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Egyptian Art
The Art of Egypt
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Nearly 2,500 years ago, the Greek
historian Herodotus wrote,
"Concerning Egypt itself I shall extend my
remarks to a great length, because there
is no country that possesses so many
wonders, nor any that has such a number
of works that defy description.”
Overview
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Left countess monuments of architecture,
sculpture and painting across 3 millennia
Backbone was the Nile river – annual
flood supported life
Forests of papyrus and rushes
Predynastic Art or Prehistoric Art
• Remains of tombs, paintings and pottery
indicate sophisticated culture
• Egypt divided into
1. Upper Egypt – the southern part of the Nile
valley
2. Lower Egypt – the lower part of northern
Egypt
*Ancient Egyptians began history of kingdom
by unifying two lands under first Pharaoh,
Menes
Predynastic, Early Dynasties, and the Old Kingdom
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Evidence of a sophisticated civilization begins to appear
on the banks of the Nile around 3500 BCE
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Painting and Sculpture:
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Among the earliest historical examples of Egyptian art are a wall
painting that appears to record funerary practices
a ceremonial stone palette carved on both sides, with scenes in
relief commemorating the unification of Egypt – The Palette of
King Narmer
Architecture
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Mastaba Tombs
Stepped Pyramid at Djoser
13. Palette of King Narmer
 Slate, 2’1” high
c.3000-2920 BCE
 One of the earliest historical
artworks preserved – It is a
transitional piece from
pre-historical to historical.
 Used to prepare eye makeup
 Scenes in relief commemorating
the unification of Egypt.
 Narmer's palette is exceptional
among surviving Egyptian
artworks because it is
commemorative rather than
funerary in nature.
 *Many scholars identify Menes
 as King Narmer
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Eye makeup protected against sun and
irritants
Earliest labelled artwork
Records unification of Upper and Lower
Egypt at end of Predynastic period
Commemorates unification as a great
event
Unique because commemorative rather
than funerary
Early blueprint for characteristics of
Egyptian art
Palette of King Narmer- front
Palette of King Narmer- back
Hathor
Details on Front
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Top two heads of goddess Hathor the
divine mother of the Pharaoh, nourishes
with milk as a cow with woman’s face
Hieroglyphs of Narmer’s name
Unification of story of Egypt
Details on Back
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King with bowling-pin shaped crown of Upper
Egypt slaying enemies
On right, falcon with human arms is Horus
Horus is Egyptian god who protected pharaohs
On upper register, Narmer wears crown of
Lower Egypt by beheaded bodies of enemies
Narmer towers above others with super human
strength
Shown as “divine ruler”
Architecture:
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The brick or stone Mastaba with sloping sides
was a standard type of tomb in early Egypt.
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The first monumental royal tomb, built in stone
by the architect Imhotep for King Djoser at
Saqqara, comprised a stepped pyramid, temple,
and other buildings within a large, rectangular
enclosure surrounded by a high wall.
Afterlife
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Much concern for life and happiness in the
next life
Originally built for single burials, then
multiple
Multiple chambers and storage rooms,
with a shaft connected to outside so the ka
could have access to the tomb
Serdab was chapel decorated with reliefs
and carving of daily life intended to
provide deceased with food and
entertainment
Mummification
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Birth of person accompanied by other self
which was the ka or life force
With the death of the body, ka could live
on and inhabit the body so body needed to
remain intact through mummification
Process lasted 70 days –removed organs
and placed in jars for burial, discarded
brain, left the heart as “seat of intelligence”
Used a salt called natron to dehydrate
body and wrapped in resin-soaked linens
Video on Mummification
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http://www.history.com/topics/ancienthistory/ancient-egypt/videos/how-to-makea-mummy
Horus’ Eye
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The embalming incision was closed and covered
with a Horus’ eye amulet to ward off evil and
promote rebirth
Statuettes called ushabtis (answers) were
placed in tomb to perform labor
Images of deceased were sculpted so ka could
have a place to go if mummy didn’t remain intact
Wall paintings depicted daily activities to ensure
immortality
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.
Restored view of typical Egyptian mastaba tombs .
Mastaba = Arabic for bench
1=chapel
2=false door
5
3=Shaft into Burial
Chamber
4=Serdab, place for
ka statue of the
deceased
5=Burial Chamber
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.
