Egyptian ArtEgyptian Art

Continuation…Continuation…

SculptureSculpture

StatuaryStatuary Served the important function of Served the important function of

creating an image of the deceased creating an image of the deceased that serve as an abode for the ka.that serve as an abode for the ka.

Wood, clay, stone etc.Wood, clay, stone etc. Limestone & sandstone : Nile cliffsLimestone & sandstone : Nile cliffs

Granite : Cataracts of upper NileGranite : Cataracts of upper NileDiorite : DesertDiorite : Desert

SculptureSculpture

The seated The seated statue of Khafrestatue of Khafre

Gizeh, Dynasty Gizeh, Dynasty IVIV

2575-2525 B.C.2575-2525 B.C.DioriteDiorite5’6’’ High5’6’’ HighEgyptian Egyptian

Museum, CairoMuseum, Cairo

http://www.google.com.ph/imgres?num=10&hl=en&biw=1236&bih=606&tbm=isch&tbnid=5Z5BhnwOqmhzfM:&imgrefurl=http://www.studyblue.com/notes/note/n/art-historystudyguide1/deck

SculptureSculpture

The seated statue of KhafreThe seated statue of Khafre Between the legs of Khafre’s throne is Between the legs of Khafre’s throne is

an intertwined lotus and papyrus, an intertwined lotus and papyrus, symbol of the united Egypt.symbol of the united Egypt.

Sheltering Khafre’s head are the Sheltering Khafre’s head are the protecting wings of falcon of Horus, protecting wings of falcon of Horus, indicating the pharaoh's divine status.indicating the pharaoh's divine status.

As befitting a divinity, Khafre is shown As befitting a divinity, Khafre is shown with well-developed, flawless body and with well-developed, flawless body and perfect face.perfect face.

SculptureSculptureThe seated representation of the Khafre is The seated representation of the Khafre is

permeated with an imperturbable calm, permeated with an imperturbable calm, reflecting the enduring power of the pharaoh reflecting the enduring power of the pharaoh and of kingship in general. This effect, and of kingship in general. This effect, common to royal statues of the ka, is common to royal statues of the ka, is achieved in part by the great compactness achieved in part by the great compactness and solidity of the figure, which has few and solidity of the figure, which has few projecting, breakable parts; the form projecting, breakable parts; the form manifests the purpose: to last for eternity.manifests the purpose: to last for eternity.

SculptureSculpture

SubtractiveSubtractive method: chiseling away method: chiseling away the excess stone on each side, the excess stone on each side, working inward until the planes met at working inward until the planes met at right angles; then rounding the right angles; then rounding the corners. This method accounts in corners. This method accounts in large part for the blocklike look of the large part for the blocklike look of the standard Egyptian statue.standard Egyptian statue.

SculptureSculpture

Menkaure and Menkaure and KhamerernebtyKhamerernebty

Gizeh, Dynasty IVGizeh, Dynasty IV2525-2475 B.C.2525-2475 B.C.4’6 ½’’ 4’6 ½’’

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SculptureSculpture

Menkaure and KhamerernebtyMenkaure and KhamerernebtyMenkaure’s pose is Menkaure’s pose is canonical: canonical: rigidly rigidly

frontal with the arms hanging straight frontal with the arms hanging straight down and close to his well-built body, down and close to his well-built body, and the hands clenched into fists with and the hands clenched into fists with the thumbs forward; the left leg is the thumbs forward; the left leg is slightly advanced, but there is no shift slightly advanced, but there is no shift in the angle of the hips to the uneven in the angle of the hips to the uneven distribution of weight.distribution of weight.

SculptureSculpture

Khamerernebty stands in a similar Khamerernebty stands in a similar position; right arm, however, circles position; right arm, however, circles around her husband’s waist and her around her husband’s waist and her left hand gently rests on his left arm. left hand gently rests on his left arm. This gesture connotes their marital This gesture connotes their marital status.status.

