DOCSLIB.ORG

A Study of the Architecture of the Cemetery of El-Hawawish at Akhmim in Upper Egypt in the Old Kingdom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Study of the Architecture of the Cemetery of El-Hawawish at Akhmim in Upper Egypt in the Old Kingdom A Study of the Architecture of the Cemetery of El-Hawawish at Akhmim in Upper Egypt in the Old Kingdom * jfe * Elizabeth M. Thompson, B.A., Dip. in Ancient Documentary Studies (Macquarie University) Thesis submitted for the Degree of Master of Arts within Macquarie University, Division of Humanities, School of Ancient History, Sydney. November, 2001 * * * I, Elizabeth M. Thompson, certify that the work presented here has not been submitted for a higher degree to any other university or institution. SUMMARY The thesis examines the architectural features and measurements of the rock hewn tombs in the necropolis of El-Hawawish at Akhmim, the capital o f the ninth province in Upper Egypt and a major administrative centre. The cemetery contains the burials of high and middle rank officials who administered the province in the Old Kingdom from the Fifth to the Eighth Dynasties (c. 2400-2160B.C.). The tombs are examined firstly, to determine whether architectural features could assist in the dating of their owners and secondly, whether certain features and measurements are indicative of the rank of these officials. Comparisons are made with tombs in the Memphite and provincial cemeteries and a study of the various elements of tomb architecture at El-Hawawish showed a chronological development similar to that observed in the tombs of the royal necropoli at Giza and Saqqara. Particular features which were introduced in certain reigns here can be found in what appear to be contemporary tombs at El-Hawawish and other provincial cemeteries. The rank of tomb owners is clearly revealed in the larger or smaller dimensions of chapels and burial chambers, and by the inclusion of certain features. Using the styles and features found occurring at a particular period, an estimate for dating large and obviously important, but uninscribed tombs, is also given. Acknowledgements I am greatly indebted to many people for guidance and assistance in the preparation and completion of this thesis. I particularly thank my supervisor, Professor Naguib Kanawati for his encouragement and support from the beginning of my studies in Egyptology. To Prof. Kanawati and my assistant supervisor, Dr. Boyo Ockinga, especial thanks for the opportunity to work on many sites in Upper Egypt and at Saqqara with the Expeditions of the Australian Centre for Egyptology. The knowledge of tomb architecture and decoration gained from this participation has been invaluable in preparing this thesis. I am indebted also to the Expedition’s architect, Mr. Naguib Victor, whose detailed drawings and measurements form the basis for this study, and to Dr. Ann McFarlane for her meticulous architectural descriptions of the sites. To these and to many friends and my family, especially my husband, I acknowledge with heartfelt gratitude their unstinting support, encouragement and enthusiasm throughout all my Egyptological studies and dig seasons. CONTENTS INTRODUCTION 1 The TOMBS a. Alphabetical Order of Inscribed and Uninscribed Tombs 5 with References b. Chronological Order of the Tombs 9 LIST of FIGURES 11 PLAN and SECTION of a TOMB 17 The STUDY Forecourts 21 Facades 27 Porticos 37 Entrances 41 Chapels 55 Shrines • 83 Secondary Chambers and Pillared Recesses 95 Niches 99 Burial Shafts and Passages 105 Burial Chambers 141 SUMMARY and CONCLUSIONS 159 ABBREVIATIONS and BIBLIOGRAPHY 247 TABLES 1-18 APPENDIX - Dating Criteria i-xiii INTRODUCTION The necropolis of El-Hawawish is found on a spur of the desert escarpment on the eastern bank of the Nile, some 450 kilometres south of Cairo. It covers an area of 0.50 square kilometres with the lowest tombs at 126 m above sea level and the highest at 230 m above sea level, although