Chapter 3 Ancient AND

´ Stability and consistency in art for almost 3000 years! « Due to predictably of the overflowing its banks annually, leaving black silt to fertilize fields « This cycle symbolized the creation and renewal of life, reflected in Egyptian myths. (Kleiner, p. 57) ´ The Stone which provided the key to deciphering hieroglyphics, was discovered in 1799 by and a troop of scholars. It had the same text in 3 sections: Greek, (Late Egyptian), and Hieroglyphics.

2 ANCIENT EGYPT

ƒThe Nile is a north-flowing river (due to elevation), originating in Lake Victoria and ending in the . ƒThus, is the upstream part of the Nile.

3 John-Francois Champollion

Ancient Egyptian writing was first adopted more than 5,000 years ago making it one of the earliest recorded written languages. Champollion published the first translation of the Rosetta Stone hieroglyphs in 1822, showing that writing system was a combination of phonetic and ideographic signs. Its secrets were lost to the modern world until the discovery of the Rosetta Stone - a stone carved in three languages: Egyptian, Demotic and . The hieroglyphs were translated by comparing them to the Ancient Greek text and the mysteries of Egypt were finally revealed . What is the difference Hieroglyphic writing was in use from about 3200 BC until between and the late 4th century AD and changed very little during this Hieroglyphics? period and is very well preserved. THEME: RELIGION— TOMBS, , TIMELESSNESS... ´ Predynastic: 3000-2500 BCE « Palette of « Stepped at ´ Old Kingdom: 2575-2100 BCE « Great at Gizeh « « « Scribe, Married Couple, Fowling Scene of Nabumun ´ Middle Kingdom: 2040-1640 BCE « Rock Cut Tombs ´ New Kingdom: 1550-1070 BCE « Mortuary Temples: Rameses and « Temples: and ´ Styl e: « Akhenaton and « King EGYPTIAN ART

´ left spectacular monuments , many of them to glorify the kings whom they called phhharaohs and beli eved to be divi ne, const ruct ed and furnished magnificent tombs to serve as their god-kings’ eternal home in the afterlife. ´ Egyptians had gods for everything « – ½ man and ½ god « /Scribe – noble family- communication to the gods, keep gods happy ´ In the Old Kingdom, they built pyramids and the New Kingdom they built temples. FUNCTION OF ART

´ To glorify the gods – including the and To facilitate human passage into the after-life ´ Due to general stability of Egyptian life and culture – architecture, , and painting was characterized by a high conservative adherence to traditional rules or order and form over creativity CONTEXT

´ Geographic Isolation: civilization is defendable, homogeneous cultures=continuous traditions ´ EEiconomic SSitecurity: agriiltlcultural base due to inund dtiation of the Nile=prosperity, continuity ´ Deeply Held Religious Beliefs: Pharaoh son of god, hierarchical society=stability/aversion to change ´ Hierarchical Society: Pharaoh to of “Pyramid”=collective will/avers ion to change ´ Geological Substructure: megalithic architecture, permanence ´ Belief in the Afterlife: elaborate funereal traditions, objects and tomb architecture EGYPT

´ Ancient Egyptians believed ´ Old Kingdom – that death occurs when a – Capital Memphis, c. 2500 person's ka leaves the body. BCE, Pyramids, Symbol: ´ The ancient Egyptians believed that ´ New Kingdom – Upper Egypt a human soul was made up – Capital Thebes c. 1500 of five parts: the Ren, theBa, BCE, Temples, Symbol: Lotus the Ka, the Sheut, and the Ib. Cue Card

3.2 Palette of King Narmer from Hierakonpolis, Egypt ca. 3,000-2,920 B.C.E. , slate approximately 25 in. high

Hierarchy of Scale

Composite View (or Twisted Perspective)

