art of ancient egypt - saint louis art · pdf fileartof ancient egypt ... mummy mask;...
TRANSCRIPT
Art of
Ancient Egypt
Art of
Ancient Egypt
Written by Louise Cameron, Marianne Cavanaugh, Mariel Gonzalez, Emily Horton, Andréa Morrill, Anne Treeger, Lisa Stelling-JokischWith assistance from Sid Goldstein, Ann BurroughsEdited by Kate WeigandDesigned by Lauri Kramer© 2005 Saint Louis Art Museum
Cover Image: Mummy Mask; Egyptian, Dynasty 19 (1307–1196 B.C.); plaster, linen, resin, glass, wood, gold, and pigment; 21 1/16 x 14 9/16 x 9 3/4 inches; Friends Fund and funds given by Mr. and Mrs. Christian B. Peper, Mrs. Drew Philpott, the Longmire Fund of the Saint Louis Community Foundation, The Arthur and Helen Baer Charitable Foundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M. Getty, by exchange, Florence Heiman in memory of her husband, Theodore Heiman, Ellen D. Thompson, by exchange, Dr. and Mrs. G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory of Donna and Earl Jacobs, Friends Fund, by exchange, and Museum Purchase 19:1998
The materials in this curriculum packet are designed to be used by students of all ages and their teachers.The curriculum packet contains
• Posters of twelve artworks from the collection of the Saint Louis Art Museum. Each poster has information about the work of art and suggested questions for discussion with younger and older students.
• CD of the twelve images and additional supplementary material
• Teacher’s guide with maps, images, teaching suggestions, an annotated list of source materials on ancient Egypt, and a glossary of terms used in the guide
We encourage classes to visit the Saint Louis Art Museum to view the works in this curriculum packet.
Tours are free and may be scheduled for school groups (prekindergarten through college) as well as forother institutions. All groups, whether led by a Museum docent or self-guided, must preregister withthe Museum to arrange a tour or reserve a time in the galleries. Allow at least four weeks’ notice.
To schedule a tour, complete the tour request form on the Museum’s website at www.slam.org or telephone the Tour Hotline at (314) 655-5484.
32
The dependable inundation of the Nile, along with the
area’s physical geography and its centralized political
control, gave Egypt stability that was unique in the
ancient world. Some historians believe this stability
produced a ponderous artistic tradition with little
variation; others perceive Egyptian art as a dynamic
tradition that accepted external influences and adapted
them to its use.
During Egypt’s prehistory, a thousand years before
the invention of writing, smaller tribes consolidated in
two major kingdoms that followed the flow of the Nile
from south to north. The kingdoms were Upper Egypt,
which occupied the long narrow Nile Valley, and
Lower Egypt in the Nile Delta area. Around 3200 B.C.,
King Menes united the two areas under his rule and
established a system of divine kingship that lasted several
thousand years until Cleopatra’s death in 31 B.C. The
Old Kingdom (3200–2195 B.C.) was a time of political
stability during which the guidelines and formulas that
governed Egyptian art were established.
Dating back to the Pre-dynastic period, Vessels
(poster 1) are among the oldest and most numerous
finds in Egyptian burials. As an important element
in early tombs, stone vessels held foodstuffs and liquids
for the soul of the deceased. These objects of daily life,
unearthed from graves and shrines in ancient cemeteries,
show the skill and fine sensibilities of ancient artisans.
Sculpted figures from the Old Kingdom follow a formula.
They are idealized, and even small figures project a
monumentality of form. Wooden figures were often
placed in tombs so that the ba (soul) and ka (vital force
of the deceased) could identify the tomb. The small
wood sculpture of Striding Man (poster 2) in his starched
kilt seems to be frozen in motion. His features reflect
a skillful sculptor’s use of the formula to produce an
image that is not a portrait but rather the generic image
of a court official.
About a century and a half of instability followed the
demise of the Old Kingdom. The rise of a royal ruler
from Thebes ushered in the Middle Kingdom around
2000 B.C. The art of the Middle Kingdom is characterized
by meticulous craftsmanship, brutal strength, and a
more naturalistic approach. Hippopotamus (poster 3)
is a realistic rendering of a huge animal that lived in
the Nile marshes. Modeled of faience, this hippo is
accurate in every detail, from its face to its posture
and the Nile plants drawn on its body. The Figure of
a Woman (poster 4), also from the Middle Kingdom,
has a stern expression, and her linen gown suggests
hips and knees underneath the cloth.
The invasion of the Nile Delta by the Hyksos brought
an end to the Middle Kingdom and caused another
intermediate period of Egyptian decline. By 1570 B.C.
Thebes again produced a royal family strong enough to
expel the Hyksos and introduce a new period of power
and prosperity. During this New Kingdom, Egypt
engaged in military campaigns that extended its influence
well beyond previous borders. The arts flourished, and
they displayed sophistication, elegance, and luxury. The
tombs in the Valley of Kings were carved out of rock
walls, and monumental temples were built at Luxor
and Karnak. The New Kingdom included the reigns
of Pharaohs Akhenaten, Tutankhamen, and Rameses
the Great. The Mummy Mask (poster 5) was created
to fit over the head of a noblewoman possibly from
the court of Rameses the Great. The mask portrays
her youth and beauty for eternity.
The decline of the New Kingdom was followed by
another time of unrest. The Mummy Case of Amen-
Nestawy-Nakht (poster 6) was created during this
interim period. The style of painting used on the
case invokes the beautiful images popular in New
Kingdom tombs.