SculptureSculpture

Seated ScribeSeated Scribe Dynasty VDynasty V 2500-2400 2500-2400

B.C.B.C. Painted Painted

limestonelimestone 21’’ high21’’ high

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SculptureSculpture

Seated ScribeSeated ScribeStiff upright posture, frontality of head and Stiff upright posture, frontality of head and

body and the color lending a lifelike body and the color lending a lifelike quality to the statue.quality to the statue.

The personality of a sharply intelligent The personality of a sharply intelligent and alert individual.and alert individual.

The scribe sits directly on the ground.The scribe sits directly on the ground.Sagging chest muscles and protruding Sagging chest muscles and protruding

belly.belly.

SculptureSculpture

In the history of art, especially In the history of art, especially portraiture, it is almost a rule that portraiture, it is almost a rule that formality is relaxed and realism is formality is relaxed and realism is increased when the subject is a person increased when the subject is a person of lesser importance.of lesser importance.

Ka-AperKa-AperSheikh el Beled of “headman Sheikh el Beled of “headman

of the village”of the village”Dynasty VDynasty V2500-2400 B.C.2500-2400 B.C.43” high43” highKa-Aper’s paunchy physique Ka-Aper’s paunchy physique

is even greater contrast that is even greater contrast that the scribe’s to the idealized the scribe’s to the idealized proportion used to portray proportion used to portray Khafre & Menkaure; he was, Khafre & Menkaure; he was, after all a minor official.after all a minor official.

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HesireHesireDynasty IIIDynasty IIIWoodWood2675-2625 B.C.2675-2625 B.C.45” high45” highA high official in the A high official in the

third dynasty court of third dynasty court of Zoser.Zoser.

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ReliefRelief SculptureSculpture

SculptureSculpture

Extremely popular during the Middle Extremely popular during the Middle and New Kingdom were “block and New Kingdom were “block statue” in which the idea that the ka statue” in which the idea that the ka can find an eternal home in the cubic can find an eternal home in the cubic stone image of the deceased is stone image of the deceased is expressed in an even more radical expressed in an even more radical simplication of form than was true of simplication of form than was true of Old Kingdom statuary. Old Kingdom statuary.

SculptureSculpturehttp://schools.nashua.edu/myclass/lavalleev/A

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Senmut with Princess Nefrua

•Dynasty XVIII

•1470–1460 BCE.

•Granite

•Approx. 3’ 1/2” high

SculptureSculpture

Senmut with Princess NefruaThe block statue of Hatshepsut’s The block statue of Hatshepsut’s

favorite Senmut, in his “lap” and favorite Senmut, in his “lap” and enveloping the girl in his cloak.enveloping the girl in his cloak.

The streamlined design concentrates The streamlined design concentrates attention on the portrait heads and attention on the portrait heads and treats the two bodies as a single treats the two bodies as a single cubic block, given over to inscriptions.cubic block, given over to inscriptions.

SculptureSculpture

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Thutmose, Queen Nefertiti Dynasty XVIII1355-1335 B.C.Limestone20” high

• Masklike, pallid faces and enormous shadowed eyes.

SculptureSculpture

Queen TiyeQueen TiyeDynasty XVIIIDynasty XVIII1355-1335 B.C.1355-1335 B.C.EbonyEbony4” high4” highShown as an older Shown as an older woman with lines & woman with lines & furrows, consistent with furrows, consistent with the new realism of the the new realism of the Amarna age.Amarna age.

http://www.johnoehler.com/wp-content/uploads/2011/04/Tiye-same-statue-as-above-Agyptisches-Museum-Berlin.jpg

SculptureSculpture

Queen Tiye, mother of Akhenaton. Chief Queen Tiye, mother of Akhenaton. Chief wife of Amenhotep III and a commoner by wife of Amenhotep III and a commoner by birth; the pharaoh seems to have married birth; the pharaoh seems to have married her for love rather that for political reasons.her for love rather that for political reasons.

The under life-size head is carved in The under life-size head is carved in ebony, the eyes are inlaid in glass, the ebony, the eyes are inlaid in glass, the preserved earring is gold & lapis lazuli, preserved earring is gold & lapis lazuli, and headcloth is of plaster and linen with and headcloth is of plaster and linen with small blue beads.small blue beads.

