Ancient Egypt

ART HISTORY AND MAJOR WORKS

Land of
Contrasts
Egypt is a land of desert and
water; the Nile river was of
great importance
economically, culturally, and
religiously. The Nile river
provided fertile land to
Ancient Egyptians.
Land of Key Notes:
Contrasts
Egypt = Desert + Water
Egypt is a land of desert and
water; the Nile river was of Nile River = Fertile Land =
great importance Economy + Culture +
economically, culturally, and
Religion
religiously. The Nile river
provided fertile land to
Ancient Egyptians.
Land of
Contrasts
The Nile flooded annually
due to melting snow in the
Lake Victoria region. This
created fertile silt deltas.
Themes of seasonality and
renewal are common in
Egyptian art.
 Key Notes:
Land of
Nile River: Contrasts
Annual (Yearly) Flooding
The Nile flooded annually
+ due to melting snow in the
Lake Victoria region. This
created fertile silt deltas.
Seasonality + Renewal
Themes of seasonality and
Art Themes renewal are common in
Egyptian art.
Ages of
Egyptian
Civilization
Egypt’s ancient period lasted
for more than 3,000 years,
Egypt’s ancient
from about period
3100 BCElasted
to 392 for
more than 3,000 years, from about
CE. Throughout this length of
3100 BCE to 392 BCE. Throughout
timelength
this Egyptofdemonstrated
time Egypt both
remarkable cultural
demonstrated and
both remarkable
cultural
politicaland political
stability andstability
periods and
of
periods
changeofaschange as new and
new kingdoms
kingdoms and political ages
political ages emerged.
emerged.
 Ages of
Egyptian
Civilization
Egypt’s ancient period lasted
for more Key Notes
than 3,000 years,
Egypt’s ancient
from about 3100period
BCElasted
to 392 for
more than 3,000 years, from about
CE. Throughout
Ancient this length of
Egypt
3100 BCE to 392 BCE. Throughout
timelength
this Egypt ofdemonstrated
3000+ Egypt both
time Years
remarkable cultural
demonstrated both and
3,100 BCE ~remarkable
392 BCE
cultural
politicaland political
stability andstability
periods and
of
periods
changeofaschange as new and
new kingdoms
kingdoms“Remarkable!”
and political ages
political ages emerged.
emerged. + Politically Stable
Culturally
during Kingdom & Political
Changes
Ages of
Egyptian
Civilization
Art historians and
Egyptologists typically focus on
the Old, Middle, and New
Kingdoms. The Amarna period
(New Kingdom) was also
important because of its
cultural reform and stylistic
revolution. Egyptian art
features themes of religion,
and rebirth, power, and
permanence.
 Ages of
Egyptian
Civilization
Art historians and
Egyptologists typically focus on
the Old, Middle, and New
Amarna
Kingdoms. Period
The Amarna period
(New Kingdom)
(New Kingdom) was also
important because of its
Culture + Style
cultural reform Changes =
and stylistic
ArtEgyptian
revolution. Themes art >
Religion,
features themes ofrebirth,
religion,
Power
and rebirth,+ Permanence
power, and
permanence.
Ages of
Ages of
Egyptian
Egyptian
Civilization
Civilization
Early Dynastic c. 2950-2575 BCE
Early Dynastic c. 2920-2650 BCE
Old Old Kingdom
Kingdom c. 2575-2150
c. 2650-2150 BCE BCE
1st Intermediate Period c. 2150 BCE-1986 BCE
Middle Kingdom c. 1975-1640 BCE
Middle Kingdom c. 1986-1759 BCE
New Kingdom c. 1539-1075 BCE
2nd Intermediate Period c. 1759-1539 BCE
Akhenaten and the Amarna Period
New Kingdom c. 1539-1069 BCE
1353-1335 BCE
Akhenaten & the Amarna Period 1353-1336 BCE