The Late Period began in the eighth century B.C, when
the African kings of Nubia ruled all of Egypt. As if to
IntroductionTable of Contents
Introduction 3
Map of Ancient Egypt 5
Vessels 6
Striding Man 7
Hippopotamus 8
Figure of a Woman 9
Mummy Mask 10
Mummy Case of Amen-Nestawy-Nakht 11
Butchering Scenes, Tomb of Prince Mentuemhat 12
God Horus 13
Set of Canopic Jars for the Royal Scribe Khera 14
Shabti of Keb-It 15
Nefertem 16
Cat 17
Social Studies Teaching Suggestions 18
Fine Arts Teaching Suggestions 19
Kinetic/Performing Arts Teaching Suggestions 20
Science and Math Teaching Suggestions 21
Communications Arts Teaching Suggestions 23
Glossary of Egyptian Terms 24
Suggested Resources 25
Useful Websites 26
Notes 27
54
MEDITERRANEAN SEA
RED SEA
Bubastis
Memphis
Nile River
Nile Delta
LOWEREGYPT
UPPEREGYPT
Thebes/Luxor
KarnakValley of the Kings
Africa
Egypt
AsiaEurope
AtlanticOcean
Indian
Ocean
5
Map of Ancient Egypt
ANCIENTEGYPTMap shows sitesreferred to in the text
restore Egypt’s traditional greatness, the art of the Late
Period harked back to Old Kingdom styles. The imitation
of earlier styles can be seen in Butchering Scenes, Tomb
of Prince Mentuemhat (poster 7). These relief carvings
are in a style that was popular two thousand years earlier.
Mentuemhat’s tomb provides the first example of the
combining of styles of Egyptian art.
After the short renaissance of the Late Period, Egypt
was invaded several times, with periods of self-rule
interspersed. In 525 B.C. the Persians annexed Egypt
to their empire, and they maintained power until the
arrival of Alexander the Great in 332 B.C. Alexander’s
empire was divided among his followers after his death,
and Ptolemy Lagus, one of his generals, claimed Egypt
in 305 B.C. The Ptolemaic dynasty ruled Egypt until the
death of Cleopatra in 31 B.C.
Throughout all the kingdoms and periods in the history
of ancient Egypt, the pharaoh was the unifying force
politically, economically, and religiously. As king and
god, he wielded power over the natural world and
annual cycles such as the flooding of the Nile. Preserving
the pharaoh’s body for eternity guaranteed that the
cycles would continue. The God Horus (poster 8) is
closely identified with the pharaohs, who were thought
to rule as Horus on earth. This statue of the god in the
form of a falcon wears the pharaonic symbol of unifi-
cation, the double crown of Upper and Lower Egypt.
The Egyptians understood the process of decomposition.
Before a body could be mummified the abdominal
organs had to be removed. Each organ was dried,
washed, and wrapped. Certain organs were placed in
jars. The Set of Canopic Jars for the Royal Scribe
Khera (poster 9) dates from the Late Period. Each jar
has one of the four sons of Horus as its protector god.
Imsety guards the liver, Hapy the lungs, Duamutef the
stomach, and Qebhesenuef the intestines.
The practice of mummification quickly spread through
the upper class to the middle class, resulting in the
development of vast tomb complexes. The majority of
artifacts that survive from ancient Egypt exist because
they were installed in elaborate tomb structures built
to ensure the deceased comfort in the afterlife. The
Shabti of Keb-It (poster 10) was placed in a tomb to
answer for the deceased when called to work in the
fields in the next world. With legions of shabtis to
provide labor for the deceased, he or she could enjoy
the pleasures of this life extended into eternity.
Gods oversaw every aspect of life for the ancient
Egyptians and were often the protective deities of cities.
Nefertem (poster 11) was the god of the city of Memphis.
The Delta town of Bubastis had Bastet as its patron
goddess. The cat was the sacred animal of Bastet, and
huge cat cemeteries have been found around the city.
The Saint Louis Art Museum’s Cat (poster 12) is a
large hollow-core bronze statue. Similar figures were
used as sarcophagi for mummified cats that honored
the goddess. This one was probably a votive dedication
for her temple.
In his writings on Egypt, Herodotus, a Greek historian
who lived in the fifth century B.C. and traveled all over
the ancient world, noted that no other country possessed
so many wonders or had so many traditions that defy
description. The objects selected for this curriculum kit
are not only important works of art that can be enjoyed
in their own right, they also provide information on the
social structure and religion of ancient Egypt. By tracing
the timeline of Egyptian history through these works
from the Museum’s collection, students and their teachers
can become involved first hand in the exploration of a
fascinating ancient culture.
76
Ancient Egyptians believed in an afterlife that mirrored
life on earth. Images of the deceased, his family, and
his servants were often included among items placed in
graves. This statue of the deceased is unusual because
it is in such fine condition, even though it is more
than four thousand years old. Wooden statues from
Egypt’s Old Kingdom were usually severely damaged
by rot and insects, or they were destroyed by tomb
robbers. This figure, probably a nobleman or official,
was a survivor. He strides forward while grasping the
loose end of his pleated kilt. The detailed workmanship
includes hands with delicately carved fingernails.
For younger studentsUse adjectives to describe how this man looks.
Where do you think he is going?
For older studentsDescribe the Striding Man’s costume and hairstyle.
If you didn’t know how old this figure is, would youguess it is ancient or modern? Why?
2
Striding Man
Egyptian, Dynasty 6 (2323–2150 B.C.)
wood, ebony, plaster, and paintheight: 16 inches Friends Fund 1:1986
Ancient craftsmen made these elegant stone containers
with hand-powered tools. Drills, hammers, chisels,
and files were used to form the containers from blocks
of hard stone. To smooth the surfaces, craftsmen
rubbed them with something rough like sand. The
variety and complexity of the containers’ shapes and
their polished finish tell us that these ancient crafts-
men were very good at their jobs. For thousands of
years Egyptians placed stone bowls and jars similar
to these examples in tombs. They filled the containers
with foods, drinks, and oils so the ka, or life force, of
the deceased would not go hungry in the afterlife.
For younger studentsWhat colors do you see on these containers?
If you were going to use these containers, what food or drink would you put in each?
For older studentsCompare one of these vessels to a modern example from your home or classroom. How are the two similar?How are they different? Consider materials, shapes,colors, and usage.