Formalized version of an eye makeup palette Raised Sculpture: commemorative PALETTE OF KING NARMER instead of funerary in nature, Predynastic period – some of the earliest hieroglyphic inscriptions and information about an Egyptian art ever found, thought by some to depict the unification of under the king Narmer.,. On one side, the king is depicted with the red of Lower Egypt (northern) Egypt. Palettes were typically used for grinding cosmetics, but this palette is too large and heavy (and elaborate) to have been created for personal use and was likely a or votive object, specifically made for donation to, or use in, a . One theory is that it was used to grind cosmetics to adorn the statues of the gods. Below the king' s feet is a third section, Palettes were used to prepare eye make depicting two naked, bearded men. – like up, which Egyptians used to protect their the prehistoric stick figures from the eyes against the glare of the sun. cave paintings, Narmer, wearing the red The large circle would have held the make crown of Lower Egypt, beheaded bodies up bu t not i n thi s large one, the in ter tw ine d necks of the animals would be a reference to the unification of upper and lower Egypt. ƒIntertwined necks refer to Egypt’s uucatonification ƒNarmer wears crown of lower Egypt, reviews the beheaded bodies of enemies ƒAerial view of bodies as in Paleolithic paintings ƒBottom register: a , symbolizing the king’s superhuman strength, knocks down fortress of rebellious (also aerial view). ƒ register: 2 with a human faces, divine mother of Pharaoh.

PALETTE OF KING NARMER (FRONT) HIERAKONPOLIS, EGYPT, PREDYNASTIC, CA. 3000–2920 BCE. SLATE, 2’ 1” HIGH. ƒEarliest preserved artwork with name of ruler ƒCrown of Upper Egypt ƒComposite view figure as in Mesopotamian and Persian art ƒFalcon with arms is , protector of pharaohs ƒDoes not depict a specific event, but is a characterization of the pharaoh.

PALETTE OF KING NARMER (BACK) HIERAKONPOLIS, EGYPT,

PREDYNASTIC, CA. 3000–2920 BCE. SLATE, 2’ 1” HIGH. 13 Cue Card 3-4 , st Pyramid of Imhotep: 1 recorded name of an artist () and plan

Mastaba ( for “bench”) rectangular brick or stone structure with sl opi ng sides over a burial chamber Cardinal Points of the compass Oldest stone structure in the world, stepped pyramid, majority of monument were dedicated to ensuring safety and happiness in the next life, originally housed single burials, later they became a complex for multiple family burials. It was enlarged at least twice The main feature, other than the burial chamber, there was a chapel which had a through which the Ka could join the work, some had serdab, small room housing a statue of the deceased. Imhotep, master builder for King Djoser was the first recorded name of an artist! After his death,,y they deified him as the sun g g,od, RE. About 200 feet high, stepped pyramid composed of a series of mastabas of diminishing size, stacked one atop another to form a structure the resembles the Mesopotamian ziggurats. RESTORED VIEW (TOP) AND PLAN (BOTTOM) OF THE MORTUARY PRECINCT OF DJOSER, SAQQARA, EGYPT, THIRD DYNASTY, CA. 2630–2611 BCE. ƒ performed daily at the temple in celebration of the divine pharaoh.

COLUMNAR ENTRANCE CORRIDOR TO THE MORTUARY PRECINCT OF DJOSER, SAQQARA, EGYPT, THIRD DYNASTY, CA. 2630–2611 BCE. Engaged Capitals Shaft s

3-6 entrance to Djoser 3-7 Facade of the North Palace

large immense (37-acres) rectangular enclosure surrounded by a wall of limestone. - tightly regulated access. OLD KINGDOM: THE PYRAMIDS AT GIZEH

´ 75 years to build ´ Pyramid shape reflects cult of Re from Heliopolis, whose emblem was ben-ben, a pyramidal stone. ´ Symbols of the sun « Were covered in white limestone which reflected light « Temples are on the east side facing rising sun ² Priests made offerings to the god-king and stored , food, and ceremonial vessels. ´ Each face oriented to a cardinal point on a compass. ´ Egyptian kings were reborn in the afterlife, as the sun is reborn each day at dawn. ´ Mummification so that the Ka, or life force can inhabit the corpse and live on. ´ Sphinx: lion with human (pharaoh’s) head, associated with sun god. Composite form combines human intelligence with strength and authority of king of beasts.

