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In the Albany Institute of History and Art there is a gallery that is focused only on Ancient Egypt artwork. The different pieces of artwork throughout the gallery include a highlight of ancient Egyptian daily life and after life. The artworks that are included in this gallery, range from, the colors and materials in jewelry, food and drink, gods and goddesses, everyday objects to preparing for the afterlife.
However, one piece of artwork stood out in the entire gallery. The Stela fragment of Mut and Amun is located in the Albany Institute of History and Art in their Ancient Egypt gallery. The term stela means, “a stone slab placed vertically and decorated with inscriptions or reliefs. Used as a grave marker or commemorative monument” (Stokstad & Cothren, 2014). Steles such as this one were set up in an individuals’ temple by worshippers hoping that their connection to the gods would last for all time.
“If the typical Egyptian stela looks suspiciously like a traditional tombstone, the reason is because traditional tombstones are a modern rendition of these ancient markers. Stela is a Latin word derived from the Greek stele, which means pillar or vertical tablet. In English, the usual forms are stele and steles. In ancient Egypt, stelae are slabs of stone or wood, of many different shapes, usually bearing inscriptions, reliefs or paintings” (Egypt, 1996).
The Stela fragment of Mut and Amun was created during the New Kingdom, Egypt predicted to be sometime between 1,550 and 1,069 BCE. However, the artist’s name of this stela fragment is currently unknown, but the medium of the stela is limestone. Egyptian art is broken up into three different parts, which include, Old Kingdom, Middle Kingdom and New Kingdom.
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... the Stele of the Sculptor Userwer was unfinished and during this time period figures were designed to be eighteen squares tall. “The unfinished decoration of this stela is particularly interesting: the lower part is still covered with the grid used for ensuring that the proportions of the figures were correct” (“Limestone stela of the Sculptor Userwer,” n.d.).
The Stela fragment of Mut and Amun is in fact an important piece of artwork that was preserved from New Kingdom Ancient Egypt. The stela itself symbolizes the beliefs and the culture during the time period in which it was created. However, the entire stela isn’t together anymore, individuals can receive a lot of information from the piece itself. The Stela fragment of Mut and Amun truly illustrates how Ancient Egyptian civilization was based on religion and their beliefs of after life during this time period.
The works titled; Victory Stele of Naram-Sin, Akkadian, 2250 BC and Stele of Hammurabi, babylonia, 1780 BC are both steles, which are large carved slabs of stone used to commemorate historical events or in same cases mark graves depending on the culture. Both works have many stylistic characteristics which were typical of mesopotamian art. They both utilized techniques such as the combined pose as well as hierarchy of scale. They both also rebuke certain classic mesopotamian stylistic choices. The Victory stele of Naram-Sin, for example, has one of the first landscapes in the history of art, and both share a lack of registers. Registers are a storytelling format using lines to separate different parts of a relief, painting etc.
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
The Victory stele of Naram-Sin holds similar features, however there are some distinct characteristics that set the two apart. The stele is obviously a different material than the Egyptian palette of King Narmer. The palette was made of soft siltstone while the stele was made of pink limestone. They both have similar shapes; however, the palette is much more polished than the stele.
One example of a stele is the Stele of Naram-Sin, which depicts a victory in battle over the Lullubi. The stele of Naram-Sin
The New Kingdom in ancient Egypt, from 1550 – 1070 BC, was a time of extraordinary wealth, power, and the continuation of the arts in the classic ancient Egyptian style. Characterized by the abstract and impersonal depiction of humans, along with the strength of the Egyptian Empire, the New Kingdom is considered the peak of power and prosperity in ancient Egypt. “Fragmentary lid from the coffin of Wadj-shemsi-su” is a piece created in this time period that was originally part of a portrait located on the top of the king’s coffin. Because the coffin would carry the king’s mummified body in his tomb, the portrait depicts the pharaoh as being prepared for the Underworld, as well as being the ideal body for the spirit of the king to flow through. The objective of the coffin’s portrait is also to convey the power of the kingdom, putting emphasis on the king’s image and the immense wealth that accompanies him. In addition to the piece’s function as a coffin, “Fragmentary lid from the coffin of Wadj-shemsi-su” embodies the strength and wealth of the New Kingdom through the piece’s human face, use of bright colors, and geometric detailing.
Egyptian art is infamous across the world - classified by the monumental pyramids, and the Sphinx. Although these are both valid forms of Egyptian art, they do not make up the entire artistic history of the country. On the contrary, perhaps the most replicated example of classic Egyptian art, from the Old Kingdom, can be found in their rendering of the human form. An interest in portraiture developed early in Egypt. (Gardner, 75) Whether painted on pottery, or cut into rock, the figures all had notably Egyptian characteristics. "The seated statue is one of only a very small number of basic formulaic types employed by the sculptors of the Old Kingdom." (Gardner, 75)
The artworks of Mesopotamia, Ancient Egypt, the Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation. These countries were not always wealthy, clever, creative and powerful enough to gain supplies, but they all find a way to create art with what they had. They have all influenced on each other’s cultures and belief through their artistic values and ways, ranging from the materials and tools they use, position and representation of their monuments and their religious intent.
