Chapter 3 Ancient Egypt

Chapter 3 Ancient Egypt

ANCIENT EGYPT AND EGYPTOLOGY Stability and consistency in art for almost 3000 years! Due to predictably of the Nile overflowing its banks annually, leaving black silt to fertilize fields This cycle symbolized the creation and renewal of life, reflected in Egyptian myths. (Kleiner, p. 57) The Rosetta Stone which provided the key to deciphering hieroglyphics, was discovered in 1799 by Napoleon and a troop of scholars. It had the same text in 3 sections: Greek, demotic (Late Egyptian), and Hieroglyphics. 2

ANCIENT EGYPT The Nile is a north-flowing river (due to elevation), originating in Lake Victoria and ending in the Mediterranean Sea. Thus, Upper Egypt is the upstream part of the Nile. 3

ROSETTA STONE John-Francois Champollion What is the difference between Cuneiform and Hieroglyphics? Ancient Egyptian writing was first adopted more than 5,000 years ago making it one of the earliest recorded written languages. Champollion published the first translation of the Rosetta Stone hieroglyphs in 1822, showing that the Egyptian writing system was a combination of phonetic and ideographic signs. Its secrets were lost to the modern world until the discovery of the Rosetta Stone - a stone carved in three languages: Egyptian, Demotic and Ancient Greek. The hieroglyphs were translated by comparing them to the Ancient Greek text and the mysteries of Egypt were finally revealed. Hieroglyphic writing was in use from about 3200 BC until the late 4th century AD and changed very little during this period and is very well preserved.

THEME: RELIGION TOMBS, TEMPLES, TIMELESSNESS... Predynastic: 3000-2500 BCE Palette of Narmer Stepped Pyramid at Saqqara Old Kingdom: 2575-2100 BCE Great Pyramids at Gizeh Sphinx Khafre Scribe, Married Couple, Fowling Scene of Nabumun Middle Kingdom: 2040-1640 BCE Rock Cut Tombs New Kingdom: 1550-1070 1070 BCE Mortuary Temples: Rameses and Hatshepsut Pylon Temples: Karnak and Luxor Amarna Style: Akhenaton and Nefertiti King Tut

EGYPTIAN ART Egyptians left spectacular monuments, many of them to glorify the kings whom they called pharaohs h and believed to be divine, i constructed t and furnished magnificent tombs to serve as their god-kings eternal home in the afterlife. Egyptians had gods for everything Pharaohs ½ man and ½ god Priest/Scribe noble family- communication to the gods, keep gods happy In the Old Kingdom, they built pyramids and the New Kingdom they built temples.

FUNCTION OF ART To glorify the gods including the pharaoh and To facilitate human passage into the after-life Due to general stability of Egyptian life and culture architecture, sculpture, and painting was characterized by a high conservative adherence to traditional rules or order and form over creativity

CONTEXT Geographic Isolation: civilization is defendable, homogeneous cultures=continuous traditions Economic Security: agricultural l base due to inundation of the Nile=prosperity, continuity Deeply Held Religious Beliefs: Pharaoh son of god, hierarchical society=stability/aversion to change Hierarchical Society: Pharaoh to of Pyramid =collective will/aversion i to change Geological Substructure: megalithic architecture, permanence Belief in the Afterlife: elaborate funereal traditions, objects and tomb architecture

KA Ancient Egyptians believed that death occurs when a person's ka leaves the body. The ancient Egyptians believed that a human soul was made up of five parts: the Ren, theba, the Ka, the Sheut, and the Ib. EGYPT Old Kingdom Lower Egypt Capital Memphis, c. 2500 BCE, Pyramids, Symbol: Papyrus New Kingdom Upper Egypt Capital Thebes c. 1500 BCE, Temples, Symbol: Lotus

Cue Card 3.2 Palette of King Narmer from Hierakonpolis, Egypt ca. 3,000-2,920 B.C.E., slate approximately 25 in. high Hierarchy of Scale Composite View (or Twisted Perspective) Formalized version of an eye makeup palette

