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Chapter 3

Egypt Under the Pharaohs

Gardner’s Art Through the Ages,

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Ancient Egypt

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Goals

• Evolution of Egyptian culture and its relationship to the Nile.

• Stylistic conventions of Egyptian art.

• Architectural evolution from mastaba to pyramid in the Old Kingdom.

• Old Kingdom sculpture - its form follows its function.

• Middle Kingdom sculpture and funerary structures differ to those of the Old Kingdom.

• Rock-cut tomb and mortuary temple replace mastabas and pyramids as the most popular funerary structures in the Middle and New Kingdoms.

Goals (continued)

• New Kingdom as reflected in its art.

• Pylon temple incorporating an immense gateway with clerestory lighting

• Amarna period of the New Kingdom. Stylistic idiosyncrasies to conventions of earlier Egyptian art, more naturalistic.

• First Millennium Egyptian art returns to its earlier stylistic conventions as Egypt’s power declined, the Amarna period was short-lived.

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Figure 3-1A People, boats, and animals, detail of a watercolor copy of a wall painting from tomb 100 at Hierakonpolis, Egypt,

Predynastic, ca. 3500–3200 BCE. Paint on plaster, entire painting 16’ 4” X 3’ 7 3/8”. Egyptian Museum, Cairo.

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Stylistic Conventions of Egyptian Art

• Palette of Narmer as a blueprint for a formula for figure

representation and other conventions seen in Egyptian art

for nearly 3000 years.

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Figure 3-1/2 Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, Predynastic, ca. 3000–2920 BCE. Slate,

2’ 1” high. Egyptian Museum, Cairo.

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Early Funerary Architectural Forms

• Funerary architectural forms of the Old Kingdom.

• Evolution of funerary structures from mastaba to stepped

pyramid to pyramid

• Stepped Pyramid of Djoser by Imhotep and the mortuary

precinct at Saqqara.

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Figure 3-3 Section (top), plan

(center),and restored view (bottom) of

typical Egyptian mastaba tombs.

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Figure 3-4 IMHOTEP, Stepped Pyramid and mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.

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Figure 3-5 Restored view (top) and plan (bottom) of the mortuary precinct of Djoser, Saqqara, Egypt, Third

Dynasty, ca. 2630–2611 BCE.

3-5A Columnar entrance corridor to the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.

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Figure 3-6 Detail of the facade of the North Palace

of the mortuary precinct of Djoser, Saqqara, Egypt,

Third Dynasty, ca. 2630–2611 BCE.

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Figure 3-7 Great Pyramids, Gizeh, Egypt, Fourth

Dynasty. From bottom: Pyramids of Menkaure, ca. 2490–

2472 BCE; Khafre, ca. 2520–2494 BCE; and Khufu, ca.

2551–2528 BCE.

The Pyramids

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Figure 3-8 Section of the Pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty, ca. 2551–2528 BCE.

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Figure 3-9 Model of the Fourth Dynasty pyramid complex, Gizeh, Egypt. Harvard University Semitic Museum, Cambridge. 1)

Pyramid of Menkaure, 2) Pyramid of Khafre, 3) mortuary temple of Khafre, 4) causeway, 5) Great Sphinx, 6) valley temple of

Khafre, 7) Pyramid of Khufu, 8) pyramids of the royal family and mastabas of nobles.

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Figure 3-10 Great Sphinx (with Pyramid of Khafre in the background at left), Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494

BCE. Sandstone, 65’ X 240’.

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Rosetta Stoneis a granodiorite stele inscribed with a decree issued at Memphis in 196 BC on behalf of

King Ptolemy V. The decree appears in three scripts: the upper text is Ancient Egyptian

hieroglyphs, the middle portion Demotic script, and the lowest Ancient Greek. Because it

presents essentially the same text in all three scripts (with some minor differences among

them), it provided the key to the modern understanding of Egyptian hieroglyphs.

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Figure 3-11 Khafre enthroned, from Gizeh, Egypt, Fourth

Dynasty, ca. 2520–2494 BCE. Diorite, 5’ 6” high. Egyptian

Museum, Cairo.

Old Kingdom Sculpture

• the form of the sculpture reflects

its purpose.

• the appearance of the human form

based on their status in Egyptian

society.

3-11A Seated statues of Rahotep and Nofret, from their mastaba at Maidum, Egypt, Fourth Dynasty, ca. 2575–2550 BCE.

Painted limestone, 3’ 11 5/8" and 4’ high respectively. Egyptian Museum, Cairo.

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3-11B Sculptors at work, detail of the south wall of the main hall of the funerary chapel of Rekhmire, Thebes, Egypt, 18th

Dynasty, ca. 1425 BCE.

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Sculptural Forms

• Realism and the canon seen in Old Kingdom sculptural

forms of the human figure.

• Differences are observed in the two objects presented here?

