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Essays on ancient egypt view on after life
Essays on egyptian concept of death
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In Ancient Egypt, stelas are either stone or wooden slabs used as a means of presenting a monument, usually for funerary purposes. They were also used as markers between territories. Stelas usually feature some sort of decoration and are carved in relief, either raised or sunken. Paint also was incorporated in some of these stelas and often featured hieroglyphics detailing the scene. In Egypt these stelas were primarily used as funerary ornaments, very much resembling tombstones. Looking from the first dynasty on, stelas changed throughout the dynasties in Egypt including their shapes, kind of decorations, and their inscriptions. Initially used as tombstones, these stelas were placed outside of the tombs to name the tomb owner and acted as a marker for offerings. Stelas were also used as a way of portraying gods and used for prayer purposes. We also see stelas used as a way of commemorating conquests. For my paper I will be looking specifically at the use of stelas for funerary purposes and how they changed throughout the dynasties. In Egyptian religion, death was not seen as the final stage. Egyptians only referred to death as the rest period before revival. We gain a glimpse into what was believed to be the after life through inscriptions such as the Book of the Dead. Although terrifying tales, it contained information that the deceased could use to protect themselves. Stelas were first employed just to perpetuate the name of the deceased but through time became more and more decorated. The first royal stelas simply inscribed the kings name in the serekh and was placed inside of niches within their tombs. The first stelas were erected in the Upper Egyptian funerary complexes at Abydos and were large slabs of rectangular stone,... ... middle of paper ... ...ed accomplishments, probably to aid in the Weighing of the Heart Ceremony. Another use was to mark territories. Some of the most famous stelas were created after Akhenaten named Amarna the new capital of Egypt. The king erected fifteen stelas in which he explained why he chose Amarna as the new capital as well as defining his power as a ruler. In conclusion we see how integral a part stelas played within Egypt’s history. Like many other Egyptian art forms, its function and use changed over time but some styles revived themselves throughout the years. The Metropolitan Museum of Art has one of the largest collections of Egyptian art and although crowded on the day I went, it was nice to be able to see some of the things in practice. It was also interesting to note the resourcefulness of the Ancient Egyptians and how art forms reappeared after somewhat of a hiatus.
In the ancient Egyptian culture, the belief was that there was a life force and spirit inside of the body, known as the ‘Ka’. Therefore, mummification was performed as a ritual to preserve the physical features of the body as well as to protect its inner spirit, mainly to ensure that the ‘Ka’ could recognize the body where it may dwell in the eternal life. Thus, the funerary psychology of ancient Egyptians was that death did not bring an end to living, but instead was only an escape from the physical human life and a gateway to immortal being. Due to the fact that a being’s life span was short in ancient times, people’s main hopes rested in their afterlives, where they would be with the gods (Stockstad 121).
Ancient Egyptian culture was largely focused on the afterlife. One of their most important deities, Osiris, became the ruler of the Underworld through death. The pharaoh and elite class prepared for their impending deaths throughout their lives. Much of what survives from ancient Egypt today was found in tombs and temples of the dead. When one of the elite died, the process of laying him or her to rest was extensive. Harold Hays explains that “the ritualized process of embalming and mummification is usually stated as lasting seventy days” (Hays 5). "Funeral Procession, Tomb of Pairy" shows two of the processes that Hays details. The first depicted is the procession to the tomb. Pairy’s body would have already been through several processions, mummification, and embalming. This particular procession’s goal is to lead not just the body, but also the spirit into the afterlife. People of both high and low classes attended this procession, carrying with them the tomb goods (Hays 6-7). The second depicted
This website provides an overview of the use of stone in Ancient Egyptian civilisations, discussing their ability to cut stone, the use of stone in
They were smaller and left open to the suns heat letting in the bright rays of Aten. Many structures do not survive into the resent day due to their destruction as a result of Akhenaten’s demise and lack of popularity among the
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.