PALETTE OF KING NARMER Below the king's feet is a third section, depicting two naked, bearded men. like the prehistoric stick figures from the cave paintings, Narmer, wearing the red crown of Lower Egypt, beheaded bodies Raised Relief Sculpture: commemorative instead of funerary in nature, Predynastic period some of the earliest hieroglyphic inscriptions and information about an Egyptian art ever found, thought by some to depict the unification of Upper and Lower Egypt under the king Narmer.,. On one side, the king is depicted with the red crown of Lower Egypt (northern) Egypt. Palettes were typically used for grinding cosmetics, but this palette is too large and heavy (and elaborate) to have been created for personal use and was likely a ritual or votive object, specifically made for donation to, or use in, a temple. One theory is that it was used to grind cosmetics to adorn the statues of the gods. Palettes were used to prepare eye make up, which Egyptians used to protect their eyes against the glare of the sun. The large circle would have held the make up but not in this large one, the intertwined t i necks of the animals would be a reference to the unification of upper and lower Egypt.

Intertwined necks refer to Egypt s unification cato Narmer wears crown of lower Egypt, reviews the beheaded bodies of enemies Aerial view of bodies as in Paleolithic paintings Bottom register: a bull, symbolizing the king s superhuman strength, knocks down fortress of rebellious city (also aerial view). Top register: 2 Hathors with a human faces, divine mother of Pharaoh. PALETTE OF KING NARMER (FRONT) HIERAKONPOLIS, EGYPT, PREDYNASTIC, CA. 3000 2920 BCE. SLATE, 2 1 HIGH.

Earliest preserved artwork with name of ruler Crown of Upper Egypt Composite view figure as in Mesopotamian and Persian art Falcon with arms is Horus, protector of pharaohs Does not depict a specific event, but is a characterization of the pharaoh. PALETTE OF KING NARMER (BACK) HIERAKONPOLIS, EGYPT, PREDYNASTIC, CA. 3000 2920 BCE. SLATE, 2 1 HIGH. 13

3-4 IMHOTEP, Pyramid of Djoser (step pyramid) and plan Cue Card Imhotep: 1 st recorded name of an artist Mastaba (Arabic for bench ) rectangular brick or stone structure with sloping sides over a burial chamber Cardinal Points of the compass

Oldest stone structure in the world, stepped pyramid, majority of monument were dedicated to ensuring safety and happiness in the next life, mastabas originally housed single burials, later they became a complex for multiple family burials. It was enlarged at least twice The main feature, other than the burial chamber, there was a chapel which had a false door through which the Ka could join the work, some had serdab, small room housing a statue of the deceased. Imhotep, master builder for King Djoser was the first recorded name of an artist! After his death, they deified him as the sun god, RE. About 200 feet high, stepped pyramid composed of a series of mastabas of diminishing size, stacked one atop another to form a structure the resembles the Mesopotamian ziggurats.

RESTORED VIEW (TOP) AND PLAN (BOTTOM) OF THE MORTUARY PRECINCT OF DJOSER, SAQQARA, EGYPT, THIRD DYNASTY, CA. 2630 2611 BCE.

Priests performed daily rituals at the temple in celebration of the divine pharaoh. COLUMNAR ENTRANCE CORRIDOR TO THE MORTUARY PRECINCT OF DJOSER, SAQQARA, EGYPT, THIRD DYNASTY, CA. 2630 2611 BCE.

Shafts Engaged columns Capitals 3-6 Column entrance to Djoser 3-7 Facade of the North Palace large immense (37-acres) rectangular enclosure surrounded by a wall of limestone. - tightly regulated access.

