King Sahure And Nome God Analysis

Examining the Ancient Egyptian civilization reveals much about the nature of its art. The art was mainly religious in content and purpose and, as the “religious dogma” remained unchanged for nearly 3000 years, so did the art (Piper, 1991: 24). Because Isis and Horus are divine beings, they had to be portrayed “with limited human expression” according to “strict formal conventions, in keeping with their divinity” (Mason, 2007:13). The sculpture is fairly flat on the back side of the throne, for the sake of functionality. It was not “intended to be seen in the round”, but was most probably placed against the wall of a tomb (Ancient Egypt – Myth & History, 2002: 439). In fact, this sculpture was not made

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.

Similar to most Egyptian art, the figures in the stele are drawn with a twisted perspective – the frontal view of their faces and the profile view of their bodies. This is also seen in the relief of “King Assurnasirpal II Killing Lions.” This twisted perspective was common in most Ancient Egyptian art.

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).

In the sculpture, Yuny and His Wife, Renenutet, the artist conveys a strong, affectionate marriage between two important social figures in New Kingdom Egypt. This relationship is visually conveyed by multiple factors in the visual properties of this sculpture. To provide a quick description of the piece which is dated to ca. 1294–1279 B.C.E., Yuny, a chief royal scribe, is portrayed sitting next to his wife, Renenutet, a temple-ritual singer for the god Amun-Re on a bench. The sculpture was made out of limestone and originally painted. It’s 33 1/4” in height and 21 7/16” in width. Yuny and Renenutet are both depicted in elegant clothing with equally elegant wigs. Renenutet is shown wearing a long, tight-fitting dress that comes down to her ankles ending just where her bare feet start. A large, elaborate necklace takes up the majority of her chest. Her left hand sits in her lap as she holds a menat that drapes down in front of her legs and her right hand is wrapped around the lower back of Yuny. Yuny is shown wearing a long pleated skirt with hieroglyphs down the center of it. He also wears a sophisticated top going up to his neckline with the sleeves stopping at his elbows where it flares out with elaborate pleating. Unlike Renenutet, Yuny wears sandals and his forearms and hands are broken off but it’s suggested that they originally laid by his sides.

“Akhenaton, Nefertiti, and Three Daughters,” is from the Amarna period in 18th dynasty ancient Egypt, which was around c. 1353-1335 BCE. This was a time where art in ancient Egypt was vastly different from anything that had come before it, mostly due to Akhenaton himself. The religion of the time was also very different, as it had become a monotheistic religion instead of a polytheistic one, where everyone now worships the life giving god Aton, represented here by the sun who is soaking them in life-giving rays and the ankh placed on the sun representing Aton. Pictured in this work is the Pharaoh Akhenaton and his family, yet it is not the stiff ceremonial

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.

Egyptians used art as a way to reflect every aspect of their lives. Sculptors were important artist, and in these different architectural sculptures, you will see how models of people and different figures were depicted in stone during the New Kingdom and Old Kingdom eras. Nikare with his Wife and Daughter is a statue that was made from limestone and paint in Egypt during the Old Kingdom era about 2420-2389 B.C or later. Stelophorous Statue of Bay made in 1294–1250 B.C is another sculpture that was also made from limestone about one thousand years apart from the other one. This statue was also made in Egypt. Both sculptures share some similarities to have been made a millennium apart, but with that also comes several differences. Although both statues as a whole may depict different things, it’s the little details in them that we don’t usually analyze in art that make them both similar.

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

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.

     These two statues are famous to the Egyptian art era. They represent the woman’s position and the man’s position at that day and age. Traditionally, the rulers of Egypt were male. So, when Hatshepsut, Dynasty 18, ca. 1473-1458 B.C., assumed the titles and functions of king she was portrayed in royal male costumes. Such representations were more for a political statement, rather than a reflection of the way she actually looked. In this sculpture, she sits upon a throne and wears the royal kilt and the striped nemes (NEM-iss) headdress with the uraeus (cobra) and is bare chested like a man. However, she does not wear the royal beard, and the

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

During early dynasty Egypt period, Egypt’s kings were reverted as gods in human form. So, Egyptian sculptor created statues of their kings and queens. After creating the statue