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Gender roles of ancient egyptian empire
Gender roles of ancient egyptian empire
Gender roles of ancient egyptian empire
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Beauty is More Than Skin Deep: Depictions of Aging Women in Ancient Egyptian Art
In Ancient Egypt, women are typically shown as youthful and beautiful while more mature, older women are very rarely depicted. For men of the time, ageing is shown in art more frequently because it was a positive aspect of manhood. For ancient Egyptians, art wasn’t just made for pleasure or beauty; it was a very practical and necessary part of the day-to-day lives of the Egyptians. In art, Egyptian belief was that people needed to be depicted at their peak of energy and beauty in order to remain that way forever when they cross over into the afterlife. In most ancient Egyptian art, male ageing is represented more frequently than women since it was considered a positive image for men. Egyptian art seldom depicted older women or women growing older: "neither pregnancy nor the spreading waistline that many women must have had after years of bearing children is part of the image." However, there are examples that feature elements of ageing that are linked to elite and non-elite women alike. These demonstrations of older women are possibly an attempt to outwardly show on women the authority and honor in the same way the image of male ageing is represented. Though it is rarely depicted, we can use art to trace the portrayal of older women and women growing older in Egypt, from the Third Dynasty down to the end of the New Kingdom.
As women age, their bodies change in various ways such as the development of wrinkles and white hair. However, Egyptian art did not necessarily combine these features in a consistent, fixed order when they show women as they grew older. This may reflect the reality of the ageing process: people do not always age in the sa...
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.... Pharaohs of the sun: Akhenaten, Nefertiti, Tutankhamen. Boston: Museum of Fine Arts in association with Bulfinch Press/Little, Brown and Co., 1999.
Lesko, Barbara, "Queen Khamerernebty II and Her Sculpture," in Ancient Egyptian and Mediterranean Studies, (Providence, Rhode Island, 1998), 158.
Moussa, Ahmed M., and Hartwig Altenmller, The Tomb of Nefer and Ka-Hay (Mainz, 1971), pg. 33.
Robins, Gay. Women in ancient Egypt. Cambridge, Mass.: Harvard University Press, 1993. 180.
Robins, Gay. While the Woman Looks On: Gender inequality in the New Kingdom. KMT 1/3 (1990), 21.
Roth, Ann Macy, "Father Earth, Mother Sky: Ancient Egyptian Beliefs about Conception and Fertility,"194-96
Toivari-Viitala, J. Women at Deir el-Medina. A Study of the Status and Roles of the Female Inhabitants in the Workmen's Community during the Ramesside Period. Leiden, 2001.
These two statues are famous to the Egyptian art era. They represent the woman’s position and the man’s position at that day and age. Traditionally, the rulers of Egypt were male. So, when Hatshepsut, Dynasty 18, ca. 1473-1458 B.C., assumed the titles and functions of king she was portrayed in royal male costumes. Such representations were more for a political statement, rather than a reflection of the way she actually looked. In this sculpture, she sits upon a throne and wears the royal kilt and the striped nemes (NEM-iss) headdress with the uraeus (cobra) and is bare chested like a man. However, she does not wear the royal beard, and the proportions of her body are delicate and feminine.
"Statuette of a standing maiden [Etruscan] (17.190.2066) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. N.p., n.d. Web. 16 Feb. 2014.
Throughout history, the idea of what a ruler is has evolved. In ancient societies the style of leadership evolved from royal leadership to politically appointed emperors. Inheritance of a throne and kingship subsided after Alexander the Great’s world domination. Instead, leaders came to power through political and military prowess, and if their leadership was unsatisfactory they would usually be overthrown. With the evolution of leadership throughout ancient times, came the evolution of art portraying the rulers of the era. The personality and authority portrayed in portraits, employ different means of expression. In the ancient Egyptian sculpture of King Menkaure and his Queen, a tetradrachm coin of ancient Greece depicting Alexander the Great, and the portrait sculpture of the emperor Philip the Arab from Rome, it is evident that portrayal of ancient rulers in art evolves in accordance with the political climate.
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 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 Oriental Institute featured an exhibit focused on the development of ancient Middle East Pioneers to the Past: American Archaeologists in the Middle East 1919–20 January 12 - August 29, 2010. And this was the exhibit I found most intriguing and most i...
Akhenaten, or Amenhotep IV as he was first known, reigned during the prosperous golden age of Egypt’s 18th dynasty. He is generally associated with the neglecting the empire in order to pursue his dreams as a religious philosopher; letting the Egyptian border crumble, and ignoring their foreign colonies and provinces. Akhenaten was married to the most beautiful woman of ancient Egypt, who also happened to be his sister, Nefertiti. Delving into the reasons behind Akhenaten’s brief reform of Egyptian religion and art and the impact this had on Egypt’s golden age.
Bart, A 2007, ‘Amenhotep III (Ca 1388 - 1348 BC)’, http://euler.slu.edu/~bart/egyptianhtml/kings%20and%20Queens/amenhotepiii.htm, viewed 5th May, 2014,
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.
Many people are familiar with the pyramids and tombs of Ancient Egypt, yet not as many know about the different types of art created by the lower classes. Documentaries, movies, and television shows rarely mention the more standard art that was created, that didn’t take years of hard labor to create. This art can be compared to the drawings that many people make today, as a hobby to do in their freetime. The only difference is that the Egyptians made art for more practical purposes, and rarely for fun. You would likely find a lot of these pieces in plebian burial sites, or packed away in museum storage. Though they lack the renown of the pyramids and tombs, the different styles and types of art created by the Ancient Egyptians have just as much value as the larger accomplishments, but for different reasons.
...se days a male child was more valued than a girl. Her guard had to always be up, while she had all the power in Egypt there were other people who had the same power as she.
Fischer, Henry George. Egyptian Women of the Old Kingdom and the Heracleopolitan Period. The Metropolitan Museum of Art, New York, New York. 1989
Pomeroy, Sarah B. Women in Hellenistic Egypt: From Alexander to Cleopatra. Detroit: Wayne State University Press, 1990.
Whenever a piece of art arises there is always the question of authenticity. Is it really hundreds of years old? Or was it made one month ago by someone just trying to make a quick buck? This is the issue that Dominique Collon address in “The Queen Under Attack- A Rejoinder”. The piece that is the subject of this paper is The Queen of The Night, which is a plaque that depicts Ereshkigal. Ereshkigal is the Mesopotamian queen of the underworld, who in this case is shown nude with talons as feet, holding two “rod-ring” symbols, and wearing a horned headdress. The rod and ring are the ultimate symbols of justice, and it is said that Ereshkigal obtained these when her sister Ishtar came to visit her. Collon discusses how people such as Pauline Albenda doubt the authenticity of The Queen of the Night. He analyzes Albenda’s arguments and states evidence to support how she is wrong. Collon uses strong arguments with supporting detail as well as personal opinions to support his view on the