Chapter 3: Egypt under the Pharaohs
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1 Chapter 3: Egypt under the Pharaohs Preview: The ancient cultures established along the Nile River in Egypt between 3500 BCE and 30 CE were characterized by complex social organizations under the leadership of Pharoahs. Much of their art and architecture was produced to honor these rulers, who were thought to be divine, as well as the gods in the Egyptian pantheon, the most important of which were Amen, the supreme god, and Re, god of the sun. Ancient Egyptian culture is divided into periods according to dynastic rule: the Predynastic and Early Dynastic period (ca BCE), the Old Kingdom (c BCE), the Middle Kingdom (ca BCE), the New Kingdom (ca BCE), and the final period, the First Millennium (ca BCE 30 CE), in which Egypt came increasingly under foreign rule. The early 19 th century discovery of the Rosetta Stone, a kind of translator s tablet, allowed scholars to read Egyptian hieroglyphics, linguistic symbols included on many works of Egyptian art and architecture. Among the most significant of these are the Great Pyramids at Gizeh, constructed during the Old Kingdom; Middle Kingdom rock-cut tombs; and enormous New Kingdom Temple of Amen-Re at Karnak. With notable exceptions, the stylistic features of Egyptian painting and sculpture evolved slowly, remaining remarkably consistent through three millennia. Key Terms: palette, amulet, scarab, uraeus mastaba, ka, serdab, canopic jars, mummification engaged columns, papyrus, temple, ashlar masonry, courses, fluted columns, rock-cut tombs, axial plan, colonnades, pier, pylon, hypostyle hall, lintel, clerestory, bilateral symmetry, subtractive sculpture, high relief, idealism, canon, sunken relief, atlantid, caryatid, sphinx, block statues, fresco secco Key Place Names: Upper and Lower Egypt, Saqqara, Gizeh, Heliopolis, Dashur, Beni Hasan, Deir el-bahri, Thebes, Abu Simbel, Karnak, Amarna, Kush, Edfu Key Egyptian Deities: Amen, re, Osiris, Isis, Hathor, Anubis, Unas, Aton, Maat, Thoth, Horus Pharoahs: Early Dynastic: Menes (Narmer), Djoser Old Kingdom: Sneferu, Khufu, Khafre, Menkaure Middle Kingdom: Mentuhotep, Senusret III, Thutmose II, Hatshepsut New Kingdom: Ramses II, Amenhotep IV/Akhenaton (Amarna Period), Tutankhamen First Millennium: Taharqo Other Historical Figures: Imhotep, Ti, Senmut, Nefrura, Khamerernebty, Thutmose, Nefertiti, Tiye, Nebamun, Mentuemhet, Howard Carter Lecture Notes: Introductory Notes:
2 Predynastic and Early Dynastic Periods: Dates Key Historical Developments: Artworks: Mural painting in Tomb 100, Hierakonpolis, ca BCE o Description & subject: Palette of King Narmer, from Hierakonpolis, Egypt, ca BCE o Figures/narrative represented: Egyptian mastaba tombs, section, plan, and restored view o General Description: o Function: Stepped pyramid of Djoser, Saqqara, Egypt, Third Dynasty, ca BCE o Architect: o General Description: Mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca BCE o General Descriptioin: Entrance hall, Djoser precinct, Saqqara, ca BCE Old Kingdom: Dates: Artworks: Key Historical Developments: Great Pyramids, Gizeh, Egypt, Fourth Dynasty Pyramid of Menkaure, ca BCE Pyramid of Khafre, ca BCE Pyramid of Khufu, ca BCE
3 o Construction methods: o Size/Scale of each: o Interior structures: o Function: o Symbolism & significance: Section of the pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty, ca BCE o Architectural features and location in section diagram: Model of the pyramid complex, Gizeh, Egypt o Architectural features and location in model: Great Sphinx, Gizeh, Egypt, Fourth Dynasty, ca BCE o Location relative to Great Pyramids: Khafre enthroned, from Gizeh, Egypt, Fourth Dynasty, ca BCE o Symbols represented: Rahotep and Nofret, Maidum, ca BCE o Subjects: o Stylistic features: Sculptors at work, Thebes, ca BCE o Subject: Menkaure and Khamerernebty (?), from Gizeh, Egypt, Fourth Dynasty, ca BCE o Figures represented: Seated scribe, from Saqqara, Egypt, Fourth Dynasty, ca BCE Ka-Aper, Saqqara, ca BCE Hemiunu, Gizeh, ca BCE