Leaving food for the deceased was an importantfunerary custom for ancient Egyptians. What are some of the customs associated with funerals in our society?How do these customs compare to those of theancient Egyptians?
1
Vessels
Egyptian, Pre-dynastic period (3100–2920 B.C.)–Middle Kingdom (2040–1640 B.C.)
stone, slate, breccia, and calcitetallest dimension: 6 11/16 inches; widest dimension: 9 1/2 inchesMuseum Purchase 296:1916, 209:1924, 26:1924, 208:1924, 142:1921
98
Itef, whose name is inscribed on this sculpture’s base,
stands at attention with her long, delicate arms held
at her sides. She wears a lightweight linen dress with
wide straps over her shoulders. An enormous wig
frames her delicate face. Two bound tresses that tuck
behind her ears end in spirals. The stern face probably
is not a portrait of Itef since Egyptian sculptures
from this time did not portray women as individuals.
From the inscription we conclude that this is most
likely a funerary sculpture commissioned by a mother
for her daughter.
For younger studentsShow with your hands how big you think this sculptureis, then check the measurements in the informationabove. Were you correct?
Itef’s mother wanted to remember her. What are someways we remember people today who have died?
For older studentsCompare this figure of a woman with the Striding Man(poster 2). How are they alike; how are they different?
What can you deduce about the appearance of womenin ancient Egypt from looking at this sculpture?
4
Figure of a Woman
Egyptian, Dynasty 12 (1991–1783 B.C.)
limestoneheight: 6 1/2 inches Museum Purchase 30:1924
We think of hippos as cute and playful, but our
impression comes from what we see at the zoo.
In ancient Egypt, herds of hippos were a threat to
farmers’ crops. Hippos became associated with chaos
and evil, and the first pharaohs hunted them in the
marshes. Small sculptures of hippos were placed in
tombs as reminders of the Egyptians’ love of hunting.
At least one leg was broken on each tomb hippo in
order to make the animal harmless in the afterlife.
The Saint Louis Art Museum hippo was molded in
faience, a glazed crushed quartz. Copper salts in the
glaze created the bright blue or blue-green color when
the piece was fired. On the hippo’s body the crafts-
man painted lily plants that appear as a giant tattoo.
For younger studentsMake a list of words that describe this hippo.
If you were going to name this hippo, what namewould you choose?
For older studentsWhat other animals are symbols of evil in art or literature?
How big do you think this hippo statue actually is? Check your answer against the measurements above. How close were you?
3
Hippopotamus
Egyptian, Dynasty 13 (1794–1648 B.C.)
faience3 3/4 x 7 1/4 x 2 7/8 inchesFunds given by Miss Martha I. Love 242:1952
1110
Amen-Nestawy-Nakht, a priest of Amun, was buried
in this cartonnage, or painted plaster case. The resin-
soaked linen strips that wrapped his body and the
hard, shell-like cartonnage provided protection. The
painted decorations, which contain both pictures and
hieroglyphic writing, illustrate the deities who would
escort the deceased into the afterlife and protect him
for eternity. In the top register, or strip of painting,
Amen-Nakht is led by the gods Thoth and Horus to
meet Osiris, god of the underworld. In the bottom
register, Amen-Nakht has passed the tests of piety
and purity and is being anointed by Horus and
Anubis as he is received into the next life.
For younger studentsThe pictures on this case tell a story. Use the pictures andyour imagination to tell the story in your own words.
If you could open this case what would you find inside?
For older studentsThe pictures on this case tell a story. How many different characters can you find? Who are they andwhat are they doing?
Compose a list of questions you have about mummies and a list of places you would go to find the answers.
6
Mummy Case of Amen-Nestawy-Nakht, c.900 B.C.
Egyptian, Dynasty 22
linen, plaster, and pigment67 x 16 x 14 inchesGift of Mr. and Mrs. Barney A. Ebsworth for the children of St. Louis 109:1989
X-ray of Amen-Nakht
This mask, which would have covered the head and
shoulders of a young woman’s mummy, is amazingly
lifelike. The combination of glass inlaid eyes, a face
covered with gold, and a realistic wig is startling. The
skilled craftsman who fashioned the wig out of thick
resin carefully cut and modeled the plaits of hair in
the latest style. The colored glass used in the eyes and
to decorate the diadem, or hair ornament, was costly
and rare and demonstrated the young woman’s
wealth. In each hand she holds a wooden amulet to
signify strength and welfare. A delicate scene carved
in relief on her arms shows her successful ascent into
the afterlife on the boat of the Great God Osiris.
For younger studentsWhat colors do you see on this mask?
Make up a story about this woman based on what you can see.
For older studentsIf you could talk with the woman portrayed in thismask, what would you say to her or ask her?
This object, like almost everything known to us fromancient Egypt, came from a tomb. How do you feelabout displaying tomb objects in a museum?
5
Mummy Mask
Egyptian, Dynasty 19 (1307–1196 B.C.)
plaster, linen, resin, glass, wood, gold, and pigment21 1/16 x 14 9/16 x 9 3/4 inchesFriends Fund and funds given by Mr. and Mrs. Christian B. Peper,Mrs. Drew Philpott, the Longmire Fund of the Saint LouisCommunity Foundation, The Arthur and Helen Baer CharitableFoundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M.Getty, by exchange, Florence Heiman in memory of her husband,Theodore Heiman, Ellen D. Thompson, by exchange, Dr. and Mrs.G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory ofDonna and Earl Jacobs, Friends Fund, by exchange, and MuseumPurchase 19:1998
1312
The ancient Egyptian god Horus, represented as a
falcon in this sculpture, stands motionless with his
wings perfectly folded at his sides. He stares into the
distance with a deep, intense gaze. On his head, he
wears the double crown of Upper and Lower Egypt
as a symbol of his power and close association with
the pharaoh. Gods in Egyptian mythology are often
represented as animals. Horus is shown as a falcon
because he is the god of air and sky. In ancient Egypt
many small, bronze statues of gods, such as this one,
were produced as votive statues. Votive statues were
dedicated to the gods and kept in homes or in chapels
to worship a particular god.
