Akhenaton, Nefertiti

Ancient Greek art is something to be admired; the accuracy of the figures, compared to Egyptian art is commendable. The art works show great depths of emotion and detail. The “Grave stele of a little girl” is a beautiful relief of what appears to be a small child holding two birds. The forearm resembles a young child’s arm because it seems that the “baby fat” is still present, but it is strange that the face has less-childish features. The figure is in strict profile, which possibly suggests a Greek sculptor, in addition to the intricate detail and the contrapposto. Egyptian sculptors did not have

Looking at the Stele of Iku and Mer-imat causes some questions to arise. Which class did the man and woman on the stele fall in? Was it made during the time of the Old Kingdom, Middle Kingdom, or New Kingdom? Did the two love each other? We can answer or infer the answers to the questions by finding out more about the work. The Old Kingdom lasted from about 2686-2055 BCE and this piece was made by about 2100 BCE, which explains why the polychrome on the limestone has faded so much and the edges are chipped and damaged very badly. The man and the woman were probably in the upper class, seeing as they could afford to have a funerary stele made of them and they are painted wearing expensive outfits. As for whether or not the two were in love, it is obvious that they cared for each other deeply. The woman, Mer-imat, outstretches her arm and wraps it around his upper body, placing it on his shoulder. She is facing in his direction, ready to follow him wherever he may venture. Although he is not caressing her or even looking at her, he wanted her to be shown in the stele with him. In fact, it was very common for Egyptian men to have their arms to their sides, balling their hands in to fists to hold pegs. He is just showing his power, and the whole work is very similar to the statue of King Menkaure and his Queen.

Amenhotep IV better known as Akhenaten is one of the most interesting pharaohs to have ever ruled over Egypt (BBC). He changed his name to Akhenaton, which means 'the servant of Aten' early in his reign (ehistory). He came into power around 1353 BCE and stayed in power for 17 years (BBC). His wife was queen Nefertiti and they had six daughters, he also fathered king Tut (BBC). Akhenaten was a true visionary as he made revolutionary changes to the religion and art of Ancient Egypt.

Depicted in the center of The Stele of Prince Ankh-nef-neb is the Prince standing at the right offering a table of gifts to three gods and goddesses. The deities can be identified from their appearances and symbols. Isis with the throne on his head, Horus with the head of a

The statue of King Sahure and a Nome god is an interesting piece of Ancient Egyptian art ( c. 2500 BC ) that shows signs of Ancient Egyptian culture and beliefs. The statue is a small relief sculpture, meaning the sculptural elements are attached to the solid background of the sculpture and appears to be emerging from the material. The piece clearly depicts two figures side by side, one standing on the left and one sitting on the right (facing foreward). The purpose of this piece was probably to depict a certain symbolic interaction between the two characters.

The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).

Along with his striking religious changes, Akhenaten also led a political revolution, namely in the perception of the pharaoh. One of the most visible changes in Akhenaten’s reign was a drastic change in art. Public perception of the pharaoh was essential to political power, but Akhenaten's portraits do not portray the pharaoh in the “larger-than-life” style associated with other New Kingdom rulers. Firstly, Akhenaten was feminine in appearance, and is shown affectionately playing with his children and Nefertiti. Amarna art is realistic and Akhenaten chose to portray a reality no other pharaoh had been willing to show. Nicholas Reeves explains these changes: “In Akhenaten’s ‘new look’ these striking changes in composition and gesture, which

The reliefs of Ankh-neb-ef are limestone panels with paint that originated from the Old Kingdom of Egypt in 2150 BC during the reign of Pharaoh Pepy II. The delicate carving of the panels in the sunken relief presents a magnificent image. They portray Ankh-neb-ef, an ancient Egyptian priest whose name translates to “may his lord live.” In the reliefs, Ankh-neb-ef holds a Kherep-sceptor and a walking stick, which were symbols of authority in ancient Egypt. Egyptian civilization was extremely religious and most ancient Egyptian artworks involved the portrayal of gods, goddesses, and Pharaoh, as well. Moreover, the Egyptian reverence for order and conservative ideals led to the institution of intricate rules that governed how artists represented both humans and gods (Saylor.org 4). For instance, the apparel worn by Ankh-neb-ef in the painting is not a simple fashion statement. The priest is wearing a prestigious sarong and ornamentation, bracelets, and a wide collar. The jewelry kept their owner safe in a dangerous passage to the afterlife. This formula for representing the human figure in a painting remained popular over several centuries (Robins 24).

