Art History I Exam I-3

tomb remains

Sumer

Palette of Narmer

tomb interiors

provided access for the Ka

raised central roof permitting light to filter into the interior

deliberate artistic reaction against the established canon

she is wearing the royal male nemes headdress

larger than life representation of pharaoh

served as a reminder of the absolute power of the pharaoh

capitals are shaped as lotus or papyrus

colors do not fuse to the wall surface

commemorative rather than funerary.

conservative and formulaic

triumph over evil

Ramses II

geometric with lion-shaped capital

Horus

Old Kingdom

fresco secco

hypostyle hall

Palette of King Narmer

lotus

mastaba

Osiris

seat of the power cult of Re whose emblem was the pyramidal stone or ben-ben

Mortuary temple

Post Empire, Ptolemaic Period

post-and-lintel

Hatshepsut

signs of a once-spoken language

Rosetta Stone

It was the backbone of ancient Egypt (and still is today). The annual flooding provided rich nutrients for the soil on either side of the river, and this supported all life in ancient Egypt by providing an abundance in crop growth. The Nile figured in all aspects of ancient Egyptian life. It provided access to the sea and to international trade and a means of transport and communication throughout the empire.

This structural element raised the roof level and allowed for interior light. This device allowed for light to penetrate the interiors and was subsequently used in Roman basilicas and medieval church design as well.

A system of writing that uses symbols or pictographs.

It presents Narmer larger than life on both sides of the palette. He is depicted wearing both crowns of Upper and Lower Egypt. On the back of the palette he is represented in the high, white crown of Upper Egypt and on the front he is depicted in the red crown of Lower Egypt. The entwined necks of the two feline creatures perhaps represent the unification of Egypt itself under the order of Narmer.

A stone containing inscriptions in Greek, demotic, and hieroglyphics. It enabled scholars to decipher the meanings of the hieroglyphic symbols and subsequently read the language of the ancient Egyptians.

A New Kingdom Egyptian royal daughter and wife who served as regent for Thutmose III, she then took power herself and ruled as Pharaoh. Her Mortuary Temple at Deir el-Bahri stands as a monument to her greatness; the painted reliefs on the mortuary temple are documents which record her place in history and represent the first ever such effort to acknowledge the accomplishments of a woman.

An ancient Egyptian tomb in the shape of a bench or truncated pyramid.

The portrayal of Ti is stiff and still, and he does not interact with the scene, while Nebamun vigorously engages in the activity. Also Nebamun's wife and daughter are enjoying the activity with him.

The Pharaoh Akhenaton established the new Amarna artistic style which was relaxed, less rigid. This style depicted the royal family in intimate scenes, unprecedented in Egyptian art.

It is speculated that the powerful cult of Ra from Heliopolis figured in the design of the pyramid structure. The pyramid itself is a symbol for the sun and according to the Pyramid Texts it is the sun's rays, which provide the ramp pharaoh uses to ascend to the heavens. It is in the pyramids that the Old Kingdom pharaohs were reborn, just as the sun is reborn every day at dawn.

He sits on his throne with a body of flawless perfection and a face of serenity and majesty. The ancient Egyptian did not need to see a facsimile of the man, this work was not meant as a portrait but rather the summation of the divinity of pharaoh, the brother of the gods and the ruler of ancient Egypt.

A system of proportions that was used throughout the history of ancient Egypt with the exception of the Amarna period. The canon created the ideal of permanence and enduring timelessness, which was very important to the conceptual and perceptual aesthetics of Egypt. The canon allowed repetition to become permanence. It echoed the changelessness that was reiterated in the visual vocabulary of the ancient Egyptians

It presents Tutankhamen as the conqueror and successful hunter. The chest reiterates the perception of Pharaoh as seen in the Palette of Narmer. He is larger than life and he alone controls all from animals to enemies. Even though the theme is traditional the depiction is reminiscent of the Amarna period: fluid, curvilinear line.

