The block statue is a unique form of Egyptian statuary which first appeared in the Middle Kingdom, but which continually grew in popularity throughout the Second Intermediate period and and the New Kingdom. This particular example depicts Mentuherkhepeshef, the fifth son of the the New Kingdom King Rameses Meriamum (Rameses II). Few biographical details are known about the prince, other than the presence of military titles inscribed on the statue and that he died before being able to succeed his extremely long-live father. The statue was placed among a procession of statues depicting the children of Ramesses II, located in the city of Bubastis at the temple of Bastet, a protective goddess. Despite the subject’s relative anonymity, his statue …show more content…
Though the founder of the Middle Kingdom, Mentuhotep II, was able to reunify Upper and Lower Egypt, the rulers of the Middle Kingdom were never able to consolidate and solidify their power to the extent that the kings of the Old Kingdom had done. It follows that they would also be unable to exercise as much power as their predecessors. Because the kings were forced to devote more of their resources to maintaining control over the country, they had less to expend on artistic pursuits, as well as being more preoccupied with more pressing concerns. These kings were unable to replicate the artistic and engineering feats of the Old Kingdom, but rather, without resources comparable to those available in the old kingdom, the artists were often forced to …show more content…
Ramesses II is particularly well known due to the exceptional longevity of his reign and his military campaigns, which he commemorated frequently in his massive campaign of construction projects. The details of his reign can help to shed some light on this cube statue. One of the more unusual aspects of the sculpture is that it was altered after its initial production; both the inscribed hieroglyphics and the side-lock were later additions to a preexisting statue. The reworking of old art is a relatively common phenomenon in Ancient Egyptian culture and there are several possible possible explanations for this distinctive feature. One possible explanation for the refurbishment is that the sculpture was originally made for the prince and was updated at a later date to reflect a change in his status. This hypothesis may explain the addition of the hieroglyphic text, which does give his military titles, but it has significantly less explanatory power with regard to the side-lock. Because the it is a symbol of the royal youths and thus would have been associated with the prince from a young age, it would would be strange if he were to have been originally depicted with a round headdress with the side-lock added
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
The statue of Khafre is an example of how pharaohs utilized their wealth to elaborate the power they possessed while they were alive and to utilize while they were dead. They ordered statues to be made in their name to decorate the valley temple. The valley temple is a funerary setting in which Khafre ordered 23 statues to be made for it. In this case, Khafre’s statue was made and place near the
Egypt has had many rulers among the eras, men were the only ones to rule. Not until the great Hatshepsut came into power, shortly after the passing of her father the throne was given to her young brother, he was too young to rule so Hatshepsut married her half brother and proclaimed herself as pharaoh. She was a pharaoh for two decades, and during her reign she ordered multiple buildings of projects and art work of herself.
The pharaoh named Khafre was an ancient Egyptian king of the 4th dynasty during the old kingdom. Khafre enthroned shows the pharaoh is shown in a seated potion on a throne with a look of deep serenity in his face. The king is sitting rigidly upright with one of his hands on his knee and the other one making a fist on his thigh. Khafre is also wearing a headdress as well as a strapped on beard. Khafres’ face and body are both idealized with the help of bilateral symmetry. Khafre is perfectly symmetrical on both sides; his pose is also both frontal and ridged. The Sculptor shows all movement, however, still showing eternal stillness (Kleiner, 2013). The statue of Khafre is an image of unbridled power. This work, life-sized and carved from diorite (an extremely hard and difficult-to-work stone) portrays the Pharaoh Khafre, sitting immobile. This piece of art uses the Egyptian canon of proportions, creating a very idealized figure (Kleiner,
The New Kingdom in ancient Egypt, from 1550 – 1070 BC, was a time of extraordinary wealth, power, and the continuation of the arts in the classic ancient Egyptian style. Characterized by the abstract and impersonal depiction of humans, along with the strength of the Egyptian Empire, the New Kingdom is considered the peak of power and prosperity in ancient Egypt. “Fragmentary lid from the coffin of Wadj-shemsi-su” is a piece created in this time period that was originally part of a portrait located on the top of the king’s coffin. Because the coffin would carry the king’s mummified body in his tomb, the portrait depicts the pharaoh as being prepared for the Underworld, as well as being the ideal body for the spirit of the king to flow through. The objective of the coffin’s portrait is also to convey the power of the kingdom, putting emphasis on the king’s image and the immense wealth that accompanies him. In addition to the piece’s function as a coffin, “Fragmentary lid from the coffin of Wadj-shemsi-su” embodies the strength and wealth of the New Kingdom through the piece’s human face, use of bright colors, and geometric detailing.
The Egyptians created Ramesses’ statue 1279-1212 B.C. using granodiorite. The statue is currently being exhibited at the Museum of Fine Arts Houston. Its dimensions withouts a base are 59 3/4 x 23 1/2 x 30 inches (seems bigger than life-size). One must look at the statue from various sides in order to see its entirety. Ramesses II, known also as Ramesses the Great, ruled Egypt for over sixty years. there are thousands of statues made in his honor to proclaim his power and divinity.