OLD KINGDOM: THE PYRAMIDS AT GIZEH 75 years to build Pyramid shape reflects cult of Re from Heliopolis, whose emblem was ben-ben,, a pyramidal stone. Symbols of the sun Were covered in white limestone which reflected light Temples are on the east side facing rising sun Priests made offerings to the god-king and stored clothing, food, and ceremonial vessels. Each face oriented to a cardinal point on a compass. Egyptian kings were reborn in the afterlife, as the sun is reborn each day at dawn. Mummification so that the Ka, or life force can inhabit the corpse and live on. Sphinx: lion with human (pharaoh s) head, associated with sun god. Composite form combines human intelligence with strength and authority of king of beasts. 19

3-7 Great pyramids of Gizeh, Egypt (Menkaura, Khafre, Khufu), Cue Card Great Pyramids Gizeh, Egypt Pyramids of Menkaure, ca. 3,000-2,920 B.C.E.; Khafre, ca. 2520-2494 B.C.E.; Khufu ca. 2551-2528 B.C.E. largest (Khufu) approximately 450 ft. high limestone Cardinal points of the compass

Great Pyramids, Gizeh, Egypt, Fourth Dynasty The pharaohs of the Old Kingdom amassed great wealth and spent it on grandiose architectural projects. The Great Pyramids of Gizeh, the oldest of the Seven Wonders of the ancient world. The prerequisite to this elite group was colossal size and enormous cost. Took 75 years for 3 Pharaohs, More refinement of the stepped pyramid, new tomb shape reflects the influence of benben -the seat of the powerful cult of Re, whose emblem was a pyramidal stone, the ben-ben, an emblem of the Egyptian god Re The Great Pyramids are symbols of the sun, The pyramids were where Egyptian kings were reborn in the afterlife, just as the sun is reborn each day at the dawn. 21

Great Pyramids, Giza Khufu Khafre Menkaure (Cheops) (Chefren) (Mycerinus)

THE GREAT SPHINX (LION W/ HUMAN HEAD) How does this pose and posture act as a guardian? Sphinx was associated with the sun god appropriate image for a pharaoh Composite creature - suggests the combination of human intelligence with the immense strength of the king of beasts.

Cue Card 3-11 Khafre sculpture Bilaterally Bilaterally symmetrical symmetrical from Gizeh, Egypt ca. 2,520-2,494 2 B.C.E. Diorite (hard stone) approximately 66 in. high

Statues placed in tombs are substitute homes for the ka Diorite transported from 400 miles down the Nile (Gudea imported to Girsu) Subtractive method of carving Throne: 2 stylized lions, papyrus and lotus intertwined symbolize united Egypt Royal linen nemes headdress with cobra of kingship ideal proportions reflect divine nature of pharaohs Compact, solid, serene last for eternity Bilateral symmetry KHAFRE ENTHRONED, FROM GIZEH, EGYPT, FOURTH DYNASTY, CA. 2520 2494 BCE. DIORITE, 5 6 HIGH 26

Diorite hard stone, 400 miles down the Nile, portrayed Khafre with a well-developed, flawless body, perfect face, regardless of real age. It isn t a true likeness or record individual features but to proclaim the divine nature of Egyptian kingship, Radiates serenity, was made to last forever, intertwined lotus and papyrus plants symbolic of a the united Egypt DIORITE - PERMANENCE OF MATERIAL/ O C O / INTERTWINED LOTUS AND PAPYRUS/ OLD KINGDOM KILT/ CANON OF IDEAL PROPORTIONS/ BLOCK-LIKE CHARACTERISTICS/ SUBTRACTIVE METHOD OF CARVING

2 nd type of formulaic Old Kingdom statues: standing figures Placed in valley temple of Menkaure s pyramid complex Timeless nature of stone statue serves as substitute home for the ka High relief sculpture, figures are connected to stone block Position of wife s arms/ hands indicate marital status MENKAURE AND KHAMERERNEBTY(?), FROM GIZEH, EGYPT, FOURTH DYNASTY CA. 2490 2472 BCE. GRAYWACKE, 4 6 HIGH Cue Card 28