3rd Intermediate Period c. 1070-715 BCE

Late Kingdom c. 712-332 BCE

Ages of
Ages of
Egyptian
Egyptian
Civilization
Civilization
All Are Key
Early Dynastic c. 2950-2575 BCE Notes!
Early Dynastic c. 2920-2650 BCE
Old Old Kingdom
Kingdom c. 2575-2150
c. 2650-2150 BCE BCE
1st Intermediate Period c. 2150 BCE-1986 BCE
Middle Kingdom c. 1975-1640 BCE
“These are
Middle Kingdom c. 1986-1759 BCE the Key
New Kingdom c. 1539-1075 BCE Dates”
2nd Intermediate Period c. 1759-1539 BCE
Akhenaten and the Amarna Period
New Kingdom c. 1539-1069 BCE Amarna Period
1353-1335 BCE (New Kingdom)
Akhenaten & the Amarna Period 1353-1336 BCE
Culture + Style Changes =
3rd Intermediate Period c. 1070-715 BCE Art Themes >
Religion, rebirth,
Late Kindgom c. 712-332 BCE Power + Permanence
Art and
Eternity
Artistic traditions of ancient
Egypt focused on
representing royal figures
and divinities, as well as on
elaborate funerary beliefs
and traditions that reflect
themes of rebirth and
eternal life.
 Key Notes

ART & ETERNITY

Artistic Traditions
Art and ~
Eternity Represent
Royal Figures
+ of ancient
Artistic traditions
Divinities
Egypt focused on
(Gods/Goddesses)
representing royal figures
and divinities, as well as on
elaborate funerary
+ beliefs
and traditions that reflect
themes ofRebirth
rebirth and
eternal life. +
Eternal Life
Hieroglyphics
Hieroglyphics were first
developed around 3100 BCE
and became an important
part of art and architecture.
Hieroglyphics often
accompanied imagery in
visual art, and adorned
temples and sacred spaces.
Key Notes

Hieroglyphics: Hieroglyphics
* ~ 3,100 BCE
Hieroglyphics were first
* For Art & Architecture developed around 3100 BCE
* In temples/Sacred Places and became an important
part of art and architecture.
Hieroglyphics often
accompanied imagery in
visual art, and adorned
temples and sacred spaces.
What
Egyptian Art
Was Made Of
Egypt had stone resources,
including granite and marble,
that artists used in
architectural projects and
sculpture.
Local wood species like
sycamore fig and acacia and
imported woods like cedars
from Syria and Lebanon were
used in statuary and funeral
objects.
What
Egyptian Art
Was Made Of
Key
Egypt had Notes
stone resources,
including granite and marble,
that artistsResources:
Local used in
architectural projects and
sculpture.Stone:
Granite
Local wood species like
Marble
sycamore fig and acacia and
imported woods like cedars
from SyriaWood:
and Lebanon were
usedSycamore
in statuary andFig
funeral
objects.
Acacia
Cedars
What Egyptian Art
Was Made Of
Ancient Egyptians also created objects with faience,
a ceramic like material made of glazed ground
quartz, alkaline salts, and colorants. Although
faience was created in a number of colors, turquoise
blue was common and made with copper.

Ancient Egyptians also had advanced metallurgy

technology, and used metals in weaponry, jewelry,
and art.
 What Egyptian Art
Was Made Of
Key
Ancient Egyptians also Notes
created objects with faience,
a ceramic like material made of glazed ground
quartz, alkaline salts, and colorants. Although
Faience = Ceramic-like material =
faience was created in a number of colors, turquoise
quarts+
blue was commonalkaline
and madesalts + colorants
with copper.