SculptureSculpture

Innermost coffin of Innermost coffin of TutankhamunTutankhamun

Dynasty XVIIIDynasty XVIIIGold with inlay of enamel and Gold with inlay of enamel and

semiprecious stonessemiprecious stones6’1” long6’1” long

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SculptureSculptureDeath Mask of Death Mask of TutankhamenTutankhamen

Gold with semiprecious Gold with semiprecious stonesstones

The portrait mask shows The portrait mask shows his features relaxed in a his features relaxed in a kind of musing serenity kind of musing serenity that betoken his that betoken his confidence in eternal life.confidence in eternal life.http://upload.wikimedia.org/wikipedia/

commons/thumb/4/47/Tuthankhamun_Egyptian_Museum.jpg/220px-Tuthankhamun_Egyptian_Museum.jpg

SculptureSculptureMentemhetMentemhetDynasty XXVDynasty XXV650 B.C.650 B.C.GraniteGranite4’5” high4’5” highThe carving technique recall The carving technique recall

the Old Kingdom. Only the the Old Kingdom. Only the realism of the head realism of the head differentiates the work from differentiates the work from that earlier age.that earlier age.

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The pharaoh of the late period The pharaoh of the late period deliberately referred back to the art of deliberately referred back to the art of Egypt’s classical phase to give Egypt’s classical phase to give authority to their royal image; authority to their royal image; religious and political motives.religious and political motives.

PaintingPainting

Most of the scenes are agriculture Most of the scenes are agriculture and hunting, activities representing and hunting, activities representing the fundamental human concern with the fundamental human concern with nature and associated with the nature and associated with the provisioning of the ka in the hereafter.provisioning of the ka in the hereafter.

PaintingPainting

Ti watching a Ti watching a hippopotamus hippopotamus hunthunt

Dynasty V Dynasty V 2500-2400 B.C.2500-2400 B.C.Painted Painted

LimestoneLimestone48” high48” high

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Ti, his men, and hi boats move slowly Ti, his men, and hi boats move slowly through the marshers, hunting through the marshers, hunting hippopotami and birds in a dense hippopotami and birds in a dense growth of towering papyrus. The water growth of towering papyrus. The water beneath the boats, signified by a pattern beneath the boats, signified by a pattern of wavy lines, is crowded with of wavy lines, is crowded with hippopotami and other aquatic fauna. hippopotami and other aquatic fauna. Ti’s men seem frantically busy with their Ti’s men seem frantically busy with their spears, while Ti, Portrayed twice their spears, while Ti, Portrayed twice their size.size.

The outsize and ideal proportions bespeak The outsize and ideal proportions bespeak Ti’s rank.Ti’s rank.

PaintingPaintingGoats Treading seed & cattle fording a canalGoats Treading seed & cattle fording a canal

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PaintingPainting

Goats Treading seed & cattle fording Goats Treading seed & cattle fording a canala canal

Painted limestone relief I the tomb of Ti, Painted limestone relief I the tomb of Ti, Saqqara.Saqqara.

Ti is absent and all men participate in Ti is absent and all men participate in the narrative, which, despite the the narrative, which, despite the repeated use of similar poses for the repeated use of similar poses for the most human and animal figures, is full of most human and animal figures, is full of anecdotal details.anecdotal details.

PaintingPaintingGeeseGeese Dynasty IV 2600-2550 B.C. Dynasty IV 2600-2550 B.C. 18’’x68’’18’’x68’’

http://www.oldworldartisans.com/images/Web%20Pages/Our%20Frescos/Egyptian%20Geese%20Frieze%20Facing%20Left,%2027%20x%2083,%20fresco.jpg

PaintingPainting

The The fresco seccofresco secco (dry-fresco) (dry-fresco) technique used, in which the artist lets technique used, in which the artist lets the plaster dry before the painting on it, the plaster dry before the painting on it, lends itself to slow and meticulous lends itself to slow and meticulous work, encouraging the trained work, encouraging the trained professional to take pains in rendering professional to take pains in rendering the image and in expressing an exact the image and in expressing an exact knowledge of the subject.knowledge of the subject.