Plan of typical Egyptian mastaba tombs
•Often used for multiple family burials
•Chapel walls were decorated with colored reliefs & paintings
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.
Section of typical Egyptian mastaba tomb.
Shafts provide the ka with access to the outside
Stepped Pyramid Complex of Djoser
Stepped Pyramid and mortuary
precinct of Djoser
IMHOTEP – architect, c. 2630-2611 BCE
The pyramid is one of the oldest stone structures in Egypt and
the first monumental royal tomb.
Restored view of the mortuary precinct of Djoser.
•This Pyramid is approx 200’high, it is similar to ziggurats but it
is a tomb NOT a platform.
•The Pyramid was believed to protect the mummified King and it
symbolized his absolute god-like power.
•The precinct was 37 acres surrounded by a 34’ tall 5,004’ long
wall of white limestone.
1=stepped pyramid
2=temple
5=entrance portico
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.
IMHOTEP, restored plan of the mortuary precinct of Djoser,
Columnar Entrance
Corridor to the mortuary
precinct of Djoser
• The columns are a translation
into stone of structural forms
previously made out of plants
(bundles of reeds).
•These posts influenced the
later building & design of Greek
columns.
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Functioned to protect mummified king and
possessions
Symbolized absolute god-like power with
size
Series of network of underground rooms
like a palace
Home in afterlife
Old Kingdom Art
17. Great Pyramids of
Giza and Great Sphinx
•Built in the course of about seventy-five years, they
are the oldest of the Seven Wonders of the ancient
world.
•Slanted walls symbolized the rays of the sun that the
deceased Pharaohs would climb up to join Ra.
•Built 2613-2494 BCE for Menkaure, Khafre & Khufu
from Granite & Limestone.
Great Pyramids
The largest pyramid is Khufu ,The Great Pyramid. It measures 755 feet square at its
base, 13 acres, and its present height is 449 feet. Over the years it has lost 33 feet of
its original height.
The Egyptians always buried their dead on the west side of the Nile, where the sun sets.
The pyramids are on the west side of the Nile because that is where the sun sets and
this is iconographic of the connection between the Kings of the fourth dynasty and
the sun god Ra.
Symbolism
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New tomb shape reflects influence of
Heliopolis – seat of powerful cult of Re
Great pyramids symbols of the sun
Sun’s rays thought to be ramps the
pharaoh would used to ascend to heaven
Kings reborn in afterlife as sun is reborn
each day
Great Pyramid of Khufu
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.
Section of the Pyramid of Khufu, Gizeh, Egypt
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.
Reconstruction drawing of the Dynasty IV Pyramids of
Khafre.
Great Sphinx
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ca. 2520-2494
BCE. Sandstone,
approx. 65' high,
240' long
The Pyramid of
Khafre is in the
background.
Great Sphinx
Great Sphinx, carved from a spur of rock, it commemorated the pharaoh
and served as an immovable, eternal silent guardian of his tomb.
The face of the Sphinx is thought to represent the Pharaoh Khafre.
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http://www.history.com/topics/ancienthistory/the-egyptian-pyramids
Khafre, the king is permeated with serenity,
reflecting the enduring power of the pharaoh.
Khafre
c. 2500 BCE
5’ 6 1/8 ” diorite
Originally placed in the
Pharaoh’s tomb, the statue
was created as a place for
the ka to go if the mummy
was destroyed.
Khafre
• He has a Nemes
(headdress) and a false
beard.
• The kings body is
idealized but is still a
portrait.
• The perfection of Khafre’s
body is iconographic of
the body of a god.
Khafre
Horus
– the protective falcon
behind Khafre’s head
Icons and symbols
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Horus' wings, spreading over
the kings head, are an icon of
protection.
The lions on the throne are
symbols of a king and power.
The lotus and papyrus plants
are symbols of a united
Egypt.
His Nemes (headdress) and
false beard are icons of a
king.
Egyptian Canon
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Egyptians developed a strict system of
proportion for the body
This canon lasted thousands of years
Seated Scribe
15. Seated Scribe, from mastaba
at Saqqara. Painted Limestone inlaid
with rock crystal, c. 2620 - 2500 BCE
Realism versus Idealism
•Extremely naturalistic. He is sitting cross
legged holding a partially unrolled papyrus.
