5. Image gallery Temple of Horus, Edfu, Egypt, ca 237-47 bc ANCIENT EGYPT The façade of this temple depicts Horus and Hathor witnessing an oversized King Ptolemy XIII striking down undesired enemies. The architecture of this temple is still rooted in the basic scheme that architects had worked out more than a thousand years before. This demonstrates the traditional nature of Egyptian art and architecture. This type of temple with a simple massive gateway or pylon with sloping walls is known as a pylon temple
10. Image gallery Temple of Amen-Re, Karnak, Egypt, Dynasty XIX Ca 1290-1224 bc ANCIENT EGYPT This temple is mainly the product of the Eithteenth Dynasty pharaohs, but some of the Nineteenth Dynasty pharaohs contributed to it as well. Contributers include: Thutmose I and II, Hatshepsut, and Ramses II. This temple is a great example of the hypostyle hall . ( One roof supported by many columns) Look on page 65 of the text for further illustrations of this architectural feature. The central section of the roof is raised. This architectural feature is called a clerestory. The function of this was to allow light to filter into the interior. The columns were decorated with a series of sunken relief sculpture.
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12. Semnut with Princess Nefrua from Thebes, Egypt ca. 1470-1460 B.C.E. granite 36 1/2 in. high
13. Semnut with Princess Nefrua from Thebes, Egypt ca. 1470-1460 B.C.E. granite 36 1/2 in. high
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15. Image gallery Fowling scene, from the tomb of Nebamun, Thebes, Egypt, Dynasty XVIII, ca 1400-1350 bc ANCIENT EGYPT Nebamun’s official title in Egypt was “scribe and counter of grain” Here he is shown standing in his boat, hunting birds in a papyrus swamp. Notice the hierarchy of scale and how the artist emphasized the important character. This was created in the tomb to ensure the recreational enjoyment in the afterlife. Notice the contrast between this work and that of the relief sculpture in the tomb of Ti. ( how are their poses different, and how does it speak to their importance) The technique used in the creation of this painting is known as Fresco Secco. The artists would let the plaster dry prior to painting on it. This contrasts the true fresco technique on wet plaster.
16. Fowling Scene from the tomb of Nebamun, Thebes, Egypt ca. 1,400-1,350 B.C.E. fresco secco 32 in. high
21. Image gallery Akhenaton, From the temple of Amen-Re, Karnak, Egypt, Dyanasty XVIII 1353-1335 BC ANCIENT EGYPT New Kingdom Akhenaton is infamous for his religious revolution in Egypt during the eighteenth Dynasty. The revolution in religion gave way to an artistic revolution in which the figures became elongated and androgynous in their appearance. The pharaoh Amenhotep IV abandonded the worship of most of the Egyptian Gods in favor of the God Aton ( the god of the Sun). In honor of the new monotheistic religion, Amenhotep IV changed his name to Akhenaton. He then moved the capital city of Egypt down the Nile River to the city of Thebes, now called Tell el-Amarna, where he built his own city and shrines.
22. Akhenaton from the temple of Amen-Re, Karnak, Egypt ca. 1,353-1,335 B.C.E. sandstone approximately 13 ft. high
24. Image gallery Nefertiti, Tell el-Amarna, Egypt, Dynasty XVIII 1353-1335, ANCIENT EGYPT Nefertiti, the queen of Akhenaton, exhibits the features indicative of the Amarna Style. The delicate curving contours demonstrate a clear stylistic difference from that of the traditional Egyptian depiction of royalty. Nefertiti’s name means “The Beautiful One is Here”. The subject’s likeness has been adjusted to the new standard of spiritual beauty. Features to be noted in this piece are the serpentine narrow neck that supports the heavy weight of the royal crown.
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26. Thutmose Nefertiti from Tell el-Amarna, Egypt ca. 1,353-1,335 B.C.E. painted limestone 20 in. high
27. Image gallery Tiye, Gurob, Egypt, Dynasty XVIII ca 1353-1335 bc ANCIENT EGYPT Tiye was the mother of Akhenaton. The depiction of age is present here which is a new development in the style of art. Depictions of royalty did not illustrate the age of the subject prior to the Amarna period. This image clearly demonstrates the relaxation of the artistic rules.
