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Transcript
Palette of Narmer Old Kingdom (3,000 BCE) Mudstone • Form Choices – This sculpture serves as a historical record of events surrounding Narmer’s conquest of lower Egypt. – The relief is divided into registers to denote the separate scenes of the event, and the figures are depicted in hieratic scale to show their level of importance. – Narmer is shown holding the head of one of his enemies while Horus, the falcon god, mirrors this gesture while perched on a papyrus plant, the symbol of Lower Egypt, demonstrating his support of Narmer. – Narmer wears the White Crown of Upper Egypt and has a bull’s tail tied around his waist as a symbol of strength and power. His bare feet symbolize a sacred event; the hero’s prophesied conquest over evil. – Hathor, the cow goddess, is also present in the upper most register, demonstrating her support as well. – On the right, Narmer is shown wearing the Red Crown of Lower Egypt and overseeing the battlefield; a sign of his victory and accession to the throne of Lower Egypt, making him ruler of all Egypt. Below that, in the larger register, the intertwined lion’s heads form the functional portion of the palette and may also signify the unification of the two lands. Palette of Narmer Palette of Narmer (cont’d) • Content – Narmer conquers the armies of Lower Egypt under the consent of the god Horus and the protection of the goddess Hathor. Narmer is depicted wearing the crowns of both Upper and Lower Egypt to show his complete dominion. • Context – This is an early example of pictograph (picture writing) that uses symbols to tell an important story. – Narmer was the king of Upper Egypt and did conquer Lower Egypt, being the first king to rule a unified Egypt and therefore the first of what we would call the “pharaohs”. – Egyptian kings were considered divine and would use such pictographs to demonstrate their power, authority and divinity through these depictions of the gods watching over and protecting them. – This was actually a palette used for makeup, the bowl of which is between the lion’s necks. Khafra Old Kingdom (2,500 BCE) Northosite Gneiss • Form Choices – The seated figure conveys permanence and stability through his dignified and calm look. – Khafra wears the traditional pleated kilt and headdress of the pharaoh which bears the cobra, a symbol of the god Ra. The god Horus, in the shape of a falcon, cradles the back of his head, symbolizing his divinity. Khafra also wears the false beard, symbolizing royalty. – The throne has a carved relief of lions, symbols of power, – and the lotus and papyrus plants, symbolizing his dominance over Upper and Lower Egypt. – The material, northosite gneiss, is a stone that glows blue in direct sunlight; blue was the color of royalty in Ancient Egypt. Khafra (cont’d) • • Content – The pharaoh Khafra seated on a throne, bearing the symbols of Upper and Lower Egypt, supported by the god Horus. Context – Like all of the pharaohs, Khafra commissioned sculptures of himself to ensure that his memory would live on after his death; another demonstration of divinity and permanence. – A more famous depiction of Khafra is the Great Sphinx which bears his face. Menkaura & Queen Old Kingdom (2,500 BCE) Graywacke • Form Choices – The figures are connected in stone and embrace; shows love and a close relationship. – Their faces display dignity and calm, coupled with their balanced, one foot forward stance, they convey stability and permanence. – Menkaura wears the royal garments (kilt, headdress, and beard) and is depicted as idealistically youthful and athletic, suggesting virility. – The Queen is also depicted as ideal and the sculptor demonstrates his skill by depicting her in a sheer garment that reveals her shapely figure underneath. Menkaura & Queen (cont’d) • Content – Menkaura and his wife, the queen, standing side by side. The queen embraces Menkaura while he holds unknown objects in his fists. • Context – Menkaura was the son of Khafra, hence their similar expressions and features. – The sculpture appears unfinished in that it is not completely polished; this suggests that it may have been made near the time of his death. Seated Scribe Old Kingdom (2494-2345 BCE) Painted Limestone • Form Choices – The figure is depicted upright, as attentive and alert with relaxed shoulders and arms demonstrating the ideal position