Nespaneterenpera Cartonnage Analysis

The cultural artifact that I propose to study is a bust of Queen Nefertiti, who was the Royal Wife of the Pharaoh Akhenaten. The bust is said to be painted with stucco-coated limestone, created in 1345 B.C by Thutmose who was a talented sculptor. The bust was discovered in 1912

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

early Dynasty 19; New Kingdom, Ramesside, Egypt; Asyut, Dynasty; c.1353-1336 BCE, painted Limestone. Limestone relief. Staatliche Museen Zu Berlin, Preussischer, Kulturbestiz Agyptisches Museum. 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).

The Egyptian Mummy Mask from the early Roman Period is unique and beautiful in every way possible. This mask that is on display in the Museum of Fine Arts Boston is about 3 feet tall to about 2 feet wide. This certain piece of magnificent art is extremely detailed with intricate designs covering it all around. The Museum of Fine Arts makes it easy to pay attention to, because of its detail and how the mask is displayed. The Mummy Mask has it’s own small alter with a spot light shining down on it creating dramatic shadows in a very dim room. The decorations include inlaid glass eyes, a gold leaf and is hand-painted and gilded glass. This mask is not paper maché like the masks that were made in this era; this Mummy Mask had been created out of cartonnage . The Egyptians decorated this masterpiece with bold vertical and horizontal lines representing rows of beads to go along with the story it tells. The Egyptian Mummy Mask from the first half of the first century A.D illustrates a gaze of innocence and acceptance while looking into the bright future of whom the mask was made for. Perfectly painted images covering the mask tell a story of the traditional funerary practices and the after life Egyptians believed in. Egyptians would create these pieces to fit over the heads of the lost lives wrapped inside the mummy. The mask represents the deceased transformed into a God . Although the face of the mask is idealized and emotionless, the decorations say and express more than a

Subject 2: Memorializing the Dead in Etruscan and Roman art Both Etruscan and Roman tomb sculpture function to memorialize the departed allowing them to move on from the world of the living and seeks to comfort those who have lost the ones they love. The two societies have differing practices in regards to death and therefore sculptures concerning the subject are somewhat different with a few identifiable similarities. While both societies seek to comfort the living and commemorate the dead this is achieved through different approaches. The Etruscan Sarcophagus with reclining couple from Cerveteri, Italy and the Mummy of Artemidorus from Roman Egypt are two examples of contrasting representations of the dead. When analyzing tomb sculpture one of the main questions is whether the work adapts a retrospective approach (presentation of the deceased as they were in life) or a prospective one (the viewpoint of looking forward to life beyond the grave). While the Etruscan sarcophagus gives a more retrospective memorialization through the depiction of the couple in a state of regularity the Roman Mummy of Artemidorus presents a more prospective approach concerning the deceased through the emphasis of funerary practices.

Carter’s discovery of the tomb came by finding steps 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 Mummy” derives from ancient egyptian Mythology, and adopts specific traditions carried out the majority of Mummy folklore. Mummies are frequently (however with exception) Pharaohs, their wives of family, high ranking officials such or scribes or priests, or wealthy members of the society. The rituals are very detailed, with each facet serving a specific purpose. In passing, the organs are removed carefully and placed in canopic jars to be buried with the deceased. The remaining body parts are wrapped in cloth, and placed in ornate coffins called Sarcophagus, often detailing a likeness of the body it holds, or ancient script describing their life death or instructions into death. Any striations from this ritual often symbolizes a misconduct within their lifetime, and being mummified alive signifying a fate worse than death. This theme of ritual and tradition is heavily prevalent in Grant Allen’s short story My New Year’s Eve among the Mummies. The main character J. Arbuthnot Wilson recounts a strange memory/dream of spending a night in the great unopened Pyramid of Abu Yilla in Egypt. Wilson stumbles upon/is psychically drawn to the Pyramid, and interrupts a ritual in which occurs once every 1000 years. The court of Pharaoh Thothmes lives is in permanent slumber, yet arises once every 1000 years for

Mentuemhet was a mayor and prophet from the city of Amen responsible for the reconstruction of temples that had been destroyed by invading Assyrians. The statue itself is quite similar that of King Aspelta in terms of form. For example, the Mentuemhet is also shown to have an idealized body yet individualized face in the same way as King Aspelta. Furthermore, Mentuemhet is posed in the characteristic left foot forward stance of Old Kingdom Egypt. Likewise, the respective statues wear the same attire, a skirt with the same designs. This also appears to be a nod to the Old Kingdom Egypt as the same piece of clothing can be viewed on statues of leaders from this period, like Menkaure. Also, both are high reliefs in the sense that the figures are not liberated from the granite stone, though their standing depiction gives the illusion that they are free-standing statues when viewed from the front. However, the free-standing illusion provides both with a sense of permanence and longevity of statue which hints toward the timeless aspect of Egyptian statues due to their concept of the

Tutankhamun is one of the most famous and instantly recognisable Pharaohs of the modern world even though he lived and reigned over 3,000 years ago. The boy King was born in the 11th year of his father’s reign in 1345 BCE and died in 1327 BCE at the age of just 17 or 18 after only being in power for 8 years. Until archaeologist Howard Carter discovered his almost fully-intact tomb in the Valley of the Kings in 1922 CE, the pharaoh was almost unheard of due to the common belief that he was a minor ruler, whose reign was of little consequence. However after this discovery and subsequent discoveries due to excavations, analysis of his mummy and other historical evidence, opinions changed, so much so that today Tutankhamun is recognized as an important

Mummy Case of Paankhenamun Works Cited Not Included 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.

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).

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.

In due course, the practice of infant sacrifices became evident by archaeologists’ such as Lawrence E. Stager, Professor of Archaeology of Israel and the Director of the Semitic Museum at Harvard University. He directed the excavations of the Carthage Tophet in the 1970s. Unfathomably, the research team concluded that there existed approximately twenty thousand vases with charred deposits, developed during 400 and 200 B.C.; whereupon, examining the contents of the vases revealed the burned remains of fetuses, the bones of newborns, and two-year-olds. Moreover, in Carthage, one of the main locations for this horrifying custom transpired in the temple of the Phoenician goddess Tanit and the necropolis. Specifically, there remains a number of limestone slabs or pillars, with images of the goddess Tanit and Baal Hammon; which became notorious for this horrendous crime. Nearby, their likenesses exist carved over burial urns; unequivocally, containing the cremated bodies of babies from religious grounds in

The Tomb of Tausert and Setnakht The tomb of Tausert and Setnakht is one of the most unique tombs in the Valley of the Kings, as well as being one of the largest tombs in the valley. Unlike any of the other tombs in the valley, it encompasses two complete burial

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.