19 3-7 Great pyramids of Gizeh, Egypt Cue Card (Menkaura, Khafre, ),

Great Pyramids Gizeh, Egypt Pyramids of , ca. 3 , 000- 2,920 B.C.E.; Khafre, ca. 2520-2494 B.C.E.; Khufu ca. 2551-2528 B.C.E. largest (Khufu) approximately 450 ft. high limestone

Cardinal points of the compass Great Pyramids, Gizeh, Egypt, Fourth Dynasty

The pharaohs of the Old Kingdom amassed great wealth and spent it on grandiose architectural projects. The GGtPidfreat Pyramids of Gizeh , the old est of the Seven Wonders of the ancient world. The prerequisite to this elite ggproup was colossal size and enormous cost. Took 75 years for 3 Pharaohs, More refinement of the stepped pyramid, new tomb shape reflects the influence of -the seat of the powerful cult of Re, whose emblem was a pyramidal stone, the ben-ben, an emblem of the Egyptian god Re The Great Pyramids are symbols of the sun, The pyramids were where Egyptian kings were reborn in the afterlife, just as the sun is reborn each day at the dawn. 21 Great Pyramids,

Khufu Khafre Menkaure (Cheops) (Chefren) (Mycerinus)

THE GREAT SPHINX (LION W/ HUMAN HEAD) ´ Sphinx was associated with the sun god—appropriate image for a pharaoh ´ Composite creature - ´ suggests the combination ´ of human intelligence with ´ the immense strength of ´ the king of beasts.

How does this pose and posture act as a guardian? Cue Card

3-11 Khafre sculpture from Gizeh, Egypt Bilaterally ca. 2, 520-2, 494 B. C. E. Bilaterally symmetrical Diorite (hard stone) symmetrical approximately 66 in. high ƒStatues placed in tombs are substitute homes for the ka ƒDiorite transported from 400 miles down the Nile ( imported to Girsu) ƒSubtractive method of carving ƒThrone: 2 stylized lions, papyrus and lotus intertwined symbolize united EtEgypt ƒRoyal linen headdress with cobra of kingship ƒideal proportions reflect divine nature of pharaohs ƒCompact, solid, serene – last for eternity ƒBilateral symmetry

KHAFRE ENTHRONED, FROM GIZEH, EGYPT, FOURTH DYNASTY, CA. 2520–2494

BCE. DIORITE, 5’ 6” HIGH 26 Diorite – hard stone, 400 miles down the Nile, pyportrayed Khafre with a well-developed, flawless body, perfect face, regardless of real age. It isn’t a true likeness or record individual features but to proclaim the divine nature of Egyptian kingship , Radiates serenity, was made to last forever, intertwined lotus and papyrus plants – symbolic of a the united Egypt

DIORITE - PERMANENCCOE OF MATERIAL/ INTERTWINED LOTUS AND PAPYRUS/ OLD KINGDOM KILT/ CANON OF IDEAL PROPORTIONS/ “BLOCK-LIKE” CHARACTERISTICS/ SUBTRACTIVE METHOD OF CARVING ƒ2nd type of formulaic Old Kingdom statues: standing figures ƒPlaced in valley temple of Menkaure’s pyramid complex ƒTimeless nature of stone statue serves as substitute home for the ka ƒHigh–relief sculpture, figures are connected to stone block ƒPosition of wife’s arms/ hands indicate marital status

MENKAURE AND KHAMERERNEBTY(?), FROM GIZEH, EGYPT, FOURTH DYNASTY CA. 2490–2472 BCE. GRAYWACKE, 4’ 6” HIGH Cue Card 28 Cue Card

Canon of proportions

Left leg longer

Statue could be classified as a high-relief sculpture, rigidly frontal with arms hanging straight down and close to a well-built body., the artist aim was not to portray living figures but suggest timeless nature, eternal substitute home fro the ka, slight shift in weight Cue Card

How does this pose portray the role and status of a scribe?

