Tomb Of Nebamun Essay

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.

This essay aims to investigate two different time periods in the history of art. It will scrutinize the influence that the respective societal contexts had on the different artists, which in turn, caused them to arrange the formal elements in a specific way. I will be examining an Egyptian sculpture of the god Isis nursing Horus, her son, as well as the Vladimir Virgin icon, which dates from the Byzantine era. Experts vary on the precise ‘lifetime’ of the Ancient Egyptian civilization, but according to Mason (2007:10) it existed from 3100 BCE up to 30 BCE. The Byzantine era, which

The artist pays very little attention to details choosing instead to use hieroglyphs to ascertain meaning to what he was trying to portray. The hieroglyphs he uses range from the identities of the god and goddesses to the inscriptions on the top of Prince Ankh-Nef-Nebu to the message at the bottom.

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

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 theme of the two art works, “Theodora and Attendants,” and “Akhenaton, Nefertiti, and Three Daughters,” is Political Authority. This is a theme presented countless times throughout art history, and is a theme that is still used in art today. It reflects the concerns and desires of the rulers of the time and is used as a form of propaganda by said rulers to change the minds of the people they are ruling. Art has power and the rulers use its power to control their people. The presentation of these pieces reveals that the rulers want their subjects to view them as powerful and divine. Both of these cultures are also heavily influenced by religion. Both “Theodora and attendants” and “Akhenaton, Nefertiti, and Three Daughters” are forms of political propaganda that use religion to try and influence their subjects.

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).

Tutankhamun’s tomb is the only royal tomb in Egypt to have escaped the discovery of looters and was discovered by archeologist Howard Carter. The death of Tutankhamun was a sudden tragedy that til this day has yet to be solved. The cause of the famous teenage king’s death has been a long drawn out mystery with a range of theories as to how he met his end. There are no historical records explaining the cause or circumstances of his death, nor is there no positive evidence to suggest how he died. However, there are several theories and many of which have changed over the years.

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.

When analyzing the artwork one can see the influence of what we now understand to be art form, through the numerous art elements the painting of Queen Nefertari and Isis has. Starting with lines, the artist uses many types of both regular and irregular, to create the hieroglyphics and the shape of the women along with what they wear. The ancient Egyptians liked to have things in order and consistent. We see the proof for this behind their canon of proportions method. In order to make complex figures easier to depict, the traditional style and trademark of ancient Egyptian artworks show everything drawn or carved to be two-dimensional in shape. However, they also wanted to show the aspects they valued the most as a society. As stated in the film How Art Made The World, in the case of the human body ancient Egyptian chose to show each body part from its clearest angel; and as a result of a keeping the figures 2-D, the chest is shown straight on, the face is shown in profile but the eyes were drawn straight on, the arms and hands can be

Since being one of the most intact monuments of Ancient Egypt, the finding of Tutankhamun's tomb by Howard Carter in 1922 is believed to be the utmost significant archaeological discoveries of the century. The treasures found were stored in the following parts of the tomb the Antechamber Annex, and then the Burial Chamber and Treasury. The Ancient Egyptians believed in the afterlife. The customs and beliefs of the Ancient Egyptians called for the preservation of the body and extensive provisions for the after-life which were buried with them in the tomb. These treasures were seen as a continuation of the life of the Pharaoh before his death. It was therefore seen as essential that the favourite items belonging to King Tut would be buried

I find this piece to be very mysterious. Why does the head become narrow at the top? The face seems to be of an older woman, as shown by the wrinkles indented within the sides of the nose and the mouth, although they are not as prevalent as the one of NYC. There’s a soft jaw line of a woman. What is interesting to me is the indented/concave region of the eyes. Instead of forming an extruding eye with a pupil, the sculptor chose to extract the material to form the eye, unlike the piece we saw of Abu, with eyes stamped with bitumen tar. The lips are very well sculpted, and textured well. It seems like it would mean a lot to a Pharaoh who has lost his mother, or who hopes to forever remember his family. To see the portrait of his family along with himself would’ve made him feel happy and in the presence of his family. I feel this way much of the time when seeing photos of lost family members with me beside them within the photos. It’s like an everlasting memory of that person and being with them in the memory.

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

The “point and line to plane” (Kandinsky 1979:6) is the painting element, such as the letters that make up the word, different combinations will have different effects. As Kandinsky (1979:12) has demonstrated, that point, line and plane is the basic building material of the artwork itself, and that in every different art the elements of art are certainly different. However, it is necessary to first distinguish the basic elements from the other elements, no artwork does not have these artistic elements. Therefore, the common feature between Wassily Kandinsky’s paintings and Guan Zhong Wu’s paintings are point, line

The discovery of the tomb of King Tutankhamun has answered many questions and solved many mysteries about the life of people in Ancient Egypt. However, the life and death of the boy king is still a mystery itself. For example, one continual argument and mystery is how King Tut died. Although there are many opposing theories, King Tutankhamen died because he was already weak from genetic diseases, then broke his leg, which got infected and caused King Tut to die.