“Divine of Body: The Remains of Egyptian Kings” was written by Robert Morkot, a lecturer in Archeology at the University of Exeter, and was published in Past and Present in 2010. In this article, Morkot argues that the Egyptian practice of mummification was not related to the western principle of relic-collection and that the remains of rulers weren't worshiped or put on display. Instead, the Egyptian obsession with the preservation of bodies was linked to their view of a complete body being essential as a place for the soul to reside after death. Current mummies are a controversial issue due to how, or if, they should be displayed to the public because the Egyptian Kings wouldn't have wanted to be put on display. The way in which they are displayed is more in line with the western view of relics than the religious significance with which the Egyptians intended them to be. The lack of this “relic view” of the mummified remains in Egypt is due to their “completeness view,” closely associated with religious practices of the time. Each person was made up of different elements, each having a different purpose, and together making up the essence of that person. Upon preservation, the body became a vessel for the soul, divine (after the incense rite) and non. The body was placed in a tomb, which became the place of rituals for awhile after death. These tombs were robbed many times over the years, but the primary motivation appears to have been the acquisition of valuables and not on the collection of relics. In many cases, after robbery, the mummified bodies would be re-wrapped and preserved along with all the rituals that went with it, showing how important it was that the body remain complete after death.
Egyptian burial complexes evolved from the simple rectangular mastaba to the great pyramids of the Fourth Dynasty. The true pyramid evolved from the mastaba through an intermediary form, the step pyramid, the earliest example of which is Zoser’s Step Pyramid at Saqqara, which dates to the Third Dynasty (c. 2680 BC). The Step Pyramid was revolutionary for several reasons. It is the earliest known free-standing monument built entirely of stone in Egypt (Fakhry 20); it is also the earliest example of evolutionary architectural development beyond the mastaba. In form the step pyramid is a series of superimposed mastabas and represents the stairway that the spirit of the pharaoh was to climb to reach the sky-realm and join the crew of the solar barque traveling across the heavens (Aldred 47).
The relief in the tomb of Hesira depicts a stately figure, one whose high social rank is made apparent at first glance. The artist achieves this portrayal in illustrating the subject’s body in a graceful, poised stance. Not only is his body depicted with great attention to detail, but his face is also shown with that same level of care. The musculature is carried out with great skill, and the body displays sleek athleticism, a perfect body that will be ready to travel to and through the afterlife. In both hands, Hesira holds objects, perhaps maces or rods, which proclaim his status. Accompanying these indications one can see above his head some hieroglyphs, certainly telling of his rank. Writing held great importance to the early Egyptians, and, thus, this writing is a most important attribution to Hesira that had to be prominently displayed, and very close to Hesira. Here, Hesira is likely the determinative of these hieroglyphs, emphasizing even further the fact th...
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
The Egyptians believed very much in life after death. As Taylor states in Death and the Afterlife in Ancient Egypt, “It is often observed that they appear to have devoted greater efforts and resources to preparing for the afterlife than to creating a convenient environment for living” (Taylor, 2001:12). The Egyptians viewed life on earth as one stage and death as the beginning of another. They believed that, “human existence did not end with death and that survival of the body played a part in the new life” (Taylor, 2001:12). One of the key elements in the Egyptian culture and religion was the preservation of the body. The body was the most important aspect because it was like a portal through which an individual could continue to live after death (Taylor, 2001:46). The Egyptians began building tombs for these bodies to keep them from decaying.
The grandeur with which Egyptians regarded their funerary customs does not come without explanation. They delighted in tying the occurrences of the natural world with supernatural dogma, and their burial practices exemplified this deluge of religion. A special deity was even attributed to cemeteries and embalmers: Anubis (Fiero, 46). Due to this deep sense of religion, a fixation with the afterlife developed within their culture. The Egyptian afterlife, however, is not synonymous of heave, but, rather, of The Field of Reeds, a continuation of one’s life in Egypt meant “to secure and perpetuate in the afterlife the ‘good life’ enjoyed on earth” (Mark 1; “Life in Ancient Egypt” 1). The pursuit of this sacred rest-place prompted the arousal of intricate Egyptian funeral rituals.
...or historical records and scribing. In this manner, each section showcased the idea of purpose behind each Egyptian artifact; while all items are very ornate and artful, this separation proves the Egyptians lack of embodying “art” so much as embellished items of practicality and function.
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.
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.
The Valley of the Kings is a valley in Egypt which was chosen as the burial ground for a great number of pharaohs and nobles of the New Kingdom; the New Kingdom in Egypt spans the time between the 16th century BC and the 11th century BC which includes the eighteenth, nineteenth and twentieth dynasties of Egypt (Long 2015: 39). In 1979 an organization known as the Theban Mapping Project was organized to strategically catalogue the present and available archaeological record of the Theban Necropolis in the Valley of the Kings. “The TMP’s goal is to establish a historical and contemporary record of all monuments … and to prepare detailed topographical maps, architectural plans and surveys of their history and condition (Weeks 2000:1).” The book