Still and formal pose btbut use of fi increased realism in subordinate figures, painted sculpp,pture, depicted with chest muscles 3-13 Seated Scribe and protruding belly – from Saqqara, Egypt inappropriate for an ca. 2, 450-2, 350 B. C. E. Egyptian god -king, painted limestone approximately 21 in. high ƒLess stylized, more of a portrait: intelligent and alert person ƒAs a figure’s imp,portance decreases, less formality and more realism ƒSigns of age and belly inappropriate for pharaoh, but be sign of comfortable life

SEATED SCRIBE FROM SAQQARA, EGYPT, FOURTH DYNASTY, CA. 2500 BCE. PAINTED LIMESTONE, 1’ 9” HIGH 31 EGYPTIAN MURAL PAINTING

´ Strict canon, or syppystem of proportions was used to depict the human form ´ Grid on wall, ppypplaced human body parts at specific points on grid ´ Height of figure was a fixed number of squares, and each body part had a predetermined size and place within the scheme ´ Ti was a high Court official and wealthy landowner of the early Fifth Dynasty.

32 3-14 Ti watching a hippopotamus Cue Card from Saqqara, Egypt, ca. 2,450-2,350 B.C.E., painted limestone relief approxitl48ihihimately 48 in. high

Frontal and profile view Hierarchy of scale – very exaggerated size to announce his rank •Decorate the walls of the of Ti, depictions of agriculture and hunting fill his tomb. This was associated with the provisioning of the ka in the hereafter, It was also a metaphor–success in the hunt was triumph over the forces of evil. •Egyptian because it emphas izes the essen tia l na ture o f the decease not their appearance. Idealize and stiff image is typical, •painters and sculptors did not sketch their subjects form life but Hierarchy of Scale applied a strict canon, or system of proportion to the human figure. ƒSuccess in hunt metaphor for triumph over evil ƒGrooves represent grove of papyrus, fan out at top into frightened birds and stalking foxes ƒHierarchal proportion ƒCombined frontal and profile views show essential nature of deceased ƒTi does not do anything, he simply is, apart from time, an observer of life, like his ka

TI WATCHING HIPPOPOTAMUS HUNT, PAINTED LIMESTONE RELIEF IN MASTABA OF TI, SAQQARA, EGYPT, 5TH DYNASTY, CA. 2450–2350 BCE 4’ HIGH GOATS TREADING S EED AND CATTLE F ORDING A C ANAL , RELIEFS IN THE MASTABA OF TI, SAQQARA, EGYPT, FIFTH DYNASTY, CA. 2450 – 2350 BCE. PAINTED LIMESTONE. FORDING THE NILE IS A METAPHOR FOR DECEASED PASSAGE FROM LIFE TO HEREAFTER. CANON OF PROPORTIONS

´ It is the canon law, to which Egyptian artist were mandated to regularize dimensions and scale. A guid eli ne for Egyp tian ar tis t to foll ow. MIDDLE KINGDOM

´ Around 2150 BCE the Egyptians began challenging the pharaoh's power; this civil unrest lasted more than a century ´ In 2040 BCE, the pharaoh of upper Egypt, Mentuhotep II, united the country again and established the middle Kingdom ´ Senusret III was a successor of Mentuhotep II and fought 4 campaigns in , never fully achieving secure control over them

37 ƒUnprecedented realism ƒPPiitiessimistic expression reflects the cares of the world and the mood of the times ƒThe soul of a king is marked with anxiety from a trou bldbled age

FRAGMENTARY HEAD OF SENUSRET III 12TH DYNASTY CA. 1860 BCE RED QUARTZITE, 6” HIGH TOMB OF , REIGN OF AMENEMHET, CA. 1981–1975 BCE PAINTED WOODEN MODEL OF THE DECEASED STEWARD OVERSEEING THE COUNTING OF CATTLE AND MODEL GRANARY MIDDLE KINGDOM ROCK-CUT TOMBS