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Figure 3-12 Menkaure and Khamerernebty(?),

from Gizeh, Egypt, Fourth Dynasty, ca. 2490–

2472 BCE. Graywacke, 4’ 6 1/2” high. Museum

of Fine Arts, Boston.

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Figure 3-13 Seated scribe, from

Saqqara, Egypt, Fourth Dynasty,

ca. 2500 BCE. Painted limestone,

1’ 9” high. Louvre, Paris.

3-13A Portrait statue of Ka-Aper, from his mastaba at Saqqara, Egypt, Fifth Dynasty, ca.

2450–2350 BCE. Wood with rock crystal eyes, 3’ 7 1/4” high. Egyptian Museum, Cairo.

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3-13B Seated statue of Hemiunu, from his mastaba

at Gizeh, Egypt, Fourth Dynasty, ca. 2550–2530

BCE. Painted limestone, 5’ 1 1/2" high. Römer-

und Pelizaeus-Museum, Hildesheim.

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Egyptian Tomb Reliefs and Murals

• Importance and function in relationship to the ka ( ancient

Egyptian concept of spirit or soul).

• Stylistic conventions and the representation of status.

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Figure 3-14 Ti watching a hippopotamus

hunt, relief in the mastaba of Ti, Saqqara,

Egypt, Fifth Dynasty, ca. 2450–2350 BCE.

Painted limestone, 4’ high.

Figure 3-15 Goats treading seed and cattle fording a canal, reliefs in the mastaba of Ti, Saqqara, Egypt, Fifth

Dynasty, ca. 2450 – 2350 BCE. Painted limestone.

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3.2 First Intermediate and Middle Kingdom

• Egyptian funerary art forms from these periods and state

reasons for the development of these monuments.

• Decline in the power of the pharaoh in the Middle Kingdom,

civil war.

• Evolution of burial monuments occurred in the Middle

Kingdom, rock-cut tombs, fluted columns

Figure 3-16 Fragmentary head of

Senuret III, 12th Dynasty, ca. 1860

BCE. Red quartzite, 6 ½” high.

Metropolitan Museum of Art,

New York.

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3-15A Seated statue of Lady Sennuwy, from Kerma, Sudan, 12th

Dynasty, ca. 1960–1916 BCE. Diorite, 5’ 7 3/4" high. Museum of Fine

Arts, Boston.

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Figure 3-17 Rock-

cut tombs BH 3-5,

Beni Hasan, Egypt,

12th Dynasty, ca.

1950 – 1900 BCE.

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Figure 3-18 Interior hall of the rock-cut tomb of Amenemhet (tomb BH 2), Beni Hasan, Egypt, 12th Dynasty, ca. 1950–

1900 BCE.

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3.3 Second Intermediate and New Kingdom Egypt

• New Kingdom bring new influences into the art.

• Hyksos changed the culture of Egypt (their location of

origin)

• New Kingdom as reflected in the art of ancient Egypt, pylon

temple, clerestory lighting

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Figure 3-19 Mortuary temple of Hatshepsut (with the Middle Kingdom mortuary temple of Mentuhotep II at left), Deir el-Bahri, Egypt, 18th Dynasty, ca. 1473–1458 BCE.

Grand Mortuary Temples of the New Kingdom

• Hatshepsut is the first great female monarch whose name

has been recorded.

3-20 King and queen of Punt and attendants, relief from the mortuary temple of Hatshepsut, Deir el-Bahri, Egypt, 18th Dynasty,

ca. 1473–1458 BCE. Painted limestone, 1’ 3” high. Egyptian Museum, Cairo.

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Figure 3-21 Hatshepsut with offering jars, from the upper

court of her mortuary temple, Deir el-Bahri, Egypt, 18th

Dynasty, ca. 1473–1458 BCE. Red granite, 8’ 6” high.

Metropolitan Museum of Art, New York.

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Figure 3-22 Temple of Ramses II, Abu Simbel, Egypt, 19th Dynasty, ca. 1290–1224 BCE. Sandstone, colossi 65’ high.

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Figure 3-23 Interior of the temple of Ramses II, Abu

Simbel, Egypt, 19th Dynasty, ca. 1290–1224 BCE.

Sandstone, pillar statues 32’ high.

3-24 Aerial view of the temple of Amen-Re (looking north), Karnak, Egypt, begun 15th century BCE (Jean

Claude Golvin).

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3-24A Aerial view of the temple of Amen-Re, Mut, and Khonsu (looking east), Luxor, Egypt, 18th and 19th Dynasties, begun

early 14th century BCE.

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Figure 3-25 Hypostyle hall, temple

of Amen-Re, Karnak, Egypt, 19th

Dynasty, ca. 1290–1224 BCE.

Figure 3-26 Model of the hypostyle hall, temple of Amen-Re, Karnak, Egypt, 19th Dynasty, ca. 1290 – 1224

BCE. Metropolitan Museum of Art, New York.