the mountain itself reaches a height of 309.75 m.1 The escarpment consists of conglomerate limestone, a poor-quality rock formation which, together with the large nodules of flint found throughout, forms a difficult medium for the cutting of tombs. El-Hawawish is the principal cemetery of Akhmim, capital of the ninth Upper Egyptian nome, and contains more than 884 tombs, the greater number of which are uninscribed, unfinished or damaged. Sixty-seven tombs were selected for the base study of the architecture of the cemetery. These consisted of all the inscribed tombs, 59 in number, and 8 uninscribed examples, which are of major proportions and/or are closely situated to an inscribed tomb.2 The tombs are all cut into the face of the escarpment; none are free-standing mastabas, although one of the earliest tombs, G84 of Mnw-nh, has a mastaba-like fa9ade.’ Many consist only of a single room but a number have additional rooms excavated further into the mountain. All have burial passages and chambers cut into the floor or walls of these rooms as well as into facades and forecourts. Most of the tombs are of small dimensions, but in the areas of more compact rock formation on the southern and south-western side of the mountain, larger tombs of the earlier and more important tomb owners are found.4 There are no other architectural monuments on the mountain although remnants of a causeway defined by irregularly-laid large stones 1 See the survey of the site in Kanawati, El-Hcnvawish, Vol. X, 24, figs. 12-21. In the present study the tombs are referred to by the number allocated to each in the survey 2 The publication of these tombs is found in ten site reports: Kanawati, N., The Rack Tombs o f El- Hawawish: The Cemetery o f Akhmim, Vols 1-X (Sydney, 1980-1992). 3 HI, pi. 1(a); H X, pi. 6. Tomb G84 is below the H group of tombs, to the left of the centre 1 ascending from the base of the mountain possibly indicate a processional way. The rock- cut tombs, which form the basis of this thesis, are the burial places of the highest provincial officials including two known viziers and eight governors of Upper Egypt, as well as numerous middle-and lower-rank officials. Inscriptional and stylistic evidence indicates that these tombs date from the Fifth to the Eighth Dynasties. Early in 1912, twenty-eight tombs in the cemetery of El-Hawawish were visited by Newberry who reported the tomb owners’ names and titles with some mention of scenes but only minimal architectural information. Vandier published a further tomb following his visit in 1936.5 A complete recording of the tombs was undertaken by Kanawati between 1979 and 1992 and published in ten site reports (see Footnote 2). The detailed study of the administration of the province^ which followed these reports, proposed a chronological order for the officials buried in the inscribed tombs and this order is followed here.6 Features and measurements of uninscribed tombs are also listed since the data from the base group may provide a guide in placing the remaining uninscribed examples in a chronological sequence. In addition, the tombs of the three major groups of officials concerned with the administration of the province, i.e., the Nomarchs, the Superintendents of Priests and the Overseers of Fields and Serfs, are also isolated in order to discover whether certain features were peculiar to, or reserved for, one or more of these groups of officials. While the plans, sections and dimensions of these tombs are provided in the published site reports, in this thesis the various architectural elements and measurements are compared and analysed with the aim of forming a base of information for further research into provincial funerary architecture in the Old Kingdom in Egypt. An See H X, pi. 6 3 Newberry, l.AAA 4 (1912), 99-120; Vandier, ASAK 36 (1936), 33-44 6 Kanawati, N., Akhmim in the Old Kingdom. Part I: Chronology and Administration (Sydney 1992). 