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Egyptian religion and architecture
Influence of Egyptian civilization
Egyptian religion and architecture
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One of the most famous unknown figures, as well as one of the most strikingly accurate sculptures of Ancient Egyptian artwork is known as the Seated Scribe; though its name is a more generic term, as it is unknown officially what this statue is called. There are many unknown mysteries behind this exquisite piece. The Seated Scribe, also sometimes called the "Squatting Scribe," is an ancient Egyptian structure discovered in Saqqara, displaying a seated figure at work, and is overall a very detailed sculpture admired by many. The Seated Scribe dates back to the Old Kingdom. The exact date is not clear, but it was estimated to date back to the 4th Dynasty, around 2600-2350 BCE. It was discovered in Saqqara in 1850 by a French archeologist named, …show more content…
The pudgy torso, belly fat, and lack of muscle depict this scribe as a middle-aged man. Based from the posture of his right hand, it is believed he was holding some writing utensil, which is now missing. The sculpture is made from limestone, with rock crystal, magnesite, and copper. It was painted to give "lifelike quality to the stone statue (Kleiner, "Gardner's Art: Western Perspective" 49). He has black hair, orange-brown body, slightly darker around the head and neck, and reddish ocher to tint flesh areas. Special care was given to the eyes to "express his wisdom and the depth of his psyche (El-Shahaway, 83 )." The eyes are made of red-veined white magnesite. A hole is drilled into the iris to display a pupil.----- Furthermore, the eyes provide …show more content…
The beautiful, yet baffling sculpture never fails to impress tourists who go to visit it, and those who have viewed pictures online or in textbooks. The artistry and mystery behind the scribe has been subject to research by many historians, archeologists, scientists, artists, etc. Beth Harris and Steve Zucker, both deans of art history from Khan Academy, composed a video, showing their positive interpretation of the Seated Scribe, first starting off with the history behind it. Zucker states the importance of the statue, "not only what it tells about Egyptian Society, but also because it's a remarkably distinct sculpture ("Old Kingdom: Seated Scribe")." This is also when they dive into its characteristics. Harris describes the figure as looking, "very human, very natural ("Old Kingdom: Seated Scribe")." She also states his level of importance because he was able to write, which back then was a very important skill to have. He was "obviously of a very high class, because he had a sculpture made of him ("Old Kingdom: Seated Scribe")." They further describe facial details and overall beauty in the sculpture. According to archeologist Auguste Mariette, who discovered the sculpture, he supposedly found it north of Serapeum's line of sphinxes. Furthermore to its unknown original location, excavation journals and archives were
The second question frequently asked regarding Schliemann’s legacy examines his motives and skill as an excavator: was Heinrich Schliemann a good archaeologist? This question has two sides. First, did Schliemann use the best techniques and technology available to him at time of his first excavation? Second, did he have the same values that other archaeologists have?
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,
The small, crudely carved statuette of an obese woman contrasts heavily with the graceful classical forms of sculpture such as Aphrodite of Cnidos, Praxiteles, 350 BCE. Although it would be difficult to associate the word beautiful with this statuette, there can be no doubt that it reflects the female form. The statuette has also been known as “la poire” or “the pear” due to its size and shape and more recently was donned the Woman from Willendorf. The removal of the title Venus served to take away the figurine’s status as a goddess and lower it to the human level, therefore allowing more consideration of the figurine’s purpose (Witcombe, sec. 3. The adage of the adage.
The process by which this particular statue was created involved using a method developed by Kaikei, a Japanese sculptor. It was a groundbreaking process that involved carving different pieces of wood separately and then joining them together (“Amida”). Instead of using a single object for creating a sculpture, multiple parts could be used to make the statue easier to construct and put together. After the parts were all joined together, the statue was covered in a lacquer finish and gilt was added to the face to give it the golden look.
The medium is Granodiorite and the technique used was sunken relief, which is a technique were the sculptor chisels deep outlines below the stone’s surface. The sculpture does not seem to be originally painted. The Egyptians created coloristic effects through contrasting shadows and highlights. They used natural pigments to color some sculptures, however this was not the case. There are deeply cut areas in the back of the statue that create deep shadows and the use of natural light helps to bring up the highlights. The granodiorite has natural colors that helped the sculptor show more of those shadows and highlights. The statue is mostly in a warm hue and it may be caused because of the lighting inside the museum. These warm colors make the details stand out more. At a closer look of the structure there are different colors that can be easily identified, such as white, yellow, brown, black, gray and small spots of orange. The statues seems to be carved in one piece. There are no signs indicating it
...ncyclopedia of Archaeology, Ed. Deborah M. Pearsall. Vol. 3. Oxford, United Kingdom: Academic Press, 2008. p1896-1905. New Britain: Elsevier, Inc.
Viewing the Lansdowne Hermes with a naked eye and what you will see is a larger than life-size statue depicting a man with an ideal body leaning with the majority of his weight on his right foot. His right arm is resting on his right buttock in an almost effortless pose. The left side of his body tells a different story. His left foot has barely any weight on it, and his left arm is supporting a pretty large portion of cloth wrapped so it perfectly wraps around the shoulder and rests just above the wrist. It appears that he was at one time holding some sort of sword or stick. To the naked eye that is what this sculpture seems to be, accepting a sculpture as a piece of art. Glancing at the Lansdowne Hermes you can appreciate beauty of art for beauty of art. However the sculptor had much more in mind when he created this figure from a large unscathed piece of marble.
In my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
...ars after Khafre’s reign, the fourth dynasty was just the beginning. Monumental Egypt, although it existed in burial tombs before Khafre’s reign, truly became a traditional pattern in the fourth dynasty. Khafre’s seated ka statues were numerous and perhaps the beginning of the formulaic sculpting of Egyptian ka statues. The King Khafre Seated that is at the Metropolitan Museum of Art now is not only the best ka statue of Khafre in existence, but perhaps one of the best examples of classic Egyptian sculpture from the Old Kingdom.
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
This stone sculpture is a naked human-like figure standing six feet tall. The body is in chiasmos stance with the left leg slightly bent and the left foot slightly behind the right. The head is turned slightly downward and to the right, and its size is approximately 1/6 of the body. The hair is cropped closely to the head with no part. The body has a defined musculature, however the forearms appear to be missing. There is an object behind and to the right of the right leg that is about 2 feet tall and 10 inches wide.
...oul. Maybe Vigee-LeBrun had this idea when painting and wanted the eyes of the people she painted to show the souls and the life of the people instead focusing on features that were less valuable.
about 2,500 years ago. Near it was the temple for his wife, Hera that was even
Since sculpture in the Old Kingdom were indicative of social status, it is unlikely this statue was created for someone wealthy. The stature is made of limestone, a very common material, and is fairly small at just over 24” high. As with other pieces of Egyptian art, this sculpture features clearly defined and
Although being a replication it is believed to be made around 1st - 2nd century A.D. during the imperial period. Though the original