• His face appears knowledgeable and
alert. The folds of flesh on his chest tell of
his sedentary lifestyle and suggest old age.
•Age signifies wisdom.
•The reason that this figure is so
naturalistic in comparison to the portraits of
the kings is because he is a servant.
•Kings were thought to be god-like, so they
were depicted idealistically.
Seated Scribe (Kay?) from
a mastaba at Saqqara.
In the history of art,
especially portraiture, it is
almost a rule that as a human
subject’s importance
decreases, formality is relaxed
and realism is increased.
Ka-Aper
from his mastaba at Saqqara, Egypt
ca. 2,450-2,350 B.C.E.
wood, approximately 43 in. high
Notice the hierarchy of
scale.
Ti’s stiffness contrasts
with the naturalistically
rendered servants &
wildlife.
Ti watching
hippopotamus hunt
from Saqqara, Egypt
ca. 2,450-2,350 B.C.E.
painted limestone
approximately 48 in. high
18. Menkaure &
Khamerernebty
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c. 2500 BCE 54 ½” high,
Graywacke limestone
frontally oriented statue that
depicts Menkaure with his left
foot out but with out the shift of
weight at the hips.
His wife also assumes this
stance in an exquisitely
rendered see through dress.
He wears a kilt, Nemes
headdress, and a false
beard. His hands are in fists
with his thumbs facing forward.
His wife has one hand upon his
arm and the other arm around
his waist.
The polish on this piece was not
finished and it was originally
painted,- traces of the paint are
still on the statue.
Menkaure & Khamerernebty
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This statue was originally in Menkaure's pyramid.
This statue may have been created in this pose so that pieces would not
break off.
This statue was meant to house the ka's of the king and his wife if their
mummies were destroyed.
“Completeness”
mattered much
more than
prettiness.
All the
“important” parts
of the picture
stand out
clearly.
The Garden of
Nebamun
ca. 1400 BCE.
25 x 29”
wall painting
from a tomb in
Thebes
Middle Kingdom Art
Rock-cut tombs
Beni Hasan, Egypt
ca. 1,950-1,900 B.C.E.
Rock cut Tombs BH 3-5
Beni Hasan, Egypt, Dynasty XII, ca. 1950-1900 B.C.E.
Statuette of an offering bearer
from tomb of Meketre, Thebes,
Egypt
ca. 1,985 B.C.E.
gessoed and painted wood
44 1/8 in. high
Hippopotamus
from Thebes, Egypt
1991-1783 B.C.E.
faience and ceramic
7 7/8 in. long
New Kingdom Art
New Kingdom: Architecture
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New Kingdom architecture is dominated by grandiose
temple complexes.
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Some were mortuary temples, the grandest of which
were built against and tunneled into a cliff. At Abu Simbel,
colossal portraits of the pharaoh were carved at the entry.
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Other temples, called pylon temples, were built to honor
one or more gods. Pylon temples were often enlarged by
successive pharaohs and grew to gigantic size.
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If the most impressive monuments of the Old Kingdom are
its pyramids, those of the New Kingdom are its grandiose
temples. They were built to honor pharaohs and queens as
well as gods.
Temple of Ramses II
ca.1290-1224 BCE Colossi approx. 65' high. – The pharaoh, proclaimed his greatness
by placing four colossal images of himself on the temple facade. Small statues of his
family are sculptured between the legs of each colossus
Temple of Ramses II
ca. 1290-1224 BCE
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The temple of Ramses II at Abu Simbel was dismantled and
reconstructed because of the construction of the new Dam of
Aswan.
From 1963 to 1968, the temple was cut into blocks and
recomposed on ground 64m higher than it’s original location.
Interior of the Temple of Ramses II
32’ figures of the king carved into the pillars, face each other
across a narrow corridor.
Interior of the Temple of Ramses II
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The *pronaos is a vast
rectangular hall, 18m long
and 16.70m wide.
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Engaged columns: carved
out of the cliff, each pillar is
10m high.
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Paintings of the battle of
Kadesh, the war against the
Hittites are on the north wall
of the pronaos.
*Pronaos: an open vestibule before the cella.
Cella: the principle enclosed chamber of a
temple.
Vestibule: a passage between the outer
door and the interior parts of a building.
20. Temple of Amen-Re
Karnak, Egypt
ca. 15th century B.C.E.