Cue Card Canon of proportions Left leg longer Statue could be classified as a high-relief sculpture rigidly frontal with arms hanging Statue could be classified as a high-relief sculpture, rigidly frontal with arms hanging straight down and close to a well-built body., the artist aim was not to portray living figures but suggest timeless nature, eternal substitute home fro the ka, slight shift in weight

Cue Card How does this pose portray the role and status of a scribe? 3-13 Seated Scribe from Saqqara, Egypt ca. 2,450-2,350 2 B.C.E. painted limestone approximately 21 in. high Still and formal pose but use of increased realism in subordinate figures, painted sculpture, depicted with chest muscles and protruding belly inappropriate for an Egyptian god-king,

Less stylized, more of a portrait: intelligent and alert person As a figure s importance decreases, less formality and more realism Signs of age and belly inappropriate for pharaoh, but may be sign of comfortable life SEATED SCRIBE FROM SAQQARA, EGYPT, FOURTH DYNASTY, CA. 2500 BCE. PAINTED LIMESTONE, 1 9 HIGH 31

EGYPTIAN MURAL PAINTING Strict canon, or system of proportions p was used to depict the human form Grid on wall, placed human body yparts at specific points on grid Height of figure was a fixed number of squares, and each body part had a predetermined size and place within the scheme Ti was a high Court official and wealthy landowner of the early Fifth Dynasty. 32

Cue Card 3-14 Ti watching a hippopotamus from Saqqara, Egypt, ca. 2,450-2,350 B.C.E., painted limestone relief approximately 48 in. highh Frontal and profile view Hierarchy of scale very exaggerated size to announce his rank Decorate the walls of the mastaba of Ti, depictions of agriculture and hunting fill his tomb. This was associated with the provisioning of the ka in the hereafter, It was also a metaphor success in the hunt was triumph over the forces of evil. Egyptian funerary art because it emphasizes the essential nature of the decease not their appearance. Idealize and stiff image is typical, painters and sculptors did not sketch their subjects form life but Hierarchy of Scale applied a strict canon, or system of proportion to the human figure.

Success in hunt metaphor for triumph over evil Grooves G represent grove of papyrus, fan out at top into frightened birds and stalking foxes Hierarchal proportion Combined frontal and profile views show essential nature of deceased Ti does not do anything, he simply is, apart from time, an observer of life, like his ka TI WATCHING HIPPOPOTAMUS HUNT, PAINTED LIMESTONE RELIEF IN MASTABA OF TI, SAQQARA, EGYPT, 5 TH DYNASTY, CA. 2450 2350 BCE 4 HIGH

GOATS TREADING SEED AND CATTLE FORDING A CANAL, RELIEFS IN THE MASTABA GO S G S C O G C, S S OF TI, SAQQARA, EGYPT, FIFTH DYNASTY, CA. 2450 2350 BCE. PAINTED LIMESTONE. FORDING THE NILE IS A METAPHOR FOR DECEASED PASSAGE FROM LIFE TO HEREAFTER.

CANON OF PROPORTIONS It is the canon law, to which Egyptian artist were mandated to regularize dimensions and scale. A guideline for Egyptian artist t to follow.

MIDDLE KINGDOM Around 2150 BCE the Egyptians began challenging the pharaoh's power; this civil unrest lasted more than a century In 2040 BCE, the pharaoh of upper Egypt, Mentuhotep II, united the country again and established the middle Kingdom Senusret III was a successor of Mentuhotep II and fought 4 campaigns in Nubia, never fully achieving secure control over them 37

Unprecedented realism Pessimistic P i i expression reflects the cares of the world and the mood of the times The soul of a king is marked with anxiety from a troubled age FRAGMENTARY HEAD OF SENUSRET III 12 TH DYNASTY CA. 1860 BCE RED QUARTZITE, 6 HIGH

