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Egyptian Painting & Low Relief Carving Kevin J. Benoy.

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Presentation on theme: "Egyptian Painting & Low Relief Carving Kevin J. Benoy."— Presentation transcript:

1 Egyptian Painting & Low Relief Carving Kevin J. Benoy

2 Egyptian Painting & Low Relief Carving Much of what survives is temple or funerary art. Wall paintings in tombs were often instruction manuals for the dead, to assist them in passing to the afterlife.

3 Egyptian Painting & Low Relief Sculpture Painting and low-relief carving follow exactly the same style, the latter being merely a carved version of the former. Most low-relief carvings were also painted.

4 The System Paintings are divided into registers or bands. A ground line is generally present. –This could be vertical or horizontal.

5 The System Paintings usually convey a story; they do not capture a particular movement as modern western art tends to to. This multi-moment art is not unlike medieval European art.

6 The System Only three views are possible: –Side –Front –Top Side and front were combined in the same image. Eye and shoulders are frontal, with head and legs in profile – all in the same image. No attempt is made to portray three dimensionality Men are coloured reddish and women, yellowish. Colours are flat and not blended.

7 The System Pharaohs are shown with great dignity. They seem not to exert themselves, even when engaged in dramatic activities.

8 The System hieraticEgyptian painting was hieratic – which means that people were scaled according to importance. Pharaohs are shown larger than other beings, followed in importance by high priests, nobles, then others.

9 The System Lesser beings can be depicted with greater naturalism.

10 The System Women are shown more lifelike than men – with more movement apparent.

11 The System Proportions follow rigid rules – and continued to do so throughout most of the 3000 year history of Ancient Egypt.

12 The System The Canon of Human proportions was a square-grid of 18 units applied to a drawn human figure (standing) allowing its reproduction in various sizes, but always anatomically proportionate. –There were 2 squares allowed for the face (from the hairline to the base of the neck), 10 squares from the neck to the knees, and 6 squares from the knees to the sole of the feet. There was a nineteenth square used for the hair, but it was not counted with the rest of the body. –A sitting figure was divided into a 14 square- grid (15 including the hair). From Egyptvoyager.com

13 The Amarna Period In the dramatic Amarna Period – the time of Akhanaton (Amenhotep IV), a religious and artistic revolution swept through Egypt.

14 The Amarna Period Fluid lines replaced the hard geometry of traditional painting and low-relief carving.

15 The Amarna Period The standard geometry of traditional art was also changed: –The canonical grid of 18 units was replaced by one of 20. –2 squares were added between neck and knee. Though orthodoxy was restored after Akhenaton’s death, some of the fluidity remained in later work.

16 The Amarna Period While the Amarna style survived Akhenaton in its less dramatic forms, his religion did not. The boy-king, Tutankhamen, returned Egypt to religious orthodoxy and artistic orthodoxy reasserted itself.

17 Finis


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