For younger studentsMake a list of adjectives that describe this falcon.
Use your imagination to create a story about his life:What is he doing? Where did he come from? Wherewill he go next? Where does he live?
For older studentsThere are other images of animals in this packet, eachsymbolizing different aspects of ancient Egyptian life ormythology. Compare one of them to the image of the falcon, and discuss the similarities and differences inthe way they are represented and the purposes forwhich they were created.
Many cultures associate animals with leaders or gods.What are some of these animals?
8
God Horus, 664–30 B.C.
Egyptian, Late Period–Ptolemaic dynasty
bronzeheight: 6 1/4 inchesGift of Miss Cornelia Scott in memory of her brother, George Eaton Scott 27:1939
This grisly butchering scene is carved into limestone
in crisp detail. While butchers are cutting up bound
cattle, an assistant carries off hearts and entrails in
a large bowl. One butcher draws a sharpening stone
from his belt and uses it on his machete-like knife.
All of the elements in these scenes read as clearly
as the hieroglyphs, or writing, which inform us that
the choicest bits of meat are being prepared for
Mentuemhat. Ancient Egyptians prepared food, both
real and represented through art, for the deceased,
and Mentuemhat would have appreciated having a
good supply of meat in his next life. The subject
matter of this relief sculpture tells us that
Mentuemhat was very important.
For younger studentsHow many people do you see in this scene? How many cattle?
Make up a story about what will happen next.
For older studentsWhy do all the people in the scene look alike?
If the ancient Egyptian afterlife was a copy of life on earth, what else would the deceased need in his or her tomb?
7
Butchering Scenes, Tomb of Prince Mentuemhat, c.680–650 B.C.
Egyptian, late Dynasty 25–early Dynasty 26
limestone66 7/8 x 16 inchesMuseum Purchase 1:1958
1514
Would you do chores if you could have a substitute
do them for you? Ancient Egyptians thought that in
the next world they would be required to work in the
fields to help provide an everlasting supply of food.
They also believed that shabtis, small figures placed
in tombs, could substitute for them. Some tombs had
hundreds of shabtis, one to work each day of the
year. Shabtis hold farm tools and usually bear a
hieroglyphic inscription from the Book of the Dead
that reads in part “O shabti, if the deceased is called
upon to do any of the work required . . . you shall
say ‘Here I am, I will do it.’” The mottled colors on
this shabti’s surface were caused by the firing of the
faience material from which it is made.
For younger studentsSee if you can pose exactly like this shabti.
Describe some chores you are expected to do. Whattools would a shabti need to do each of those chores?
For older studentsDescribe this shabti to a friend who is not looking at it.Then show them the image and ask if you did a goodjob of describing details.
Shabtis were substitutes in the next world. Give someexamples in our culture today of people who substitute for others.
10
Shabti of Keb-It
Egyptian, Late Period, Dynasty 25 (712–657 B.C.)
glassy faienceheight: 6 3/8 inchesMuseum Purchase 29:1924
These canopic jars were found in the tomb of a scribe
named Khera. The jars still hold some of the internal
organs that priests or embalmers removed when they
mummified Khera’s body. To keep these organs from
decay, the priests or embalmers dried, washed, and
wrapped them. The organs were then placed in these
jars and encased in resin—a tar-like material. If you
could look inside the jars today, you would see only
the solid, black resin that surrounds the wrapped
organs. The ancient Egyptians believed that the gods
known as the sons of Horus would protect the
organs for eternity. The tops of the canopic jars show
these gods. The jackal-headed god, Duamutef, guards
the stomach. Hapy, the baboon-headed god, protects
the lungs. The human-headed god, Imsety, watches
over the liver, and Qebhesenuef, the falcon-headed
god, guards the intestines. The hieroglyphs on the
front of the jars are prayers to the gods.
For younger students Choose one jar and compare it to the others. Include similarities and differences in your comparison.
How do you think these jars were made? (See the back of the Vessels poster [poster 1] for clues.)
For older studentsHieroglyphic writing contains pictures of objects thatancient Egyptians saw around them everyday. Whatobjects can you recognize in the hieroglyphs?
Using what you already know about the ancientEgyptians’ beliefs regarding the afterlife, make up a statement that could appear on the front of thesecanopic jars.
9
Set of Canopic Jars for the Royal Scribe Khera
Egyptian, Late Period (712–332 B.C.)
alabastertallest dimension: 16 inches; widest dimension: 7 inchesMuseum Purchase 210–213:1924
1716
12
Cat
Egyptian, Dynasty 25–26 (712–525 B.C.)
bronze14 3/8 x 5 3/4 x 11 1/8 inchesMuseum Purchase 5:1938
The ancient Egyptians revered cats and made many
sculptures of them. Some hollow cat sculptures were
used as sarcophagi for cat mummies brought as
offerings to the goddess Bastet, whose sacred animal
was the cat. In addition, hundreds of bronze cats
were manufactured as offerings to the goddess.
This cat’s erect ears and taut muscles are very realistic.
Its eye sockets, which were once inlaid with shell,
rock crystal, or glass, are now empty. Some cat
sculptures were decorated with gold jewelry,
particularly necklaces and earrings. Over fourteen
inches tall, this cat is almost life-sized and is one
of the largest examples known today.
For younger studentsDo you think this cat looks like a real cat? Why or why not?
Make up a story about this cat. How did it get to the Museum?
For older studentsDescribe this cat to a friend who is not looking at the image. What adjectives best describe the cat?
What ideas do we have about cats in our modern society? How are those ideas different from the ones of ancient Egyptians?
