Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Essays about egypt culture
Culture of ancient Egyptians
The rise of Egyptian civilization
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Essays about egypt culture
Introduction
Artwork is a key to know about the cultures and civilizations of the past just like fossils are the key to the past life. In the Egyptian artwork statues of Isis and Horus have cultural and religious significance. The statue of Isis and Horus belongs to the Ptolemaic period which is in between 304 to 30 B.C.
Formal Analysis
On the goddess' head is the throne pictograph which demonstrates her name. In addition, she has worn a vulture head covering that displays her rank of queen and goddess. Her son Horus is naked and has a lock of hair on his right side of head. The height of statue is 6 and ¾ inches. In examining the composition, it reveals that the formal elements like enlarge head (crown) depict
…show more content…
the power of specific god. In the image Isis is holding Horus' head in her hand and she let him suckle her left breast. The child is bonded to her knees having open palm in her knees and legs held together. He doesn’t look like to be a child having natural softness so here this pose is not realistic. He is actually depicted as future god. Historical Context Numerous figures of Isis nursing her child, made up of bronze, are found in the ancient Egypt. In the later ancient Egypt Isis was revered as goddess of security and protection. As a wife of Osiris and mother of Horus she had high esteem in Egyptian religion, since Pharaoh was known to be living Horus. In fact she was considered as ideal feminine and the grandmother of imperial heir. For the centuries she was the object of an in number religious enthusiasm, as represented in her Nubian sanctuary on the island of Philae and the extension of her faction in the whole Mediterranean region.
As this object is belong to Ptolemy-II period so in that era Egyptians had gained the success in economic, literacy and artistic fields.
Significance
In the ancient culture of Egypt the statue of Isis nursing her child Horus was an effective symbol of resurrection. The belief of rebirth was prevailed in the Ptolemaic era. This belief further transferred to the Roman society where whole cult of Isis was developed. This piece of sculpture is developed out of the tradition of Pharaoic Egypt with an imaginative style of that era.
The ancient Egyptian culture is actually revolves around two major elements: Pharaohs and religion. Therefore, when they carved out images from stones or use other materials these elements seems to be significant. In the later periods i.e. twenty sixth dynasty this statue was created that exhibits the intransience of these elements. Therefore, through a formal analysis of the statue and historical background the Statue of Isis' connection to the beliefs of Egyptian mythology and their inclinations toward the pharaohs will become unmistakable. Altogether, this statue demonstrates the mother goddess (mother of all Pharaohs), Isis.
Conclusion To conclude, the image of Isis nursing her child belongs to the Ptolemaic era of ancient Egypt. The statue demonstrates the mother figure which represents kindness and protection. By appearance her adornments like headdress show her divine nature. Overall, Isis wearing a crown and by sitting on the throne, and nursing her child makes it clear that Egyptian believed that Isis is kind deity who had protective nature not only for her son but also for her followers. Reference "Statuette of Isis and Horus [Egyptian], Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 200, Rawlinson, G. (1989). History of the Egyptian Kingdom of the Ptolemies (B.C. 323 to 30) Isis - Ancient Egypt,
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.
The pharaoh named Khafre was an ancient Egyptian king of the 4th dynasty during the old kingdom. Khafre enthroned shows the pharaoh is shown in a seated potion on a throne with a look of deep serenity in his face. The king is sitting rigidly upright with one of his hands on his knee and the other one making a fist on his thigh. Khafre is also wearing a headdress as well as a strapped on beard. Khafres’ face and body are both idealized with the help of bilateral symmetry. Khafre is perfectly symmetrical on both sides; his pose is also both frontal and ridged. The Sculptor shows all movement, however, still showing eternal stillness (Kleiner, 2013). The statue of Khafre is an image of unbridled power. This work, life-sized and carved from diorite (an extremely hard and difficult-to-work stone) portrays the Pharaoh Khafre, sitting immobile. This piece of art uses the Egyptian canon of proportions, creating a very idealized figure (Kleiner,
Carved from alabaster the over-life-sized statue shows a idealized depiction of ruler Khafre sitting eloquently in his throne. Riddled with indicative symbols and motifs the written language of the ancient Egyptians allows for historian to interoperate the meanings and purpose of the sculpture, and decipher the statements of divinity and the king power left behind by this ancient people. This funerary statue represents Khafre’s eternity a well as utilizing the expensive material as a testament of his importance and
The success of the king’s rule became based on the approval or rejection of the god Amun-Re. Thus, Amun was used as a platform for political propaganda, with pharaohs such as Hatshepsut and Thutmose III using the God to legitimise their claims to the throne, as evidenced for Thutmose III on the Temple of Tiraqa: ‘I have achieved this according to that which was ordained for me by my father, Amun-Re’. Concepts of the divine oracles and the divine birth of the king became a theme for pharaohs of the 19th dynasty, and afforded them heightened legitimacy. Hatshepsut’s divine birth scenes on her mortuary temple in Deir el Bahri depicts her claim to be the daughter of Amun, manipulating the public to believe in her divine birth. Additionally, Thutmose IV’s ‘dream stela” erected between the paws of the sphinx, which claimed that he had been granted the kingship because he had freed the monument according to instruction from gods. Some historians have dismissed these building projects, which consolidated the importance and authority of the state cult of Amun-Re as mere political propaganda. However, it is more the point that they reflect a significant change in the Egyptian political landscape, as it became dependent on and connected to the sustained pre-eminence of the cult of Amun-Re and the religious unity that eventuated. Therefore, the amun
The statue of Hatshepsut seated down is made with the material limestone. This limestone is lightly colored, which created a larger contrast with the other statues nearby. Her face was carved bringing out her eyes, eyebrows and other facial features. Her eyebrows also come slightly together towards the middle. Her lips forming a slight archaic smile. The dimensions are larger than an average female size. The statue is of great size, yet still in proportion. The body and head fit well with each other overall. However, it is greatly exaggerated in size.