Ancient Egyptians also had advanced metallurgy

technology, and used metals in weaponry, jewelry,
and art.
Objects

Turquoise Blue —> Copper = Common

Color and
Egyptian Art
Egyptian art and culture placed
great importance on the role of
color. The land of Egypt was
represented politically by the
white crown of Upper Egypt and
the Red Crown of Lower Egypt.
The color blue, representing the
Nile, was associated with divinity,
while the yellow of the sun was
associated with protection.
 Color and
Egyptian Art
Key
Egyptian art andNotes
culture placed
great importance on the role of
color. The
Color land of Egypt
= Great was
Importance
represented politically by the
white crown of Upper Egypt and
Upper Egypt = White Crown
the Red Crown of Lower Egypt.
Lower
The colorEgypt = Red Crown
blue, representing the
Nile, was associated with divinity,
Blue
while Nileof=the
the yellow Divinity
sun was
Yellow
associatedSun = Protection
with protection.
Color and
Egyptian Art
Certain gods were
associated with particular
symbolic colors. For
example, Osiris, the god of
fertility and eternal life, was
associated with black and
green.
 Color and
Egyptian Art
Certain gods were
associated with particular
Key For
symbolic colors. Notes
example, Osiris, the god of
Colors Symbolize
fertility and eternal life,Certain
was Gods
associated with black and
green.
Osiris = Fertility + Eternal Life
Osiris = Black + Green
Art and
Nature
Ancient Egyptians
represented the natural
world around them in their
art. The scarab beetle and
tilapia fish represented
regeneration, while the
lotus flower and papyrus
reed represented the Nile.
 Art and
Nature
Ancient Egyptians
represented the natural
world aroundKey Notes
them in their
art. The scarab beetle and
tilapia fish represented
Keywhile
regeneration, Symbols:
the
lotusScarab & Tilapia
flower and papyrus =
reed represented the Nile.
Regeneration
Lotus & Papyrus = the Nile
Art and Nature
The scarab, or dung beetle, represented Khepri, the
sun god at dawn. Like Khepri pushing the sun across
the sky according to Egyptian belief, the scarab was
seen rolling balls of dung from its burrow. The Ancient
Egyptians thought scarab beetles were self-generating.
Scarabs thus symbolized rebirth and were important
parts of funerary art.
 Art and Nature
The scarab, or dung beetle, represented Khepri, the
sun god at dawn. Like Khepri pushing the sun across
the sky according to Egyptian belief, the scarab was
Key Notes
seen rolling balls of dung from its burrow. The Ancient
Egyptians thought scarab beetles were self-generating.
Key Symbols:
Scarabs thus symbolized rebirth and were important
Scarab = Khepri
parts of funerary art. = Sun God = push sun
across sky
Scarab = Rebirth —> importance in
funerary art
Exchange and the
Ancient Mediterranean
The art of Ancient Egypt illustrates the active exchange
of ideas, cultural influences, and traditions in the
Ancient Mediterranean world. The study of art and
innovation in in ancient Egypt establishes a foundation
for better understanding later civilizations and their
art. Ancient Greek, Etruscan, and Roman artists and
architects were all influenced by Ancient Egypt and its
art and culture.
 Exchange and the
Ancient Mediterranean
The art of Ancient Egypt illustrates the active exchange
of ideas, cultural influences, and traditions in the
Ancient Mediterranean world. The study of art and
Key Notes:
innovation in in ancient Egypt establishes a foundation
for better understanding later civilizations and their
Arts = Exchange
art. Ancient of and
Greek, Etruscan, Ideas,
RomanCultures,
artists and Traditions
Art =were
architects influence onbythe
all influenced Greeks,
Ancient Egypt and Etruscans,
its
art and culture. Romans
Mythology and
Symbolism
Egyptian art incorporates mythological and religious
symbolism, often centered on the cult of the sun.
Representations of humans make clear distinctions
between the deified pharaoh and people in lower
classes, using representational and stylistic cues such
as hierarchical proportion and idealization versus
naturalism.
 Mythology and
Symbolism
Egyptian art incorporates mythological and religious
symbolism, often centered on the cult of the sun.
Representations of humans make clear distinctions
between the deified pharaoh and people in lower
classes, using representational and stylistic cues such
Key Notes:
as hierarchical proportion and idealization versus
Art = Mythology + Religious Symbols (often cult of the sun)
naturalism.
Deified Pharaoh (idealized) vs. “Other” people (natural)
Foundations
of Artistic
Tradition
Ancient Egyptians depicted
people differently depending
on their socioeconomic
status. Traditional
representations in art last for
many centuries with
remarkable stability, with
only short-lived periods of
experimentation and
deviation artistic and
architectural style and
traditions.
 Key Notes:

Foundations People
depictions
of Artistic depend on
Tradition socioeconomic
status

Ancient Egyptians depicted

people differently depending
on their socioeconomic
status. Traditional
representations in art last for Remarkably
many centuries with Stable
remarkable stability, with
only short-lived periods of
experimentation and
deviation artistic and
architectural style and
traditions.
Brief Periods of
Deviation
Foundations of
Artistic Tradition
Ancient Egyptian architecture was especially influential
to civilizations that followed. Development of
monumental stone architecture culminated with the
pyramids and with innovative designs for rock-cut
tombs and pylon (massive sloped gateway) temples,
each demonstrating the importance of the pharaoh—a
god-king with absolute power, descended directly from
the sun god Ra.
 Foundations of
Artistic Tradition
Ancient Egyptian architecture was especially influential
to civilizations that followed. Development of
monumental stone architecture culminated with the
pyramids and with innovative designs for rock-cut
tombs and pylon (massive sloped gateway) temples,
each demonstrating the importance of the pharaoh—a
god-king with absolute power, descended directly from
the sun god Ra.
Key Notes:

Architecture = Major Influence to Later Civilizations

Pyramids = rock-cut tombs + pylons/sloped gateway temples

Pharaoh = God-King w/Absolute Power descended —> Sun God Ra

Palette of
King
Narmer
Culture
Predynastic Egypt
Date
3000-2920 BCE
Materials
Greywacke
Palette of
King
Narmer
Culture
Predynastic Egypt
Date
3000-2920 BCE
Materials
Key Notes
Greywacke

Palette of King Narmer

Predynastic Egypt
3000-2920 BCE
Palette of King Narmer
The most common analysis of the Palette of King Narmer hypothesizes that it depicts the
unification of Lower and Upper Egypt by King Narmer, whose name and likeness appears on
both sides of the palette. King Narmer wears a crown that combines that of Lower and Upper
Egypt.
This object is an elaborate and artistic version of a common object in Egyptian life: a palette.
Ancient Egyptians used palettes to prepare eye makeup.
On the front of the palette, two elongated necks of lions form the cavity designed to hold eye
makeup. The intertwined necks of these cats is often believed to be a symbolic representation
of the unification of Egypt.
This palette is divided into registers, to divide the subject into different scenes and show the
importance of certain components of the scene. The pharaoh is shown much larger than all
other figures, and represented in composite view. This method of portraying people was
meant to give the viewer the most information possible about the subject.
Palette of King Narmer
Key Notes
The most common analysis of the Palette of King Narmer hypothesizes that it depicts the
unification of Lower and Upper Egypt by King Narmer, whose name and likeness appears on
Palette
both sides of the palette. King Narmer of King
wears a crownNarmer
that combines that of Lower and Upper
Egypt. Predynastic Egypt
This object is an elaborate and artistic3000-2920 BCE object in Egyptian life: a palette.
version of a common
Ancient Egyptians used palettes to prepare eye makeup.
On the front ofLower
the palette, two elongated
+ Upper Egypt necks
= ONEof lions form the
under cavityNarmer
King designed to hold eye
makeup. The intertwined necks of these cats is often believed to be a symbolic representation
of the unification of Egypt.
Elaborate/Artistic
This palette is divided into registers, to divide Eye Make-Up
the subject Palette
into different scenes and show the
importance of certain components of the scene. The pharaoh is shown much larger than all
other figures, and representedLions
in composite view. This holder
= Make-up method of portraying people was
meant to give the viewer the most information possible about the subject.
Cats = Unification of Egypt

Divided into registers (Horizontal Levels of Work)

 Why did the Egyptians make a sculpture of a Seated Scribe?

Seated
Scribe
Location
Saqqara, Egypt
Culture
Old Kingdom, Fourth Dynasty
Date
2620-2500 BCE
Materials
Painted limestone
Seated
Scribe
This statue depicts a scribe in
the classic pose of his
profession. A scroll of papyrus
rests on his lap, and the
figure holds a pen. The
scribe’s body reflects his
health and wealth; scribes in
Ancient Egypt had a high
status. The statue has a
lifelike quality achieved
through the painting of the
plaster and the use of inlaid
eyes.
 Seated
Scribe
This statue depicts a scribe in
the classic pose of his
Key Notes
profession. A scroll of papyrus
rests on his lap, and the
figure holds a pen. The
scribe’s body reflects his
Seated Scribe
health and wealth; scribes in
Ancient Egypt had a high
Usual Profession Pose
status. The statue has a
lifelike quality achieved
through the painting of the
Scribe = High Status
plaster and the use of inlaid
eyes.
What are
Pyramids?
Pyramids are colossal-size tomb-structures created by
Egyptians. Pyramids likely modeled after the ben-ben,
the symbol of the cult of Ra (the Egyptian sun god), and
intended to represent the sun.
The construction of pyramids represented a major feat;
the limestone blocks used in the creation of pyramids
were extraordinarily heavy and had to be transported at
great distances by thousands of workers.
At least 118 pyramids have been identified. The earliest
known Egyptian pyramids are found at Saqqara. The
Giza pyramids, located near modern Cairo, are the most
notable and famous; even today they are among the
largest structures ever built.
 What are
Pyramids?
Pyramids are colossal-size tomb-structures created by
Egyptians. Pyramids likely modeled after the ben-ben,
the symbol of the cult of Ra (the Egyptian sun god), and
Key Notes:
intended to represent the sun.
Pyramids = Colossal-Size Tombs:
The construction of pyramids represented a major feat;
symbol: Ben-Ben
the limestone —>
blocks used Cult
in the of Ra
creation (Sun God)
of pyramids
1000s of Workers
were extraordinarily heavy=>andLimestone Transport
had to be transported at
great distances by thousands of workers.
At least
118 118Pyramids,
pyramids haveEarliest
been identified. The earliest
= Saqqara
known Egyptian pyramids are found at Saqqara. The
Giza Pyramids - Cairo -
Giza pyramids, located near modern Cairo, are the most
notable andMost Famous
famous; even today (of
theyLargest)
are among the
largest structures ever built.
 Location Date
Great Pyramids Giza, Egypt
Culture
2550-2490 BCE
Materials
and Great Sphinx Old Kingdom, Fourth
Dynasty
Cut limestone
 Key Notes:
Great Pyramids & Great Sphinx

