ANCIENT WORLD MOBILE ______________________________________________________________________________________ Living a Virtuous Life, the Afterlife, and the Honoring of Ancestors in the Art of the Ancient World Los Angeles County Museum of Art | Curriculum Materials 1 ANCIENT WORLD MOBILE ____________________________________________________________________________________________________________ Living a Virtuous Life, the Afterlife, and the Honoring of Ancestors in the Art of the Ancient World BELIEFS ABOUT LIVING A VIRTUOUS LIFE, THE AFTERLIFE, AND THE HONORING OF ancestors have played a major role in the rituals, daily life, and artistic production of ancient world cultures. The seven works of art from LACMA’s permanent collection reproduced and described here provide insight about the cultures from which these were produced. These materials include suggested questions and activities to assist students in making discoveries about these works of art, as well as historical and technical information for the classroom teacher. The following questions will help your students as they explore the objects discussed in this packet. ♦ What are some of the qualities we strive toward in our own lives? How might these be similar or different to the virtues people strove toward in ancient times? ♦ What do people from different religious and cultural backgrounds believe about an afterlife? How are these beliefs manifested in ritual, everyday life, and art? In what ways does your culture honor ancestors after death? ♦ What types of objects do you associate with the afterlife and the honoring of ancestors? What functions do they have? What do they reveal about your beliefs in the afterlife and the importance of your ancestors? ♦ What types of objects related to the ancestors and afterlife would you expect to find in an art museum? Why might functional objects be a part of a museum collection? Why would we consider some of the objects in this packet to be art? As students make discoveries through their experiences on the Ancient World Mobile and in the museum, they are encouraged to think about and discuss the similarities and differences among beliefs about a virtuous life, ancestors, the after-life, and the art that represents these beliefs. 2 Round-Topped Stela of Iuf-er-bak ______________________________________________________________________________________________________________________________________________________ THIS STELA, A FLAT SLAB OF STONE WITH A COMMEMOR- ♦ How would you describe the relationship ative purpose, was created for Iuf-er-bak, who is between the figures in the sculpture? How depicted by the figure on the right and identified has the artist shown this relationship? How by the hieroglyphs at the top. The stela was carved is this similar or different to the family during the reign of King Amenhotep III in the middle portraits and photographs of today? of the Eighteenth Dynasty (1391–1353 BC). This stable and prosperous period is considered to represent The stela was probably made for the necropolis the height of ancient Egyptian artistic production. (city of the dead) of Western Thebes, where it would have been placed in the tomb of the The stela was carved in sunk relief—the details deceased. The ancient Egyptians believed that are carved in recessed or sunken areas in vary- the afterlife was an actual physical existence that ing levels of relief. The quality of the carving on required sustenance, which the living provided this stela is exceptional for its attention to detail through offerings. The deceased’s ka, the aspect and its graceful contours. Notice the attention of a person that could be represented in artistic the artist gave to the facial features. The most form, needed life-preserving goods such as food important figures and details received the deepest and drink. In the afterlife, an individual’s ka carving. Originally, the entire surface of the stela dwelt within the mummy or the tomb statue. was painted; now, only traces of pigment remain. Most stelae from this period were created to ♦ How does the artist portray Iuf-er-bak and insure that the tomb owner would receive the his family? Which figures are the most offerings necessary to sustain him or her in the important? Which features are emphasized afterlife. This stela is unusual in that the text by more detailed carving? Describe what contains no direct request for funerary offerings, the figures are wearing. nor is there a depiction of the tomb owner and his family receiving offerings from a specific deity. Iuf-er-bak, a noble from the capital city of The inclusion of the relatives and the biographical Thebes, is identified by the hieroglyphs as information on this stela may have served to “guardian of the store-house of the Temple of ensure that family members and/or funerary Amun.” His wife, Nebet-iunet, and two sons priests would provide offerings forever. Repre- accompany him. Iuf-er-bak and his sons carry sentations of the deceased helped assure his or floral funerary offerings. These four figures are her