TOMB OF MEKETRE, REIGN OF AMENEMHET, CA. 1981 1975 BCE PAINTED WOODEN MODEL OF THE DECEASED STEWARD OVERSEEING THE COUNTING OF CATTLE AND MODEL GRANARY

MIDDLE KINGDOM ROCK-CUT CUT TOMBS Replaced mastabas as the standard tomb Shallow porch with columns Columned hall led into burial chamber with statues of deceased in niches, with paintings and painted reliefs on walls Fluted columns are part of rock fabric and do not support structure Resemble later Doric Greek columns (who emulated Egyptian architecture) 40

ROCK-CUT CUT TOMBS BH 3-5, BENI HASAN, EGYPT, 12 TH DYNASTY, CA. 1950 1900 BCE 41

INTERIOR HALL OF THE ROCK-CUT TOMB OF AMENEMHET (TOMB BH 2), BENI HASAN, EGYPT, 12TH DYNASTY, CA. 1950 1900 BCE

NEW KINGDOM: GRAND MORTUARY TEMPLE OF HATSHEPSUT Thebes is the new capital. 1 st great female monarch: Hatshepsut t (r. 1504 1482 BCE), principal wife (and half-sister) of Thutmosse II, had no sons, so when he died the throne went to a son, Thutmosse II from a minor wife and Hatshepsut was the regent queen. Within a few years, Hatsheosut proclaimed herself pharaoh and insisted her father had chosen her. She claimed to be the daughter of Amen, who assumed the form of her father in order to impregnate her mother. Her mortuary temple at Deir El-Bahri had three colonnaded terraces connected by ramps. The horizontals and verticals and their pattern of light and shadows repeat the rhythm of the limestone cliffs above. The multi-level complex included shrines to Amen, Hathor, Anubis, Hatshepsut, and her father.

3-19 Mortuary Temple of Queen Hatshepsut Senmut Mortuary Temple of Hatshepsut Deir el-bahri, Egypt ca. 1,473-1,458 B.C.E. Cue Card Colonnades Chamfered pillars

MORTUARY TEMPLE OF HATSHEPSUT (WITH THE MIDDLE KINGDOM MORTUARY TEMPLE OF MENTUHOTEP II AT LEFT), DEIR EL-BAHRI, EGYPT, 18TH DYNASTY, CA. 1473 1458 BCE Queen Hatshepsut one of the most remarkable women of the ancient world temple Queen Hatshepsut, one of the most remarkable women of the ancient world, temple rises from 3 colonnaded terraces connected by ramps on the central axis, there were statues and reliefs glorifying her reign in the vast complex. This constitutes the first great tribute to a woman s achievement.

Temple of Queen Hatshepsut, Deir-el-Bahari How do the surroundings contrast and enhance the architecture?

Documents Hatshepsut s s expedition to Punt in the south, famous for gold, myrrh, and other exotic resources. The king and queen of Punt are on the right, scholars debate if this is an accurate portrayal of the queen, or if it is exaggerated to emphasize her foreignness. KING AND QUEEN OF PUNT AND ATTENDANTS, RELIEF FROM THE MORTUARY TEMPLE OF HATSHEPSUT, DEIR EL-BAHRI, EGYPT, 18TH DYNASTY CA. 1473 1458 BCE. PAINTED LIMESTONE, 1 3 HIGH

HATSHEPSUT WITH OFFERING JARS, FROM THE UPPER COURT OF HER MORTUARY TEMPLE, DEIR EL-BAHRI, EGYPT, 18TH DYNASTY CA. 1473 1458 BCE, RED GRANITE, 8 6 HIGH After Hatshepsut died, Thutmosse III, ordered most of her portraits destroyed. As many as 200 statues of her in the round were carved for her temple complex. She uniformly was depicted wearing the mal pharaoh headdress, kilt, and at times the ceremonial beard..at least eight colossal kneeling statues in red granite line the entrance of the Amen-Re sanctuary. This is anatomically male, the male imagery is consistent with the queen formal assumption of the title of king there are other surviving portraits where she has breast. Other sculptures depicted her as a woman 48