4 Ti watching a hippopotamus hunt; Goats treading seed and cattle fording a canal; reliefs in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca o Subjects represented: Middle Kingdom: Dates: Artworks: Key historical developments: Fragmentary head of Senusret III, 12 th Dynasty, ca BCE. Lady Sennuwy, Kerma, BCE o Subject & significance: Rock-cut tombs BH 3 to 5, Beni Hasan, Egypt, 12 th Dynasty, ca BCE o Construction technique: New Kingdom: Dates Key historical developments: Stele with the laws of Hammurabi, from Susa, Iran, ca BCE o Materials (and their significance): o Subject (Laws of Hammurabi): o Figures represented: Mortuary temple of Hatshepsut, Deir el-bahri, Egypt, 18 th Dynasty, ca BCE o Built for: o Materials/Construction Techniques: o General description architectural arrangement, locale: King and queen of Punt and attendants, relief from the mortuary temple of Hatshepsut, Deir el-bahri, Egypt, 18 th dynasty, ca BCE
5 o Subjects/narrative represented: Hatshepsut with offering jars, from the upper court of her mortuary temple, Deir el-bahri, Egypt, 18 th Dynasty, ca BCE o Subject: Temple of Ramses II, Abu Simbel, Egypt, 19 th Dynasty, ca BCE o Façade: Description o Interior: Description o Construction methods: o Subjects/symbols represented: Temple of Amen-Re, Karnak, Egypt, begun 15 th century BCE o General description: o Construction method: Temple of Amen-Re, Luxor, begun early 14 th century BCE Hypostyle hall of the temple of Amen-Re, Karnak, Egypt, 19 th Dynasty, ca o Sculptural features: Model of the hypostyle hall, temple of Amen-Re, Karnak, Egypt o Decorative features: Senmut with Princess Nefrura, from Thebes, Egypt, 18 th Dynasty, ca BCE o Subjects represented: Painted scenes from the tomb of Nabamun (funerary banquet, hunting fowl), Thebes, Egypt, 18 th Dynasty, ca BCE o Subjects represented:
6 Akhenaton and the Amarna Period Key figures: Key deity: Stylistic characteristics of artworks: Amarna period artworks: Akhenaton, from the temple of Aton, Karnak, Egypt, 18 th Dynasty, ca BCE o Subject represented: Nefertiti, from Amarna, Egypt, 18 th Dynasty, ca BCE o Sculptor: o Size/scale: o Subject represented: Tiye, from Ghurab, Egypt, 18 th Dynasty, ca BCE o Size/scale: o Subject represented: Akhenaton, Nefertiti, and three daughters, from Amarna, Egypt, 18 th Dynasty, ca BCE o Size/scale: o Subjects represented: The Tomb of Tutankhamen and the Post-Amarna Period Innermost coffin of Tutankhamen, from his tomb at Thebes, Egypt, 18 th Dynasty, ca BCE o Subject & objects represented: Death mask of Tutankhamen, from the innermost coffin in his tomb at Thebes, Egypt, 18 th Dynasty, ca BCE o Subject and objects represented:
7 Painted chest, from the tomb of Tutankhamen at Thebes, Egypt, 18 th Dynasty, ca BCE o Figures & narrative represented: Last judgment of Hunefer, from his tomb at Thebes, Egypt, 19 th Dynasty, ca BCE o Figures & narrative represented: First Millennium BCE: Dates: Key Historical Developments: Portrait statue of Mentuemhet, from Karnak, Egypt, 26 th Dynasty, ca BCE Taharqo a a sphinx, from temple T, Kawa, Sudan, 25 th Dynasty, ca. 680 BCE Temple of Horus, Edfu, Egypt, ca BCE o General description: o Construction techqnique: Concluding notes: Exercises for Study: 1. Find at least one artwork to correspond to each of the following key terms:
8 Engaged columns Axial plan High relief pylon 2. In Egyptian art, what is the canon, and what is an idealized style? Identify examples. 3. Identify works of painting and sculpture that represent stylistic innovation or departure from the normal conventions of style in Ancient Egyptian art. 4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. A. Pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty (Figs. 3-7 and 3-8); Mortuary temple of Hatshepsut, Deir el-bahri, Egypt, 18 th Dynasty (Fig. 3-19) o Periods o Structural composition o Location & orientation o Function B. Menkaure and Khamerernebty (?), from Gizeh, Egypt, Fourth Dynasty (Fig. 3-12); Akhenaton, from the temple of Aton, Karnak, Egypt, 18 th Dynasty (Fig. 3-30) o Periods o Medium/materials o Subjects o Stylistic features
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