Stele Of Iku And Mer Imat

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 Pair Statue of Ikhui and HIs Wife, Bebi is a statuette fairly small compared to life-size and is from the fifth and sixth dynasty of the Egyptian Old Kingdom around 2465-2323 B.C. It was excavated from a tomb in in Giza. The statuette displays a male and female standing side by side. It measures about less than two feet high. It appears as a relief because of the space between the arms and waists of the figures and sculpted from a block and chiseled away. They stood against a small wall no taller than the male figure but slightly taller than the female figure only to cover a portion of their backs. They had somewhat of a symmetric value. Each side mostly mirroring each other.

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

Ancient Greek art is something to be admired; the accuracy of the figures, compared to Egyptian art is commendable. The art works show great depths of emotion and detail. The “Grave stele of a little girl” is a beautiful relief of what appears to be a small child holding two birds. The forearm resembles a young child’s arm because it seems that the “baby fat” is still present, but it is strange that the face has less-childish features. The figure is in strict profile, which possibly suggests a Greek sculptor, in addition to the intricate detail and the contrapposto. Egyptian sculptors did not have

Hatshepsut is not only known for being a rare woman ruler during this archaic time period, but also for the representation of her in art- blending imagery of a male king with presentations of herself as a woman. During the early years of her reign, Hatshepsut had herself portrayed in the traditional garb of a woman. However, in the seventh year of Thutmose III’s reign, the year that Hatshepsut took over, she began to be portrayed in male attire, still attempting to further her legitimacy as Egypt’s ruler. The surviving representation in art varies on this masculine and feminine

A formal analysis, contextualizing, and compare and contrast of the Egyptian sculpture of Isis nurturing Horus and the Byzantine icon, The Virgin of Vladimir

Many pieces in Mesopotamia represent the status of the kings as being a greater figure than the common people and even an alike or greater figure than the gods. One piece that depicts the high status of the ruler is the “Fragment of the victory stele of Eannatum”, from Girsu, Iraq. ca. 2600-2500 BCE. On the stele, is Eannatum, who is the ruler who leads the battle, and obtained the city of Umma. He is depicted larger than the army, except Ningirsu, who chose him as the ruler. The audience of the stele is the people of Sumer, but more importantly, his enemies. The second piece that depicts propaganda in Mesopotamia is the “Head of the Akkadian ruler”, from Nineveh, Iraq, ca. 2250-2200 BCE. The hollow-cast sculpture made with Cooper is believed to be an Akkadian king. The sculpture demonstrates propaganda in Mesopotamian art because it reflects the idea of absolute monarchy, and focuses on the kings, instead of the city-state. However, the head was vandalized as its eyes were gouged, and its beard and nose were slashed by the Medes because they were opposers of the absolute monarchy. In addition, another example of propaganda in Mesopotamia is the “Votive disk of Enheduanna”, from Ur, Iraq, ca. 2300-2275, in which the Alabaster disks represents the daughter of King Sargon, Enheduanna in which the cuneiform inscriptions which mentions that she is the daughter of Sargon, who is the king of the world. Moreover, the disk also mentions that she is the

The Large Kneeling Statue of Hatshepsut is a magnificent piece of art located in the Egyptian section next to many other statues of the great pharaoh Hatshepsut. Out of all the statues of Hatshepsut, the Large Kneeling Statue of Hatshepsut was kept in the best shape and caught a lot of attention from the people in the room. Its great size is something truly remarkable, considering it was built in the New Kingdom of Ancient Egypt. More importantly, this statue is the first structure in art that depicts a woman leader. Not only is it a truly unique piece of work, but also it is a piece that is revolutionary for its time. The massive size of this statue leaves one wondering if women have always been just as powerful as men, if not more.

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 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 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 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).

This first act as king brought with him a shocking speculation and hostility between his throne and the priesthood of Amun. Inside the temple was an entirely new style of art, which was often described, as “naturalistic” in Akhenaten’s portrayal of the human body. No longer was the Pharaoh portrayed as half animal with the perfect body fitted for the afterlife. Akhenaten and the royal family were shown with long toes, massive hips, extremely long fingers, skinny torso, ample breasts, big buttocks, and an elongated face. This exaggeration of the royal family’s bodies altered classic Egyptian art and became better known as Amarna Art.

Greg Reeder, author of "Same-Sex Desire, Conjugal Constructs, and the Tomb of Niankhkhnum and Khnumhotep,” proposes a theory that the tomb art found in the Ancient Egyptian tombs of manicurists Niankhkhnum and Khnumhotep suggests the two maintained an intimate relationship with one another.  Previously, archaeologists had theorized that the artwork might have indicated the manicurists were either close friends or twins, but considering recent research from the Fourth, Fifth, and Sixth Dynasties, Reeder proposes the two men were lovers (Reeder 2000:193). Reeder’s proposal that the two manicurists were lovers is plausible and well supported by evidence, but his writing has a few flaws that make it seem less than credible.

The subject of the artwork is Nefertiti, who was the wife of Akhenaten. In addition to being a wife, Nefertiti was also a queen of Egypt. Nefertiti is posed in a very graceful stance. She looks very calm and put together. Due to the curvature of the very elongated neck, the Bust of Nefertiti is poised into a relaxed pose, while maintaining her eternal beauty at the same time. These features are also noticeable when moving the focus towards the eyes, which are slightly closed enough to see her eyelids in addition to her actual eyes. Her eyes are composed into a very natural state; they aren’t widened as if they are portraying a specific facial expression. Her entire face has a peaceful and very naturalistic look. Although often times portraits in Egypt were made to be exaggerated and never depicted what the person actually looked like, this piece