The Metropolitan Museum of Art. ‘Egyptian Art’, The Metropolitan Museum of Art Egyptian Art. New Series, Vol. 41, No. 3, Egyptian Art (Winter, 1983-1984): pp. 1+3-56
It is clear that tombs and burial rituals were a key element in the Egyptian society and their way of life as it ties into almost all things they did on a daily basis. Whatever a person’s status was when they were alive followed them into the afterlife. Food and luxury goods were buried with a person so that they could have it in the afterlife. The tombs became a person’s new house after they died. Therefore, making it as nice as possible was really important. Art work and clay models were added to a person’s tomb as material goods needed for the afterlife. They were also seen as decorations that kept the tombs looking nice. Throughout the years, Egyptian artworks on the inner parts of the tombs and on the coffins show a development in the Egyptian customs. Each new development was created to better preserve the bodies and comfort of the dead.
The Amarna period, which lasted about thirty years at the end of the 18th dynasty in ancient Egypt brought many historical changes to ancient Egypt. These drastic changes are represented in the art of the period. A new pharaoh came to power and declared a new religion for all of Egypt. Although this new religion was far from supported by the citizens, the pharaoh, Akhenaten enforced the changes. Temples worshipping other gods were torn down, names were changed, even language experienced a shift. The most notable change of this period was the art style. The typical style of canon proportion, which Egypt had utilized since the third dynasty was ignored. No longer did human figures fit the calculated outlines they always had. Now under the pharaoh
The Marble Grave Stele is a horizontal piece that was embedded in a larger piece of marble. The inscriptions of the names of who died have long been lost. Thus, we must interpret for ourselves what the full meaning of the piece is. The artist of the piece is unknown, but it was constructed in Greece in around 360 B.C. during the Classical Era and stands at 171.1 centimeters in height. Its original location, as its name suggests, was at a gravesite; currently, it is located in New York City at the Metropolitan Museum of Art. The Stele was carved from marble. Overall, it is in good condition; however, the body of the woman on the left is missing with only her head surviving. Its stone frame in which it was set is also missing. This frame more than lik...
Over the history of man, there have been many prosperous empires that ruled in different parts of the world. Babylon and Egypt are two of these empires that ruled almost 500 years apart, but had one thing in common, great artistic works. Wall paintings such as the Babylonian work Investiture of Zimrilim, and the Egyptian Queen Neferati Making an Offering to Isis are examples of the great works of their times. Both pieces are rich in meaning and background, share many similarities, but differences can be seen in their style due to the time periods.
The ancient Egyptians are known for many of the incredible aspects of their culture and everything they have produced. Some of the well known ancient Egyptian relics are the ones like the ancient pyramids, the Great Sphinx of Giza, mummies, and their many forms of art. Ancient Egyptian art is one of the most recognized styles of art. The most commonly known types of ancient Egyptian art are types like paintings, ceramics, and sculptures. Not only is Egyptian art beautiful, but it carries a huge deal of value and significance with it. A great portion of the time, the art has some kind of religious meaning to it. Consequently it is very difficult to discuss the art itself without delving into the various gods and goddesses presented in it. Something that particularly struck me about ancient Egyptian art was their proneness to use animals in their art. Not only do they use the animal’s full figure, but they also put individual parts on human bodies. This intrigued me because not many cultures have art that embrace animals to this extent. I will be exploring why the ancient Egyptians depict animals in their art repeatedly, and considering what they meant to them.
Stelae are slabs of wood or stone “usually bearing inscriptions, reliefs or paintings,” and they came in various shapes and sizes. Throughout history, they were used for many different purposes. Jimmy Dunn mentioned that “in ancient Egypt, stelae were erected most frequently as tombstones and as boundary markers, but also as Votive and commemorative monuments.” Stelae being used as tombstones is why modern headstones, which are tall, and round at the top, bear an uncanny resemblance to stelae from the Middle Kingdom and New Kingdom.
The most common ancient Egyptian burial practice is the mummification process as depicted in source B. Mummification is a ritual that embalmers performed when a pharaoh died. Source B is a photograph of the canoptic jars which are a main component of the mummification process. The first step in the mummification process is the removal and preservation of most of the internal organs, such as the lungs, the stomach, the liver and intestines. These organs are then separately embalmed and placed into canoptic jars as source B reveals. These jars were often decorated with one of the four animal-headed sons of the god Horus. Each head is believed to be the protector of each organ within the jar and is dedicated to a specific deity. The preservation of the organs is significant as they allowed the dead person to breathe and eat in the afterlife. The internal organs were then wrapped and put into either the body or put in boxes instead of sitting in jars. Canoptic jars were still placed in the tomb but they were solid or empty and provided a symbolic purpose. In Tutankhamun’s tomb the canoptic jars were discovered in a shrine that was found in the treasury room of the tomb. Source B is useful is when understanding the mummification process.