Ancient Egyptian Art are paintings, sculptures, architecture, and other art produced by ancient Egyptian civilizations in the Lower Nile Valley from about 3000 BC to 30 AD. The art of Ancient Egypt reaches a high level in painting and sculpture, and both are very stylish and symbolic. It's notoriously conservative, and the Egyptian style changed very little for over three thousand years. Most of the surviving art comes from tombs and monuments and there is now an emphasis on life after death and the preservation of knowledge from the past. The art of the wall is never meant to be seen by anyone other than the afterlife when they need it.
Ancient Egyptian art includes paintings, statues in wood (now rare), stones and ceramics, images on papyrus, fayes, jewelry, ivory, and other artistic media. It presents a very clear representation of the socio-economic status and ancient Egyptian belief system.
Video Art of ancient Egypt
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The Egyptian art is famous for its distinctive shape conventions, used for the main figures both in relief and painting, with separate legs (where not sitting) and heads shown as seen from the side, but the torso is visible from the front, and a standard. A collection of proportions that compose the image, using 18 "boxing" to move from the ground to the hairline on the forehead. It appears as early as the Narmer Palette of the First Dynasty, but there as elsewhere, this convention is not used for small figures shown to be involved in some activities, such as captives and corpses. Other conventions make male statues darker than women's ones. Very conventional portrait sculptures emerged since the beginning of Dynasty II, before 2,780 BC, and with the exception of the Amarna Ahkenaten period art, and several other periods such as the XII Dynasty, the ideal ruling features, like other Egyptian artistic conventions. , changed slightly until after the Greek conquest.
Egyptian art uses hierarchical proportions, in which the size of a number indicates its relative importance. The gods or divine pharaohs are usually larger than other figures and the figures of high officials or tomb owners are usually smaller, and on the smallest scale there are servants and entertainers, animals, trees, and architectural details.
Symbolism can be observed throughout Egyptian art and plays an important role in building a sense of order. The pharaoh regalia, for example, represents its power to maintain order. Animals are also very symbolic in Egyptian art. Some expressive colors: blue or gold show deity due to its unnatural appearance and connection with valuable material, and the black use for royal figures reveals the fertility of the Nile from which Egypt was born.
Maps Art of ancient Egypt
Painting
Not all Egyptian reliefs are painted, and less prestigious works in tombs, temples and palaces are only painted on a flat surface. The rock surface is prepared with lime, or if coarse, a coarse slurry plaster layer, with a finer layer of gesso above; some better limestone can take the paint directly. Most mineral pigments, selected to withstand strong sunlight without fading. The binding media used in the painting remains unclear: tempura eggs and various gums and resins have been suggested. It is clear that a true fresco, painted into a thin layer of wet casts, is not used. Instead the paint was applied to dry plaster, in what is called "fresco a secco" in Italian. After painting, varnish or resin is usually used as a protective coating, and many paintings with exposure to elements that survive very well, though on rarely exposed walls are rare. Small items including wooden statues are often painted using the same technique.
Many ancient Egyptian paintings survive in tombs, and sometimes temples, because Egypt's climate is very dry. The paintings were often made with the intention of making a happy afterlife for the deceased. The themes include journeys through the afterlife or the protective deity who introduced the deceased to the gods of hell (such as Osiris). Some grave paintings show the activities that the deceased experienced when they were alive and wanted to continue to do forever.
In the New Kingdom and then, the Book of the Dead was buried with the buried man. It is considered important for the introduction to the hereafter.
Egyptian paintings are painted in such a way to show the appearance of the profile and the side view of animals or people at the same time. For example, the painting on the right shows the head of the profile and body view from the frontal view. Their main colors are red, blue, green, gold, black and yellow.
Paintings that show hunting and fishing scenes can have a living landscape background from reeds and water, but in general Egyptian paintings do not develop a sense of depth, and neither the landscape nor the visual perspective is found, the numbers are rather varied. size with their interests than their location.
Statue
Monumental sculptures of ancient Egyptian temples and tombs are the world's most famous small works, but subtle and subtle ones exist in far greater numbers. The Egyptians used the relief technique of relief, which is best seen in the sun for the lines and shapes that the shadow should emphasize. The distinctive poses of statues standing facing forward with one foot in front of the other are helpful for balance and power pieces. The use of this single pose is used early in Egyptian art history and also in the Ptolemaic period, although the seated statues are also very common. Egyptian pharaohs were always regarded as gods, but other gods were much rarer in large statues, except when they represented the pharaoh as other gods; but other gods are often featured in paintings and reliefs. A row of four famous colossal statues outside the main temple at Abu Simbel each shows Rameses II, a typical scheme, although here it is very large. Larger sculptures survive from Egyptian temples or tombs; large statues were built to represent their gods and pharaohs and queens, usually for open areas inside or outside the temple. The very early Giza Sphinx was never repeated, but the streets are filled with enormous statues including sphinx and other animals that are part of many temple complexes. The most sacred cult image of a god in the temple, usually held in naos, is in the form of a relatively small boat or barque holding the image of a god, and apparently usually in precious metals - no survivors.