of his profession. – The calm, efficient position also shows dignity and relates the skill of the scribe. – His body’s fleshy appearance suggests that his job was not physically demanding and he probably enjoyed a good lifestyle. – The irises of his eyes are close together so that they seem to follow the viewer with a very intelligent and expectant expression. Seated Scribe (cont’d) • Content – A scribe, seemingly waiting for information, holding a pen and papyrus. • Context – Non-royal sculptures tended to be more lively and realistic. – This sculpture was found in the tomb of the royal vizier, Kai, and may be a portrait of him. Akhenaten and His Family Amarna Period (1348-1336 BCE) Painted limestone relief • Form Choices – This is an example of sunken relief, where the sculpture is carved into the surface, which creates a more 3-dimensional figure. – The pharaoh Akhenaten and his queen, Nefertiti, face each other on an equal plane and the throne Nefertiti sits upon also bears the symbol of unified Egypt, suggesting that she is a potential co-ruler. – Akhenaten plays with one of his children while another caresses Nefertiti’s face suggesting that this is a family-style portrait rather than a traditional representation of the divine pharaoh. – The figures appear sickly, with distended stomachs and elongated limbs suggesting a potentially life-like representation. – In the center at the top is the sun, or aten, which was the symbol of god in the religion Akhenaten created. The rays of the aten reach out like arms, the hands of which caress the hieroglyphs in the center and hold ankhs to the noses of Akhenaten and Nefertiti giving them the breath of life. Akhenaten and His Family (cont’d) • Content – Akhenaten, Nefertiti and their 3 children basking in the rays of their god, the Aten, and playing together. • Context – Akhenaten, whose name was originally Amenhotep IV, completely altered the lifestyle and religion of Egypt during his reign. His religion, which was monotheistic rather than the traditional polytheistic Egyptian religion, focused on one allpowerful god which he called the Aten. – The Aten was symbolized by the sun and the religion held divine truth as its primary belief. – Akhenaten moved the capital of Egypt from Thebes to a new location where he built a city he called Akhetaten (present day Tell el-Amarna) that included open-air temples that were open to the public. He also changed his name, which means “One Who is Effective on Behalf of Aten”, and took on the position of the high priest of the religion. Queen Tiye Amarna Period (1352 BCE) Boxwood, ebony, glass, silver, gold, lapis lazuli, cloth, clay and wax • Form Choices – Realistic features: heavy eyelids, pouting lips, arched brows. – Her visage is serious, formidable while also calm and dignified, conveying a confrontational elegance. – The original fine, bejeweled headdress was covered over to emphasize her humanity and venerate her position as the prior queen. Queen Tiye (cont’d) • • Content – Bust of Queen Tiye, wife of Amenhotep III and mother of Akhenaten, wearing a headdress. Context – As mother of the pharaoh, Akhenaten, she played a role in affairs of state. – The sculpture was originally done during the reign of Amenhotep III and depicted her in the form of the goddess Isis, queen of the gods. During Akhenaten’s reign the headdress was covered over to discourage and devalue the worship of the many old gods. It helped to draw reverence and attention to her role as a woman and a queen rather than a goddess or divine being. Nefertiti Amarna Period (1348-1336 BCE) Painted Limestone • Form Choices – This is a realistic representation according to the features present; long neck, smooth skin, make-up and the subtle contours of the face made evident through the sculptor’s acute attention to detail. – The color coordination of the jewelry and headdress add to the beauty of the figure and help to depict the queen at the height of her beauty; traditional for royalty. – The exquisite beauty coupled with the detached expression reinforce the lofty, semi-divine position she occupies in society. Nefertiti (cont’d) • Content – Bust of Queen Nefertiti in royal headdress and necklace. • Context – Nefertiti’s beauty was well-known during her life, she was referred to as “Fair of Face” and “Mistress of Happiness” in certain writings; these help to suggest that her features in this