happens when organic things decay. Apples work well for this exercise. They can observe and discuss how fruit changes shape, size, texture, and density as it decomposes. Have students compare fruit decaying in the air to fruit that is buried in salt. Students should chart their observations. These activities work well in groups. Measuring Up In Egyptian art, the relative size of a scene or figure often indicates its importance. Have students use a ruler to measure the height of the standing figures, from head to toe, in the first (top), second, and fourth registers on the poster of Mummy Case of Amen-Nestawy-Nakht (poster 6). Students can research the identity of the figures and then make a chart listing each figure’s name, the register in which the figure appears, and the figure’s height. For younger students Have your students write or talk daily about the noticeable changes in four areas: shape, size, texture, and density. For older students Have students chart changes on a graph. Ask the students to include sketches of the fruit with their charts. Have the students prepare a written or oral presentation of their findings. As an extension activity, students could investigate the preservation properties of salt or natron. MAP Content Standards: SC3, MA6, SC4, CA1 MAP Process Standards: 1.2, 1.3, 1.8, 2.3 For younger students The animal-headed gods Thoth and Horus are shown in the top register on the mummy case. Examine the whole case. How many times do these gods appear in total? For older students Using their charts, students should work in groups to determine what relationship, if any, exists between the sizes of the figures in different registers. (For example, are the figures in each register always the same size? Did the artist follow a standard ratio to determine the different sizes of figures or does the sizing seem random?) Students should present their findings to the class. MAP Content Standards: MA1, MA2, CA3, SS7 MAP Process Standards: 1.2, 1.6, 1.8, 2.4 MAP Content Standards: CA1, CA7, FA4, FA5 MAP Process Standards: 1.6, 2.5, 3.6, 4.6 Science and Math continued on next page 20 21 Science and Math Teaching Suggestions (continued) Communication Arts Teaching Suggestions Environmental Effects My Favorite Things Careful scrutiny of the objects presented in this packet reveals signs of the accumulated effects of time and circumstance, such as cracked or worn surfaces or faded colors. The condition of objects from ancient times often sheds light on their histories. As a class, observe all the objects in the packet and make note of any damage. Have students look for evidence of erosion and present hypotheses about what caused it based on the age of the object, the type of material used, and the environmental factors to which the object was exposed. For younger students Observe elements of the classroom environment such as the blackboard eraser, pencils and pens, or the surfaces of student desks. Discuss what their condition reveals about how old they are and how much they have been used. For older students Have students choose a group of objects made of materials similar to those found in the packet (stone, wood, papier-mâché, etc.). Place these objects in different environments, if possible (outdoors, in cold areas, in warm areas, in damp, etc.). Ask students how they think the objects will be affected by each environment. Over a period of weeks, graph the effects of time and weather on the condition of these materials. Compare results as a class to see how different environments affect the same materials. MAP Content Standards: SC1, SC4, SC7, SC8 MAP Process Standards: 1.8, 2.3, 3.1, 3.5 Fill It Up Vessels (poster 1) in ancient Egypt came in assorted shapes and sizes and were used for a variety of purposes. Have students examine the picture of the jars and bowls on poster 1, and discuss what they might have been designed to hold. Bring in an assortment of similar containers and have students predict which holds the most and which the least. Have students experiment in groups with volume and mass by filling containers with liquid and solid materials and graphing the results. For younger students Ask students to describe containers they have at home and discuss what kinds of things they hold. Fill vessels similar to those in poster 1 with jelly beans and have students guess how many beans are in each. Amen-Nestawy-Nakht would have had objects made for his tomb like the ones in this packet. Ask students to imagine that they are Amen-Nestawy-Nakht and write about three of their favorite objects from this packet. They should include the reason why they, as Amen-Nakht, wanted those objects to be included in their tombs. For older students Choose and research one of the objects. Write a report about the object explaining how, or where, it fits into ancient Egyptian cosmology and present your findings to the class. MAP Content Standards: CA1, CA4, CA6, SS6 MAP Process Standards: 1.2, 2.1, 3.3, 3.6 (After-)Life Stories Art found in Egyptian tombs often tells us something about the life and afterlife of the deceased. Examine the Mummy Mask (poster 5), the Mummy Case of AmenNestawy-Nakht (poster 6), and the Butchering Scenes, Tomb of Prince Mentuemhat (poster 7) with your students to look for clues to these life and “after-life” stories. Have