My selected artifact is relief dating to Dynasty 18 in which Akhenaten is depicted as a sphinx, offering to the god Aten. Akhenaten wears the ureaus headdress, marking him as king of Egypt while two cartouches contain his official name. In addition to his cartouche, the relief contains the cartouches of Aten and Nefertiti, delineating the trinity of divinities that compose Akhenaten’s religion. Aten is depicted traditionally, as a sun disk, with his hands holding ankh symbols reaching towards offering tables in front of Akhenaten where the king holds a basket containing Aten’s titles inside. The inscription on the relief reads “great, living Aten”… “dwelling in the Sunshade temple” which is a different structure than the Aten Great Temple in
Just like Akhenaten in the aforementioned relief, the king and his family were depicted in an exaggerated style, much different than the idealized style of past Egyptian art. The human body was drawn with emphasis on the curves of the hips and stomach, but also presented individual features that made it easy to discern who was pictured. Along with differences in style, the content of art changed, with the royal family being seen in increased intimacy. There is even a relief of Nefertiti sitting on Akhenaten’s lap, a closeness not previously seen in royal art. The Aten Great Temple reflects the changes in architecture that especially permeated temple architecture. Temples were built open to the air, allowing Aten to penetrate the sacred area with his rays. Also, temple reliefs evolved to depict scenes of daily life at Amarna and the activities of the royal family instead of that of gods, as previously seen in Egypt. The Great Temple contained nine hundred open air mudbrick offering tables, like the ones depicted in the relief, in which food offerings would be left for Amen. Akhenaten probably decided to be depicted as the sphinx in the above relief because of the connection the sphinx previously held to the sun god Amen- Ra with Akhenaten reinterpreting it as a symbol of praise to
Looking at this Palette, it isn’t hard to see how the old Egyptian subjects were so entranced by their leaders and how that compares to our modern viewpoints. Where we view politicians and leaders as a wiry group, always keeping an eye on them lest today be the day they raise their daggers against us, the ancient Egyptians saw their leaders as infallible, godlike beings to be trusted, obeyed, and adored. Standing just over 2 feet tall and 1.4 feet wide, this Palette was carved out of a majestic shade of grey-green siltstone, almost shield-like in appearance. Both sides are exquisitely carved out, each one uniquely decorated but both sides containing a central serekh used to identify and in this case even confirm the subject as royalty. This serekh contains the symbols n’r and mr, which as you may have noticed, phonetically spell Narmer. These symbols are surrounded by two bovine heads, which could either represent the Goddess Hathor or Bat. The front s...
During the New Kingdom of Egypt (from 1552 through 1069 B.C.), there came a sweeping change in the religious structure of the ancient Egyptian civilization. "The Hymn to the Aten" was created by Amenhotep IV, who ruled from 1369 to 1353 B.C., and began a move toward a monotheist culture instead of the polytheist religion which Egypt had experienced for the many hundreds of years prior to the introduction of this new idea. There was much that was different from the old views in "The Hymn to the Aten", and it offered a new outlook on the Egyptian ways of life by providing a complete break with the traditions which Egypt held to with great respect. Yet at the same time, there were many commonalties between these new ideas and the old views of the Egyptian world. Although through the duration of his reign, Amenhotep IV introduced a great many changes to the Egyptian religion along with "The Hymn", none of these reforms outlived their creator, mostly due to the massive forces placed on his successor, Tutankhamen, to renounce these new reforms. However, the significance of Amenhotep IV, or Akhenaten as he later changed his name to, is found in "The Hymn". "The Hymn" itself can be looked at as a contradiction of ideas; it must be looked at in relation to both the Old Kingdom's belief of steadfast and static values, as well as in regards to the changes of the Middle Kingdom, which saw unprecedented expansionistic and individualistic oriented reforms. In this paper I plan to discuss the evolvement of Egyptian Religious Beliefs throughout the Old,
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.
Haremhab was a royal scribe and generalissimo of the army under King Tutankhamun or Aya, Late Dynasty 18, 1327-1323 B.C. He continued to serve during the reign of Aya, and then became king himself. This statue was made before he ascended the throne. Haremhab’s own choice to be represented as a scribe indicates the importance of literacy in Egypt; it ...
