Ancient Egyptian Art : A Visual Analysis Of Bastet And The Menat Of Taharqo

Hatshepsut is holding two orbs in both of her hands. This was a way of getting the message across to her people that she was also a giver. They were probably used as offerings to the gods. The orbs seem to kind of weigh down her arms. The legs support the arms from falling on the ground. This shows how there is weight bearing down on her arms due to the orbs that she holds in her hands. In addition, Hatshepsut is perfectly balanced. This balance creates calmness, reflecting the tranquil time period she was ruler. The orbs gives off a sense of how great a pharaoh was made to look through the artwork that they were in. In the New Kingdom time period, no one was really portrayed realistically, and that can really be seen in this work of art.

Yet the art of the Egyptians had a majorly different purpose of these cultures. Egyptian art was designed to convey divine or deceased heir. To pass on the idea of the recipient receiving the benefit of ritual action. Furthermore, the royal and elite class served as intermediaries between the gods and the people. In stone statuary, limited positions, a strong back pillar for support, and spaces left between limbs gave out the impression of how the stone statuary was quite closed. while in two-dimensional art, the representation of the world was more of an informative way of all the aspects of each element in the

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).

This amazing statue was originally from “egypt, upper Egypt and Thebes” (Hatshepsut Wearing the khat Headdress).Also, This statue was produced “in 1479-1458 B.C” (Hatshepsut Wearing the khat Headdress). The society that the statue “Hatshepsut Wearing the Khat Headdress” was produced was very open about gender because the woman had a headgear and from what Ihave learned in class only king used to wear those throughout those times. The second statue that interested me the most was called the “Hatshepsut as Maned Sphinx”. This statue, represented a sphinx’s man because the only part that was human was the face and the rest was formed by a lion’s mane and theirs ears. This incredible statue was “from Egypt, upper Egypt and Thebes” ( Hatshepsut as Maned Sphinx). Also, it was produced in “1479-1458 B.C” (Hatshepsut as Maned Sphinx). The society where the statue “Hatshepsut as Maned Sphinx” was produced was very religious because many people in that Egypt society considered a sphinx’s man as their

They are the only two beings depicted with this great prerogative/privilege, suggesting equal association with the divine. This sense of not only equal power, but Nefertiti 's individual political power is especially seen in the uncovered reliefs of Amarna. During their joint reign a new wave of Egyptian art sweeps the country: Amarna art. It begins to emphasise an increasing influence of Nefertiti as a female ruler, now depicted as equal in size and positioning to her husband, rather than to his knee as queens in previous reigns. In many statues, the queen is portrayed in a masculine and regnant position beside the king, where she sits with one foot forward. She is depicted in many reliefs as individually powerful: in scenes at Karnak she is represented as a “warrior-pharoah sphinx”, and in Ay 's tomb she is seen equipped with a sheathed bow, driving her own chariot, a pose traditionally unseen for a female consort. To instil a sense of fear in the observer, she is even depicted on the talatat blocks from Hermopolis as smiting a captive with a scimitar, traditional of a pharaoh, on which John Cooney comments, “If she were a queen regnant, the composition...would be understandable or even suitable, but as queen consort the role is unique and incongruous.” Her distinct blue war crown, or “cap crown” with a gold diadem band and Uraeus answer any doubts as to her identity and advertises her kingly role at court. These scenes undeniably prove Nefertiti 's equal

One of the Egyptian’s deities was the goddess Bastet, sometimes referred to as Bast. She was represented in art as either a cat or a woman with a cat’s head, as seen in Fig. 1-3. Alleyn Diesel (2008) suggests that cats were associated with the sun because of their habit of sleeping in warm, sunny spaces and considers this the origin of Bastet’s status as the daughter of the sun god Ra (80). She also notes that Bastet, like many other cat goddesses from around the world, was very strongly associated with birth and fertility. (82) While she was not as regal as Isis, Osiris, and Horus, Bastet’s domain touched the lives of every member of Egyptian Society. Because of this, it comes as no surprise that statues of cats are very prevalent in Egyptian

Bastet was a goddess of cats, woman and children. She had the head of a cat. Also she was one of the daughters of the god of the sun Ra. To honor her people made statues of cats. Also the people made a temple for her that is now in the Nile Delta. It is believed that there was a flood and that is how her temple got under the water. Sometime she had the head of a lioness to protect the king in battle.