2 exhaustive study of the tombs of all the provincial cemeteries is beyond the scope of the present thesis. The architectural aspects of the tombs are analysed in the following order: forecourts, fasades, porticos and entrances, chapels, shrines, secondary chambers, burial passages and burial chambers, that is, proceeding from the exterior of the tomb to the burial chambers usually cut below the chapels. Features such as lintels, drums, pillars and niches are studied as they occur within each of these areas. The study uses the original architectural drawings which are reproduced in a reduced form in the ten volumes of the El-Hawawish cemetery , photographs, and the detailed descriptions prepared for the publications, as well as extensive on-site notes. The references to the El-Hawawish site reports are abbreviated as follows: H VIII, 17, pi. 6, fig.8, which refers to Volume VIII of the El-Hawawish publications, page 17, plate 6, figure 8. Basic data on measurements, architectural elements and features etc.,is provided in a series of Tables (1-18) at the end of the study. Throughout the study reduced drawings of plans, sections and elevations illustrate the features being studied and are listed under Figures, pp. 11-15. In the final section, comparisons are made with tombs in the Memphite necropoli, particularly Giza and Saqqara, and with burials in other provincial cemeteries although this is often limited due to the lack of published information for many of the tombs. Lastly some uninscribed tombs will be analysed to discover whether a comparison of their measurements and features with those in inscribed tombs indicates a particular dating period for these unknown tomb owners. 3 4 The TOMBS Part A Alphabetical Order of the Inscribed and Uninscribed Tombs with their architectural references from the reports, The Rock Tombs o f El-Hawawish, Vols. I-X. Base group of INSCRIBED TOMBS (including some selected, but uninscribed, tombs) Tomb No. Name Volume Pages Plates Figures B6-B7 B3wj IX 34,35 la 16 B12 Mmj VII 20 9a B62 IX 38 19a B83 B3wj IX 40,41 20 C3 Bhn I 38, 39 23 C8 X 17-19 7,8 C9 JjjlMrjjlJdjj VII 15 7a FI Hzjj-Mmvl Zzj/Dd wjj VI 10, 11 1 F12 M rn\’.
Load more

Recommended publications
  • Writing As Material Practice Substance, Surface and Medium
    Writing as Material Practice Substance, surface and medium Edited by Kathryn E. Piquette and Ruth D. Whitehouse Writing as Material Practice: Substance, surface and medium Edited by Kathryn E. Piquette and Ruth D. Whitehouse ]u[ ubiquity press London Published by Ubiquity Press Ltd. Gordon House 29 Gordon Square London WC1H 0PP www.ubiquitypress.com Text © The Authors 2013 First published 2013 Front Cover Illustrations: Top row (from left to right): Flouda (Chapter 8): Mavrospelio ring made of gold. Courtesy Heraklion Archaelogical Museum; Pye (Chapter 16): A Greek and Latin lexicon (1738). Photograph Nick Balaam; Pye (Chapter 16): A silver decadrachm of Syracuse (5th century BC). © Trustees of the British Museum. Middle row (from left to right): Piquette (Chapter 11): A wooden label. Photograph Kathryn E. Piquette, courtesy Ashmolean Museum; Flouda (Chapter 8): Ceramic conical cup. Courtesy Heraklion Archaelogical Museum; Salomon (Chapter 2): Wrapped sticks, Peabody Museum, Harvard. Photograph courtesy of William Conklin. Bottom row (from left to right): Flouda (Chapter 8): Linear A clay tablet. Courtesy Heraklion Archaelogical Museum; Johnston (Chapter 10): Inscribed clay ball. Courtesy of Persepolis Fortification Archive Project, Oriental Institute, University of Chicago; Kidd (Chapter 12): P.Cairo 30961 recto. Photograph Ahmed Amin, Egyptian Museum, Cairo. Back Cover Illustration: Salomon (Chapter 2): 1590 de Murúa manuscript (de Murúa 2004: 124 verso) Printed in the UK by Lightning Source Ltd. ISBN (hardback): 978-1-909188-24-2 ISBN (EPUB): 978-1-909188-25-9 ISBN (PDF): 978-1-909188-26-6 DOI: http://dx.doi.org/10.5334/bai This work is licensed under the Creative Commons Attribution 3.0 Unported License.