The Assyrian Winged Protective Deity is a low relief sculpture, so it does not stand out as much against the stone it was carved out off, but the viewer can easily distinguish the outline of the figure portrayed. One foot of the figure is stepping forward, which could symbolize a continuation with life even after death to protect the king. The stance of this figure greatly resembles Egyptian reliefs, since they would often have their statues have one foot forward. They did this because it symbolized eternity through the afterlife, which the ka of the person needed. The ka ...
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,
Emeline Richardson researched and learned that many Etruscan sculptures and artifacts, like the Chimera from Arezzo, were made of bronze and other materials and artifacts imported from the Eastern regions – Northern Syria or Anatolia, Phoenicia, and Egypt. These imported materials “supplied the motifs that characterize the Orientalizing styles” in Ancient Greece, including winged monster hybrid figures. For example, the Ivory Sphinx from Cerveteri has it’s
...ars after Khafre’s reign, the fourth dynasty was just the beginning. Monumental Egypt, although it existed in burial tombs before Khafre’s reign, truly became a traditional pattern in the fourth dynasty. Khafre’s seated ka statues were numerous and perhaps the beginning of the formulaic sculpting of Egyptian ka statues. The King Khafre Seated that is at the Metropolitan Museum of Art now is not only the best ka statue of Khafre in existence, but perhaps one of the best examples of classic Egyptian sculpture from the Old Kingdom.
Teeter, E. Egyptian Art. Art Institute of Chicago Museum Studies, Vol. 20, No. 1 Ancient Art at The Art Institute of Chicago (1994), pp. 14-31
Over the history of man, there have been many prosperous empires that ruled in different parts of the world. Babylon and Egypt are two of these empires that ruled almost 500 years apart, but had one thing in common, great artistic works. Wall paintings such as the Babylonian work Investiture of Zimrilim, and the Egyptian Queen Neferati Making an Offering to Isis are examples of the great works of their times. Both pieces are rich in meaning and background, share many similarities, but differences can be seen in their style due to the time periods.
In the portrait Akhenaton worships his god Aton, who appears as the sun at the top of the relief. At Aton’s end of his rays appears to be hands holding ankhs which were symbols of eternal life. In the scene of the relief Akhenaten and his wife Nefertiti are holding their 3 daughters displaying affections in an Egyptian family, unlike in the old kingdom which the portraits of royalty couples were stiff and emotionless postures. The portrait of Akhenaten and Nefertiti does not correspond to the Egyptian canon as their proportions and physical characteristics were not
Carved from alabaster the over-life-sized statue shows a idealized depiction of ruler Khafre sitting eloquently in his throne. Riddled with indicative symbols and motifs the written language of the ancient Egyptians allows for historian to interoperate the meanings and purpose of the sculpture, and decipher the statements of divinity and the king power left behind by this ancient people. This funerary statue represents Khafre’s eternity a well as utilizing the expensive material as a testament of his importance and
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...
Arguably one of the most important discoveries made regarding the historical and cultural study of ancient Egypt is the translation of the writing form known as hieroglyphics. This language, lost for thousands of years, formed a tantalizing challenge to a young Jean François who committed his life to its translation. Scholars such as Sylvestre de Sacy had attempted to translate the Rosetta Stone before Champollion, but after painstaking and unfruitful work, they abandoned it (Giblin 32). Champollion’s breakthrough with hieroglyphics on the Rosetta Stone opened up new possibilities to study and understand ancient Egypt like never before, and modern Egyptology was born.
The “Sacred Tree,” (fig. 1) was originally positioned behind the king’s throne. The scene shows two genii, sometimes with birds’ heads and sometimes with men’s heads and the horned hats of gods. Each of the winged figures holds a bucket and reaches out with an oval object toward a stylized “tree.” The composition has been read as being based on bilateral symmetry, with the vertical stalk-like structure crowned by a palmette. A meticulous examination reveals that although balanced, it has many discrepancies on both sides that deviate from perfect mirror symmetry. Ashurnasirpal appears twice, shown from two sides, dressed in ceremonial robes and holding a mace connoting his authority. The figure of the king on the right makes an invocative gesture a god in a winged disk in the top center of the relief. Ashur, the national god or Shamash, the god of the sun and justice, may be identified as the god who confers the king divine right. On the left, the king holds a ring, an ancient Mesopotamian symbol of divine kingship, in one...