bust are not idealized. – This sculpture was found in a sculptor’s studio in Akhetaten (modern day Tell el-Amarna) and may have been a master model for other sculptures of the queen or a piece of a larger sculpture. Funerary Mask of Tutankhamun New Kingdom (1336-1327 BCE) Gold inlaid with glass and semiprecious stones • Form Choices – The royal false beard and headdress identifies the pharaoh with the symbols of the cobra (Ra) and the falcon (Horus) representing his divine nature. – Gold and semiprecious stones are only used for the pharaoh, who is considered a living god. – The full lips and thin bridge of the nose make this mask appear realistic in its representation, suggesting the influence of Amarna style art. Funerary Mask of Tutankhamun (cont’d) • Content – This funerary mask covered the head and shoulders of Tutankhamun’s mummy inside the inner coffin. – It is intended to be an ideal representation of his likeness. • Context – Tutankhamun was buried in a tomb whose anteroom contained numerous treasures and offerings. – The burial chamber itself included three gilt wood shrines that enclosed a quartzite box that held three nested coffins, the innermost of which was solid gold. Funerary Mask of Tutankhamun (cont’d) • Context (cont’d) – The Egyptians believed that the ka or spirit of the pharaoh lived on after his death and would lead, essentially, a normal life. As such, they believed they needed to provide a new body to the king and a coffin in his likeness would serve well. They also believed he would want to pursue the same hobbies and interests that he had during his life so all of the necessary equipment for such activities was buried with him, hence the large quantity of objects found in Tutankhamun’s tomb. – The Egyptians also believed that providing a good burial place for the king would ensure a prosperous civilization because it would appease them eternally. Inner Coffin of Tutankhamun’s Sarcophagus New Kingdom (1336-1327 BCE) Gold • • • Form Choices – The use of gold exclusively establishes the coffin as a royal and divine vessel. – The coffin resembles the shape of a human figure but diminishes the notion of an actual human body, this is to give the impression of a spiritual vessel. – The only human details present, the face and hands, are included solely in reference to the pharaoh’s royalty and divinity. The head is adorned in headdress and beard and the hands ceremoniously hold the crook and flail above a relief of a vulture. These symbols serve to associate the pharaoh with Osiris, the god if the underworld. Content – also good resources for learning about some of the ancient Egyptian’s rituals A coffin enclosing the body of Tutankhamun, bearing his likeness and linking him to the gods with symbols and splendor. Context – This is the inner-most of 3 coffins; this one actually held the mummy within it. It represents the shape the king’s ka (spirit) would take on in the afterlife. – Tutankhamen was a minor king but his tomb remains the most intact that has ever been discovered. The amount of finery and ceremony included in his tomb is a good indicator of how devoted the Egyptians were even to a minor king. – The contents of Tut’s tomb are good resources for some of the rituals the ancient Egyptian’s had. Stepped Pyramid of Djoser Old Kingdom (2667-2648 BCE) Limestone Location: Saqqara • Form Choices – A series of mastabas stacked on top of one another in diminishing sizes that creates a stepped appearance. – The number of mastabas (layers) used and the height of the entire structure directly relate to the importance of the occupant (more layers + taller structure=very important person) – The original structure had a final layer of polished limestone (veneer) that gave it a smooth, shimmering appearance . • Content – Six stacked mastabas enclosing the tomb of King Djoser. • Context – This is the oldest known example of monumental Egyptian architecture. – Its structure is supposed to act as a stairway to heaven and the realm of the god Ra. – The funerary complex at Saqqara bears the name of the earliest known architect, Imhotep. Great Pyramids Old Kingdom (2601-2515 BCE) Limestone Location: Giza • Form Choices – Square pyramidal structures that originally were finished in a limestone veneer to create a smooth and shimmering effect. – Perfectly oriented to the points of the compass to convey balance and perfection. – Situated