Hierarchical Ordering Of Shah Jahani Architecture

Tutankhamun’s tomb is thus unique as it was not initially intended for use by a Pharaoh. It is of much smaller scale to other Eighteenth Dynasty royal tombs, and contradicts the traditional structural design. The tomb’s location was also not usually associated with royal burials. The burial chamber walls were uniquely the only tomb walls decorated, and the tomb was preserved largely intact in near-original condition.

The Mummy Case of Paankhenamun was composed of a substance known as cartonnage, which was usually made out of linen or papyrus strips bound together with a sticky substance in order to form a flexible shell. After mummification, the wrapped body was placed in the coffin-case through the back, which was then laced up and a footboard was added for support. Only then the case was ready to be painted. Such cartonnage cases as the case of Paankhenamun were normally placed inside one or more layered wooden coffins and were also decorated. The innermost coffin was always in the shape of the mummy and due to its utmost importance, it was the case with the richest decorations. The amazing detail is still a wonder to many historians and anthropologists (Stockstad 120-3).

The coffin and mummy of Djedmaatesankh are known as one of the few unopened coffins, retaining the original seal. Currently, it has been decided not to open the coffin in order to examine the mummy within due to the fact that it would severely damage the artwork and hieroglyphs that have been painted on the outside. The coffin is made of cartonnage, which is created with moulded linen and plaster and is painted on the outermost layer. These paintings describe the story of Djedmaatesankh’s life, as well as references to the Book of Caverns in order to provide the body “with safe protection as it makes its journey through the underworld on its way to eternal life in the Field of Reeds”. The coffin is from the 3rd intermediate period of ancient Egyptian culture and has been dated to 945-715 BC, coinciding with the 22nd Dynasty in which Ian Shaw relays that the “Chief of the Meshwesh Sheshonq (King Sheshonq I)” ruled. The base materials used are linen and plaster to form the cartonnage, and the artwork on the outermost layer uses a combination of paint and gold leaf to create depictions of Djedmaatesankh’s life. Ancient Egyptians used paint made from a mixture of pigment and plaster to paint on coffins and sarcophagi, and the higher classes used increased amounts of gold leaf as well. Djedmaatesankh’s coffin would be classified as funerary art, which had been created to be of use in funerary rituals and practices. Djedmaatesankh’s coffin is an excellent example of the extensive

While there are several notable Egyptian temples, monuments, and tombs; this paper will focus on the analysis and evaluation of the Mortuary Temple of Queen Hatshepsut at Deir el-Bahri, C. 1458 BC. First and foremost, it is important to identify the historical figure who influenced this construction of this temple. Queen Hatshepsut ascended to the throne of Egypt after her son’s passing and was the first and only female pharaoh in about 1473 BC; nearly a thousand years after the construction of the Pyramids at Giza. The

Bihzad places strong emphasis on the complexity of the palace’s architecture which he has adorned with colorful ornaments and emblazoned with gold. Each room is decorated with rugs and tiles featuring complex floral and asymmetrical patterns that cover each chamber from floor to ceiling. The palace appears to be three stories tall and features a balcony on the left and a zigzagging staircase on the right. The asymmetrical style of these two architectural features gives the impression of the work

Burial sight of mumtaz mahal wife of Shah Jahan. A building made of white marble inlaid with precious stones and is still today of the most beautiful buildings in

Coffin of Horankh is an example of a classical art and it was created around 700 B.C.E. In order to make this container different materials were used wood, gesso, paint, obsidian, calcite and bronze. The coffin is of three dimensions with 1m 94.95 cm in length, 45.72 cm in breadth and 41.91cm in height. As of now the Coffin of Horankh is located in 302 Egyptian Gallery of DMA.

A common Islamic art masterpiece is the use of tiles, more so the Iranian Star-shaped tile (Necipoglu 174). This is a 15th century artwork, probably made during the time when the Timurids ruled over Iran (Doak 136). This star-like tile; as illustrated in Figure I below, has a decoration of geometric shapes leaves and flowers on it, with a major flower being positioned right at the center of the tile. These tiles were made to cover outer walls of buildings, with designs and colorful patterns, to make such structures more beautiful. The tiles were fitted together using mortar on the walls of structures to create a mosaic design that adorned the outer walls of the structures.