students interview someone they know and then re-tell that person’s life story in a written paper or oral class presentation. For older students Measure the dimensions of vessels similar to those in poster 1. Estimate how much liquid each can hold and then verify the amounts through experimentation. MAP Content Standards: SC7, MA1, MA2, MA3 MAP Process Standards: 1.6, 1.8, 2.2, 3.7 For younger students Ask students to choose their favorite object from the packet. They should explain to the class why they chose that object. For younger students Have students divide into pairs to interview one another about what is important to them. Each student should present their partner to the class and then write a short story about their partner or draw a picture that communicates an important moment in their partner’s life. For older students Students should research the life of an ancestor or someone they admire and then write a biography or prepare a presentation for the class. Students should be encouraged to make their final projects multimedia experiences that could include interview excerpts, film footage, photographs, original documents, etc. MAP Content Standards: CA3, CA5, SS6, SS7 MAP Process Standards: 1.3, 2.2, 3.2, 4.6 Being a Scribe Hieroglyphic writing is visible on the Mummy Case of Amen-Nestawy-Nakht (poster 6), the Butchering Scenes, Tomb of Prince Mentuemhat (poster 7), the Set of Canopic Jars for the Royal Scribe Khera (poster 9), and the Shabti of Keb-It (poster 10). Ask students to review the writing on these objects and to compare and contrast the hieroglyphic system with our writing system. As a class, discuss the role of scribes in ancient Egypt. For younger students Have students imagine that they are in scribe school in ancient Egypt. Brainstorm together about daily activities in the school. Ask students to write short stories (or use pictures and words) to describe their day at scribe school. For older students Divide the class into three groups for a debate. Group A should prepare arguments supporting the ancient Egyptians’ idea that not everyone needed to be literate while group B prepares arguments supporting our society’s emphasis on the importance of literacy. Group C will listen to the debate and write a summary including the main points of each group. The summary should indicate which argument was the most convincing and why. MAP Content Standards: CA5, CA6, CA7, SS6 MAP Process Standards: 1.5, 1.9, 2.3, 4.3 22 23 Glossary of Egyptian Terms amulet—a personal ornament thought to provide magical protection or powers to its owner; ancient Egyptians wore amulets and buried them with the dead Anubis (ah NEW bis)—the patron god of embalmers and protector of the dead; associated with a jackal Suggested Resources hieroglyphs—the picture signs used in the hieroglyphic script; there were hundreds representing both sounds and ideas; hieroglyphs were used throughout ancient Egyptian history, primarily on objects meant to last for eternity Horus (HORE us)—god of the sky, son of Osiris and Isis, ba—ancient Egyptian concept roughly equivalent to the soul of a deceased person Bastet (bas TET)—a protective goddess; her cult began in the town of Bubastis but later spread throughout Egypt; associated with cats closely tied to the living pharaoh; associated with a falcon ka—ancient Egyptian concept roughly equivalent to the vital or life force of a deceased person Nefertem (NEH fur tum)—a creator god and god of the town of Memphis; shown as a man with a lotus and Book of the Dead—a collection of spells that focuses on life after death; selections from the book were often buried with mummies and written on or inside coffins, on tomb walls, on shabtis, and on amulets canopic (can AH pick) jars—jars that hold certain internal organs removed from a body during mummification cartonnage (car tah NAHZH, rhymes with garage)—a material made from layers of linen, papyrus, or other pliable elements that are pasted together with resin and covered with plaster; used also to denote a container made of this material that protects a mummified corpse demotic (dem AH tic)—the most cursive script in ancient Egypt; used for medical, scientific, and literary texts and for everyday writing such as business documents and letters faience (FY ahns)—a low-fired, man-made material composed of crushed quartz pebbles or sand that has been glazed; this material can be modeled, cast, and thrown on a wheel like clay false beard—a symbol of kingship; pharaohs, including females, and some gods and goddesses are depicted wearing these hieratic (higher AT tic)—as old as hieroglyphic script, this cursive script was used mostly for everyday writing and for religious, magical, and mathematical texts; it continued to be used for religious texts after it was replaced by demotic for everyday use in the sixth century B.C. 24 24 flower crown on his head Osiris (oh SYE ris)—according to myth, the first king of Egypt and the first mummy, ruler of the dead; shown as a mummy wearing the tall crown of a pharaoh and usually holding a crook and a flail, elements of a king’s regalia pharaoh—an ancient Egyptian king; possibly originating from the word meaning “great house” sarcophagus (sar COFF a gus)—a container used to protect a mummified corpse; usually made of stone scribe—a literate