    [Show full text]
  • Who's Who in Ancient Egypt
    Who’s Who IN ANCIENT EGYPT Available from Routledge worldwide: Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in World Politics Alan Palmer Who’s Who in Dickens Donald Hawes Who’s Who in Jewish History Joan Comay, new edition revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, new edition revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who in World War Two Edited by John Keegan Who’s Who IN ANCIENT EGYPT Michael Rice 0 London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2004. © 1999 Michael Rice The right of Michael Rice to be identified as the Author of this Work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Cyberscribe 162 1
    Cyberscribe 162 1 CyberScribe 162 - February 2009 Because some of the themes match images close to the CyberScribe's heart, he intends to start this column by noting the reopening of a gallery in the British Museum...a gallery dedicated to the masterpieces from the tomb of Nebamun. No one really knows who he was, the location of his tomb has been lost, but the plaster panels preserved in London and a few other places have been recleaned, reconserved and are brilliant in their new surroundings. Thee are quite simply, the best and most recognized of all wall art themes from ancient Egypt. They have been off display for years while they underwent intensive work to assure that they are stable, that the paints will not further deteriorate...and now they have their own gallery. The CyberScribe was permitted to see several of the famous panels while they were in storage...and without their protective glass sheets. They are lovely beyond words...and the CyberScribe knows that he will probably never again have that wonderful opportunity. A few of the photos from that day are appended below. In an article from ' The Guardian' (http://www.guardianweekly.co.uk/?page=editorial&id=879&catID=10) (edited for length here), we learn (from the words of Richard Parkinson, a curator in the Department of Ancient Egypt and Sudan, at the British Museum): "You might think that after 10 years just focused on these paintings from his funerary chapel, I'd feel very close to Nebamun. But in fact we still know very little about him.
    [Show full text]
  • Expedice PARIS Obsah
    Expedice PARIS Obsah KATEDRÁLA NOTRE-DAME ........................................................................................................................... 8 MĚSTSKÁ RADNICE ........................................................................................................................................10 PYRAMIDA V LOUVRU .................................................................................................................................. 10 SACRÉ-COEUR ................................................................................................................................................. 13 Montmartre ..........................................................................................................................................................14 The Sacred-Heart Basilica of Montmartre ...........................................................................................................14 Čtvrť Le Marais ...................................................................................................................................................15 ČTVRŤ LA DÉFENSE ....................................................................................................................................... 15 Archa obrany - L'Arche de la Défense .................................................................................................................15 GÉODE ..............................................................................................................................................................
    [Show full text]
  • Art Teacher's Book of Lists
    JOSSEY-BASS TEACHER Jossey-Bass Teacher provides educators with practical knowledge and tools to create a positive and lifelong impact on student learning. We offer classroom-tested and research-based teaching resources for a variety of grade levels and subject areas. Whether you are an aspiring, new, or veteran teacher, we want to help you make every teaching day your best. From ready-to-use classroom activities to the latest teaching framework, our value-packed books provide insightful, practical, and comprehensive materials on the topics that matter most to K–12 teachers. We hope to become your trusted source for the best ideas from the most experienced and respected experts in the field. TITLES IN THE JOSSEY-BASS EDUCATION BOOK OF LISTS SERIES THE SCHOOL COUNSELOR’S BOOK OF LISTS, SECOND EDITION Dorothy J. Blum and Tamara E. Davis • ISBN 978-0-4704-5065-9 THE READING TEACHER’S BOOK OF LISTS, FIFTH EDITION Edward B. Fry and Jacqueline E. Kress • ISBN 978-0-7879-8257-7 THE ESL/ELL TEACHER’S BOOK OF LISTS, SECOND EDITION Jacqueline E. Kress • ISBN 978-0-4702-2267-6 THE MATH TEACHER’S BOOK OF LISTS, SECOND EDITION Judith A. Muschla and Gary Robert Muschla • ISBN 978-0-7879-7398-8 THE ADHD BOOK OF LISTS Sandra Rief • ISBN 978-0-7879-6591-4 THE ART TEACHER’S BOOK OF LISTS, FIRST EDITION Helen D. Hume • ISBN 978-0-7879-7424-4 THE CHILDREN’S LITERATURE LOVER’S BOOK OF LISTS Joanna Sullivan • ISBN 978-0-7879-6595-2 THE SOCIAL STUDIES TEACHER’S BOOK OF LISTS, SECOND EDITION Ronald L.