In the Sarcophagus of Ramtha Vishnai (Figure 1)and Sarcophagus of Larth Tetnies and Tanchvil Tarnai (Figure 2) the sculpture represents a relief of a man clad in a bracelet and woman embracing on their marital bed. The couple covered by a sheet, possibly the husbands cloak or tebenna that serves as a symbol of their marriage. The sarcophagi are two generations of the same family. An inscription on the sarcophagus indicates that one coffin contains the parents the other sarcophagus contains their son and his wife. The parents sarcophagus, carved in a local volcanic stone, show the more naturalistic character of Etruscan art. The middle-aged man and his wife are pressed close together, their feet poking out beneath the covers. ("Conservation in Action: Etruscan Sarcophagi.") A long relief on the side depicts their wedding procession with the couple at the center. The son’s sarcophagus shows the influence of Greek art and styles in this beard and his wife’s hairstyle, as well as in their idealized appearance and prose. The sides of the sarcophagus are carved with less personal scenes of Greek and Amazon and horsemen attacking armed men on foot. Although the sarcophagus depict a couple on its lid the coffin is designed for a

The Mihrab (prayer niche) dated 12th century, the point of origin being the city of Isfahan located in Iran is the object that captured my attention. This piece is considered to be a ceramic design made of “polychrome glazed cut tiles on a stone paste body that was later set into mortar”. Madrasa Imami is a school, in which this piece in was created 1354, later it was sold to Arthur U. Pope in 1931.

This approach to the opening of the chamber demonstrates Carter’s caution that he took into the excavation of Tutankhamun’s tomb and the transportation of the contents that was inside it. Carter opened the burial chamber and when he did he was confronted by the golden walls and two large statues “So enormous was this structure (17 feet by 11 feet, and 9 feet high, we found out afterwards) that it filled within a little the entire area of the chamber” gives an accurate description of these statues and an accurate account of the amount of artefacts that were found in Tutankhamun’s tomb.

The shrine of Tutankhamun uncovers the burial customs of the New Kingdom Egyptians. The Canopic Shrine positioned on the east wall of the Treasury holds Tutankhamun's embalmed internal organs. A gold chest held four Canopic jars containing the dead pharaoh's internal organs in each jar. Undoubtedly, through the process of mummification, the embalmers must have removed the internal organs and preserved them in the Canopic jars, perhaps to be taken with the pharaoh to the next world. The third and innermost of three coffins of Tutankhamun is made of solid gold and is inset with semiprecious stones and coloured glass. It is covered with carved decorations and inscriptions inside and outside. It bears the names and epitaph of the deceased king and also protective texts. From this we discover the significance of the importance of the decoration of the mummy was, and the power the coffin was believed to hold. Originally, mummification was so expensive that it was a privilege enjoyed only by the Pharaoh and few nobles. Everybody else was given a simple grave burial in one of the vast cemeteries or "necropolises" of the time. But the promise of eternal life was so appealing that it wasn't long before other classes of Egyptians began signing up for mummification, too.

: The structures that make up the Temple of Heaven are meant to signify the relationship between heaven and earth, more importantly the connection between the emperors and God. The through in It was believed that offerings made by the emperor to the Gods, would bring a flourishing harvests, as he was believed to be the closest being to god. The structure itself was built so majestically to represent it descending into heaven. The main ceremonies that were held within the hall were all on the basis of worshipping heaven and so it was believed by doing so, it would be seen as favorable to the gods, enough to be blessed with an abundance supply of harvests such as grain. The ceremonial interior of the hall was built in such a way as to emphasize

The Book of the Earth continues on the left wall of the chamber. Here there is a mummified figure that emerges from a huge snake. It represents a water clock, a device that the Egyptians used to measure time. Next to this water clock are twelve small figures that represent the hours. There are scenes of funerary equipment on the lower parts of the chamber’s walls. The pillars in the chamber originally showed Tausert offering to various deities. But just like throughout the rest of the tomb, her figures were replaced by those of Setnakht offering to Horus, Osiris, Anubis, and other deities.

The Taj Mahal, or “crown of palaces,” was commissioned by the Mughal emperor Shah Jahan in 1632 to be built in Agra, India, on the bank of the Yamuna River (“Taj Mahal Facts” 1). Shah Jahan married Arjumand Banu Begum in 1612, and she was his third wife. However, Shah Jahan quickly took to her beautiful looks and charming personality and dubbed her Mumtaz Mahal, meaning “Chosen One of the Palace” (“The Taj Mahal” 1). Being his favorite wife and faithful companion, Mahal and Jahan traveled together frequently and came to have many children. During the birth of their fourteenth child, however, Mumtaz Mahal tragically died. To commemorate his love for her, Jahan ordered the greatest mausoleum of all time to be built in her honor: the Taj Mahal (“History of Taj Mahal” 1).