1. Ancient Egyptian Sculpture and Painting
c BCE

2. The nile, longest in the world, flows northward to the Med. Sea
The nile, longest in the world, flows northward to the Med. Sea. It forms a delta before it empties. Prior to the Aswan High dam being built in 1970, the Nile overflowed its banks for several months each year and as the water receded, it left a layer of silt behind, making both the valley and the delta, fertile and an attractive place to settle. During the pre-Dynastic period, from c BCE, a significant political and social transition took place. Federations emerged and began conquering and absorbing the weaker communities. Most of the art from the pre-dynastic period consists of ceramic figurines, pottery, reliefs carved on stone plaques and pieces of ivory.
Ancient Egypt.

3. The Palette of Narmer (Left View). Early Dynastic period, c. 2950 BCE.
Around 3000 BCE, Egypt became a consolidated state. Since the works of art and architecture that have been found come mainly from tombs and temples- most of which were located in secure places and built with durable material- most of what we know is rooted in their religious beliefs and practices. Found in ancient pre-dynastic capitol of Hierankopolis. Flat plate of schist about 64 centimeters long. While the form is a make up palette, this was ceremonial and not actually used. Narmer is ready to strike down a foe, who he is grabbing by his hair. Both are comparable in size. The foe is id’d by name indicating he’s an enemy of real importance. A sandal bearer, named by inscription accompanies the king and he stands on his own ground line. His presence emphasizes the fact that the king, who is barefoot, is standing on sacred ground performing sacred acts. The same sandal bearer follows Narmer on the other side of the palette.
The Palette of Narmer (Left View). Early Dynastic period, c BCE.

4. Top of Palette Name of Narmer
The name of the king is between two bovine heads. Animals drawn from the front where uncharacteristic of the time. Two interpretations: 1. cow heads interpreted as an early reference to the cult of a cow-goddess (Hathor) 2. They could be bulls- Reference to the bull like vigor of the king. This symbolism occurs elsewhere on the palette. Hieroglyphic name- horizontal fish (nar) above vertical chisel (mer). A depiction of the royal palace, seen both from above, as a groundplan, and frontally, as a façade (front wall of the building) –This surrounds his name to signify he is king.
Name of Narmer

5. Narmer, who is wearing the White Crown of Upper Egypt, is ready to strike down a foe who he has grabbed by the hair. Both are comparable in size. He is also identified by name indicating he’s an enemy of real importance. A sandal bearer, named by hieroglyphic inscription accompanies the king and he stands on his own ground line. His presences emphasizes the fact that the king, who is barefoot is standing on sacred ground performing sacred acts. The same sandal bearer follows Narmer on the other side of the palette. Narmer’s foe is nude except for girdle. The difference between the clothed king and naked foe could denote the victim was considered barbaric. Above the victim’s head, facing the king, a personified marshland is represented: the left side of a piece of land or swamp is decorated with the head of a man, somewhat reminiscent of Narmer’s victim. Out of that land, 6 papyrus plants are growing, indicating that this land was a marshland. A falcon, symbol of the king, is perched on top of the papyrus plants and appears to draw the breath of life out of the nostrils of the marshland’s face.

6. Bottom of Palate (Left View)
Defeated enemies lie at the bottom of the Palette. On the left side of his defeated enemies is an aerial depiction of a fortified city, and on the right, a gazelle trap. These could symbolize Narmer’s control over both the city and the countryside.
Bottom of Palate (Left View)

7. The Palette of Narmer (Right View). Early Dynastic period, c. 2950 BCE.

8. Right view: Upper register
Narmer is the second figure from the left. He is larger than the rest of the figures and he wears the Red Crown which was usually associated with Lower Egypt. He holds a mace in his left hand, while his left arm is bent over his chest, holding some kind of flail. His royal procession inspect the decapitated enemies. Narmer is again being follwed by the sandal bearer. The long-haired person in front has typically been thought of as a shamen or priest, however, this is unusual in the usual depiction of priests – normally bald. The meanings of the sign in front of Narmer and the long-haired figure are unknown. Four persons are holding a standard: 1st is holding some type of animal skin, the second is holding a dog, and the next two are holding a falcon. They could be the standards for the royal house of Narmer or of the regions that already belonged to his kingdom. Above the victims are a ship with a falcon and a harpoon in it. These signs are often interpreted as the name of the conquered region. If the name remained the same throughout the history of Ancient Egypt then the region conquered was called the Mareotis region or the 7th lower Egyptian province. The two signs in front of the probable name the door and a sparrow are thought to mean “to create” or “to found” The whole scene could indicate the name of the region that he has just “created”
Right view: Upper register

