Middle Kingdom Exhibition Essay

The pharaoh was undoubtedly the most important terrestrial figure in ancient Egypt and played a significant role in the functioning of Egyptian society. Entrusted with governing the realm of Egypt and providing a link between the Egyptian people and the gods, pharaohs were “an essential element in the maintenance of the position of society in the order of creation”. This idea has been substantiated through the various artefacts located in tombs in the Valley of the Kings, particularly that of Tutankhamun. These finds have shed light on the role and lifestyle of the pharaoh in ancient Egypt. Through the discovery and analysis of these items, historians and archaeologists alike have been able to glean considerable amounts of information in

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.

Ancient Egypt is split up into three kingdoms, the middle kingdom, the old kingdom, and the new kingdom. The middle kingdom was the start of a new change as it became known for realism and emotion. The middle kingdom was a start of new, futuristic art. The art in this time period consists of broad shoulders, crisp outlines, intricately incised details, enveloping cloak, and realism. One of the main pieces of art in the middle kingdom was the sphinx of Senwosret III.

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

When people think about ancient Egypt, they think about the temples, mummies, pyramids, and hieroglyphs. One of the greatest discoveries of life in ancient Egypt is the Valley of the Kings where all of the Egyptian Pharaohs in a five-hundred-year period have been buried. Those Egyptian Pharaohs ruled from around 1539 B.C. to around 1075 B.C. in a time period that was known as the New Kingdom which covered the span of the 18th, 19th, and 20th Dynasties. Currently, about 62 tombs have been found. Where is the Valley of the Kings located? How are the tombs built? What do the artwork in the tomb represent? What gets buried with the dead Pharaohs? These questions have been commonly asked about the ancient Egyptian tombs and the Pharaohs that get buried in them.

The history of ancient Egypt is divided into three blocks of time referred to as kingdoms. The kingdoms were named as the Old Kingdom, the Middle Kingdom, and the New Kingdom. This essay highlights the differences among the three kingdoms in terms of politics, economics, sculpture, and architecture.

The Metropolitan Museum of Art is an extraordinary New York site. For me, the Egyptian exhibit is especially meaningful because it engenders personal pride in the contributions of my ancestors and challenges me to use my talents to impact society in a positive

Not only did Julia Morgan choose to incorporate Egyptian design because of the strength it gave to the structures, but also because of the impact it had within artwork. These works of art are considered “the oldest pieces in the collection, dating back from the New Kingdom” (Hamlin 42). The New Kingdom is the period in ancient Egyptian history between the sixteenth century BC and the eleventh

The painted chest with battle scenes from the Tomb of Tutankhamen illustrates the transformation of frenetic battle where Tutankhamen is victorious over Asian enemies. There is no groundline in this Egyptian painting which can symbolize the enemy’s chaos and disarray that embodied the New Kingdom of Egypt during 1333-1323 BCE. The artist contrasts the chest on two sides where Tutankhamen is in his war chariot battling against the Asiatics on one side and battling against the Nubians on the other. During the XVIII Dynasty, a multitude of artists were inspired to illustrate military relief for the pharaohs as depicted on the tomb, while having the African enemy portrayed as a muddled crowd. The hieroglyphs, cartouches, iconography, animals, and hierarchy of scale in this composition serve to heighten Tut’s military prowess and might send the message that he is no ‘boy’ king, but ‘man’ king!

Exploring the Art and Architecture of the Ancient Near East (Mesopotamia) and the Art from the Ancient Aegean.

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

The prevalent Pyramid Texts along these lines deciphered unprecedented for English with the talk were found engraved on the dividers of five pyramids at Saḳḳâreh, the old necropolis of Memphis in Egypt. These pyramids are those of the rulers Unis of the Fifth Dynasty, and Teti, Pepi I, Merenrē and Pepi II of the Sixth Dynasty. To this translation has been incorporated that of starting late discovered additional messages, parallel and comparing, in the pyramids of Oudjebten, Neit, and Apouit, leaders of Pepi II, and of Ibi, a ruler of the Seventh Dynasty, of whom little apparently is known. In this way, according to the presently recognized request, these pyramids were produced and apparently recorded between the years around 2350

The reliefs from the palace of King Assurnasirpal II at Nimrud play an important role in portraying the power and importance

Studying ancient Egyptian tombs have long been an important source of information regarding many aspects of Egyptian religion. Walls of New Kingdom tombs are often decorated with plenty of painted religious scenes. While they were primarily private structures containing images selected by the person who expected to be housed there for eternity, the funerary monuments also reflect religious beliefs. While numerous researches focused on many of the religious scenes depicted on the walls of ancient Egyptian tombs, no one focused on the knife - holders' scenes. Hence, the current study focused on knife - holders scenes depicted on the walls of both royal and private tombs dating back to the New Kingdom at Thebes.

At Abydos and Saqqara tombs for the kings of the early dynasties were built in imitation of palaces or shrines. The large amounts of pottery, stonework, and ivory or bone carving found in these tombs attest to a high level of development in Early Dynastic Egypt. Hieroglyphic script (picture writing), the written form of the Egyptian language, was in the first stages of its evolution.