Ghsty ' Two Places Of Gazelles '

Did you know that there were over 2,000 gods and goddesses in Ancient Egypt? Some gods had the body of a human and the head of an animal. When I read that, I was shocked! I would’ve never guessed that there would be so many gods in Egypt. In addition, I found the idea of an animal head stuck to a human body disgusting! I just didn’t believe this, so I decided to find out for myself.

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 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).

Envision a world where the single purpose in life was to obey the gods who indirectly controlled people through your king. Rituals, duties, and praising were all part of a manifest to pass the tests of the Underworld to achieve eternal life after death. While this may seem like a radical lifestyle to us, this was how the real world was for the civilians during the Ancient Egyptian times. To truly express their fondness and devotion to the gods, people constructed works of art to represent this; remembrances of their collective significant figures in their locality were highly practiced in order to please them. In particular, the State of Khafre was created to honor their deceased king who held significant power in their society as a part of their funeral liturgy. It epitomized the repercussion he held over his nation and the respect he had acquired. The Statue of Khafre did not just illustrate a polytheistic community, but it also prompted the civilians to be respectful towards their god whom were expressed with kings through their practice of rituals, and additionally exhibited how their religion was ultimately integrated as an essential part of life.

The Lamassu of Sargon and the Great Sphinx of Gizeh were greatly revered in their cultures as each were viewed as both a religious figure and as a representation of ideals within their cultures. Similarities between the two sculptures vary. Both were mythical creatures that were hybrids of human faces mixed with various animal bodies. Both sculptures were believed to be powerful protectors of royalty both physically and spiritually. The lamassu were placed near entrances of palaces or king’s quarters, and the sphinx at the base of the Great Pyramid (a pharaoh’s palace in the afterlife) as well as various temples within Egypt.

One of the greatest and most ancient of the worlds mysteries, still undeciphered by archaeologists today, resides at the Giza plateau. It is ‘The Great Sphinx’. This colossal statue holds centuries of untold secrets. Standing “sixty feet high and two hundred and forty feet long, the Sphinx is the biggest single stone statue in existence” (“Secret: The Sphinx”). This Egyptian masterpiece represents a fictitious creature that has the head of a man, but the body of a lion. Unfortunately, the Sphinx’s appearance has suffered greatly over the years. “The head of the Sphinx has been badly affected by…years of erosion” and pieces of the monument are missing, like the nose (Haughton, 45). However, historians

Herodotus talks a lot about the animals that the Egyptians see as sacred and those that are

Shed, is the god called “Saviour” which is date back from the 18th Dynasty. Throughout Egypt’s history, people have been worshipping characteristic of divine powers. Those characteristics are identified by their personal names. The increase of loneliness and isolation in Egypt’s society began in the New Kingdom, which resulted in texts being written that emphasized the saving aspects of divine powers. Although most great gods have the epithet ‘Saviour’, this aspect was personalized in the god Shed. Shed is usually depicted as a child, often nude with just loincloth covering his genitals. Shed is idealized very youthful like how a young man should look. He also holds wild animals in his hands, which displays his

The ancient Egyptians are known for their fondness for animals, and the cat was a favorite household companion. Cats were common in ancient Egyptian art that depicted domestic scenes since they were greatly appreciated as killers of rodents, snakes, scorpions, ect. Typically homes with cats had less sickness, and fewer deaths. But beyond these roles, cats were cherished as pets and even worshipped. The ancient Egyptians revered and worshipped many animals, just as other ancient civilizations did, but none were worshipped as reverently as the cat. This essay will carefully analyze the Egyptian relief

lips. In traditional Egypt, the statues and monuments were considered a bridge between the divine gods and regular people.

Egyptians needed a way to understand the phenomenon of the sun due to their lack of scientific knowledge. They tended to use animals to describe certain characteristics of a god. This was especially the case with the ones they cannot see. “Thebes celebrated a different major god—Amun, the “Hidden One”—with powers so great he could not be visualized, yet because he had to be represented in some way in order to pay him homage, he was depicted as a man with a tall ostrich plume crown.” (Brier, Pg. 36).

Some art included the “ba” which was, in Egyptian portrayal, a sculpture of a small bird with a human head

The two sculptures presented for this assignment are the Statue of Gudea, which dates back to 2090 B.C. (“Statue of Gudea,” 2000) and The Royal Acquaintances Memi and Sabu, which dates back to 2575–2465 B.C. (“The Royal Acquaintances Memi and Sabu,” 2000). Both statues represent people; however, they depict different types of people from completely different time periods and cultural backgrounds. The Statue of Gudea shows the ruler of southern Mesopotamian, Gudea, whose reign was from 2144-2124 B.C. (“The votive statue of Gudea: A formal analysis,” 2011) sitting in a praying position with his hands locked and his eyes forward. He is dressed in what appears to be a lavish robe with an inscription that clearly depicts what Gudea thought of himself and his successes during his time as ruler. The Royal Acquaintances Memi and Sabu represent what is thought to be a married ancient Egyptian couple who are lovingly embracing each other. Aside from looking at

I will see what the artworks mean to me, and I will make my own interpretations as to why their art is this way. Moreover, I expect look at many of their varying art forms and see how the use of animals differs between them. This is because I believe different kinds of art are able to impact people in different ways, and have an implication that is unlike the other. I plan to analyze the assorted characteristics and traits of the various art forms the ancient Egyptians practiced to see similarities and differences, and consider in what way this influences the meaning of the works.

The gazelle is represented much more times in ancient Egyptian context and scenes of tombs, temples and ostraca, but few studies call attention to the missing link or relation between goddess Anukis and gazelle in ancient Egypt. The ambiguous relation between them may render to many reasons such as; the idea regarding which animals are represented as the symbolic, also the lack of information which deal with gazelle and Anukis. The paper contributes in broader understanding of the missing relation between gazelle Anukis as member in Elephantine 's triad. The paper aims to clear the mysterious relation of gazelle with Anukis in shade light of an important texts of pyramid and coffin texts and rarely representations and scenes which gathering them. It is worthy note that few evidences as an attribute of Khnum and Anukis dates back to the New Kingdom and is mostly concentrated to western Thebes. On this basis the paper will introduce answers to the relation between goddess Anukis and gazelle; the author try to answer many questions deal with this relationship, for example is there a divine relation between goddess Anukis and gazelle? Is the gazelle considered just an offering to the goddess Anukis? Or a symbol, or represents the goddess herself? Is there any one