Akhenaten had a dream to reform Egypt. He changed the way they worshiped, the way they lived and even the way they created art. His rule was a time of great change for Egypt, however his ideas and reforms were met with little support or enthusiasm. He used tremendous amounts of Egypt’s recourses and time for all his reforms, he also consumed a lot of his own time on these problems rather than on his pharaonic duties. During the 5th and 6th years of his reign Akhenaten set the boundaries for his new capital, Akhetaten, 350 kilometres north of Thebes. It was to be a city dedicated to Aten and all who worshiped him, however like most of Akhenaten’s reforms once his rule concluded, like so many other of his attempts to change Egypt, this too would be abandoned. Akhenaten led an artistic reform, changing the way that Egyptian artists portrayed the people of Egypt. He moved away from the false grandeur that had always been used and opted for a more stark and realistic approach, possible even an exaggerated ugliness. He himself was depicted as a gaunt, frail and pot-bellied man with a stern and imposing face rather than a strong radiant god king as previous pharaohs had always b...
Egyptian art is infamous across the world - classified by the monumental pyramids, and the Sphinx. Although these are both valid forms of Egyptian art, they do not make up the entire artistic history of the country. On the contrary, perhaps the most replicated example of classic Egyptian art, from the Old Kingdom, can be found in their rendering of the human form. An interest in portraiture developed early in Egypt. (Gardner, 75) Whether painted on pottery, or cut into rock, the figures all had notably Egyptian characteristics. "The seated statue is one of only a very small number of basic formulaic types employed by the sculptors of the Old Kingdom." (Gardner, 75)
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
The Palette of Narmer was created on a flat stone surface; the artists then carved the story into the flat stone in a very specific manor. This palette is known for representing the coming together of Upper Egypt and Lower Egypt (Stokstad and Cothren, 52). At the top of the palette on both sides shows two bulls that were said to possibly represent the goddess Hathor. Hathor was known as the goddess of protection, and is depicted in other Egyptian art as a woman with cow ears (British Museum, no page). In between the heads of Hathor is the name of the King Narmer, written with iconography called serekh. In this serekh, one can see the Horus falcon head and below it is the name of the king. The falcon head is said to protect the Egyptian ruler (Kinnaer). Although this is just one small piece of the top of the palette, it already starts to depict an enormous part of history in Egypt.
The pieces of sculpture are both carved using the subtractive method of sculpting from stone. However, the types of stone used were very different. The sculpture of Mycerinus and Kha-merer-nebty II was carved from a stone called greywacke, a dark colored, very hard stone the Egyptians prized for sculpture despite the fact t...
Carved in Red Granite and measuring at 8' 6'' tall, the statue begins at the base with a large block with a rounded facade. Hatshepsut rests on her knees atop the block, her posture is perfect with a completely vertical back. She is facing straight ahead, the typical headdress and beard of the pharaoh are shown prominently. Her arms are lowered, bringing her wrists to rest on the top-most part of her thighs. In each hand she holds an offering jar. The whole piece is carved out of the one block of stone in a subtractive manner—meaning the stone is chipped away at.
The unification of Ancient Egypt became the major foundation for which the way Egyptian and African history is taught in this day and time. The combination of the two dynamic kingdoms of Upper and Lower Egypt played a significant role in shaping Egypt’s impact on the early civilization of mankind. Before the unification can be explored, we must further understand the differences of the two kingdoms. This will allow us to better grasp the concept of how the two advanced kingdoms complemented one another during their unification. The geographical qualities/relationship with the Nile River, trade routes, symbols, and religious beliefs will be fully analyzed in order to compare and contrast the two kingdoms. King Narmer’s (Menes) role in the unification
I chose this sculpture because I was intrigued by the position of the man and the centaur. I was able to witness that the centaur is trying to invade the personal space of the man. The sculpture showed me that there is a strong relationship between man and creature. The quality of the sculpture made me realize that animals play a big part of a human’s life and can be seen as threatening to humans. It was interesting to see that both the man and centaur were created to have almost of the same structures. This statue has a metallic brown and green, bronze tone and appeared undersized. It has a height of four and a half feet, and six inches. It has long, thin, legs with calf muscles, and bulging thighs. The sculpture evolved from Olympia, Greece. The man and centaur sculpture was created in 750 BCE during an orderly time period. The colors used for this sculpture, proved that it has a longer lasting mold for statues. On the left side of the sculpture, the man has a wrap on his head, that can symbolize, he is some form of a god. On the right side, the centaur has the same head piece as the man, but the body of a horse. It can be seen that the man and
Artistic style and practice mirrored the social, economic, and political changes within Egypt, evidenced within pieces material, size, and iconography. Egyptian Art was not only symbolic of royalty and was static and block like in appearance, it was also dynamic that emphasized anatomy, musculature, movement, and naturalistic realism that is often associated with Western Art alone. Egypt was a country steeped in tradition, believed in the afterlife and delighted in wealth. Art was representative of all these characteristics Egypt now stands for that is often limited to its architecture. Egypt was much more than monumental structures, it was also a cultural capital that experimented with artistic practice over its three thousand year