This silver figure strides forward, his left arm clutching
a sickle-shaped sword to his chest. His head tilts
upward, balancing his outrageous lotus and feather
crown. This crown was the emblem of Nefertem, major
god of the ancient city of Memphis. Nefertem’s image
was often painted on mummy cases along with other
gods. When represented in sculpture he wears a kilt
and a false beard and holds a scepter or sword, all
signs of a king. Nefertem was one of the forty-two
deities who sat in judgment in the hall of truth to
review the life of the deceased. This group witnessed
the weighing of the heart against the feather of truth.
The silver used to make this small sculpture was a
very precious material in the ancient world, just as
it is today.
For younger studentsSee if you can stand in the same pose as Nefertem.
Nefertem’s crown shows that he is an important figure.What people in our culture wear headdresses or hatsthat help identify who they are?
For older studentsCompare the image of Nefertem to that of the Figure of a Woman (poster 4) in this packet. Which do you think is older and why? Check the dates to verify your answer.
11
Nefertem
Egyptian, Dynasty 25–26 (712–525 B.C.)
silverheight: 9 3/4 inchesMuseum Purchase 223:1924
1918
Fine Arts Teaching Suggestions
Egyptian ComicsThe story of Amen-Nestawy-Nakht’s journey to the
afterlife is recorded on the Mummy Case of Amen-
Nestawy-Nakht (poster 6) in four painted panels called
registers. The registers have a narrative composition
similar to a comic strip. Ask students to examine the
characters depicted in the registers and discuss the
scenes in which they participate. Have students design
comic strips illustrating important journeys they have
taken or will take in their own lives.
For younger students Ask students to examine the animals represented in theHippopotamus (poster 3), God Horus (poster 8), andCat (poster 12) sculptures and on the Mummy Case ofAmen-Nestawy-Nakht (poster 6). Animals were importantsymbols in Egyptian art and often were identified withgods. Ask students to draw an animal they identify withand have them explain their choice.
For older students Ask students to develop written scripts to accompany their comic strips.
MAP Content Standards: FA1, FA3, FA5, CA6MAP Process Standards: 1.6, 1.9, 2.5, 4.1
How Was It Made? The objects in this packet are made from a broad array
of materials. Ask students to use the posters to examine
all the objects and make a chart listing the materials used
to create them. Students can then choose one object and
research how it was made. Using materials available in the
classroom (Model Magic, cardboard, papier-mâché, etc.),
students can make a modern reproduction. Have students
compare and contrast their reproduction with the real
object. These activities could be done in small groups.
For younger students Ask students to bring in a small object from home tocompare and contrast with an ancient object found in this packet.
For older students Ask students to write a narrative or deliver an oral presentation to the class highlighting the similaritiesand differences of the ancient object and their modernre-creation. They should explain each object’s creationand possible uses.
MAP Content Standards: FA1, FA2, FA5, CA6MAP Process Standards: 1.8, 1.9, 2.1, 2.3
Ancient Portraits Ancient Egyptian artworks often feature stylized portraits
of individuals. Have students observe Striding Man
(poster 2), Figure of a Woman (poster 4), and Mummy
Mask (poster 5) and compare and contrast the facial
characteristics of each. Have students create self-portrait
mummy masks in relief by working on board using
modeling compound, paint, glass, metal, or other
materials inspired by those used in the Mummy Mask.
For younger students Have students use mirrors to draw self-portraits. Askthem to render their faces and hair in ways that makethem look like ancient Egyptians.
For older students Ask students to create three-dimensional self-portraits.They can model their portrait after any of the three-dimensional pieces in this packet.
MAP Content Standards: FA1, FA3, FA5, SS6MAP Process Standards: 1.5, 1.6, 2.4, 2.5
Social Studies Teaching Suggestions
Write Like an EgyptianHieroglyphs, an ancient Egyptian form of writing, are
small pictures and symbols that are based on objects
and activities found in Egyptian daily life. The word
hieroglyph derives from the Greek hiero, meaning
sacred, and glyph, meaning carving. Ask students to
examine the hieroglyphic writing on the Mummy Case
of Amen-Nestawy-Nakht (poster 6), the Butchering
Scenes, Tomb of Prince Mentuemhat (poster 7), the Set
of Canopic Jars for the Royal Scribe Khera (poster 9),
and the Shabti of Keb-It (poster 10). Have students
look for recognizable images within the hieroglyphs
and research the meaning behind them. Students can
record their findings on a chart.
For younger students Ask students to draw their ideas for some new hieroglyphsbased on everyday events in their own lives.
For older students Have students research other forms of ancient Egyptianwriting, such as hieratic and demotic, and compareand contrast them with hieroglyphs in a written reportor class presentation. As an extension activity, studentsmay research the writing of other ancient cultures.
MAP Content Standards: SS6, SS7, FA4, CA7 MAP Process Standards: 1.2, 1.4, 1.8, 2.1
Egyptian Fashion Ancient Egyptians paid considerable attention to
physical appearance. Observing fashion trends represented
in artifacts provides a window into the cultural history,
environmental conditions, and social status of ancient
Egyptians. Ask students to look closely at the Striding
Man (poster 2), Figure of a Woman (poster 4), Butchering
Scenes, Tomb of Prince Mentuemhat (poster 7), and
Nefertem (poster 11) and describe the dress, accessories,
and hairstyle depicted in each. Have them compare and
contrast these with contemporary choices in clothing and
personal adornment. Ask students to use their findings
to develop hypotheses about climate, geographical
location, and class structure in ancient Egypt.
For younger students As a class, make a list of clothing appropriate in ourculture for each season and a list of clothing appropriatefor various jobs. Ask students to make guesses aboutweather and jobs in ancient Egypt based on clues theyfind in the artifacts. Have students search magazinesfor figures whose clothing reflects different seasons and occupations.
For older students Have students research and prepare reports on materialsand processes used to make clothes in ancient Egypt.Encourage students to produce drawings or models toaccompany their reports.
