Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The role of women in Egyptian society
The role of women in Egyptian society
The role of women in Egyptian society
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The role of women in Egyptian society
Introduction
The following paper objective is to present the funerary stela of Ta-Khaa-En-Bastet, kept at the Cincinnati Art Museum. The stela’s accession number is 1947.392 and is possibly from Abydos because of its imagery. The stela dates back to the Late Period of ancient Egypt, which is 664-332 BC. This funerary stela helps to provide data about the funerary practices and the responsibilities women had in ancient Egyptian society.
Description of the stela
The stela is deemed to be a round-topped stela because the top is curved while the sides and bottom remain straight. It is 33 cm high and is 24 cm wide; its thickness is estimated to be 2 to 3 cm. It was carved from limestone and has only a few traces of red and black pigment. The bodies of the Egyptian gods Horus and Thoth still have the red pigment on their bodies as well as the solar disc of the uraei. The stela has a border all around it with a patter that interchanges between one wide red bar and three small black bars. At the top there are two-winged cobra called uraei (Capel, Markoe, Cincinnati Art Museum, & Brooklyn Museum, 1996). There is also an inscription below the uraei. The center of the stela depicts a woman, who is Ta-Khaa-En-Bastet, standing on the right and on the left revering the Egyptian gods Horus and Thoth. The central scene also has two small inscriptions above Horus and Thoth. The bottom has three rows of hieroglyphs, which are an offering prayer, details about Ta-Khaa-En-Bastet’s family, and her title as “Mistress of the House” (Capel, Markoe, Cincinnati Art Museum, & Brooklyn Museum, 1996, p. 166).
Illustrations and text
The central scene on the funerary stela Ta-Khaa-En-Bastet is illustrated twice standing behind the god Horus, who is on the lef...
... middle of paper ...
...ell us who Ta-Khaa-En-Bastet was and how she might have lived. She was either part of or wanted to be an affiliate of the Osiris cult at Abydos. She was most likely a middle-class woman because she was able to have a funerary stela. She also took on the responsibly of her fathers household receiving the title “Mistress of the House”. Stelae in general can reveal a lot about a society. They can reveal the religious belief of a person based on which god is depicted on the stela. They can give information about a military campaign that the pharaoh has successfully accomplished. Boundary stelae can provide an estimate as to how large a building or temple would have been as well as where the Egyptian realm had occupied foreign territories. Stelae are an essential part of antiquity because they are able to provide thorough information about past periods of 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.
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
Information from the textbook and Hays’s article help illuminate the events depicted and their significance in culture and art of the New Kingdom, and how the style ties into the art of the time.
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 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 Assyrian Winged Protective Deity is a low relief sculpture, so it does not stand out as much against the stone it was carved out off, but the viewer can easily distinguish the outline of the figure portrayed. One foot of the figure is stepping forward, which could symbolize a continuation with life even after death to protect the king. The stance of this figure greatly resembles Egyptian reliefs, since they would often have their statues have one foot forward. They did this because it symbolized eternity through the afterlife, which the ka of the person needed. The ka ...
In the following essay, I will be comparing the Hagia Sophia in the City of Istanbul, and the Suleymaniye Mosque of Istanbul. Both of these pieces of art are very significant to the in modern-day Turkey. The art pieces will be covered in more detail further on in this comparative essay, and finally, I will be judging the pieces at the end of this essay
...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 figures, both seated and standing are depicted according to traditional Egyptian conventions. Nebamun is painted as the largest figure in the painting because he is the most significant . He is standing in perfect balance with a youthful, well proportioned and defined body. The artist has painted Nebamun in a way that emphasises what the Egyptians believed to be the most important parts of a man’s body. Teeter expands upon this.
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...
Perhaps the most notorious of burial practices originating in Egypt is that of mummification. Why such an extraordinary attempt was made to preserve cadavers may seem
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.
Fischer, Henry George. Egyptian Women of the Old Kingdom and the Heracleopolitan Period. The Metropolitan Museum of Art, New York, New York. 1989
The “Sacred Tree,” (fig. 1) was originally positioned behind the king’s throne. The scene shows two genii, sometimes with birds’ heads and sometimes with men’s heads and the horned hats of gods. Each of the winged figures holds a bucket and reaches out with an oval object toward a stylized “tree.” The composition has been read as being based on bilateral symmetry, with the vertical stalk-like structure crowned by a palmette. A meticulous examination reveals that although balanced, it has many discrepancies on both sides that deviate from perfect mirror symmetry. Ashurnasirpal appears twice, shown from two sides, dressed in ceremonial robes and holding a mace connoting his authority. The figure of the king on the right makes an invocative gesture a god in a winged disk in the top center of the relief. Ashur, the national god or Shamash, the god of the sun and justice, may be identified as the god who confers the king divine right. On the left, the king holds a ring, an ancient Mesopotamian symbol of divine kingship, in one...
Other findings were the terracotta seal discovered in Vaishali which has half-man, half-woman features and a terracotta androgynous bust, excavated at Taxila dated to the Saka-Parthian era, which pictures a bearded man with female