"THE PERFECT GODDESS, LADY OF THE TWO LANDS (UPPER AND LOWER EGYPT)" AND "BODILY DAUGHTER OF RE (THE SUN GOD). JOINT REIGN OF HATSHEPSUT AND THUTMOSE III CA. 1473 1458 BCE THEBES, EGYPT LIMESTONE, PAINT

TEMPLE OF RAMSES II, ABU SIMBEL Ruled from 1290 1224 BCE: 2/3 of a century! Four 65 foot tall seated portraits of Ramses II on temple façade Quality is sacrificed for quantity/ overwhelming size In 1968 engineers moved the temple 700 feet to save it from the waters of the Aswan high dam reservoir. Ramses II sought deliberately to deface the Amarna monuments and change the nature of Egyptian religious structure in order to bring it back to where it had been prior to the reign of Akhenaten. 50

Cue Card Façade Atlantids 3-23 Temple of Ramses II Abu Simbel, Egypt ca. 1290-1224 B.C.E., colossi approximately 65 ft. high

TEMPLE OF RAMSES II, ABU SIMBEL, EGYPT, 19TH DYNASTY, CA. 1290 1224 BCE. SANDSTONE, COLOSSI 65 HIGH Ramses II, 66 year rule, 90 kids, died when he was 90 longest reign during a, peaceful time The epharaoh, aao,poud proud of his empire, proclaimed his greatness by placing four colossal images of himself on the temple façade. 65 feet tall, even though they are seated

INTERIOR OF THE TEMPLE OF RAMSES II, ABU SIMBEL EGYPT, 19TH DYNASTY CA. 1290 1224 BCE SANDSTONE PILLAR STATUES 32 HIGH 32 tall pillars of Ramses II in the guise of Osiris No load bearing function, similar to Beni Hasan Built a grand temple for his principal wife, Nefertari Constructed a huge underground tomb complex at the Valley of the Kings at Thebes for his sons 53

TEMPLE FOR ISIS BUILT IN THE REIGN OF NECTANEBO I DURING 380-362 BCE PHILAE, AN ISLAND IN LAKE NASSER, EGYPT PYLONS: MONUMENTAL GATEWAY CONSISTING OF TWO TAPERING TOWERS, EACH TOPPED BY A CORNICE (LEDGE/CROWN) JOINED BY A LESS ELEVATED SECTION WHICH ENCLOSED THE ENTRANCE. MIRRORED THE HIEROGLYPH FOR 'HORIZON' OR AKHET, WHICH WAS A DEPICTION OF TWO HILLS "BETWEEN WHICH THE SUN ROSE AND SET.

CONTINUITY OF ANCIENT EGYPTIAN ART Despite some alterations and short deviations (Amarna) from their artistic tradition, why did Egyptians maintain such continuity in their art for almost 3000 years? Detail of temple of Horus, Edfu, Egypt ca. 237 47 BCE

KING REPRESENTED IN THE TEMPLE Atlantid: a male figure that functions as a supporting column Caryatid: female figure FIGURES INSIDE OF THE TEMPLE (ATLANTIDS) AND SUNKEN RELIEFS FIGURES OUTSIDE OF THE TEMPLE

Cue Card Temple of Amen-Re Karnak, Egypt ca. 15th century B.C.E. A pylon temple with a bilaterally symmetrical ti axial plan only the pharaohs and priest could enter the sanctuary

CLERESTORY Cue Card 3-27 Model of hypostyle hall, temple of Amen-Re 3-26 Hypostyle hall, temple of Amen-Re Karnak, Egypt, ca. 1290-1224 B.C.E.