MAP Content Standards: SS5, SS6, CA6, PE2MAP Process Standards: 1.9, 1.10, 3.5, 4.3
Timeline Objects in this packet range in date from 3100 B.C., the
Pre-dynastic period, to 30 B.C., the Ptolemaic dynasty.
Have students create a timeline spanning these years
and place each object in the packet along the continuum.
Ask them to calculate the age of each object. Have
students divide into teams to research historical events
that took place during these periods and record them
along the timeline. Discuss the social and political
context in which the objects were made and how they
may visually reflect this history.
For younger students Working as a class, arrange the posters in chronologicalorder from the oldest object to the most recent one.
For older students Have students research another ancient culture and create a timeline documenting its history. Ask studentsto compare and contrast the cultural histories illustratedin the two timelines.
MAP Content Standards: SS2, SS5, SS7, MA1 MAP Process Standards: 1.6, 1.8, 2.1, 3.1
2120
Science and Math Teaching Suggestions
Science and Math continued on next page
Fruit Mummies! The Mummy Mask (poster 5) was originally placed
over the head and shoulders of a mummy. The Mummy
Case of Amen-Nestawy-Nakht (poster 6) still contains the
body of a man who lived over three thousand years ago.
Ask students to research and discuss the mummification
process. Then have students experiment with fruit to
learn what happens when organic things decay. Apples
work well for this exercise. They can observe and discuss
how fruit changes shape, size, texture, and density as it
decomposes. Have students compare fruit decaying in the
air to fruit that is buried in salt. Students should chart
their observations. These activities work well in groups.
For younger students Have your students write or talk daily about thenoticeable changes in four areas: shape, size, texture,and density.
For older students Have students chart changes on a graph. Ask the studentsto include sketches of the fruit with their charts. Havethe students prepare a written or oral presentation oftheir findings. As an extension activity, students couldinvestigate the preservation properties of salt or natron.
MAP Content Standards: SC3, MA6, SC4, CA1MAP Process Standards: 1.2, 1.3, 1.8, 2.3
Measuring Up In Egyptian art, the relative size of a scene or figure
often indicates its importance. Have students use a ruler
to measure the height of the standing figures, from head
to toe, in the first (top), second, and fourth registers on
the poster of Mummy Case of Amen-Nestawy-Nakht
(poster 6). Students can research the identity of the
figures and then make a chart listing each figure’s
name, the register in which the figure appears, and the
figure’s height.
For younger students The animal-headed gods Thoth and Horus are shownin the top register on the mummy case. Examine thewhole case. How many times do these gods appear in total?
For older students Using their charts, students should work in groups to determine what relationship, if any, exists between thesizes of the figures in different registers. (For example,are the figures in each register always the same size?Did the artist follow a standard ratio to determine thedifferent sizes of figures or does the sizing seem random?)Students should present their findings to the class.
MAP Content Standards: MA1, MA2, CA3, SS7MAP Process Standards: 1.2, 1.6, 1.8, 2.4
Kinetic/Performing Arts Teaching Suggestions
Pose Like an EgyptianThe Mummy Case of Amen-Nestawy-Nakht (poster 6)
features an array of figures engaged in the rituals of
passage from one life to the next. Assign each student
a character and have the class create a tableau vivant,
or living picture, of a scene on the case. Have students
break into groups and choose a scene. They should
discuss what might have happened before or after that
scene and then act out that sequence for the class.
For younger students Have one student at a time pose like one of the figureson the case and ask the class to guess which charactereach student is enacting.
For older studentsHave students investigate the ancient Egyptian “weighingof the heart” ceremony. Students could then conduct amock trial in which Amen-Nestawy-Nakht’s heart isweighed against the feather of truth.
MAP Content Standards: CA1, CA5, FA5, SS6MAP Process Standards: 1.5, 2.1, 2.4, 4.6
What’s My Story? All of the objects in this packet tell a story. Have stu-
dents choose an object from the packet that shows at
least one human, god, or animal. Students can assume
the role of that object and prepare a presentation (using
the first person) for the class about the story of that
object. Students might focus on the creation or use of
the object or tell how it was found by archaeologists
and put on display in the Museum. Students can work
in groups.
For younger students Teachers might assign an object and ask students to focus on a particular part of that object’s story.
For older students Students should add props or costumes to their presentations.
MAP Content Standards: CA1, CA5, FA5, SS6MAP Process Standards: 1.5, 2.1, 2.4, 2.5
Ancient DramaMany of the objects in this packet depict people, gods,
or animals that possess human qualities. Have students
work in teams to choose one of these ancient objects to
investigate. Ask each group to join with the others and
write a script based on the imagined interaction of the
people, gods, and animals represented.
For younger students Play a game in which each student gives voice to one ofthe objects and the class guesses which object is speaking.
For older students Assign parts to students and have the class act out thescript. Have students film a movie from the script, takingturns directing and shooting scenes.
MAP Content Standards: CA1, CA7, FA4, FA5MAP Process Standards: 1.6, 2.5, 3.6, 4.6
2322
Communication Arts Teaching Suggestions
My Favorite ThingsAmen-Nestawy-Nakht would have had objects made
for his tomb like the ones in this packet. Ask students
to imagine that they are Amen-Nestawy-Nakht and
write about three of their favorite objects from this
packet. They should include the reason why they, as
Amen-Nakht, wanted those objects to be included in
their tombs.
For younger students Ask students to choose their favorite object from thepacket. They should explain to the class why they chosethat object.
For older students Choose and research one of the objects. Write a reportabout the object explaining how, or where, it fits intoancient Egyptian cosmology and present your findingsto the class.
MAP Content Standards: CA1, CA4, CA6, SS6MAP Process Standards: 1.2, 2.1, 3.3, 3.6
(After-)Life StoriesArt found in Egyptian tombs often tells us something
about the life and afterlife of the deceased. Examine the
Mummy Mask (poster 5), the Mummy Case of Amen-
Nestawy-Nakht (poster 6), and the Butchering Scenes,
Tomb of Prince Mentuemhat (poster 7) with your students
to look for clues to these life and “after-life” stories.