PaintingPainting

Fowling sceneFowling sceneDynasty XVIIIDynasty XVIII1400-1350 1400-1350

B.C.B.C.Painting on dry Painting on dry

plasterplaster32” high32” high

http://www.sacred-texts.com/egy/eml/img/19405.jpg

PaintingPainting

Fowling sceneFowling sceneThe deceased nobleman, whose The deceased nobleman, whose

official titles were “scribe and counter official titles were “scribe and counter of grain”, is standing in his boat, of grain”, is standing in his boat, hushing the bird from the papyrus hushing the bird from the papyrus swamp. The hieroglyphic text beneath swamp. The hieroglyphic text beneath his left arm tells us that Nabamun is his left arm tells us that Nabamun is enjoying recreation in his eternal life.enjoying recreation in his eternal life.

PaintingPaintingMusician and dancersMusician and dancers

http://farm3.static.flickr.com/2426/3724123455_da986031f8.jpg

PaintingPainting

Musician and dancersMusician and dancersFresco fragment from Nebamun’s Fresco fragment from Nebamun’s

tombtombReflection of a more luxurious mode Reflection of a more luxurious mode

of life in the New Kingdom; at this of life in the New Kingdom; at this point, the ka may have required not point, the ka may have required not only necessities and comforts in the only necessities and comforts in the hereafter but formal entertainment as hereafter but formal entertainment as well.well.

PaintingPaintingKing Smenkhkare King Smenkhkare

and Meritatenand MeritatenFrom Tell el-AmarnaFrom Tell el-AmarnaDynasty XVIIIDynasty XVIIIPainted limestone Painted limestone

reliefrelief1335 B.C.1335 B.C.9 ½ “ high9 ½ “ high

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PaintingPainting

King Smenkhkare and MeritatenKing Smenkhkare and MeritatenInformal, intimate, pose that contrast Informal, intimate, pose that contrast

strongly with the traditional formality in strongly with the traditional formality in the representation of exalted persons.the representation of exalted persons.

The size of figures no longer depends The size of figures no longer depends on the rank; the princess is depicted at on the rank; the princess is depicted at the same scale as her husband on the the same scale as her husband on the basis of their natural proportions.basis of their natural proportions.

PaintingPainting

Painted ChestPainted ChestFrom the From the

tomb tomb TutankhamenTutankhamen, Thebes., Thebes.

1325 B.C.1325 B.C.WoodWood20” long20” long

http://i260.photobucket.com/albums/ii3/arthistory_photos/3%20-%20egypt/268_Egypt_PaintedChest.jpg

PaintingPainting

Shows the king as a great hunter pursuing Shows the king as a great hunter pursuing droves of fleeing animal in the desert, and droves of fleeing animal in the desert, and the side panel shows him as a great the side panel shows him as a great warrior.warrior.

Tutankhamen, shown as in preamarna art, Tutankhamen, shown as in preamarna art, larger than all figures on the chest.larger than all figures on the chest.

PaintingPaintingSeti I offeringSeti I offeringFrom the temple of Seti I, From the temple of Seti I,

AbidosAbidosDynasty XIXDynasty XIX1290-1280 B.C.1290-1280 B.C.Painted limestonePainted limestone

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PaintingPainting

Last Judgement of Hu-NeferLast Judgement of Hu-Nefer

PaintingPainting

Last Judgment of Hu-NeferLast Judgment of Hu-NeferDynasty XIXDynasty XIX1290-1280 B.C.1290-1280 B.C.18” high18” highRepresents the final judgment of the Represents the final judgment of the

deceased.deceased.The figures have all the formality of The figures have all the formality of

stance, shape, and attitude.stance, shape, and attitude.

Reference:Reference:Art Through the Ages, Tansey, Richard Art Through the Ages, Tansey, Richard

and Fred Kleiner - Pages. 64-96and Fred Kleiner - Pages. 64-96

Presented By:Presented By:

Abueg, Samantha K.Abueg, Samantha K.

Marmento, Marjorie LMarmento, Marjorie L..