9. Front center of Right view
Two men are tying together the outstretched necks of two fabulous animals. Between the animals is a deeper carved center, where the makeup would have been placed. The tying together has often been interpreted of the tying together of both Upper and Lower Egypt. However, there are no parallels of this symbol. It could be just two animals creating the center or the fact that ceremonial palettes often represent the taming of wild animals, one of the traditional tasks of the king.
Front center of Right view

10. Conventions of Egyptian Figure Painting and Reliefs
Head in profile
Eyes full frontal
Shoulders full frontal with distinct collar bones
Arms in profile
Torso in frontal view
Legs in profile
Feet striding (sometimes)
Inner side of foot always shown, so depending on the direction of the figure 2 right or 2 left feet shown. This doesn’t change until the New Kingdom ( BCE)
Same hand was often shown twice or placed on backwards
Shading was not used

11. Profiled heads allowed the artist to show the ear, headdress or hair
The goal was to show the body as completely as possible
Some headdress were painted frontally to make the image more clear. Because the canon was so rigid, the poses often look stiff and unnatural.
Profiled heads allowed the artist to show the ear, headdress or hair

12. Painted limestone relief
Painted limestone relief. Old kingdom: In order to provide the Ka with the most pleasant living quarters possible, wealthy people often had the walls and ceilings of their tombs decorated with paintings and reliefs. The art often carried religious meanings, but could also evoke scenes from the life of the deceased, or they proclaimed the importance of the deceased.
This relief- found on the walls of a large mastaba for a high ranking govt. official named Ti. It shows him watching an hippopotamus hunt which was an official duty of royal courtiers. Egyptians believed that the god of chaos Seth disguised himself as a hippo. Hippos also damaged crops. When you see depictions of hippo hunts in tombs it proclaims the valor of the deceased and the triumph of good over evil. Many conventions were used: river is portrayed from above-band of parallel wavy bands below the boat. Creatures are shown in profile for easy id. The boat carrying Ti and men are shown straight on in relation to the viewer’s vantage point. The papyrus stalks that choke the marshy edges of the rivers are linear, parallel, vertical forms. Show off Ti’s smooth, stylized body. At the top, the pattern relaxes while animals of prey stalk birds among the leaves. The hunters in the second boat are smaller, and because of their lesser rank, are the ones actively engaged in the hunt. People of lesser rank were typically portrayed in a more lifelike pose.
Ti Watching a Hippopotamus Hunt. Fifth Dynasty, c. 2450–2325 BCE. Height approx. 45”.

13. Seated Scribe. Fifth Dynasty, c. 2450–2325 BCE. Height 21”.
Old Kingdom-Found near the tomb of Kai. Painted limestone with inlaid eyes of rock crystal. The scribe is depicted in a more lifelike realistic pose. His head is round, he looks out alertly, and he has a head of close cropped hair. His life of a less active scribe is accurately depicted in his flabby midsection.
Seated Scribe. Fifth Dynasty, c. 2450–2325 BCE. Height 21”.

14. Butcher. Fifth Dynasty, c. 2450–2325 BCE. Height 14 5/8”.
Many smaller figures of servants were included into the Old Kingdom tombs so that the deceased could be provided for in the next world. Poses are rooted directly in their labor. This butcher, raised on the balls of his feet to bend down, leans forward over the ox that he’s just killed. He is looking up to acknowledge the viewer, and this enhances the sense of his lifelike presence. The poses and engagement with the viewer may have been an attempt to underscore the ability of the person to complete their assigned task or it could indicate their lower social status by showing them engaged in physical labor.
Butcher. Fifth Dynasty, c. 2450–2325 BCE. Height 14 5/8”.

15. Khafre. Fourth Dynasty, c. 2520–2494 BCE. Height 5’ 6 1/8”.
Old Kingdom- Diorite gabbro gneissThe falcon god Horus perches on the back of the throne. He protectively enfolds the king’s head with his wings. Lions form the throne’s legs and the intertwined lotus and papyrus plants beneath the seat symbolize the king’s power over Upper and Lower Egypt.
Khafre. Fourth Dynasty, c. 2520–2494 BCE. Height 5’ 6 1/8”.