28. Tiye from Gurob, Egypt ca. 1,353-1,335 B.C.E. wood with gold, silver, alabaster, & lapis 3 3/4 in. high
29. Canopic jar from Thebes, Egypt ca. 1,349-1,336 B.C.E. alabaster with stone and glass inlay 20 1/2 in. high
30. 3-35: Akhenaton, Nefertiti, and three daughters, from Tell el-Amarna, Egypt, Dynasty XVIII, ca. 1353-1335 BCE. Limestone, approx. 12 1/4 high. Ägyptisches Museum, Berlin. Royal intimacy: Such an intimate portrayal of the pharaoh and his family is unprecedented in Egyptian art, however, the style is familiar. We see the undulating curves and prominent bellies that characterize figures of the Amarna school.
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33. Death Mask of Tutankhamen from Thebes, Egypt ca. 1,323 B.C.E. gold with semiprecious stones 21 1/4 in. high
34. Image gallery Death mask and innermost coffin of Tutankhamen Thebes, Egypt, Dynasty XVIII 1323 BC ANCIENT EGYPT Tutankhamen inherited the throne when he was only eight years old. The high officials associated with the young pharaoh made many of the decisions for the young ruler. The first order of business for Tutankhamen was to reestablish the cult and priesthood of Amen and restore the temples and inscriptions of his name. Once Akhenaton’s religious revolution was undone, artist returned to the old conservative manner. Tutankhamen only ruled for only 10 years, and died when he was 18 years old. His death and funeral were sudden, and many scholars believe that it was no accident. The evidence of his murder lies in bone fragments found in his skull, and the lacking attention to detail in his burial tomb. The lacking detail suggests a hurried burial, which is a suspicious considering the status of Tutankhaman.
35. Image gallery Death mask and innermost coffin of Tutankhamen Thebes, Egypt, Dynasty XVIII 1323 BC ANCIENT EGYPT Scientific studies of the remains of Tutankhamen have lead researchers to believe that he had two rare spinal cord diseases. His spinal cord had a slight curve to it and the vertebrate were non-flexible where they met his skull. The result of these rare diseases caused the pharaoh to need a walking stick as well as restricted the turning of his head. Many depictions of the pharaoh illustrate him using a cane with his feet twisted beneath his body.
36. Innermost coffin of Tutankhamen from Thebes, Egypt ca. 1,323 B.C.E. gold with semiprecious stones 73 in. high
37. 3-36: Innermost coffin of Tutankhamen, from his tomb at Thebes, Egypt, Dynasty XVIII, ca. 1323 BCE. Gold with inlay of enamel and semiprecious stones, approx. 6' 1 long. Egyptian Museum, Cairo.
38. Painted chest of Tutankhamen from Thebes, Egypt ca. 1,333-1,323 B.C.E. painted wood 20 in. long
39. Image gallery Last Judgment of Hu-Nefer, Thebes, Egypt Dynasty XIX 1290-1280 bc ANCIENT EGYPT Hu-Nefer was the royal scribe to the pharaoh Seti I. This tomb painting depicts the jackal-headed god, Anubis, leading Hu-Nefer down the hall of judgment. His soul has been favorably weighed and he is being brought by Horus to the presence of the green-faced Osiris. This formula for imagery in Hu-Nefer’s tomb demonstrates a return to the Old Kingdom funerary illustrations
40. Wedjat Eye of Tutankhamen from Thebes, Egypt ca. 1,333-1,323 B.C.E. gold and precious stones 2 in. wide
41. Last judgment of Hu-Nefer from Thebes, Egypt ca. 1,290-1280 B.C.E. painted papyrus scroll 18 in. high
42. Book of the Dead from Thebes, Egypt ca. 1,040-945 B.C.E. painted and inscribed papyrus 13 3/4 in. high
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Editor's Notes
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Some of the slide concept presented are by William V. Ganis, PhD. Some of the slides are from other sources. FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