The Assyrian Winged Protective Deity is a very imposing figure. It measures around seven and a half feet tall (Relief of a Winged Genius). This shows the figure's importance, even if the viewer did not know it protected the king from harm. Originally, it was placed next to the throne, which also makes it an important image. The muscles are extremely striking on the figure's arms and legs. The Assyrian Winged Protective Deity is shown in the composite view, so the viewer can see all of the important parts of the figure. The figure appears to be a man, but it has distinct wings coming out of its back. This could show its divinity, or the gods have an influence over this creature.
Many ancient societies were fixated on different beliefs and deities throughout the early stages of civilization, and some of the earliest signs of these periods of mythology begins with the early Sumerians and evolve into many different African cultures. As the recognized birth place of both human existence, as well as the rise of civilization. One of the more significant and more influential figures in the discussion of ancient mythology is Osiris and the history and depiction of him in Ancient Egypt. This story outlines many influential things in Egyptian society, such as the conflict between order and chaos, death and the afterlife, conceptions of kingship and succession, as well as many of the early influences of Egyptian religion in the early stages. Much of the evidence of Osiris lies in the Pyramid texts, seeing as the timeframe for the myth was around 24th century BC. Many of these same texts arise in the Middle and New Kingdom of Egypt and are influential in Egyptian folklore, as well as the storied history of the civilization. Many of the figures included in the legend, which include Isis and Horus were prevalent in many clans throughout Egypt. Much of the history surrounding Osiris has been lost, but many ancient historians and famous writers in the ancient world attempted to piece together his story.
The Palette of Narmer was created on a flat stone surface; the artists then carved the story into the flat stone in a very specific manor. This palette is known for representing the coming together of Upper Egypt and Lower Egypt (Stokstad and Cothren, 52). At the top of the palette on both sides shows two bulls that were said to possibly represent the goddess Hathor. Hathor was known as the goddess of protection, and is depicted in other Egyptian art as a woman with cow ears (British Museum, no page). In between the heads of Hathor is the name of the King Narmer, written with iconography called serekh. In this serekh, one can see the Horus falcon head and below it is the name of the king. The falcon head is said to protect the Egyptian ruler (Kinnaer). Although this is just one small piece of the top of the palette, it already starts to depict an enormous part of history in Egypt.
Egypt is most often known for mummies, pyramids and other famous monuments such as the Sphinx at Giza. Egypt also made a name in art for its paintings, sculptures and the construction of its pyramids. All of these things were customarily created for the pharaohs and the worship of their gods and goddesses. Egyptian religion is polytheistic and their gods were anthropomorphic, meaning they had many gods that could take on both human and animal forms, including the feline. These animals were very well treated and worshiped just like a god or goddess. One of the most important animals considered divine in Ancient Egypt was none other than the feline. Egypt worshiped cats as gods and goddesses, mummified them to join their masters after death and even depicted them in statues and art (Ions, 126).
From the ornamented caves of the prehistoric era to the surreal colors of impressionistic paintings, art has always been a medium for conveying human thoughts and emotions. By analyzing this artwork, much can be learned about human history, tendencies, psychology, culture, and the like. For instance, by comparing a sunken relief of Horus—considered to be the Egyptian god of the sky, sun, and war—with the Torso of Aphrodite, the Greek goddess of love, many hidden intricacies of Egyptian and Grecian civilization as well as the motives of the artists themselves can be revealed. Each piece of artwork was created in the same general time period (they are both ancient), composed of different materials, guided by social standards, and composed of a spiritual aura; within these similarities, however, lay a myriad of unique features.
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)
Between history and showcasing, the Greek and Egyptian are utilized quite brilliantly in the Museum's organization. They set precedents not only culturally and historically that the museum goer can trace throughout the other galleries, but an implication that one can learn a lot about the culture just by observing the very nature of how it was showcased—whether it be the open flow between cultures to implicate a deep connection, or a system of separation to indicate category and purpose—there is so much more to be taken than the mere observation of singular artifacts and summaries.
Thesis statement: In this research, I will investigate the basic concepts of the Egyptian mythology and its gods.
Many art works such as statues are placed throughout the world in different settings. The most common setting for statues is found in funerary settings. The importance of statues in funerary settings is that they are use to project the power the person had before his death. The seated statue of Khafre enthroned from Gizeh, Egypt, illustrates the idealized pharaoh. Another sculpture is Kouros, from Anavysos, Greece that depicts the heroism of Kroisos dying in battle. The Kouros and Khafre are similar in the way that they both radiate power and serve the purpose of honoring the dead men, yet Khafre has a greater significance because it illustrates the pharaoh in a flawless form and the audience can tell that he was a great ruler by the perfect cut sculpture.
“Egyptia... ... middle of paper ... ... 25 Sept. 1789. Web. 21 Nov. 2013. .