To the best of my knowledge, the Ankh is an Egyptian symbol standing for protection. I know that it is a popular symbol when it comes to amulets or necklaces, as well as bracelet charms. Other than that I have seen it in several films with pharaohs, who keep it in their hand or look at it. The Ankh is part of the Egyptian culture.

This first act as king brought with him a shocking speculation and hostility between his throne and the priesthood of Amun. Inside the temple was an entirely new style of art, which was often described, as “naturalistic” in Akhenaten’s portrayal of the human body. No longer was the Pharaoh portrayed as half animal with the perfect body fitted for the afterlife. Akhenaten and the royal family were shown with long toes, massive hips, extremely long fingers, skinny torso, ample breasts, big buttocks, and an elongated face. This exaggeration of the royal family’s bodies altered classic Egyptian art and became better known as Amarna Art.

The Bust of Queen Nefertiti, which was created in 1340 BC by an unknown artist, is perhaps the most famous depiction of the Queen during her reign. The bust, being held at the Egyptian Museum in Berlin, shows an important connection between the artist and the queen herself

In this formal analysis, the subject is the wall painting Queen Nefertari and Isis, located in Nefertaris’ tomb. The painting shows the ancient Egyptian Goddess Isis “leading” the Queen by the hand. Nefertari lived around 1300-1255 BC and was the first and exclusively claimed wife of the Egyptian pharaoh Ramses II.

This Goblet Inscribed with the names King Akhenaten and Queen Nefertiti, is made of travertine, (Egyptian alabaster) height 5 ½ in diameter 4 1/8 in. (MET). When I look at this piece I feel it may commemorate a wedding, anniversary, or King Akhenaten’s deep love and affections for his principal Queen Nefertiti. This Piece encompasses the changes King Amenhotep is making in the Egyptian culture, as the previous artworks and vessels have a much different look and style. King Akhenaten has as of yet changed his name as the cup shows the name Amenhotep IV and his principal Queen Nefertiti. This places the goblet at about 5 years into King Akhenaten’s rule over Egypt. The Goblet is not a typical show of craft for that time in Egypt.

I find this piece to be very mysterious. Why does the head become narrow at the top? The face seems to be of an older woman, as shown by the wrinkles indented within the sides of the nose and the mouth, although they are not as prevalent as the one of NYC. There’s a soft jaw line of a woman. What is interesting to me is the indented/concave region of the eyes. Instead of forming an extruding eye with a pupil, the sculptor chose to extract the material to form the eye, unlike the piece we saw of Abu, with eyes stamped with bitumen tar. The lips are very well sculpted, and textured well. It seems like it would mean a lot to a Pharaoh who has lost his mother, or who hopes to forever remember his family. To see the portrait of his family along with himself would’ve made him feel happy and in the presence of his family. I feel this way much of the time when seeing photos of lost family members with me beside them within the photos. It’s like an everlasting memory of that person and being with them in the memory.

Through the years of Egyptian art, many various pieces hold a great deal of significance and beauty to their names. One piece in particular, known as the Bust of Nefertiti, which was crafted by Thutmose, radiates beauty as well as demonstrates a number of characteristics and skills from Egyptian art. This portrait came about during the 18th dynasty around 1350-1335 BCE. The piece shows Nefertiti, who was a queen of Egypt, from the neck up. The Bust of Nefertiti was made to portray Akhenaten's wife as an elegant beauty with a soft facial expression, using curving contour accompanied by a few other methods to display these features.