Pylon temple- wide entrance gateway of an Egyptian temple, characterized by its sloping walls, a chosen few were admitted d to the great columnar hypostyle hall (hall with a roof resting on columns), D the column were supported by stone slabs carried on lintels, 75 feet high, 22 feet in diameter. Clerestory allowed light to enter the interior, this played a key role in architecture! Hypostyle hall Temple of Amen-Re Karnak, Egypt, Dynasty XIX ca. 1290-1224 B.C.E.

Sunken relief, advantage of preserving the contours of the columns they adorn, architects intentions to emphasize the columns as image and message-bearing surfaces

Block statues were popular during New Kingdom, sculptors expressed the idea that the ka could find an eternal home in the cubic stone image of the deceasedd Pharaoh s daughter in his lap and envelopes the girl in his cloak 3-27 Semnut with Princess Nefrua from Thebes, Egypt ca. 1470-1460 B.C.E. granite 36 1/2 in. high

PAINTING OF THE NEW KINGDOM Tomb of Nebamun, scribe and counter of grain Fresco Secco: plaster dries before painting, permitted slower work, but not as permanent as buon (true) fresco. Successful hunts were metaphors for triumphing over death. Hunting scenes reference Horus, the son of Osiris, hunting down his father s murderer, Seth. Old Kingdom stiff rules of representation are relaxed with more informal poses. Compare Nebamun s dynamic pose with static pose of Ti. Music and dance were sacred to Hathor, who aided the dead in their passage to the afterlife.

Static pose Fresco secco (dry fresco) let the plaster dry before painting on it. 3-28 Fowling scene Some of the best preserved mural paintings of the New Kingdom come from the Theban tomb of Nebamun enjoying recreation in his eternal afterlife, (standing in a his boat, flushing birds) from the tomb of Nebamun, Thebes, Egypt ca. 1,400-1,350 B.C.E., 32 in. high Cue Card

EGYPTIAN PAINTING concept of the afterlife figures in proportion to rank function of the boat in Egyptian life naturalistic depiction of birds dry fresco technique/ flat, linear style

NEW KINGDOM OLD KINGDOM COMPARING PAINTINGS

Family s ceremonial meal at tomb after Nebamun s death Commemorative banquet each year when living communed with dead FUNERARY BANQUET FROM THE TOMB OF NEBAMUN, THEBES, EGYPT 18TH DYNASTY, CA. 1400-1350 BCE, FRESCO SECCO, 2 11 X 3 11

AKHENATON AND THE AMARNA PERIOD In 14 th century BCE, Akhenaton was in control He abandoned the worship of most the Egyptian gods in favor of Aton, the sun disk, whom the pharaoh declared to be the universal and only god. He emptied the great temples, enraged priests, and moved this capital downriver to Amarna. The pharaoh claimed to be both the son and sole prophet of Aton. Akhenaton's god was neither animal or human form but simple a sun disk emitting life=giving rays.

AKHENATON AND THE AMARNA PERIOD Amenhotep IV/ Akhenaton (r. 1353 1335 BCE) abandoned the worship of Egyptian gods to worship one god, Aton, associated with the sun disk. Moved his capital downriver from Thebes to Armana. Relaxed Old Kingdom artistic rules in favor of naturalism and curvilinear forms. Might have had Marfan syndrome or perhaps artists were ordered to depict him as androgynous since his god, Aton, was genderless. 69

Cue Card 3-30 Akhenaton sculpture from the temple of Amen-Re, Karnak, Egypt, ca. 1,353-1,335 B.C.E., Sandstone, approximately 13 ft. high Akhenaton cult of Aton, curvilinear lines and increased naturalistic rendering/ image of androgynous spiritual beauty, the Amarna style, misshapen body, weak arms, narrow waist, protruding belly, wide hips, and fatty thighs, new androgynous image of the pharaoh as the manifestation of Aton, the sexless sun disk Moving from a polytheistic society (many gods) to a monotheistic society (one god)