´ Replaced mastabas as the standard tomb ´ Shallow porch with columns ´ Columned hall led into burial chamber with statues of deceased in niches, with paintings and painted reliefs on walls ´ Fluted columns are part of rock fabric and do not support structure ´ Resemble later Doric Greek columns (who emulated Egyptian architecture)

40 ROCK-CUT TOMBS BH 3-5, BENI HASAN, EGYPT, 12TH DYNASTY, CA. 1950 – 1900 BCE

41 INTERIOR HALL OF THE ROCK-CUT TOMB OF AMENEMHET (TOMB BH 2), BENI HASAN, EGYPT, 12TH DYNASTY, CA. 1950–1900 BCE NEW KINGDOM: GRAND OF HATSHEPSUT

´ Thebes is the new capital. ´ 1st great femal e monarch : Hat sh epsut (r. 1504 – 1482 BCE), principal wife (and half-sister) of Thutmosse II, had no sons, so when he died the throne went to a son, Thutmosse II from a minor wife and Hatshepsut was the regent queen. « Within a few years, Hatsheosut proclaimed herself pharaoh and insisted her father had chosen her. She claimed to be the daughter of Amen,,pg who assumed the form of her father in order to impregnate her mother. ´ Her mortuary temple at Deir El-Bahri had three colonnaded terraces connected by ramps. « The horizontals and verticals and their pattern of light and shadows repeat the rhythm of the limestone cliffs above. ´ The multi-level complex included to Amen, , , Hatshepsut, and her father. 3-19 Mortuary Temple of Queen Hatshepsut Senmut Mortuary Temple of Hatshepsut Cue Card Deir el-Bahri, Egypt ca. 1,473-1,458 B.C.E.

Colonnades

Chamfered pillars MORTUARY TEMPLE OF HATSHEPSUT (WITH THE MIDDLE KINGDOM MORTUARY TEMPLE OF MENTUHOTEP II AT LEFT), DEIR EL-BAHRI, EGYPT, 18TH DYNASTY, CA. 1473–1458 BCE

Queen Hatshepsut , one of the most remarkable women of the ancient world, temple rises from 3 colonnaded terraces connected by ramps on the central axis, there were statues and reliefs glorifying her reign in the vast complex. This constitutes the first great tribute to a woman’s achievement. Temple of Queen Hatshepsut, Deir-el-Bahari

How do the surroundings contrast and enhance the architecture? ƒDocuments Hatshepsut’s expedition to Punt in the south, famous for gold, myrrh, and other exotic resources. ƒThe king and queen of Punt are on the right, scholars debate if this is an accurate portrayal offf the queen, or if it is exaggerated to emphasize her foreignness. KING AND Q,QUEEN OF PUNT AND ATTENDANTS, RELIEF FROM THE MORTUARY TEMPLE OF HATSHEPSUT, DEIR EL-BAHRI, EGYPT, 18TH DYNASTY CA. 1473–1458 BCE. PAINTED LIMESTONE, 1’ 3” HIGH HATSHEPSUT WITH OFFERING JARS, FROM THE UPPER COURT OF HER MORTUARY TEMPLE, DEIR EL-BAHRI, EGYPT, 18TH DYNASTY CA. 1473–1458 BCE ,,, RED , 8’ 6” HIGH

ƒAfter Hatshepsut died, Thutmosse III, ordered most of her portraits destroyed. ƒAs many as 200 statues of her in the round were carved for her temple complex. ƒShe uniformly was depicted wearing the mal pharaoh headdress, kilt, and at times the ceremonial beard. ƒ.At least eight colossal kneeling statues in red granite line the entrance of the Amen-Re sanctuary. ƒThis is anatomically male, the male imagery is consistent with the queen formal assumption of the title of king there are other surviving portraits where she has breast. Other depicted her as a woman

48 "THE PERFECT , LADY OF THE TWO LANDS (UPPER AND LOWER EGYPT)" AND "BODILY DAUGHTER OF RE (THE SUN GOD).”