20. Temple of Amen-Re,
Karnak, Egypt
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The temple of Karnak which is located 4km north of
Luxor is the largest and the most complicated
architecture in Egypt.
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The complex of Karnak was a center for the cult of
Amen-Re.
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It has two axis which define the composition of the
world of Karnak.
 The axis of the east to the west correspond with the
orbit of the sun
 The axis from south to the north correspond with the
Nile river, and signifies absolute power of the gods
and pharaoh.
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license.
Plan of the temple of Amen-Re, Karnak, Egypt
Model of Hypostyle Hall,
Temple of Amen-Re, Karnak, ca. 1290-1224 B.C.E
Temple of Amen-Re,
Karnak, Egypt
The hypostyle hall is 102m by 53m and features 134
columns. It is the largest in Egypt.
(A hypostyle hall is where columns support the roof.
Lintels rest of cubical blocks which rest on capitals.
Egyptians use no cement.)
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The columns are 23m high and have open papyrusshaped capitals.
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It is a “forest” of columns, whose dimensions play
dramatically on light and shade.
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The clerestory openings between the roof of the aisle
and higher roof of the central area allowed sufficient
light into the room. Cleristory played key role in
Roman basilica and medieval church design.
Hypostyle Hall
•The central rows of
columns are higher than
those at the sides.
•Raising the roof’s
central section created a
clerestory.
•Clerestory openings
permit light to filter into
the interior.
•Covering an area of
7,200 square yards, it is
large enough to contain
Notre Dame Cathedral!
21. Mortuary Temple of Queen
Hatshepsut
The most majestic of royal
mortuary temples, at Deir el-Bahri
1473-1458 BC. SENMUT architect
Hatshepsut – First Female Pharaoh
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She was queen and principal wife, her
husband died and son of a minor wife was
chosen to rule. She proclaimed herself
Pharaoh after a few years.
Said to be the daughter of the son god Re
Temple is the first tribute to a female ruler
Mortuary Temple of Queen
Hatshepsut
complex of the mortuary temple of Hatshepsut is a remarkable exam
he aesthetic adaptation of a building to its natural setting.
temple, which faces eastwards, has a series of vast terraces continu
pattern set by the ochre-colored mountain.
first terrace is enclosed on the far side by a portico consisting of 22
flanked by two Osiris pillars. The broad court was planted with palm
grapevines. In front of the main structure ponds fringed with papyrus
e laid out on either side of the center axis
A woman portrayed as a man
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As many as 200 statues
in the round depicting
Hatshepsut in various
guises complemented
the extensive relief
decorations.
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Shown: Hatshepsut
with offering jars, from
the upper court of her
mortuary temple at Deir
el-Bahri,
c. 1473-1458 BCE. Red
Granite, approx. 8'6"
high.
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This is a much more “radical”
Ka statue than previous seen
– attention is paid to the
heads. The bodies are
depicted as a block covered
with inscriptions.
Senmut is shown with
Hatshepsut’s daughter, he
was her tutor. The object
reinforced his link to the
pharaoh & his power within
her court
Semnut with Princess Nefrua
from Thebes, Egypt
c. 1470-1460 B.C.E.
granite
36 1/2 in. high
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Fresco Secco
painting on dry
plaster
Contrast the action in
this scene with
“Hippopatamus hunt”
Heirarchy of scale,
realism of wildlife
Ti watching
hippopotamus hunt
ca. 2,450-2,350 B.C.E.
Fowling Scene from the tomb of
Nebamun, Thebes, Egypt
c. 1,400-1,350 B.C.E.
fresco secco, 32 in. high
22. Akhenaton with his wife Queen
Nefertiti
and their three daughters
Painted Limestone relief, c. 1350-1335 BCE.
Amarna Period
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During the New Kingdom, a short but violent upheaval
occurred in Egyptian society and in Egyptian art. It was
the only major break in the continuity of their long
traditions.
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A radical shift in religious focus to MONOTHEISM.
The Sun disc god *ATON was imposed by the pharaoh
Akhenaton. Profound but short-lived changes followed in
Egyptian art. * AkhenATON
(Capital moved from Thebes to Akhetaton now called
Tell el-Amarna)
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In sculpture and painting, the traditional rules of
proportion were abandoned and a more expressive
intimacy replaced the earlier stiffness and formality.