Have students interview someone they know and then
re-tell that person’s life story in a written paper or oral
class presentation.
For younger students Have students divide into pairs to interview one anotherabout what is important to them. Each student shouldpresent their partner to the class and then write a shortstory about their partner or draw a picture that commu-nicates an important moment in their partner’s life.
For older students Students should research the life of an ancestor orsomeone they admire and then write a biography orprepare a presentation for the class. Students should be encouraged to make their final projects multimediaexperiences that could include interview excerpts, filmfootage, photographs, original documents, etc.
MAP Content Standards: CA3, CA5, SS6, SS7MAP Process Standards: 1.3, 2.2, 3.2, 4.6
Being a ScribeHieroglyphic writing is visible on the Mummy Case of
Amen-Nestawy-Nakht (poster 6), the Butchering Scenes,
Tomb of Prince Mentuemhat (poster 7), the Set of
Canopic Jars for the Royal Scribe Khera (poster 9), and
the Shabti of Keb-It (poster 10). Ask students to review
the writing on these objects and to compare and contrast
the hieroglyphic system with our writing system. As a
class, discuss the role of scribes in ancient Egypt.
For younger students Have students imagine that they are in scribe school inancient Egypt. Brainstorm together about daily activitiesin the school. Ask students to write short stories (or usepictures and words) to describe their day at scribe school.
For older students Divide the class into three groups for a debate. Group Ashould prepare arguments supporting the ancientEgyptians’ idea that not everyone needed to be literatewhile group B prepares arguments supporting our society’semphasis on the importance of literacy. Group C willlisten to the debate and write a summary including themain points of each group. The summary should indicatewhich argument was the most convincing and why.
MAP Content Standards: CA5, CA6, CA7, SS6MAP Process Standards: 1.5, 1.9, 2.3, 4.3
Fill It UpVessels (poster 1) in ancient Egypt came in assorted
shapes and sizes and were used for a variety of purposes.
Have students examine the picture of the jars and bowls
on poster 1, and discuss what they might have been
designed to hold. Bring in an assortment of similar
containers and have students predict which holds the
most and which the least. Have students experiment in
groups with volume and mass by filling containers with
liquid and solid materials and graphing the results.
For younger students Ask students to describe containers they have at homeand discuss what kinds of things they hold. Fill vesselssimilar to those in poster 1 with jelly beans and havestudents guess how many beans are in each.
For older students Measure the dimensions of vessels similar to those inposter 1. Estimate how much liquid each can hold andthen verify the amounts through experimentation.
MAP Content Standards: SC7, MA1, MA2, MA3MAP Process Standards: 1.6, 1.8, 2.2, 3.7
Environmental EffectsCareful scrutiny of the objects presented in this packet
reveals signs of the accumulated effects of time and
circumstance, such as cracked or worn surfaces or faded
colors. The condition of objects from ancient times often
sheds light on their histories. As a class, observe all the
objects in the packet and make note of any damage.
Have students look for evidence of erosion and present
hypotheses about what caused it based on the age of
the object, the type of material used, and the environ-
mental factors to which the object was exposed.
For younger students Observe elements of the classroom environment such asthe blackboard eraser, pencils and pens, or the surfaces ofstudent desks. Discuss what their condition reveals abouthow old they are and how much they have been used.
For older students Have students choose a group of objects made ofmaterials similar to those found in the packet (stone,wood, papier-mâché, etc.). Place these objects in differentenvironments, if possible (outdoors, in cold areas, inwarm areas, in damp, etc.). Ask students how theythink the objects will be affected by each environment.Over a period of weeks, graph the effects of time andweather on the condition of these materials. Compareresults as a class to see how different environmentsaffect the same materials.
MAP Content Standards: SC1, SC4, SC7, SC8MAP Process Standards: 1.8, 2.3, 3.1, 3.5
Science and Math Teaching Suggestions (continued)
2524
Books for Younger Students
Aliki. Mummies Made in Egypt. New York: T.Y. Crowell,
1979. Reprint, New York: Harper Trophy, 1985.
This book describes the process of mummification
and the reason it was developed. Drawings bring the
information to life.
Chrisp, Peter. Ancient Egypt Revealed. New York:
DK Publishing Inc., 2002.
This book explores themes such as the royal mummy,
temple secrets, and life on the Nile. Personal adornment,
food, and writing are also addressed. Many illustrations
are included and transparent pages give students a look
inside Tutankhamen’s coffin and a boat that would
have traveled on the Nile.
Harris, Geraldine, and Delia Pemberton. Illustrated
Encyclopedia of Ancient Egypt. Lincolnwood, IL: Peter
Bedrick Books, 1999.
Organized by topic, this book is a useful reference tool
and includes many images. “Trails” (themes) that can
be followed throughout the text include everyday life,
myth and magic, the natural world, and work.
Hart, George. Ancient Egypt. San Diego; Harcourt
Brace, 1991. Reprint, New York: Dorling Kindersley
Publishing, Inc., 2000.
This photo essay on ancient Egypt and its people
explores religion, rituals, and daily life.
Ross, Stuart. Tales of the Dead: Ancient Egypt.
New York: DK Publishing, Inc., 2003.
This book mixes a graphic novel with factual information
describing Egyptian life. Detailed drawings illustrate
life in an Egyptian town.
Books for Teachers and Older Students
El Mahdy, Christine. Mummies, Myths, and Magic in
Ancient Egypt. New York: Thames and Hudson, Inc.,
1989. Reprint, 1991.
Arranged thematically, this resource focuses on multiple
themes in three general areas: the road to eternity,
unfolding the past, and myth and magic.
Quirke, Stephen, and Jeffery Spencer, eds. The British
Museum Book of Ancient Egypt. New York: Thames
and Hudson, 1992.