JOINT REIGN OF HATSHEPSUT AND III

CA. 1473–1458 BCE

THEBES, EGYPT

LIMESTONE, PAINT TEMPLE OF RAMSES II,

´ Ruled from 1290 – 1224 BCE: 2/3 of a century! ´ Four 65 foot ta ll seated portrai ts of Ramses II on templ e façade ´ Quality is sacrificed for quantity/ overwhelming size ´ In 1968 engineers moved the temple 700 feet to save it from the waters of the high dam . ´ Ramses II sought deliberately to deface the Amarna monuments and change the nature of Egyptian religious structure in order to bring it back to where it had been prior to the reign of .

50 Cue Card

FdFaçade Atlantids

3-23 Temple of Ramses II Abu Simbel, Egypt ca. 1290-1224 B.C.E., colossi approximately 65 ft. high TEMPLE OF RAMSES II, ABU SIMBEL, EGYPT, 19TH DYNASTY, CA. 1290–1224 BCE. SANDSTONE, COLOSSI 65’ HIGH

•Ramses II, 66 year rule, 90 kids, died whhhen he was 90 • longest reign during a , peaceful time •Theep ph aao,poudaraoh, proud of his , proclaimed his greatness by placing four colossal images of himself on the temple façade. •65 feet tall, even though they are seated INTERIOR OF THE TEMPLE OF RAMSES II, ABU SIMBEL EGYPT, 19TH DYNASTY CA. 1290–1224 BCE SANDSTONE PILLAR STATUES 32’ HIGH

ƒ32’ tall pillars of Ramses II in the guise of ƒNo load bearing function, similar to Beni Hasan ƒBuilt a grand temple for his principal wife, ƒConstructed a huge underground tomb complex at the at The for his sons

53 TEMPLE FOR BUILT IN THE REIGN OF DURING 380-362 BCE , AN ISLAND IN , EGYPT

PYLONS: MONUMENTAL GATEWAY CONSISTING OF TWO TAPERING TOWERS, EACH TOPPED BY A CORNICE (LEDGE/CROWN) JOINED BY A LESS ELEVATED SECTION WHICH ENCLOSED THE ENTRANCE.

MIRRORED THE HIEROGLYPH FOR 'HORIZON' OR , WHICH WAS A DEPICTION OF TWO HILLS "BETWEEN WHICH THE SUN ROSE AND .” CONTINUITY OF ANCIENT EGYPTIAN ART

´ Despite some alterations and shhtort dditieviations (Amarna) from their artistic tradition, why did Egyptians maintain such continuity in their art for almos t 3000 years?

Detail of temple of Horus, , Egypt ca. 237 – 47 BCE KING REPRESENTED IN THE TEMPLE

Atlantid: a male figure that FIGURES INSIDE OF THE TEMPLE functions as a supporting column (ATLANTIDS) AND SUNKEN Caryatid: female figure RELIEFS

FIGURES OUTSIDE OF THE TEMPLE Cue Card

Temple of Amen-Re •A pylon temple with a bilaterally Karnak, Egypt symmettirical axi al pl an ca. 15th century B.C.E. •only the pharaohs and priest could enter the sanctuary CLERESTORY Cue Card

3-27 Model of hall, temple of Amen-Re

3-26 Hypostyle hall, temple of Amen-Re Karnak, Egypt, ca. 1290-1224 B.C.E. •Pylon temple- wide entrance gateway of an , characterized by its sliloping wa lls, a c hosen few were a dittddmitted to the great columnar hypostyle hall (hall with a roof resting on columns), D •the column were supported b y stone slabs carried on lintels, 75 feet high, 22 feet in diameter. •Clerestory allowed light to enter the interior, this played a key role in architecture!