Giza, Egypt

Old Kingdom, 4th Dynasty

2550-2490 BCE
Limestone

Location Date
Great Pyramids Giza, Egypt
Culture
2550-2490 BCE
Materials
and Great Sphinx Old Kingdom, Fourth
Dynasty
Cut limestone
Great Pyramids and
Great Sphinx
The Great Pyramids and Great Sphinx were massive
monuments to the pharaohs Menkaure, Khufu, and
Khafre in the 4th dynasty.
The Great Pyramid of Khufu was the largest pyramid
ever constructed, standing over 480 feet tall. For
thousands of years the Great Pyramid was the tallest
human-built structure in the world.
The Giza pyramids had a mortuary temple and
causeway leading to it, which represented the journey
of a pharaoh’s body during funerary proceedings.
Mortuary temples were situated in the eastern direction
towards the sunset.
 Great Pyramids and
Great Sphinx
The Great Pyramids and Great Sphinx were massive
monuments to theKey Notes
pharaohs Menkaure, Khufu, and
Khafre in the 4th dynasty.
GreatThe
Pyramids / Great
Great Pyramid of KhufuSphinx
was the—> 4th
largest Dynasty
pyramid
ever constructed, standing
Pharaohs: over 480 feet tall. For
thousands of years the Great Pyramid was the tallest
Menkaure, Khufu, Kafre
human-built structure in the world.
The Giza pyramids had a mortuary temple and
Khufu =leading
causeway largest
to it, @ 480’/146.3m
which represented theTalljourney
of a pharaoh’s body during funerary proceedings.
Mortuary temples were Had:
situated in the eastern direction
Mortuary
towardstemples = Eastern Direction (sunset)
the sunset.
Great
Sphinx
The Great Sphinx was
created in the Giza Pyramid
complex around 2500 BCE
and carved on location (in
situ) from an extremely
large piece of limestone. A
sphinx is a hybrid human-
animal with the body of a
lion and the head of a
human or deity. The sphinx
was once painted red.
Today there is some signs
of damage to the face
which may have been the
result of vandalism.
Great
Sphinx
The Great Sphinx was
created in the Giza Pyramid
complex around 2500 BCE
and carved on location (in
situ) from an extremely
large piece of limestone.Key
A Notes:
sphinx is a hybrid human-
animal with the body of a
lion and the head of a
human or deity. TheGreat
sphinx Sphinx =
was once1 painted red.
piece ofsigns
limestone painted red
Today there is some
of damage to the face
which may have been the
result of vandalism.Sphinx = hybrid
human-animal body + human/deity head
King Menkaure and
Queen
Location
Giza, Egypt
Culture
Old Kingdom, Fourth Dynasty
Date
2490 - 2472 BCE
Materials
Greywacke
King Menkaure and
Queen
Location
Giza, Egypt
Key Notes:
Culture
King Menkaure & Queen
Old Kingdom, Fourth Dynasty
Date
Giza, Old Kingdom
2490 - 2472 BCE
259-2470
Materials
Greywacke
Greywacke
King Menkaure and
Queen
This high relief sculpture depicts the king Menkaure
and likely his queen. There is some dispute over
whether the female figure depicts a goddess. Both
figures are idealized, and the king is depicted in a
classic pharaoh position – one foot is forward and fists
are aside the body.
This sculpture was crafted from a single stone; the legs
and arms of the figures were not cut free from the
stone matrix. It is likely that the figure was originally
painted.
This statue may have served a religious purpose and
could have been intended to be a vessel for the spirit
(ka in Egyptian).
King Menkaure and
Queen
This high relief sculpture depicts the king Menkaure