THUTMOSE (ARTIST) NEFERTITI, FROM AMARNA EGYPT, 18TH DYNASTY CA. 1353 1335 1335 BCE, PAINTED LIMESTONE, APPROX. 1 8 HIGH Expression E i of entranced musing? Found unfinished in Armana workshop of the artist, Thutmose; could have been used as a model. In decorations at Aton temple at Karnak, she equals her husband in size and sometimes wears pharaonic headgear. Nefertiti (names means beautiful one has come ) ), sculptor Thutmose, unfinished work, spiritual beauty 71

TIYE, FROM GHURAB, EGYPT, 18TH DYNASTY, CA. 1353 1335 BCE. WOOD, WITH GOLD, SILVER, ALABASTER, AND LAPIS LAZULI, 4 HIGH Queen Tiye, mother of Akhenaton, old age with lines and furrows, new relaxation of artistic rules in the Amarna age. Sculptor remodeled head by adding a wig of plaster and linen with blue beads, probably to rid it of references to old deities. Letters survive advising young Akhenaton to seek his mother s council in foreign affairs. 72

AKHENATON, NEFERTITI, AND THREE DAUGHTERS FROM AMARNA, EGYPT 18TH DYNASTY CA. 1353 1335 BCE. LIMESTONE, 1 HIGH A colossal statue of Amenhotep III and Queen Tiye with Princess Henuttaneb bi in the Cairo Museum

Sunken relief stele, rare look at this royal family, undulating curves have replaced rigid lines, figures pose with prominent beliefs that characterize this period, the family bask in the life-giving i i rays of faton, the sun disk, Akhenaton lifts up one daughter to kiss while the other sits on the lap, this family portray is unprecedented in Egyptian art UNDULATING LINES CURVILINEAR Cue Card 3-33 Akhenaton, Nefertiti, and three daughters Amarna, Egypt, ca 1353-1335 BCE, Limestone 1 ¼ high

KING TUTANKHAMEN Son of Akhenaton and a minor wife (one of his sisters) Tutankhaten changed name to Tutankhamen, living image of Aten to Amen. Left Amarna and relocated to a new capital in Thebes; probably suggested by his Vizier,, Ay and Horemheb, the top military commander to show the Egyptians that the ruler had returned to belief in the old gods. He died suddenly at the age of 18/19 after ruling for ten years (r. 1333 1323 BCE) while Egypt was at war with the Hittites. Some historians believe it was murder... or infection from a broken leg. In 1922 Howard Carter, a British archeologist, discovered his tomb, g, largely intact.

Tutankhamen King Tut 1323 BCE HOWARD CARTER (FUNDED BY LORD CARNARVAN) The most famous figure of Post-Amarna period is Tutankhamen, who was the son of Akhenaton. He became king at 10 and died at 18. He was a minor figure in Egyptian rule but his fabulously rich treasure has made him famous.

Cue Card A quarter ton of beaten gold was used for the innermost of three tombs nested inside each other DEATH MASK 1 9 HIGH & INNERMOST TOMB 6 1 LONG OF TUTANKHAMEN IN HIS TOMB AT THEBES, EGYPT, 18TH DYNASTY CA. 1323 BCE GOLD WITH INLAY OF SEMIPRECIOUS STONES 77

PAINTED CHEST, FROM THE TOMB OF TUTANKHAMEN, THEBES, EGYPT, 18TH DYNASTY, CA. 1333 1323 BCE. WOOD, 1 8 LONG ABSENCE OF GROUND LINE IMPLIES CHAOS AND DEATH.

TUTANKHAMUN'S PECTORALS Dorsal ornament hung down back, acted as a counter weight and a fastening. Gold, silver, semi-precious stones and cloisonné Scarab in center made from chalcedony. Attached to it are the wings and tail of a vulture (Nekhebet) inlayed with colored glass. The legs of the bird are grasping the shen hieroglyph, the symbol of eternity. Also holding a bunch of lotus flowers (right) and a lily (left), symbols of Upper (Southern) Egypt.

3-35 Death mask of Tutankhamen

3-37 BOOK OF THE DEAD