16. Menkaure and a Queen. Fourth Dynasty, 2490–2472 BCE. Height 54 1/2”.
Graywacke with traces of red and black paint. Double portrait. Discovered in Menkaure’s valley temple. The couple are separate figures, are close in size and are joined by the stone from which they emerge thereby forming a single unit. Further united by the queen’s symbolic gesture of embrace. Her right hand comes from behind to clasp his torso, and he left hand rests stiffly over his upper arm. The king- youthful, athletic, nude to the waist, and wearing the royal kilt and headdress. Stands in conventional, balanced pose, strides with left foot, arms at side and fists clenched over cylindrical objects. His wife is youthful, takes a step to mimic her husband’s stride. She wears a sheer close-fitting garment which reveals her soft curves which starkly contrasts with the king’s muscularity. The statue was never fully polished- might have died before it was done, but red paint was found on the king’s face, ears, and neck. Traces of black paint remain on the queen’s hair.
Menkaure and a Queen. Fourth Dynasty, 2490–2472 BCE. Height 54 1/2”.

17. Middle kingdom BCE. Middle kingdom portraits appear to express the hardship and fragility of human existence. Statues of Senusret reflects this change. His portraits capture a monarch preoccupied and emotionally drained. Creases line his sagging cheeks, his eyes are sunken, his eyelids droop, his forehead is flexed, and his jaw is sternly set. Senusret was actually a dynamic king who led 4 expeditions into Nubia, overhauled the Egyptian central administration, and effectively regained control of the increasingly dependent nobles. Are we looking at a man wise in the ways of the world but lonely, saddened and burdened by responsibilities or are we looking at a reassuring statement that in spite of troubled times, royal rule endures in Egypt.
Head of Senusret III. Twelfth Dynasty, c. 1836–1818 BCE. Height 17 ¾” × 13 ½” × 17”.

18. Picking Figs. Twelfth Dynasty, c. 1890 BCE.
Middle Kingdom- Scene found in the tomb of a local noble named Khnumhotep. Many of the painting portray vignettes of farm work on his estates. Two men are harvesting figs, rushing to compete with three baboons who want the fruit. The upper torsos take a more lifelike profile posture, a deviation from the strict frontality of the royal composite pose.
Picking Figs. Twelfth Dynasty, c BCE.

19. Middle Kingdom- Funerary stele
Middle Kingdom- Funerary stele. Even if people couldn’t afford mastabas or pyramids, prosperous people could still commision stelae depicting themselves, their family, and offerings of food. This presents three levels of decoration: One large upper block with five bands of hieroglyphs, beneath two registers with figures, each of whom is id’d by inscription. Text is addressed to the living, imploring them to make offerings to Userwer. On the register immediately below this insciption, Userwer sits at a table piled with offerings of food. Behind him is his wife Satdepetnetjer, and facing him on the other side is Satameni, also his wife. At the other side on the same register facing the opposite direction sits another couple, id’d as his parents, and the figure on the other side of their offering table is his son, Sneferuweser. In the lowest registers are representations of other family members and his grandparents. The bottom register is unfinished. The two leftmost figures are uncarved, and the stone surface still contains the prepartory ink drawing.
Stele of the Sculptor Userwer. Twelfth Dynasty, c BCE /2" × 19”.

20. Stele of Amenemhat. Late Eleventh Dynasty, c. 2000 BCE. 11” × 15”.
A more modest stele is Amenemhat- a vibrantly painted releif. An inscription inviting food offerings for the deceased sits above a portrait of his family. Convention of differentiating gender: dark red-brown for men and lighter yellow ocher for women.
Stele of Amenemhat. Late Eleventh Dynasty, c BCE. 11” × 15”.

21. Detail of the Stele of the Sculptor Userwer.

22. New Kingdom- Daughter of Thutmose I, she married her half-brother, who reigned for 14 years as Thutmose II. When he died, she became regent for his underage son. W/I a few years, she declared herself king by the priests of Amun. She would be co-ruler for 20 years. There was no artistic formula for the portrayal of female pharaohs. She was represented as a male king wearing a kilt and linen headdress, and sometimes even a fake beard. She was adapted to conform to conventions.
Hatshepsut Kneeling. Eighteenth Dynasty, c. 1473–1458 BCE. Height 8’ 6”.

23. New Kingdom- Unfinished relief for Ramose- mayor of Thebes
New Kingdom- Unfinished relief for Ramose- mayor of Thebes. Second in power to the pharaoh. Began soon after his political ascent. The walls were covered with paintings and with shallow pictorial relief carvings, celebrating the accomplishments, affiliations, and lineage of Ramose and his wife. The tomb was never used because Akhnaten moved the capital to the new capital of Akhetaten.
Ramose's Brother May and His Wife Werener. Eighteenth Dynasty, c. 1375–1365 BCE.