By Dynasty IV (2680-2565 BC) no later than the idea of ​​the Ka statue was established steadily. It was put into a tomb as a resting place for the soul's part, and so we have a large number of less-than-conventional statues from wealthy administrators and their wives, many in wood like Egypt is one of the few places in the world where climate allows wood to survive for more than thousands of years, and many statues of beams. The so-called reserve head, the head without plain hair, is very naturalistic, although the extent to which there is a real portrait in ancient Egypt is debatable.
The early graves also contained small models of slaves, animals, buildings and objects such as boats needed for the deceased to continue their lifestyle in the afterlife, and later Ushabti's characters. But most of the wooden statues have been lost to rot, or may be used as fuel. Little figures of the god, or the personification of their animals, are very common, and are found in popular materials such as pottery. There are also a large number of small carvings, ranging from god figures to toys and carved equipment. Alabaster is often used for this expensive version; painted wood is the most common material, and normal for small models of animals, slaves and treasures placed in cemeteries to provide life after death.
A very strict convention was followed when drawing up statues and special rules governing the appearance of every Egyptian god. For example, the celestial deity (Horus) is basically represented with the head of an eagle, the funeral god (Anubis) must always be shown with the head of a wolf. Artistic works are ranked according to their obedience to these conventions, and the conventions are so closely followed that, for three thousand years, the appearance of the statues has changed very little. These conventions are intended to convey the timeless and non-aging quality of the picture ki.
The common relief in ancient Egyptian statues is the representation between men and women. Women are often represented in idealistic, young and beautiful forms, and are rarely shown in older maturity. While men are shown in one of two ways; either in an idealistic way or in a more realistic portrayal. Male sculptures often show aged males, because aging regeneration is a positive thing for them, women are shown as immortal young.
Faience, pottery, and glass
Faience Egypt, made of sand and chemicals, produces small objects that are relatively inexpensive and very attractive in different colors, and are used for various types of objects including jewelry. Ancient Egyptian glass returned to early Egyptian history, but was originally a luxury material. In later periods it became common, and very small decorated jars for perfume and other liquids were often found as grave goods.
Ancient Egyptians used steatite (several varieties called soapstone) and carved small pieces of vases, amulets, images of gods, animals and some other objects. Ancient Egyptian artists also discovered the art of coating pottery with enamel. Covering by enamel is also applied to some stone works. The blue color, first used in the import of expensive lazuli stones, is highly appreciated by ancient Egypt, and the Egyptian blue pigment is widely used to color various materials.
Various types of pottery are kept in the graves of the dead. Some of these pottery items represent the inner parts of the body, such as the lungs, liver and small intestine, which are removed before embalming. A large number of small objects in enamel pottery are also kept with the dead. It is common to be made on the walls of pottery cones, about six to ten inches, where engraved or impressed legends related to the inhabitants of dead graves. These cones usually contain the names of the deceased, their titles, the office they hold, and some expressions appropriate for the purpose of the funeral.
Architecture
Ancient Egyptian architects used dried and dried bricks with sunlight, fine sandstone, limestone and granite. Architects plan all their work carefully. The stones need to be united, because there is no mud or cement. When creating a pyramid, the ramps are used to allow workers to rise as construction height increases. When the top of the structure is finished, the artists are decorated from top to bottom, releasing ramp sand as they descend. The exterior wall of a pyramid-like structure contains only a few small holes. The hieroglyphic and illustrated sculptures with brilliant colors are widely used to decorate Egyptian structures, including many motifs, such as beetles, sacred beetles, sun discs, and vultures. They describe the changes Pharaoh will make to become a god.
Amarna Period
The Amarna period and the years before the pharaoh Akhenaten moved the capital there at the end of the Eighte Dynasties constituted the most drastic interference with the continuity of style in the Old and New Kingdoms. The art of Amarna is characterized by a sense of movement and activity in the image, with figures that have a raised head, many overlapping figures and lots of full and overcrowded scenes. Because the new religion is a monotheistic worship of the sun, sacrifices and worship are apparently done in the open courtyard, and drowning relief decorations are widely used here.
The human body is described differently in the Amarna style than the Egyptian art as a whole. For example, many of Akhenaten's body portrayals give him a clear feminine quality, such as large hips, prominent breasts, and larger belly and thighs. This is a difference from previous Egyptian art that shows a man with a perfectly carved body. The face is still displayed exclusively on the profile.