Creatures were utilized as a part of Ancient Egyptian religious craftsmanship to represent attributes of the divine beings. On the other hand, the Egyptians did not adore creatures and the delineations were not exacting. For instance, Horus was portrayed as a hawk in light of the fact that he was accepted to have bird of prey like qualities, not on the grounds that he was thought to be a winged creature and the goddess Bastet,linked to child rearing, was frequently spoken to as a feline, as with the Bastet statuette indicated here.For the greater part of Ancient Egyptian religious history, the relationship of a creature with a divinity did not make the species hallowed nor did it keep them from being cultivated or chased.

This sculpture is a depiction of the goddess Bastet in the form of a cat. The base of the sculpture is inscribed with hieroglyphics and bears the cartouche of Psamtek I, a pharaoh of the 26th Dynasty, which dates the statue to approximately 664-610 B.C.E., during Egypt’s Late Period.

When one imagines Ancient Egypt, the images of sand, mummies, and pyramids usually come to mind. Modern times portray cats as a lovable, furry household animal. Did the thought of the two intertwining ever occur? By examining the goddess Bast, tombs where cat mummies reside, and the process of mummifying cats, one can better understand the true significance of the gentle creature in the days of the Ancient Egyptian.

The following paper objective is to present the funerary stela of Ta-Khaa-En-Bastet, kept at the Cincinnati Art Museum. The stela’s accession number is 1947.392 and is possibly from Abydos because of its imagery. The stela dates back to the Late Period of ancient Egypt, which is 664-332 BC. This funerary stela helps to provide data about the funerary practices and the responsibilities women had in ancient Egyptian society.

The ancient Egyptian cats were held in the highest esteem; the penalties for harming or killing a cat was death. They worshipped a cat as a goddess often represented as half feline, half woman, whom they called Bastet. The main center where they worshipped Bastet was in northern Egypt at the city of Bubastis. The cat became a symbol of grace and poise. Some cats received the same mummification after death as humans. During the new kingdom, the Egyptian cats were sometimes painted in the paintings. Cats were also important in interpreting dreams, because if you would see a cat in your dreams, that meant you have good harvest. The two main breeds in Ancient Egypt was the Jungle cat ( Felis chaus ) and African wildcat ( Felis silvestris

Ancient Egyptian cats were very beloved in their land,since people strongly believed they were related to their many gods.It was considered illegal to give a cat to someone out of town;however Greeks and Phoenicians often robbed the Egyptians of their pets.The murder of this rare animal was treasonous. The cats so loved that the Goddess,Bast,was named after them.These felines were sacrificed so that Bast could receive them in another life.

The first art piece called Ashurnasirpal II and a Winged Deity, discovered in Northern Iraq, Nimrud, in 9th century BC opens our exhibition of ancient near east art. The presence of many contents such as artistic canon, hierarchy of scale and composite view is most correspondent to the characteristics of Old Kingdom period of Egyptian art. The subject depicted in the panel is king Ashurnasirpal II on the left and the winged deity, god Ashur. In addition to details, hierarchy of scale is used for clarification; both king and the winged deity fully occupies the entire panel in absence of background features, and the deity is shown to be slightly taller than king Ashurnasirpal ii, to clarify its identity. The hair, wings and clothes in both subjects are very much stylized, not very naturalistic, with circular spots

The subject of the artwork is Nefertiti, who was the wife of Akhenaten. In addition to being a wife, Nefertiti was also a queen of Egypt. Nefertiti is posed in a very graceful stance. She looks very calm and put together. Due to the curvature of the very elongated neck, the Bust of Nefertiti is poised into a relaxed pose, while maintaining her eternal beauty at the same time. These features are also noticeable when moving the focus towards the eyes, which are slightly closed enough to see her eyelids in addition to her actual eyes. Her eyes are composed into a very natural state; they aren’t widened as if they are portraying a specific facial expression. Her entire face has a peaceful and very naturalistic look. Although often times portraits in Egypt were made to be exaggerated and never depicted what the person actually looked like, this piece