Seated statue of Hemiunu (Figure 3-14A). Hemiunu, as the hieroglyphic inscription on the base of his seated portrait statue informs the viewer, was the vizier and seal bearer of Khufu and overseer of the royal scribes. He also held several priesthoods and was the king's chief builder—that is, Hemiunu supervised the construction of Khufu's pyramid (FIG. 3-8, top). Befitting his influential position, Hemiunu's tomb—a solid rubble mastaba with a handsome stone facing—was one of the largest in the cemetery immediately to the west of Khufu's pyramid, where dozens of mastabas were laid out in neat rows.

Seated statue of Lady Sennuwy (Figure 3-17A). It stands in vivid contrast to the brooding portraits of some Middle Kingdom pharaohs (FIG. 3-17) and instead presents Sennuwy as a young, beautiful, and elegant woman in the tradition of Old Kingdom portraits of royal women (FIGS. 3-12A and 3-13).

King and queen of Punt (Figure 3-20A). The relief illustrated here is one of those documenting Hatshepsut's successful expedition to Punt, a rich kingdom on the Red Sea to the south, famed for its gold, myrrh, frankincense trees, and other exotic natural resources. The reliefs record the sea journey, the precious cargo of gold ingots and incense trees the Egyptians brought back with them, and the people, animals, and houses the Egyptians found in Punt.

Palette of Narmer (Figures 3-3) and chest of Tutankhamen (Figure 3-1). The Palette of Narmer becomes a political document recording the unification of Upper and Lower Egypt. It also presents an early blueprint for the canon or system of proportions in Egyptian figural representation. The Chest presents the royal power of Pharaoh not only as hunter but also as conquering warrior. The Chest was painted when Tutankhamen was too young to actively participate in the events the chest recorded but it does represent a return to the traditional after the death of Akhenaton and the end of the Amarna period.

Akhenaton, Nefertiti, and three daughters (Figure 3-33). We see an informal, intimate pose of the couple as husband and wife and mother and father. The scene is a tender depiction of the royal family, contrasting with the formality traditionally used in presenting the royal family. The Amarna Period sought a more relaxed format for portraying royalty and their lifestyles as seen here.

Khafre, Gizeh (Figure 3-12) and. Akhenaton, Temple of Aton (Figure 3-30). Khafre's divinity and eternal stillness define the nature of the ruler—vigilance for Egypt. It becomes an icon for the enduring power of pharaoh, a statement for eternity and Egypt's place as a significant power and imposing majesty. While Akhenaton still retains the standard frontal pose of canonical pharaonic portraits, the sculptor has deviated by presenting a long, curving body rather than the heroically proportioned body of pharaoh. This change reflects the aesthetic developed at this time by Akhenaton (Amarna Period), who broke with the traditional gods and established Aton as the only or universal god of Egypt.

Temple of Ramses II, Abu Simbel (Figure 3-22). Ramses II proclaims his greatness and his achievements as a military pharaoh (he restored Egypt's empire) with the overwhelming size of his monument. This structure defines his role and status as pharaoh and brother to the gods.

"Fowling" scene from the tomb of Nebamun (Figure 3-28). The scene shows Nebamun enjoying the hunt with his family in the afterlife. It is serves a dual purpose, reminding the returning spirit of the joys of life which can be repeated in death, also becoming a metaphor for the deceased's journey from life into the hereafter. This scene is repeated in tomb interiors from any period.

White Temple, Uruk (Iraq) c.3200 BCE (Figure 2-2) and Stepped Pyramid of Djoser at Saqqara c.2630 BCE (Figure 3-5). The White Temple is a pyramidal shape and constructed of mud brick, a monumental setting for the worship of a god or deities. It is constructed as a stepped platform or ziggurat, with stairs leading to its top but not directly to the sanctuary; it has a bent axis approach. The Djoser complex is the first royal monumental tomb of the ruler or pharaoh, also pyramidal shaped. This complex has a funerary temple attached for daily rituals or ceremonies and becomes a shrine to the deified pharaoh (after his death). Its linear approach is oriented to only one cardinal point; this is a tomb and not a temple platform.