Hypostyle hall Temple of Amen-Re Karnak, Egypt, Dynasty XIX ca. 1290-1224 B.C.E. Sunken relief, advantage of preserving the contours of the columns they adorn, architects’ intentions to emphasize the columns as image and message-bearing surfaces

Block statues were popular during New Kingdom, sculptors expressed the idea that the ka could find an eternal home in the cubic stone image of the dddeceased Pharaoh’s daughter “in his lap and envelopes the girl in his ”

3-27 StSemnut with incess NfNefrua from Thebes, Egypt ca. 1470-1460 B.C.E. granite 36 1/2 in. high PAINTING OF THE NEW KINGDOM

´ Tomb of , scribe and counter of grain ´ Fresco Secco: plast er dri es bef ore pai nti ng, permitt ed sl ower work , but not as permanent as buon (true) fresco. ´ Successful hunts were metaphors for triumphing over death. « Hunting scenes reference Horus, the son of Osiris, hunting down his father’s murderer, Seth. ´ Old Kingdom stiff rules of representation are relaxed with more ifinforma l poses. ² Compare Nebamun’s dynamic pose with static pose of Ti. ´ Music and dance were sacred to Hathor, who aided the dead in thei r passage to the afterlif e. Static pose

•Some of the best preserved mural paintings of the New Kingdom come from the Theban • enjoying recreation in his eternal afterlife, (standing in a his boat, flushing birds) Fresco secco 3-28 Fowling scene (dry fresco) – let the plaster dry from the tomb of Nebamun, Thebes, Egypt before painting on it. ca. 1,400-1,350 B.C.E., 32 in. high Cue Card EGYPTIAN PAINTING

´ concept of the afterlife ´ figures in proportion to rank ´ function of the boat in Egyptian life ´ naturalistic depiction of birds ´ dry fresco technique/ flat, linear style NEW KINGDOM

OLD KINGDOM

COMPARING PAINTINGS ƒFamily’s ceremonial meal at tomb after Nebamun’s death ƒCommemorative banquet each year when living communed with dead

FUNERARY BANQUET FROM THE TOMB OF NEBAMUN, THEBES, EGYPT 18TH DYNASTY, CA. 1400-1350 BCE, FRESCO SECCO, 2’ 11” X 3’ 11” AKHENATON AND THE

´ In 14th century BCE, Akhenaton was in control ´ He abandoned the worship of most the Egyptian gods in favor of Aton, the sun disk, whom the pharaoh declared to be the universal and only god. ´ He emptied the great temples, enraged priests, and moved this capital downriver to Amarna. ´ The pharaoh claimed to be both the son and sole prophet of Aton. ´ Akhenaton's god was neither animal or human form but simple a sun disk emitting life=giving rays. AKHENATON AND THE AMARNA PERIOD

´ IV/ Akhenaton (r. 1353 – 1335 BCE) abandoned the worship of Egyptian gods to worship one god, Aton, associated with the sun disk. ´ Moved his capital downriver from Thebes to Armana. ´ Relaxed Old Kingdom artistic rules in favor of naturalism and curvilinear forms. ´ Might have had Marfan syndrome or perhaps artists were ordered to depict him as androgynous since his gg,od, Aton , was genderless.

69 Cue Card

•Akhenat on cult of At on, curvilinear lines and increased naturalistic rendering/ image of androgynous “s piritual beauty,” the Amarna style, misshapen body, weak arms, narrow waist , protruding belly, wide hips, and fatty thighs, new androgynous image of the pharaoh as the 3-30 Akhenaton sculpture manifestation of Aton, the sexless sun disk from the temple of Amen-Re, •Moving from a polytheistic Karnak, Egypt, ca. 1,353- society (many gods) to a 1,335 B.C.E., Sandstone, monotheistic society (one approximately 13 ft. high god) THUTMOSE (ARTIST) NEFERTITI, FROM AMARNA EGYPT, 18TH DYNASTY CA. 1353–1335 BCE, PAINTED LIMESTONE, APPROX. 1’ 8” HIGH