This book covers Egyptian culture from prehistoric
times to late Roman antiquity. It is organized by
themes including funerary customs and beliefs,
language and writing, and art and architecture.
Redford, Donald B., ed. The Oxford Encyclopedia of
Ancient Egypt. Oxford: Oxford University Press, 2001.
This three-volume resource is a reference tool that
provides information in multiple fields including
archaeology, social history, language, and biography.
Reeves, Nicholas. The Complete Tutankhamun: The
King, the Tomb, the Royal Treasure. New York:
Thames and Hudson, 1990.
Richly illustrated, this book describes the discovery
of this famous tomb and the treasures found inside.
Photographs show Howard Carter and his team at
work in the tomb and the artifacts in their original
tomb locations.
Robins, Gay. The Art of Ancient Egypt. Cambridge:
Harvard University Press, 1997.
This book offers an introduction to ancient Egyptian
art including sculpture, coffins, amulets, tombs, and
wall paintings. It is organized chronologically.
Suggested ResourcesGlossary of Egyptian Terms
amulet—a personal ornament thought to provide magical
protection or powers to its owner; ancient Egyptians
wore amulets and buried them with the dead
Anubis (ah NEW bis)—the patron god of embalmers
and protector of the dead; associated with a jackal
ba—ancient Egyptian concept roughly equivalent
to the soul of a deceased person
Bastet (bas TET)—a protective goddess; her cult began
in the town of Bubastis but later spread throughout
Egypt; associated with cats
Book of the Dead—a collection of spells that focuses
on life after death; selections from the book were often
buried with mummies and written on or inside coffins,
on tomb walls, on shabtis, and on amulets
canopic (can AH pick) jars—jars that hold certain internal
organs removed from a body during mummification
cartonnage (car tah NAHZH, rhymes with garage)—a
material made from layers of linen, papyrus, or other
pliable elements that are pasted together with resin and
covered with plaster; used also to denote a container
made of this material that protects a mummified corpse
demotic (dem AH tic)—the most cursive script in ancient
Egypt; used for medical, scientific, and literary texts
and for everyday writing such as business documents
and letters
faience (FY ahns)—a low-fired, man-made material
composed of crushed quartz pebbles or sand that has
been glazed; this material can be modeled, cast, and
thrown on a wheel like clay
false beard—a symbol of kingship; pharaohs, including
females, and some gods and goddesses are depicted
wearing these
hieratic (higher AT tic)—as old as hieroglyphic script, this
cursive script was used mostly for everyday writing and
for religious, magical, and mathematical texts; it con-
tinued to be used for religious texts after it was replaced
by demotic for everyday use in the sixth century B.C.
hieroglyphs—the picture signs used in the hieroglyphic
script; there were hundreds representing both sounds
and ideas; hieroglyphs were used throughout ancient
Egyptian history, primarily on objects meant to last
for eternity
Horus (HORE us)—god of the sky, son of Osiris and Isis,
closely tied to the living pharaoh; associated with a falcon
ka—ancient Egyptian concept roughly equivalent
to the vital or life force of a deceased person
Nefertem (NEH fur tum)—a creator god and god of the
town of Memphis; shown as a man with a lotus and
flower crown on his head
Osiris (oh SYE ris)—according to myth, the first king of
Egypt and the first mummy, ruler of the dead; shown as a
mummy wearing the tall crown of a pharaoh and usually
holding a crook and a flail, elements of a king’s regalia
pharaoh—an ancient Egyptian king; possibly originating
from the word meaning “great house”
sarcophagus (sar COFF a gus)—a container used to
protect a mummified corpse; usually made of stone
scribe—a literate person who worked within the
government administration in ancient Egypt; thought
to have one of the most important jobs in ancient
Egypt, scribes recorded information, administered
justice, and supervised other workers
shabti (SHAHB tee)—a small figure placed in ancient
Egyptian tombs to serve as a substitute for the deceased
when work was required in the afterlife
Thoth (THAWTH)—god of writing and knowledge, patron
of scribes, overseer at the weighing of the heart ceremony;
associated with an ibis or a baboon
weighing of the heart—a ceremony described in the
Book of the Dead in which the heart of the deceased is
balanced against the feather of truth; the vindicated join
Osiris in the next world, while the guilty are condemned
to die the final death and are devoured by an awaiting
crocodile-like beast
24
2726
Notes
The British Museum, Ancient Egypt
http://www.ancientegypt.co.uk/menu.html
This informative and student-friendly site on ancient
Egyptian life includes topics such as geography, gods
and goddesses, mummification, and writing.
Cleopatra: A Multimedia Guide to the Ancient World
http://www.artic.edu/cleo/index.html
Developed by the Art Institute of Chicago, this site
includes QuickTime video clips about art from the
ancient world, an illustrated timeline, maps, and lesson
plans for teachers.
The Metropolitan Museum of Art, The Art of Ancient Egypt
http://www.metmuseum.org/explore/newegypt/htm/a_index.htm
This extensive resource is organized around five themes:
ancient Egyptian beliefs, looking at Egyptian art, the
people of ancient Egypt, the natural world, and the
story of the collection. It includes a glossary, a timeline,
a curriculum connections section, a bibliography, and
a list of additional resources. This site is geared toward
educators or older students.
Odyssey Online
http://carlos.emory.edu/ODYSSEY/index.html
Students can explore the culture and art of the ancient
Near East, Egypt, Greece, Rome, and nineteenth- to
twentieth-century sub-Saharan Africa. This site was
developed by the Michael C. Carlos Museum of Emory
University, the Memorial Art Gallery of the University
of Rochester, and the Dallas Museum of Art.
The Society for Historical Archaeology
http://sha.org/
This website contains information about historical
archaeology and includes a section for kids.
Useful Websites
28
One Fine Arts Drive, Forest Park, St. Louis, Missouri 63110-1380Telephone 314.721.0072 www.slam.org© 2005 Saint Louis Art Museum