    [Show full text]
  • Press Pack Press Pack
    PRESS PACK PRESS PACK GIACOMETTI AND ANCIENT EGYPT 2021 Exhibition 22 June 2021 – 10 October 2021 Press preview Monday 21 June 2021 11 a.m. - 1 p.m. In special collaboration with the Press Contact Anne-Marie Pereira tel. : 33 (0)1 87 89 76 75/33 (0)6 48 38 10 96 [email protected] 2 SUMMARY - Press Release.................................................................. pages 4-5 - Exhibition path...................................................................... 6-10 - Biography of Alberto Giacometti (1901-1966)......................... 11 - Catalogue................................................................................... 13 - Extracts from catalogue texts.............................................. 14-22 - The Giacometti Institute........................................................... 23 - Press images.............................................................................. 24 - Patrons of the Giacometti Institute.......................................... 29 3 PRESS RELEASE Institut Giacometti 5, rue Victor Schoelcher 75014 Paris www.institut-giacometti.fr President: Catherine Grenier Artistic Director: Christian Alandete Press contact: Anne-Marie Pereira tel. : 33 (0)1 87 89 76 75/33 (0)6 48 38 10 96 [email protected] GIACOMETTI AND ANCIENT EGYPT 22-06>10-10-21 This exhibition proposes a thematic journey that places some of Giacometti’s emblematic works in dialogue with exceptional pieces on loan from the Louvre museum. Alberto Giacometti has always been fascinated by the art
    [Show full text]
  • AP Art History Course Planning and Pacing Guide by John Nici 2014
    AP® Art History Course Planning and Pacing Guide John Nici Lawrence High School ▶ Cedarhurst, New York © 2014 The College Board. College Board, Advanced Placement Program, AP, AP Central, SAT, and the acorn logo are registered trademarks of the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org About the College Board Welcome to the AP Art History The College Board is a mission-driven not-for-profit organization that Course Planning and Pacing Guides connects students to college success and opportunity. Founded in 1900, This guide is one of three course planning and pacing guides designed the College Board was created to expand access to higher education. for AP Art History teachers. Each provides an example of how to Today, the membership association is made up of more over 6,000 of the design instruction for the AP course based on the author’s teaching world’s leading educational institutions and is dedicated to promoting context (e.g., demographics, schedule, school type, setting). These excellence and equity in education. Each year, the College Board helps course planning and pacing guides highlight how the components more than seven million students prepare for a successful transition to of the AP Art History Curriculum Framework — the big ideas and college through programs and services in college readiness and college essential questions, enduring understanding and essential knowledge success — including the SAT® and the Advanced Placement Program®. statements, learning objectives, and works of art within the image The organization also serves the education community through research set — are addressed in the course.