ƒEEixpression of enttdranced musii?ng? ƒFound unfinished in Armana workshop of the artist, Thutmose; could have been used as a model. ƒIn decorations at Aton temple at Karnak, she equals her husband in size and sometimes wears pharaonic . ƒNefertiti (names means “beautiful one has come”) , sculptor Thutmose, unfinished work, spiritual beauty

71 , FROM GHURAB, EGYPT, 18TH DYNASTY, CA. 1353–1335 BCE. WOOD, WITH GOLD, SILVER, , AND , 4” HIGH

ƒQueen Tiye, mother of Akhenaton, old age with lines and furrows, new relaxation of artistic rules in the Amarna age. ƒSculptor remodeled head by adding a wig of plaster and linen with blue beads, probably to rid it of references to old . ƒLetters survive advising young Akhenaton to seek his mother’s council in foreign affairs.

72 A colossal statue of Amenhotep III and Queen Tiye with Princess AKHENATON, NEFERTITI, AND THREE DAUGHTERS HttbHenuttaneb in the CiCairo Museum FROM AMARNA, EGYPT 18TH DYNASTY CA. 1353–1335 BCE. LIMESTONE, 1’ HIGH UNDULATING LINES Cue Card Sunken relief , rare CURVILINEAR look at t his roya l f amil y, undulating curves have replaced rigid lines, figures pose with prominent beliefs that characterize this period, the family bask in the life-giiiving rays o fAtf Aton, the sun disk, Akhenaton lifts up one daughter to kiss while the other sits on the lap, this family portray is unprecedented in Egyptian art

3-33 Akhenaton, Nefertiti, and three daughters Amarna, Egypt, ca 1353-1335 BCE, Limestone 1’ ¼” high KING TUTANKHAMEN

´ Son of Akhenaton and a “minor” wife (one of his sisters) ´ Tutankhaten changed name to Tutankhamen, “livinggg image of to Amen.” ´ Left Amarna and relocated to a new capital in Thebes; probably suggested b y his ,,y and ,,p the top militar y commander to show the Egyptians that the ruler had returned to belief in the old gods. ´ He died suddenlyyg/ at the age of 18/19 after rulin gy(g for ten years (r. 1333 – 1323 BCE) while Egypt was at war with the . Some believe it was murder . . . or infection from a broken leg. ´ In 1922 ,,g, a British archeologist, discovered his tomb largely intact. Tutankhamen— King Tut 1323 BCE

HOWARD CARTER (FUNDED BY LORD CARNARVAN)

The most famous figure of Post-Amarna period is Tutankhamen, who was the son of Akhenaton . He became king at 10 and died at 18. He was a minor figure in Egyptian rule but his fabulously rich treasure has made him famous. Cue Card ƒA quarter ton of beaten gold was used for ththe itinnermost of three tombs nested inside each other

DEATH MASK 1’ 9” HIGH & INNERMOST TOMB 6’ 1” LONG OF TUTANKHAMEN

IN HIS TOMB AT THEBES, EGYPT, 18TH DYNASTY CA. 1323 BCE

GOLD WITH INLAY OF SEMIPRECIOUS STONES 77 PAINTED CHEST, FROM THE TOMB OF TUTANKHAMEN, THEBES, EGYPT, 18TH DYNASTY, CA. 1333–1323 BCE. WOOD, 1’ 8” LONG ABSENCE OF GROUND LINE IMPLIES CHAOS AND DEATH. 'S PECTORALS ƒDorsal ornament hung down back, acted as a counter weight and a fastening. ƒGold, silver, semi-precious stones and cloisonné ƒ in center made from chalcedony. ƒAttached to it are the wings and tail of a vulture (Nekhebet) inlayed with colored glass. The legs of the bird are grasping the shen hieroglyph, the symbol of eternity. ƒAlso holding a bunch of lotus flowers (right) and a lily (left), symbols of Upper (Southern) Egypt. 3-35 Death mask of Tutankhamen 3-37