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After Akhenaton's death, his new city, Tell el-Amarna,
was largely abandoned. Traditional religious beliefs, and
many of the older artistic conventions returned.
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God was simply a sun disk emitting light
Akhenaton was first called Pharaoh
Amenhotep.
Akhenaton was depicted with wide hips,
belly and more androgynous.
•Sandstone 13’ high
•1353-1335 BCE
•toppled and buried after
this death, retains the
standard frontal pose of
canonical pharaoh
portraits.
•HOWEVER differences
include:
•Androgynous features:
•narrow waist
•protruding belly
•curved hips
•heavy lidded eyes
•full lips
•“dreamy” expression.
Akhenaton
Akhenaton and Nefertiti
Nefertiti
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c. 1353-1335 BCE Painted
limestone, approx. 1'8" high
By the sculptor, THUTMOSE
The famous painted limestone
bust of Akhenaton's queen,
Nefertiti, exhibits a similar
expression of entranced
musing and almost mannered
sensitivity, and delicate
curving contours. Serpentine
Neck, with weighty crowned
head (like a flower).
Nefertiti – “The beautiful one
is here”
Akenaton’s most influential
wife
Thutmose
Nefertiti
from Tell el-Amarna, Egypt
c. 1,353-1,335 B.C.E.
painted limestone
20 in. high
Tiye
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Mother of Akhenaton
the commoner wife of
Amenhotep III
c. 1353-1335 BCE
Wood, with gold,
silver, alabaster, and
lapis lazuli, approx. 3
3/4" high
Notice the depiction
of age, characteristic
of the relaxed
Amarna style
Smenkhkare and Meritaten
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c. 1335 B.C. painted
limestone relief,
approx. 9 1/2" high
Notice the Crutch that
the king is using.
Notice also that the
figures are rounded
and the attitude of
the pair is relaxed.
The Post-Amarna Period
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Following the death of Akhenaton, the traditional cult and
priesthood of Amen-Re was re-established and all traces
of the worship of Aton were eradicated.
Eventually, Egyptian art returned to its traditional
conventions, but the changes introduced during the reign
of Akhenaton lingered for a while and can be detected in
the fluid, curvilinear forms seen in the art and artifacts
found in the tomb of Tutankhamen.
Tutankhamen was probably
Akhenaton’s son by a minor
wife. He ruled for 10 years
Temple of Ramses II
from ages 10-18 when he died.
Tutankhamen & Ramses II
came AFTER the Amarna
period.
Akhenaton sacrificing a duck
ca. 1,353-1,335 B.C.E.
limestone
9 5/8 in. high
Tiye
from Gurob, Egypt
c. 1,353-1,335 B.C.E.
wood with gold, silver,
alabaster, & lapis
3 3/4 in. high
The mask and tomb treasures
of Tutankhamen express
grandeur and richness, and
reflect Egypt’s power, pride
and affluence. His tomb was
plundered in 1922.
Death Mask of Tutankhamen
from Thebes, Egypt
c. 1,323 B.C.E.
gold with semiprecious stones
21 1/4 in. high
• From innermost coffin wears
false beard
• Grandeur expressive of
power
23. Innermost coffin
of Tutankhamen
from Thebes, Egypt
c. 1323 B.C.E.
gold with semiprecious
stones
73 in. high
Made of almost ¼ ton of gold!
With inlays of enamel and semiprecious
stones; lapis, turquoise & carnelian
Wedjat Eye of Tutankhamen
from Thebes, Egypt
c. 1,333-1,323 B.C.E.
gold and precious stones
2 in. wide
Painted chest from the tomb of
Tutankhamen
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1333-1323 BCE
wood, approx. 1' 8"
long.
Although
Tutankhamen was
probably considered
too young to fight,
his position as king
required that he be
represented as a
conqueror.
24. Last judgment of Hu-Nefer
from Thebes, Egypt
ca. 1,290-1280 B.C.E.
painted papyrus scroll
18 in. high
Book of the Dead from Thebes, Egypt
c. 1,040-945 B.C.E.
painted and inscribed papyrus, 13 3/4 in. high
Roman-Egyptian Art
Portrait of a boy
from Faiyum, Egypt
2nd century CE.
encaustic on wood
15 in. high
Faiyum portraits
2nd century CE.
encaustic on wood