on the west bank of the Nile as it relates to death and the afterlife. – The sloped shape is thought to represent the rays of the sun ascending to the realm of Ra and represents the pharaoh’s desire to be seen as a divine figure that has a lasting and permanent influence over the land and culture. Great Pyramids (cont’d) • Content – Monumental pyramid shaped tombs for three of Egypt’s Old Kingdom pharaohs: the largest for Khufu, the second largest for Kharfa and the smallest for Menkaura. • Context – The pyramids are known as: “Horizon if Khufu”, “Great is Khafra” and “Divine is Menkaura”. – Khufu, Khafra and Menkaura were successive rulers during Egypt’s 4th dynasty—grandfather, father and son—this may account for the reason why they get progressively smaller as the son did not want to anger the father by outstripping him. – The pyramids were the final destination and resting place of the pharaohs, the place where they would live out eternity. – All three of the pyramids have been looted since their completion. – They were each constructed of limestone blocks, quarried locally, that weigh 2.5 tons each. Khufu’s pyramid stands 450’ tall. “Horizon of Khufu” “Great is Khafra” “Divine is Menkaura” Hypostyle Hall New Kingdom (1294-1213 BCE) Location: Temple of Amun, Karnak • Form Choices – A courtyard of colossal columns within a temple complex bearing relief sculptures that tell stories of the gods; a clear reference to the presence of a higher power. – The sheer size, number and proximity of the columns is meant to create a seemingly vast and infinite space; a place of the gods. – The capitals (tops) of the columns are carved into the shape of lotuses; shorter columns are carved into lotus buds while the largest columns are carved into lotus blossoms. These are symbols of life and the power of the king. • Content – Hall of the Temple complex of Amun in Karnak. It consists of 134 columns set in a grid-like pattern covering and area 170’ long by 340’ wide. The shorter columns are 36’ tall while the larger columns are 66’ tall and 12’ in diameter. The relief sculptures on the columns tell stories of gods and kings. Hypostyle Hall (cont’d) • Context – This Temple complex of Amun was built by Sety I and Rameses II. It was called the “Temple of the Spirit of Sety, Beloved of Ptah, in the House of Amun”. – The hall served as an outer courtyard and was the furthest that any common person could go into the temple complex. The rest of the complex was the sanctuary of the priests and only they were allowed there. It was their job to attend to the gods by dressing and feeding the statues of the gods daily. – Amun was the dominant god during this time in the capital of Thebes and the temple complex was the place of worship to him. Temple of Rameses II New Kingdom (1279-1219 BCE) Location: Abu Simbel • Form Choices – The façade of the temple is cut into the cliff face, leaving 4 colossal statues of Rameses as sentries to reaffirm his power and dominance. – The temple entrance is situated such that it is naturally illuminated by the sun. – The construction of the temple itself conveys permanence and stability and establishes Rameses’ vitality and divinity. – Inside there are statues of other major gods such as Ra, Osiris, Ptah and Amun; the fact that sculptures of Ramses are found alongside these portray him as an equal among the gods. – At the feet of each of the colossal statues are smaller statues representing members of Rameses’ family, this establishes their importance but also depicts them as lesser beings and subjects of Rameses. Temple of Rameses II (cont’d) • Content – 4 colossal statues of the pharaoh Ramses II stand 65’ tall and guard the entrance to a temple built in reverence of and respect for him. – Inside there are 8 statues of Osiris that bear the head of Rameses along with other statues of Rameses himself and the gods Ptah, Amun and Ra. • Context – Rameses ruled for 66 years. – This temple, as well as Nefertari’s and those at Karnak and Luxor, was the first colossal architecture to appear in Egypt’s history after the completion of the great pyramids during the Old Kingdom. – Abu Simbel is in Nubia, a rich country in southern Egypt. The temple’s existence serves as an examples of the far-reaching influence held by the pharaoh. – In order to thrive and protect Egypt, Rameses made a pact with the Hittites. – Rameses II had nearly 100 children.