    [Show full text]
  • THEME: MAN and the NATURAL WORLD
    THEME: MAN and the NATURAL WORLD FOCUS: Apollo 11 Stones, Bushel with Ibex Motifs, Caves at Lascaux, Stonehenge ONLINE ASSIGNMENT: http://smarthistory.khanacademy.org/origins.html http://smarthistory.khanacademy.org/susa-ibex.html ONLINE ASSIGNMENT: ONLINE ASSIGNMENT: DATE DUE: ___________ http://smarthistory.khanacademy.org/stonehenge-salisbury-plain-england.html READING ASSIGNMENT: KLEINER, pp. 15-17, 20-23, 28 POWERPOINT: MAN and the NATURAL WORLD: Global Prehistory (Prehistoric Artifacts and Cave Paintings) In what ways might these works created from prehistoric times suggest through visual means man’s relationship to the natural world? (Since we have no written records, what could by hypothesized by examining one or more of the following: medium, technique, location, scale, or style?) Animal facing left from Apollo II Cave, Namibia, Africa, c. 23,000 BCE, charcoal on stone Beaker with animal (ibex) decoration, Susa, Iran, c. 4000 BCE, painted terracotta Hall of the Bulls, Lascaux, France, c. 16,000-14,000 BCE 1. What is seen today is the result of at least three phases of construction, although there is still a lot of controversy among archaeologists about exactly how and when these phases occurred. It is generally agreed that the first phase of construction at Stonehenge occurred around 3100 BCE, when a great circular ditch about six feet deep was dug with a bank of dirt within it about 360 feet in diameter, with a large entrance to the northeast and a smaller one to the south. This circular ditch and bank together is called a _____________________. 2. The second phase of work at Stonehenge occurred approximately 100-200 years later and involved the setting up of upright ____________________ posts, possibly of a roofed structure, in the center of the henge, as well as more upright posts near the northeast and southern entrances.
    [Show full text]
  • Milan-Florence-Rome-Padua-–-Venice-Padua-Lucerne-Paris-FINAL-1.Pdf
    Day 1 Milan 4OCT 2017 Assemble at airport to board flight to Milan.The renouned fasion capital of the worldOn arrival at the evening proceed for dinner. Later check in and overnight at hotel. Day 2 Milan - Florence 5OCT 2017 After breakfast at 9AM proceed to visit da Vinci’s masterpiece, 'The Last Supper'. Later at 11AM visit Milan Duomo other master piece of Leonardo da Vinci. Later at 1.30pm we go to Pisa (1hr14mins). Spend 2 hours at the leaning tower of Pisa. The Leaning Tower of Pisa or simply the Tower of Pisa is the campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa, known worldwide for its unintended tilt. Later visit Piazza dei Miracoli, Piazza del Duomo, Santa Maria della church. Later proceed to Florence. Evening walk around the artistic streets of Florence. Dinner and overnight at Florence. Day 3 Florence - Rome 6OCT 2017 After breakfast proceed to visit the Uffizi Gallery which hosts works of art by great Italian artists such as Botticelli, Giotto, Cimabue, Michelangelo, Leonardo da Vinci and Raffaello. Its large collection has works from all centuries but a large part dates back to the periods between the 12th and 17th centuries. Afterwards visit the monumental city of Florence with its breathtaking Piazzas and statues. Later at 3.30PM we drive to Rome(3 h 22 min). On arrival transfer to hotel. Dinner and overnight at hotel. Day 4 Rome 7OCT 2017 After breakfast we go to Vatican square. Full day at Sistine chapel and Vatican museum. A team of Renaissance painters that included Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio and Cosimo Roselli, created a series of frescos depicting the Life of Moses and the Life of Christ, offset by papal portraits above and trompe l’oeil drapery below at Sistine chapel.
    [Show full text]
  • Paris, France) & Dig in the Roman City of Sanisera (Menorca, Spain
    Course 030 Discover archaeology and the ancient art in The Louvre Museum (Paris, France) & Dig in the Roman City of Sanisera (Menorca, Spain) 1. General Information This program, which has been scheduled by The Sanisera Archaeology Institute for International Field Schools, is divided in two main parts. In the first part of the course students will gain experience in archaeological fieldwork by excavating in the Ancient Roman city of Sanisera, located in the Mediterranean island of Menorca. During the second part, students will visit Paris to discover the archaeology and ancient art in The Louvre Museum, the most important museum of the world. Part 1. The archaeological fieldwork in Sanisera (Menorca, Spain) The research is focused on the archaeological excavation of Sanisera and it studies what happened in this Roman port connected to the maritime traffic that sailed the Mediterranean during those times. As a result, we know that this is a very interesting archaeological site, with abundant findings of multiple artifacts that will help us to reconstruct its past. The excavation at the Roman city of Sanisera provides all the archaeological documentation necessary for the student to acquire enough training and experience in all aspects involving an excavation of the Roman civilization from the II century B.C. to the VI A.D. In the laboratory students will learn to classify all the artifacts found on the site, including Roman pottery, numismatics and faunal remains. Time dedicated to this part of the program: 70%. Part 2. Discover the city of Paris and The Louvre Museum (France) For the second part of the course, the Field Program has scheduled an archaeological tour around Paris.