24. Colossal Figure of Akhenaten. Height of remaining portion about 13’.
Armana Period- Transformed the political, spiritual, and cultural life of the country. Founded a new religion honoring the sun deity Aten and changed his name to Akhnatien. He built a capital much farther north. New artistic traditions emerged: startling sylizations and physical distortions. The form suggests androgyny. Sagging stomach and inflated thighs contrast with his spindly arms, protruding clavicles, and attenuated neck which supports a stylized head: Facial features are exaggerated. Slit like eyes turn a little downwards and the bulbous lips are flanked by dimples that evoke the expression of ephemeral human emotion. Change in conventions is disquieting because he still hold s the flail and sheperd’s crook symbols of his super-human sovereignty.
Colossal Figure of Akhenaten. Height of remaining portion about 13’.

25. Pictorial relief- Kind and queen sit on cushioned stools playing with their nude daughters whose elongated shaved heads conform to the new figure type. Couple receives blessings of Aten, who rays end in hands that penetrate the pavillion to offer ankhs before their nostrils- breath of life. King holds one child, pats her head and she leans forward to kiss him. Youngest is on Nefertiti’s shoulder trying to attract attention by stroking her cheek, while the oldest sits in her lap, tugging at her mom and pointing to dad. Conveyed fidgety behavior of kids and the involvement of their parents.
Akhenaten and His Family. Eighteenth Dynasty, c. 1353–1336 BCE /4 × 15 1/4”.

26. Queen Tiy. Eighteenth Dynasty, c. 1352 BCE. Height 3 3/4”.
Akhanaten’s mother. Chief wife of the king’s father Amenhotep III. The miniature portrait head reveals her exquisite bone structure, she is dark-skinned with arched brows, uptilted eyes, and pouting lips. Originally included a funerary silver headdress covered in gold cobras and gold jewelry. After Akhnaten came to power and est the new religion the portrait was altered. A brown cap with blue glass beads was placed over the original.
Queen Tiy. Eighteenth Dynasty, c BCE. Height 3 3/4”.

27. Nefertiti. Eighteenth Dynasty, c. 1353–1336 BCE. Height 20”.
Found in the studio of the sculptor Thutmose. Proportions of her refined, regular features, long neck, and heavy lidded eyes appear almost too ideal. Eerily consistent with our own standards of beauty. Dramatic use of color.
Nefertiti. Eighteenth Dynasty, c. 1353–1336 BCE. Height 20”.

28. Walls of Nefatari’s tomb are covered in paintings
Walls of Nefatari’s tomb are covered in paintings. In this mural, she offers jars of perfumed ointment to the goddess Isis. The queen wears the vulture-skin headdress and jeweled collar indicating her royal position, and a long, semitransparent white linen gown. Isis is seated on her throne behind a table heaped with offerings. Holds a scepter in her right hands and an ankh in her right. Headdress surmounted yb the horns of Hathor framing a sun disc, indications of her divinity. Artist diverged subtly from earlier stylistic conventions. Outline drawing and use of pure colors with the lines reflect tradition, but quite new is the slight modeling of the body forms by small changes of hue to enhance the appearance of 3-D. Skin color is much darker and the lightly brushed in shading emphasize their lips and eyes.
Queen Nefertari Making an Offering To Isis. Nineteenth Dynasty, 1290–1224 BCE.

29. Two tests presided over by Osiris, supervised by Anubis
Two tests presided over by Osiris, supervised by Anubis. After questioning, their hearts (seat of the soul) were weighed on a scale against an ostrich feather, the symbol of Ma’at, goddess of truth, order, and justice. Family members commissioned scrolls containing magic texts or spells, which were sometimes placed in the wrappings. There are 3 successive stages in his induction to the afterlife. Anubis leads him by hand to weigh his heart. Ma’at appears atop the scales wearing the feather as a headdress. Ammit-eater of the dead is waiting to see if he gets to eat. Hunefer passes the test.
Judgment of Hunefer Before Osiris. Nineteenth Dynasty, c BCE. Height 15 5/8”.

30. Karomama. c. 945–715 BCE. Height 23 1/2”.
Third Intermediate period BCE- Egyptian Bronze sculpture. Id’s the subject as Karomama, divine consort of Amun and member of community of virgin priestesses selected from the pharaoh’s family or retinue and dedicated to him. The ritual rattles that she once carried in her hands would have immediately id’d her as a princess. Main body cast in bronze and covered with a thin sheating of bronze, then engraved with patterns inlaid with gold, silver, and electrum. Incised drawing of bird wings . They accentuate the fullness of her figure, conveived to embody a new female ideal. Slender limbs, ample hips, and more prominent breasts contrast with slender female figures of the late New Kingdom.
Karomama. c. 945–715 BCE. Height 23 1/2”.