survival. The name of the individual was also examples of the standard representation of believed to be a vital aspect of the self that figures among ancient Egyptian artists: the eyes needed to be preserved. and shoulders are shown frontally and the head and lower body are shown in profile, which ♦ What objects help you remember your Egyptian artists believed was the best way to ancestors and family? Do any of these provide a comprehensive view of the human objects serve a purpose beyond helping you body. The woman stands with her feet together, to remember? and the men stand with their feet apart. All four figures have a youthful appearance. Egyptian ♦ Make a list of the people who are most artists indicated relative degrees of importance important in your life. Create a “family” using scale; here, in the lower register, seven portrait in the Egyptian style, to commem- additional family members, who are noticeably orate this relationship. Include the names smaller than the figures above, participate in a of each individual above his or her head. funerary banquet. 3 ROUND-TOPPED STELA OF IUF-ER-BAK Egypt, Thebes, mid-18th Dynasty, reign of Amenhotep III (c. 1391–1353 BC) Limestone, 26¾ x 17¼ in. Purchased with funds provided by Phil Berg AC1999.2.1 Photo © 2008 Museum Associates/LACMA 4 Sarcophagus ______________________________________________________________________________________________________________________________________________________ THIS SARCOPHAGUS, OR COFFIN, INCLUDING A BASE, The sarcophagus and the process of mummify- lid, and mummy board, dates to the middle of cation were central to ancient Egyptians’ beliefs the Twenty-first Dynasty (c. 1000–968 BC). The about the afterlife. According to Egyptian belief, high priests of Amun at Thebes assumed rule the sun god Re descends into the underworld over Egypt in the Twenty-first Dynasty, and when the sun sets. Protective deities help him a number of changes took place in funerary overcome the dangers threatening to impede his customs. Beginning during the Old Kingdom path to rebirth at dawn. The Egyptians believed (2687–2191 BC), tombs were built of permanent that in the afterlife, the pharaohs became one materials and the interior walls of the tombs with Re and were likewise reborn with him at were decorated with scenes of daily life and sunrise. While only the pharaohs journeyed with funerary rituals. They were also inscribed with Re through the nighttime hours, all Egyptians texts to further ensure that the deceased would faced the same dangers on their journey to the travel from life into the afterlife, as well as to afterlife. Instructions for the elaborate prepara- provide sustenance for the deceased in the after- tions necessary to safe passage from life into the life. During the Twenty-first Dynasty, burials afterlife were found in the Book of the Dead. were made in plain under-ground chambers or rock crevices, and the surface of the coffin When a ruler or a well-to-do Egyptian died, his served as the replacement surface for the or her body was embalmed and wrapped in linen ornate scenes and texts previously found on in order to keep the deceased looking as much the walls of the tombs. like the living body as possible, enabling the person’s spirit (ka) to recognize and return to ♦ Describe the shape of the coffin. What the body for the afterlife. This process, called purpose might this shape serve? What mummification, associated the deceased with types of figures and activities do you see? Osiris, the god of the underworld. As a precaution against the disintegration of the deceased’s face, This type of sarcophagus is known as an anthro- a substitute face was provided by carving the face poid coffin. It is made of sycamore wood and of the deceased on the coffin and also depicting shaped in the form of a human outline. The head, it on the inner lid (the mummy board). The other hands, and feet are modeled in high relief, and the images on this sarcophagus are from the Book of figure’s wig, broad floral collar, and plaited beard the Dead. A number of deities are shown assisting identify it as a male’s coffin. The space in the the deceased on his or her voyage. By depicting inscription on the lid’s footboard that would have images from the Book of the Dead in tombs, on been reserved for the name of the coffin’s owner papyri (paper made from the papyrus plant), and has been left blank, leaving his identity a mystery. on sarcophagi, the Egyptians believed they could help produce the desired result—a successful voyage to the afterlife. 5 SARCOPHAGUS Egypt, likely Thebes, mid-21st Dynasty (c. 1000–968 BC) Wood, overlaid with gesso and polychrome decoration and yellow varnish, 73¾ x 21½ x 13 in. Purchased with funds provided by Mr. and Mrs. John Jewett Garland M.47.3a–c Photo © 2008 Museum Associates/LACMA Follow-up Activity for Students In ancient Egypt, the image on a sarcophagus How might you depict these elements either as honored the life and protected the afterlife of the meaningful symbols or as a drawn representation deceased.