    [Show full text]
  • How Did Ancient Egypt Impact the World of Art?
    Yale 2013 PIER Summer Institutes Sponsored by the Yale Programs in International Educational Resources (PIER) TITLE OF UNIT: How did Ancient Egypt impact the world of art? Virginia Gunther New Rochelle H.S. AP Art History 11 & 12th grades 5-7 days New Rochelle H.S. Introduction: This lesson is one lesson of a unit study on the art of Ancient Egypt. It encompasses the ideas of afterlife, hieroglyphs, political power, and human form. It will be part of the unit study on Ancient Egypt for AP Art History. Vocabulary: Terms, Concepts and Actors register sunken relief hypostyle hall ka colonnade goundline sarcophagus hieroglyph necropolis temple complex cartouche engaged column rock cut tomb papyrus mastaba faience canon of proportion demotic hieroglyphs ziggurat pylon hieratic hieroglyph obelisk peristyle Imhotep Hatshepsut Akhenaton Khafre Menkaure Stage 1 – Desired Results Common Core Content Standard(s): CCSS.ELA-Literacy.RH.11-12.1 Cite specific textual evidence to support analysis of primary and secondary sources, connecting insights gained from specific details to an understanding of the text as a whole. CCSS.ELA-Literacy.RH.11-12.2 Determine the central ideas or information of a primary or secondary source; provide an accurate summary that makes clear the relationships among the key details and ideas. CCSS.ELA-Literacy.RH.11-12.3 Evaluate various explanations for actions or events and determine which explanation best accords with textual evidence, acknowledging where the text leaves matters uncertain. CCSS.ELA-Literacy.RH.11-12.4 Determine the meaning of words and phrases as they are used in a text, 1 including analyzing how an author uses and refines the meaning of a key term over the course of a text (e.g., how Madison defines faction in Federalist No.
    [Show full text]
  • Artists Employ a Composite View of the Human Body, but Show It As Regular in Appearance and in a Variety of Poses and Settings
    Venus of Willendorf that they may be emblems of security and success, fertility icons, representations of a Great Goddess or Mother Goddess or various local goddesses. The female figures, as part of Upper Palaeolithic portable art, appear to have no practical use in the context of subsistence. They are mostly discovered in settlement contexts, both in open-air sites and caves; burial contexts are much more rare. Chauvet Cave paintings The Chauvet Cave is a cave in southern France that contains the earliest known cave paintings, as well as other evidence of Upper Paleolithic life. Discovered in 1994, it is considered one of the most significant prehistoric art sites. Hundreds of animal paintings have been catalogued, depicting at least 13 different species, including those which have rarely or never been found in other ice age paintings. Rather than depicting only the familiar animals of the hunt that predominate in Paleolithic cave art, i.e. horses, cattle, reindeer, etc., the walls of the Chauvet Cave are covered with predatory animals: lions, panthers, bears, owls, rhinos and hyenas. Typical of most cave art, there are no paintings of complete human figures. T his combination of subjects has led experts in pre-historic art and cultures to believe that there was likely a ritual, shamanic, or magical aspect to these paintings. There is also paintings of magic mushrooms which suggests that it must have been a shamanic culture. Altamira Cave paintings Its special relevance comes from the fact it was the first cave in which prehistoric cave paintings were discovered, leading to a controversy during the late 19th century because many people did not believe prehistoric man had the intellectual capacity to produce any kind of artistic expression.
    [Show full text]