and likely his queen. There is some dispute over
whether the female figure depicts a goddess. Both
figures are idealized, and the king is depicted in a
classic pharaoh position
Key Notes:– one foot is forward and fists
are aside the body.
This sculpture was crafted from a single stone; the legs
Menkaure/Queen
and arms of the figures were (goddess?) =
not cut free from the
stone matrix. It isclassic
idealized, likely that the figure was pose
pharaoh originally
painted.
This statueOne
may haveStoneservedCarving
a religious purpose and
couldVessel
have beenfor thetoSpirit
intended (Ka)?
be a vessel for the spirit
(ka in Egyptian).
Temple of
Amun-Ra and
Hypostyle Hall
Location
Karnak, Egypt
Culture
New Kingdom
Date
1550 – 1250 BCE
Materials
Cut sandstone and mud brick
Temple of
Amun-Ra and
Hypostyle Hall
Location
Karnak, Egypt
Culture Key Notes:
New Kingdom
Temple
Date of Amun-Ra and Hypostyle Hall
1550 – 1250 BCE
Materials
Karnak, Egypt
Cut sandstone and mud brick
New Kingdom
1550-1250
Sandstone/Mud Brick
Temple of Amun-Ra
and Hypostyle Hall
Located centrally between Thebes and the Nile, the
temple complex at Karnak was the main center of
religious activity in the New Kingdom, and even today is
among the largest religious complexes in the world.
Pharaohs continued to add to the complex over time.
Certain areas of the complex were likely only accessible
to royals, priests, and members of a higher
socioeconomic class.
The Temple of Amun-Ra was devoted to Amun-Ra, who
became the chief god in the Egyptian world, and was
built around 1550 BCE. The temple had an axial layout
that was associated with the four cardinal directions.
 Temple of Amun-Ra
and Hypostyle Hall
Located centrally between Thebes and the Nile, the
temple complex at KarnakKey wasNotes:
the main center of
religious activity in the New Kingdom, and even today is
among the largest religious complexes in the world.
Between
Pharaohs continuedThebes and
to add to the theover
complex Nile =
time.
Certain areas of the complex were likely only accessible
New Kingdom’s
to royals, Main ofReligious
priests, and members a higher Activity
socioeconomic class.
Some Restricted
The Temple of Amun-Ra wasAreas totoroyals,
devoted Amun-Ra, priests
who
became the chief god in the Egyptian world, and was
and high
built around 1550 BCE.socioeconomic class
The temple had an axial layout
that was associated with the four cardinal directions.
Temple of
Amun-Ra and
Hypostyle Hall
The Hypostyle Hall was likely
built around 1250 BCE. A
hypostyle was a column
supporting a celling. Columns
drew from naturalistic motifs,
and represented lotuses and
papyrus reeds.
Today, the Temple of Amun-Ra
and Hypostyle Hall are in a poor
state of preservation compared
to other Egyptian temple
complexes.
Temple of
Amun-Ra and
Hypostyle Hall
The Hypostyle Hall was likely
built around 1250 BCE. A
hypostyle was a column
supporting a celling. Columns
drew from naturalistic motifs,
and represented lotuses and
papyrus reeds.
Today, the Temple of Amun-Ra
and Hypostyle Hall are in a poor
Keycompared
state of preservation Notes:
Hypostyle
to other Egyptian
complexes.
temple Hall
Built ~ 1250 BCE
Today = poorly preserved
 Location Date
Mortuary Temple of Luxor, Egypt
Culture
1473-1458 BCE
Materials
Hatshepsut New Kingdom Sandstone and red granite
 Key Notes:

Mortuary Temple of Hatshepsut

Luxor, Egypt
New Kingdon
1473-158 BCE
Sandstone/Red Granite

Location Date
Mortuary Temple of Luxor, Egypt
Culture
1473-1458 BCE
Materials
Hatshepsut New Kingdom Sandstone and red granite
Temple of Amun-Ra
and Hypostyle Hall
The Mortuary Temple of Hatshepsut was carved from
the side of a cliff, and replicated the horizontal and
vertical angles and lines found in the cliffs. The temple
consists of three terraces surround by columns that
were planted as gardens in ancient times with trees.
The temple was highly adorned with reliefs and
artworks celebrating Hatshepsut; this is noteworthy
because it represents perhaps the first major time the
accomplishments of a female leader are celebrated in a
major work in art history.
The temple had over 200 statues throughout its
complex, with a noteworthy set of 10 red granite
statues.
 Temple of Amun-Ra
and Hypostyle Hall
The Mortuary TempleKey Notes:
of Hatshepsut was carved from
the side of a cliff, and replicated the horizontal and
vertical angles and lines found in the cliffs. The temple
consists of three terraces surround by columns that
Carved
were planted as gardens from side
in ancient timesofwithcliff
trees.
The temple 3 wasterraces
highly adorned+ columns
with reliefs and
artworks celebrating Hatshepsut; this is noteworthy
“FIRST
because MAJOR
it represents perhapsFEMALE
the first majorLEADER
time the
celebrated in major art history work!”
accomplishments of a female leader are celebrated in a
major work in art history.
The temple had over 200 statues throughout its
complex, with a noteworthy set of 10 red granite
statues.
200 Statues
with 10 red granite statues
Hatshepsut
Akhenaten,
Nefertiti, and
Three
Daughters
Location
Karnak, Egypt
Culture
New Kingdom, Amarna
Period
Date
1353-1335 BCE
Materials
Limestone
 Akhenaten,
Nefertiti, and
Three
Daughters
Location
Karnak, Egypt
Key Notes: Culture
Akenaten, Nefertiti, and Three Daughters
New Kingdom, Amarna
Period
Date
Karnak, Egypt, 1353-1335 BCE
New Kingdom, Amarna PeriodMaterials
Limestone
1353-1335 BCE
Limestone
Akhenaten, Nefertiti, and Three
Daughters
This work is a limestone relief showing Akhenaton, Nefertiti, and their three daughters.
Nefertiti's throne has symbols of Upper and Lower Egypt. The carved sun represents the god
Aten. It is believed that the relief was originally painted.
This relief is notable because it showcases the transition of Egypt to monotheism. Akhenaton
changed the Egyptian state religion from worship of Amun to Aten.
This scene shows a degree of domesticity and intimacy between Akhenaten, Nefertiti, their
daughters, and their new god Aten that was uncommon, especially in depictions of royalty, up
until this time. The shift in state religion created more artist experimentation during this
period.
Akhenaten, Nefertiti,
Key Notes:and Three
Daughters
Akhenaten, Nefertiti and Three Daughters

This work isNefertiti’s

a limestone relief showing +
throne Akhenaton,
Symbols Nefertiti,
of and their three daughters.
Upper/Lower Egypt
Nefertiti's throne has symbols of Upper and Lower Egypt. The carved sun represents the god
Sun =
Aten. It is believed that the relief was originally God Aten
painted.
This relief is notable because it showcases the transition of Egypt to monotheism. Akhenaton
changed the Egyptian state religionTransition
from worshipto Monotheism
of Amun to Aten.
This scene shows a degree of domesticity and intimacy between Akhenaten, Nefertiti, their
daughters, and their new god Aten that wasAkhenaton:
uncommon, especially in depictions of royalty, up
until this time. The shift in state religion created more artist experimentation during this
period. Shift —> Amun to Aten Worship

Shows Intimacy of Family & God

Depiction = Artistic Experimentation
Tutankhamun’s
Innermost
Coffin & Mask
Location
Valley of Kings, Egypt
Culture
New Kingdom, Amarna Period
Date
1353-1335 BCE
Materials
Gold with inlay of enamel and
semiprecious stones
 Tutankhamun’s
Innermost
Coffin & Mask
Location
Valley of Kings, Egypt Key Notes:
Culture
Tutankhamun’s
New Kingdom, AmarnaInnermost
Period Coffin & Mask
Date
New
1353-1335 BCEKingdon, Amarna Period
Materials 1353-1335 BCE
Gold + inlay of enamel semi-precious stones
Gold with inlay of enamel and
semiprecious stones
Tutankhamun’s
Innermost
Coffin & Mask
King Tutankhamun’s tomb
was discovered in 1922 by
the British archeologist
Howard Carter intact; this
was a notable discovery as
most pharaoh tombs were
raised over the centuries.
This discovery was thus
noteworthy to the art
historical and archeological
community.
Tutankhamun’s
Innermost
Coffin & Mask
King Tutankhamun’s tomb
was discovered in 1922 by
the British archeologist Key Notes:
Howard Carter intact; this
was a notable discovery as
Discovery
most pharaoh tombsin were
1992 = significant by British
raised overArchaeologist
the centuries. Howard Carter
This discovery was thus
noteworthy to the art
historical and archeological
community.
Valley of the
Kings, where
Tutankhamun
was buried.
 Key Notes:

…found in Valley of the Kings

Valley of the
Kings, where
Tutankhamun
was buried.
 There were three coffins in the Tomb of
Tutankhamun’s Tutankhamun. The innermost coffin was made of
solid gold and weighs over 500 pounds. The coffin
Innermost Coffin is around 6.5 feet in length and contains protective
motifs and symbols of power.
 Key Notes:

3 Coffins
Innermost Coffin = 500 lbs / 226.8+ kgs. Solid Gold
6.5 ft / ~2m long
Protective motifs & symbols of power

There were three coffins in the Tomb of

Tutankhamun’s Tutankhamun. The innermost coffin was made of
solid gold and weighs over 500 pounds. The coffin
Innermost Coffin is around 6.5 feet in length and contains protective
motifs and symbols of power.
Tutankhamun’s
Death Mask
Tutankhamun’s death mask
is also solid gold with inlays
of semiprecious stones
including lapis lazuli. It was
found directly over
Tutankhamun’s body,
located beneath the
innermost coffin. It features
a false beard, elaborate
headdress, and motifs of
cobras and vultures.
Tutankhamun’s
Death Mask
Tutankhamun’s death mask Key Notes:
is also solid gold with inlays
of semiprecious stones
including lapis lazuli. It was Tutankhamun’s Death mask
found directly over Sold gold w/semiprecious stone inlays
Tutankhamun’s body, (incl. Lapis Lazuli)
located beneath the
innermost coffin. It features
a false beard, elaborate features:
headdress, and motifs of False Beard
cobras and vultures.
Elaborate headdress
Motifs = Cobras + Vultures
Last
Judgment of
Hu-Nefer
Location
Valley of Kings, Egypt
Culture
New Kingdom, Amarna Period
Date
1275 BCE
Materials
Painted papyrus scroll
Last
Judgment of
Hu-Nefer
Location
Valley of Kings, Egypt Key Notes:
Culture
New Kingdom, Amarna Period Last Judgment of Hu-Nefer
Date Valley of Kings, Egypt
1275 BCE New Kingdon, Amarna Period
Materials 1275 BCE
Painted papyrus scrollPainted Papyrus (Thick Paper) Scroll
Last Judgment of Hu-Nefer
This painted papyrus scroll was part of the Book of the Dead, a book that was often buried
with pharaohs and others and contained guidance on how to travel safely to the afterlife, as
well as spells, prayers, and charms. Hu-Nefer was a scribe during the 19th Dynasty, and this
scroll shows a narrative of his journey to the afterlife.
This scroll depicts the weighing of Hu-Nefer’s heart by Anubis, the god of embalming and
funerary tradition, against the Feather of Maat, which symbolized truth. If his heart was not
deemed to be true, Hu-Nefer would have been devoured by Ammit, a crocodile-lion-hippo
hybrid, and would not continue into the afterlife. However, since his heart is deemed true, Hu-
Nefer is led into the afterlife.
This scroll combines hieroglyphics and visual art. It is noteworthy as an example of Egyptian
religious tradition and belief, and artistic conventions.
 Key Notes:
Last Judgment of Hu-Nefer
Part of “Book of the Dead”
Guidance
This painted papyrus scroll was part—> safe
of the Booktravel to afterlife
of the Dead, a book that was often buried
with pharaohs and others and contained guidance on how to travel safely to the afterlife, as
well as spells, prayers, and charms. Hu-Nefer was a scribe during the 19th Dynasty, and this
scroll shows a narrative of hisLast Judgment
journey of Hu-Nefer
to the afterlife.
This scroll depicts the weighing of Hu-Nefer’s heart by Anubis, the god of embalming and
funerary tradition, against the Feather of Maat, which symbolized truth. If his heart was not
deemed to be true, Hu-Nefer …would have been devoured
His Journey by Ammit,
to Afterlife … a crocodile-lion-hippo
hybrid, and would not continue into the afterlife. However, since his heart is deemed true, Hu-
Weighing of heart by Anubis
Nefer is led into the afterlife.
Heart = true = devoured by Ammit (Crocodile-lion-hippo hybrid)
This scroll combines hieroglyphics and visual art. It is noteworthy as an example of Egyptian
but,
religious tradition and belief, andHeart
artistic=conventions.
True —> Afterlife

Religion + Belief + Artistic Conventions (Traditions)