Not many buildings from this period survived the damage of later kings, in part because they were built from standard size blocks, known as Talatat, which are very easy to remove and reuse. The temple at Amarna, following the trend, does not follow traditional Egyptian customs and is open, without ceilings, and has no closing doors. In the generations after Akhenaten's death, artists returned to their old style. There are still traces of this later period style, but in many ways Egyptian art, like the Egyptian religion, returns the usual characteristic after Akhenaten's death as if a period had never happened. Amarna itself was abandoned and many problems were lost to contaminate the monuments of the reign, including dis-assembling and reusing blocks with their decorations facing inward, as recently discovered in a later building.
End Period
In 525 BC, the Egyptian political state was taken over by Persia, almost a century and a half into the Egyptian Final Period. In 404 BC, Persia was expelled from Egypt began a brief period of independence. The 60-year rule of Egypt is comprised of an abundance of short-haul power and government. Again the Egyptians were disturbed by the Persians when they conquered Egypt again until 332 BC. With the arrival of Alexander the Great. The source states that cheering when Alexander entered the capital since he threw away the Persians who were so disliked. The End Period is characterized by the death of Alexander the Great and the beginning of the Ptolemaic Dynasty. Although this period marked the political upheaval of major changes to Egypt, its art and culture continued to grow.
Beginning with the Thirteenth Dynasty, the fifth dynasty of the Final Period, and extending into the Ptolemaic era. These temples range from the Delta to Philae Island. While Egypt is out of fluency through trade and conquered by foreign countries, these temples are still in traditional Egyptian style with very little Hellenistic influence.
Another aid coming from the Thirteenth Dynasty was the modeling of rounded bodies and legs. This round modeling refers to giving subjects to fleshy or heavy-figured statues or paintings. For example, for women, their breasts will swell and overlap the upper arm in the painting. In a more realistic portrayal, men will be fat or wrinkled.
Another work of art that is increasingly common so far is Horus stela. Stela horus originates from the end of the New Kingdom and the intermediate period but is increasingly common during the fourth century into the Ptolemaic era. These statues often depict a young Horus snake standing on a dangerous beast. The depiction of Horus comes from Egyptian myth where a young Horus rescues us from scorpion bites so that he gets power over all the dangerous animals. These statues are used "to ward off attacks from dangerous creatures, and to heal snakebites and scorpion stings."
Ptolemaic Period
Discoveries made since the late 19th century surrounding the ancient Egyptian city of Heracleum (now drowned) in Alexandria include the description of the 4th century BCE, which is extraordinarily sensual, detailed and feministic (contrary to deification) of Isis, marking the Egyptian combination and Hellenistic forms began around the time of Egypt's conquest by Alexander the Great in 332-331 BC. However this is untypical of Ptolemaic sculpture, which is generally avoided mixing Egyptian style with the common Hellenistic style used in the art of palace of the Ptolemaic Dynasty, while temples across the country continue to use the final version of the traditional Egyptian formula. Scholars have proposed "Alexandrian style" in Hellenistic art, but in fact there is little to do with Alexandria.
Marble is widely used in palace art, although everything must be imported, and its use is made from various marble sparing techniques, such as making heads of several parts, and using stucco for beard, the back of head and hair. Unlike other Hellenistic royal art, Ptolemy's royal portraits are generalized and idealized, with little regard for reaching individual portraits, although thanks to coins, some portrait statues can be identified as one of the 15 Ptolemys Kings. Many portraits then obviously have faces reworked to show the king later. One feature of Egypt is to give a far greater advantage to the queen than any other successor dynasty to Alexander, with royal couples often featured as a couple. This preceded the 2nd century, a series of queens did use real power.
In the 2nd century Egyptian temple statues began to reuse court models on their faces, and priestly statues often used Hellenistic styles to reach individual heads of portraits. Many small sculptures were produced, with Alexander, as the founder of the dynasty, the common "King of Ptolemai", and the Aphrodite naked among the most common types. The pottery sculptures include grotesques and stylish women of Tanagra style statues. Erotic groups display unreasonable large phalluses. Some fittings for wooden interiors include polychrome eagle patterned very fine in faience.
Note
References
- Smith, R.R.R., Hellenistic Sculpture, handbook , Thames & amp; Hudson, 1991, ISBNÃ, 0500202494
- Smith, W. Stevenson, and Simpson, William Kelly. Ancient Egyptian Art and Architecture , edn 3rd. 1998, Yale University Press (Penguin/Yale History of Art), ISBN: 0300077475
Further reading
Hill, Marsha (2007). A gift to the gods: images of Egyptian temples . New York: Metropolitan Museum of Art. ISBN: 9781588392312.
External links
- Ancient Egyptian Art - Aldokkan
- Senusret Collection: A well-introverted introduction to Egyptian art
Source of the article : Wikipedia
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