Amenhotep 3 Statue

The work I chose to analyze was from a wall fragment from the tomb of Ameneemhet and wife Hemet called Mummy Case of Paankhenamun, found in the Art Institute of Chicago. The case of the Mummy Paankhenamun is one of the most exquisite pieces of art produced by the Egyptian people during the time before Christ. This coffin belonged to a man named Paankhenamun, which translates to “He Lives for Amun” (Hornblower & Spawforth 74). Paankhenamun was the doorkeeper of the temple of the god Amun, a position he inherited from his father.

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).

Amenhotep III’s reign is often referred to the “Golden Age”, a time of political stability and economic prosperity for Egypt. With an abundance of tribute, booty, and access/exploitation of natural resources in conquered areas of Nubia, and its sphere of influence in Syria-Palestine; Egypt’s affluence only flourished. This enabled Amenhotep’s expanse/magnificent building programs, also resulting to advances in art and religion. Furthermore, changes in the importance and role of the queen progressed in this period; to the extent of Tiye’s deification, as evident in the temple at Sedeinga, built in dedication to her worship. Despite Amenhotep III’s reputation as a great diplomat, the effectiveness of his

The Pair Statue of Ikhui and HIs Wife, Bebi is a statuette fairly small compared to life-size and is from the fifth and sixth dynasty of the Egyptian Old Kingdom around 2465-2323 B.C. It was excavated from a tomb in in Giza. The statuette displays a male and female standing side by side. It measures about less than two feet high. It appears as a relief because of the space between the arms and waists of the figures and sculpted from a block and chiseled away. They stood against a small wall no taller than the male figure but slightly taller than the female figure only to cover a portion of their backs. They had somewhat of a symmetric value. Each side mostly mirroring each other.

Similar features can also be witnessed on most statues of his original pharaoh Tutankhamen. His body however is not idealized as Tutankhamen’s surely would have been. He has a large stomach and chest. Despite this there is a cannon of proportionality

The sculptor of the goddess Sekhmet was produced in the 18th Dynasty in the New Kingdom during the reign of Amenhotep 111 in the years 1390-1352BC . The statue captures the image of the goddess Sekhmet who is a powerful woman with the head of a lion. The sculpture has a mesh of the mane and hair that have been carved together beneath the uraeus- Cobra and the solar disk. There is a carved inscription that reads “Amenophis 111, beloved of the goddess”. The source of the sculpture is Thebes, Karnak from Upper Egypt. The medium used by the artist is granodiorite. The dimensions of the image are 20cm with a base of a width dimension of 47.5cm and diameter of 95.5cm . The image is carved from a single monolithic block that presents quite high artisanship. The detail of the head and the decoration of the seat are also

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.

The revised back side "... is taken up by a finely carved...raised relief showing a king, undoubtedly Narmer, ready to strike down a foe whom he grabs by the hair. This pose would become typical in Ancient Egyptian art. He wears a short skirt, an animal's tail and the crown that at least in later

What makes the sculpture different from others of this time period are two things; the subject matter, in that it depicts no god, nor Pharaoh only a mortal human writing in a mostly illiterate society. Secondly it demonstrates age shown in sagging muscles and rotund belly. Due to this relaxed style we can gather that the subject is not a Pharaoh as it was dishonourable to insinuate that they aged as they were supposed to be gods on earth.

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.

His broad shoulders make him look like he standing proud while he clinches his fists. In Doryphorous, the male representation sculpture is

In the late 19th century, the Seated Statue of Ramesses II was uncovered in the Temple of Harsaphes, Heracleopolis, by Sir William Flinders Petrie (Horne 1985, 22). Currently, it rests in the Mummies Gallery in the Egyptian section of the Penn Museum. The king sits heroically with his hands resting on his lap and wears the nemes headdress on his head. Made of quartzite sandstone, the statue sits at an impressive height of 226 cm, with a width of 74 cm and length of 149 cm. On his arms, there are faint traces of red and the nemes headdress has touches of blue and yellow. When it was originally crafted, the statue’s colors would have been more prominent than they currently are; there also would have been a false beard inset that has been lost to history.

The differences between the positions depicted in the Old Kingdom versus that of the First Intermediate period were that in the Old Kingdom, the figures were facing right towards the offering table/offerings, in a seated position. In the First Intermediate period the figures were still facing right towards the offering table/offerings, however, they were in a standing position. In addition, during the Old Kingdom, due to the figure being in a seated position, the legs and feet appear to be together with the far left foot a little forward of the closer right foot (Rahotep, page 23). Whereas in the First Intermediate period the figure (the male, page 82) is depicted with a staff in his forward hand with his far leg forward.

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.