person who worked within the government administration in ancient Egypt; thought to have one of the most important jobs in ancient Egypt, scribes recorded information, administered justice, and supervised other workers shabti (SHAHB tee)—a small figure placed in ancient Egyptian tombs to serve as a substitute for the deceased when work was required in the afterlife Thoth (THAWTH)—god of writing and knowledge, patron of scribes, overseer at the weighing of the heart ceremony; associated with an ibis or a baboon Books for Younger Students Aliki. Mummies Made in Egypt. New York: T.Y. Crowell, 1979. Reprint, New York: Harper Trophy, 1985. This book describes the process of mummification and the reason it was developed. Drawings bring the information to life. Chrisp, Peter. Ancient Egypt Revealed. New York: DK Publishing Inc., 2002. This book explores themes such as the royal mummy, temple secrets, and life on the Nile. Personal adornment, food, and writing are also addressed. Many illustrations are included and transparent pages give students a look inside Tutankhamen’s coffin and a boat that would have traveled on the Nile. Harris, Geraldine, and Delia Pemberton. Illustrated Encyclopedia of Ancient Egypt. Lincolnwood, IL: Peter Bedrick Books, 1999. Organized by topic, this book is a useful reference tool and includes many images. “Trails” (themes) that can be followed throughout the text include everyday life, myth and magic, the natural world, and work. Hart, George. Ancient Egypt. San Diego; Harcourt Brace, 1991. Reprint, New York: Dorling Kindersley Publishing, Inc., 2000. This photo essay on ancient Egypt and its people explores religion, rituals, and daily life. Ross, Stuart. Tales of the Dead: Ancient Egypt. New York: DK Publishing, Inc., 2003. This book mixes a graphic novel with factual information describing Egyptian life. Detailed drawings illustrate life in an Egyptian town. Books for Teachers and Older Students El Mahdy, Christine. Mummies, Myths, and Magic in Ancient Egypt. New York: Thames and Hudson, Inc., 1989. Reprint, 1991. Arranged thematically, this resource focuses on multiple themes in three general areas: the road to eternity, unfolding the past, and myth and magic. Quirke, Stephen, and Jeffery Spencer, eds. The British Museum Book of Ancient Egypt. New York: Thames and Hudson, 1992. This book covers Egyptian culture from prehistoric times to late Roman antiquity. It is organized by themes including funerary customs and beliefs, language and writing, and art and architecture. Redford, Donald B., ed. The Oxford Encyclopedia of Ancient Egypt. Oxford: Oxford University Press, 2001. This three-volume resource is a reference tool that provides information in multiple fields including archaeology, social history, language, and biography. Reeves, Nicholas. The Complete Tutankhamun: The King, the Tomb, the Royal Treasure. New York: Thames and Hudson, 1990. Richly illustrated, this book describes the discovery of this famous tomb and the treasures found inside. Photographs show Howard Carter and his team at work in the tomb and the artifacts in their original tomb locations. Robins, Gay. The Art of Ancient Egypt. Cambridge: Harvard University Press, 1997. This book offers an introduction to ancient Egyptian art including sculpture, coffins, amulets, tombs, and wall paintings. It is organized chronologically. weighing of the heart—a ceremony described in the Book of the Dead in which the heart of the deceased is balanced against the feather of truth; the vindicated join Osiris in the next world, while the guilty are condemned to die the final death and are devoured by an awaiting crocodile-like beast 25 Useful Websites Notes The British Museum, Ancient Egypt http://www.ancientegypt.co.uk/menu.html This informative and student-friendly site on ancient Egyptian life includes topics such as geography, gods and goddesses, mummification, and writing. Cleopatra: A Multimedia Guide to the Ancient World http://www.artic.edu/cleo/index.html Developed by the Art Institute of Chicago, this site includes QuickTime video clips about art from the ancient world, an illustrated timeline, maps, and lesson plans for teachers. The Metropolitan Museum of Art, The Art of Ancient Egypt http://www.metmuseum.org/explore/newegypt/htm/a_index.htm This extensive resource is organized around five themes: ancient Egyptian beliefs, looking at Egyptian art, the people of ancient Egypt, the natural world, and the story of the collection. It includes a glossary, a timeline, a curriculum connections section, a bibliography, and a list of additional resources. This site is geared toward educators or older students. Odyssey Online http://carlos.emory.edu/ODYSSEY/index.html Students can explore the culture and art of the ancient Near East, Egypt, Greece, Rome, and nineteenth- to twentieth-century sub-Saharan Africa. This site was developed by the Michael C. Carlos Museum of Emory University, the Memorial Art Gallery of the University of Rochester, and the Dallas Museum of Art. The Society for Historical Archaeology http://sha.org/ This website contains information about historical archaeology and includes a section for kids. 26 27 28 One Fine Arts Drive, Forest Park, St. Louis, Missouri 63110-1380 Telephone 314.721.0072 www.slam.org © 2005 Saint Louis Art Museum