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Sculpture and Painting of the New Kingdom

• Block statue, a popular sculptural form of the New

Kingdom.

• Painting in the New Kingdom.

• Purpose of tomb painting in ancient Egypt in connection

with providing for the ka.

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Figure 3-27 Senmut with Princess Nefrua, from Thebes,

Egypt, 18th Dynasty, ca. 1470–1460 BCE. Granite, 3’ 1/2”high. Ägyptisches Museum, Berlin.

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Figure 3-28 Fowling scene, from the tomb of Nebamun, Thebes, Egypt, 18th Dynasty, ca. 1400–1350 BCE. Fresco on

dry plaster,. 2’ 8” high. British Museum, London.

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Figure 3-29 Funerary banquet from the tomb of Nebamun, Thebes, Egypt, 18th Dynasty, ca. 1400-1350 BCE. Fresco secco, 2’10 5/8” x 3’ 10 7/8”. British Museum, London.

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Akhenaton and the Amarna Period

• Artistic revolution of the Amarna Period, Akhenaton

declares, Aton (sun disk), only god

• The different artistic elements in the figures of Nefertiti and

Tiye.

• Common artistic features in the human figures of the

Amarna period: more naturalistic

• Family interaction between the relief of Akhenaton,

Nefertiti, and their children and the Old Kingdom sculpture

of Menkaure and Khamerernebty (Fig. 3-12).

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Figure 3-30 Akhenaton, from the temple of Aton,

Karnak, Egypt, 18th Dynasty, ca. 1353–1335 BCE.

Sandstone, 13’ high. Egyptian Museum, Cairo.

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Figure 3-31 THUTMOSE, Nefertiti, from Amarna,

Egypt, 18th Dynasty, ca. 1353–1335 BCE. Painted

limestone, approx. 1’ 8” high. Ägyptisches Museum,

Berlin.

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Figure 3-32 Tiye, from Ghurab, Egypt,

18th Dynasty, ca. 1353–1335 BCE. Wood,

with gold, silver, alabaster, and lapis lazuli,

3 3/4” high. Ägyptisches Museum, Berlin.

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Figure 3-33 Akhenaton, Nefertiti, and three daughters, from Amarna, Egypt, 18th Dynasty, ca. 1353–1335 BCE.

Limestone, 1’ 1/4” high. Ägyptisches Museum, Berlin.

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King Tut

• Tutankhamen died at the age of 18 and is a relatively minor

figure in Egyptian history. But the “boy-king” and the discovery

of his tomb in 1922 is famous for being mostly intact.

• Art revert back to the earlier conventions, as Egypt lost the

commanding role in the ancient world.

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Figure 3-34 Innermost coffin of Tutankhamen, from his tomb at Thebes,

Egypt, 18th Dynasty, ca. 1323 BCE. Gold with inlay of enamel and

semiprecious stones, 6’ 1” long. Egyptian Museum, Cairo.

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Figure 3-35 Death mask of Tutankhamen, from the

innermost coffin in his tomb at Thebes, Egypt, 18th

Dynasty, ca. 1323 BCE. Gold with inlay of

semiprecious stones, 1’ 9 1/4” high. Egyptian

Museum, Cairo.

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Figure 3-36 Painted chest, from the Tomb of Tutankhamen, Thebes, Egypt, 18th Dynasty, ca. 1333–1323 BCE. Wood,

1’ 8” long. Egyptian Museum, Cairo.

Egyptian Painting in Books of the Dead

• Last Judgment of Hu-Nefer shows Osiris (king of the

underworld, also NILE GOD), giver of eternal life, weights

hearts?

• Books of the Dead- collection of spells and prayers

• Rendering of the human form as compared to earlier depictions

of humans dating back to the Palette of Narmer.

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Figure 3-37 Last judgment of Hu-Nefer, from his tomb at Thebes, Egypt, 19th Dynasty, ca. 1290–1280 BCE. Painted papyrus

scroll, 1’ 6” high. British Museum, London.

3-38 Portrait statue of Mentuemhet, from Karnak, Egypt, 26th

Dynasty, ca. 660–650 BCE. Granite, 4’ 5” high. Egyptian Museum,

Cairo.

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3-39 Taharqo as a sphinx, from the temple T, Kawa, Sudan, 25th Dynasty, ca. 680 BCE, Granite, 1’ 4” X 2’4 ¾”. British Museum.

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Continuity of Ancient Egyptian Art

• Despite some alterations and short deviations (Amarna) from

their artistic tradition, Egyptians maintain continuity in their art

(statue of Mentuemhet, ca. 650 BCE) and architecture (Temple

of Horus, ca. 237 – 47 BCE), attests to the invention of an

artistic style so satisfactory.

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Figure 3-40 Temple of Horus, Edfu, Egypt, ca. 237 – 47 BCE.

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