146

hat do you know about the treasures of King Tut? Have you everheard the story of Cleopatra? Why do you think the Egyptians built

the huge pyramids? Traveling up the Nile river in Egypt today, you would beamazed to see mighty monuments at almost every bend. Most of these hugestone structures are tombs and temples, reminders of a once powerfulancient Egyptian civilization. The Egyptian stela in Figure 7.1 adorned atemple built in the Twenty-sixth Dynasty. Who were the Egyptians who builtand decorated such impressive monuments? Where did they come from?What were their beliefs?

7The Art of AncientEgypt

Read to Find Out In this chapter, read to find out about the originsof Egyptian civilization and the evolution of the pyramids and temples.Learn about the development of Egyptian sculpture and painting.

Focus Activity Divide your paper into three columns and label themthe Old Kingdom, the Middle Kingdom, and the New Kingdom. Noticewhere these time periods are on the Time Line. As you read the chapter,list and organize what you learn about Egyptian monuments, sculpture,and painting in the time periods in which they were built or created.

Using the Time Line Examine the stela in Figure 7.1 and note that itwas created during the New Kingdom. This particular stela commemo-rates the daughter of a ship’s captain. What does it tell you about theNew Kingdom and what life might have been like during this period inEgyptian history?

W

2600 B.C.A sculpture ofPharaoh Khafreconveys his power

2681–2662 B.C.Step Pyramid ofKing Zoser

1887–1849 B.C.A sculptor portraysKing Sesostris III with realism

c. 5000 B.C.Prehistoric huntersand their familiessettle in the Nile River Valley

5000 B.C. 2000 B.C.2686 B.C. Old Kingdom

2050–1800 B.C. Middle Kingdom

■ FIGURE 7.1 Stela of a Chantress of Amun. 664–525 B.C. Wood, resin, and pigment. Height 41.5 cm

(161⁄3�). Rosicrucian Egyptian Museum, San Jose, California.

147

1361–1352 B.C.The Golden Throneof Tutankhamen

1500 B.C. 500 B.C.

664–525 B.C.Stela of a Chantressof Amun Refer to the Time Line

on page H11 in yourArt Handbook for moreabout this period.

1570–332 B.C.New Kingdom

332. B.C.Alexander the Great conquers Egypt

Vocabulary■ pharaoh■ dynasty■ sarcophagus■ mastaba

DiscoverAfter completing this lesson,

you will be able to:■ Name the three major historical

periods of ancient Egypt.■ Explain the relationship of reli-

gion to the development of thepyramids.

round 5000 B.C., prehistoric hunters and their families settled in thefertile valley of the Nile River (Figure 7.2). As far as experts can

tell, these people came from western Asia. Because there is no evidencethat they moved on or died out, they are regarded as the direct ancestorsof most Egyptian peoples. The Nile River valley in which they settled wasabout 750 miles long but measured no more than about 31 miles at itswidest point. It was lined on both sides by cliffs ranging in height fromaround 300 to 1000 feet. Beyond these cliffs was nothing but desert.

Early Inhabitants Along the NileEach summer the Nile River flooded its banks and deposited layers

of fertile soil in the valley. This soil had been carried for thousands ofmiles from the African interior. In some places, therich soil deposits reached a depth of more than30 feet. In this fertile environment, people graduallychanged from food gatherers to food producers.Discovering that the wild vegetables and grainsthey gathered grew from seeds, they began to collectthese seeds and planted them in the fertile soil ofthe valley.

Although the people continued to hunt animalsfor food, they came to rely more and more on theanimals they raised themselves. This gave them anadvantage over their ancestors. They were nolonger entirely dependent on the game they huntedfor survival. Because they did not have to movefrom one location to another in search of food, theybegan to build more permanent houses of mud,wood, and reeds.

The Formation of KingdomsThis settled existence brought about an increase

in their population and led to the growth of villagesand towns. Some towns grew so large that they tookcontrol of neighboring villages and, in this way, formedkingdoms. As the prehistoric period came to a close,there were only two large kingdoms in Egypt. One ofthese was Lower Egypt, which included the fan-shapeddelta region at the mouth of the Nile. The other wasUpper Egypt, which was the valley carved in the desertby the river (Figure 7.2).

148

LESSON ONE

The Growth of Egyptian Civilization

A

ARABIANPENINSULA

SYRIACyprus

Lower Egypt

Upper Egypt

Giza

Thebes

Memphis

Mediterranean Sea

Red Sea

NileRiver

35°N40°E

30°N

25°N

20°N

Nile Delta

30°E 35°E

Ancient Egypt

Extent of Old KingdomExtent of Middle KingdomExtent of New KingdomPyramids

N

E

S

W

MAP SKILLS■ FIGURE 7.2 People first settled in the valley of the NileRiver about 7,000 years ago. How do you think the Nile Riveraffected the daily life of the ancient Egyptians? How do youimagine it affected the artworks they created?

Thus, an Egyptian civilization emergedalong the banks of the Nile more that 3,000years before the birth of Christ. It continuedto exist for nearly another 3,000 years. Dur-ing that period, Egypt became a thrivingnation in which a pharaoh, or ruler, gov-erned with complete authority. Agricultureand trade grew, art flourished, and majesticmonuments and temples were constructed.

The Three Major Periodsof Egyptian History

The history of Egypt can be divided intothree periods: the Old Kingdom, the MiddleKingdom, and the New Kingdom, or Empire.Each kingdom is further divided into dynas-ties. A dynasty was a period during which asingle family provided a succession of rulers.

One reign ended with the death of apharaoh and another began with the crown-ing of a successor from the same royal family.For this reason, every precaution was taken tokeep the blood of the family pure. One ofthese precautions was to forbid the pharaohto marry outside of the immediate family.

The Old KingdomThe earliest dynastic period began around

3100 B.C. when Upper and Lower Egypt wereunited by a powerful pharaoh named Menes.Menes established his capital at Memphisand founded the first of the 31 Egyptiandynasties. The Old Kingdom dates from thestart of the third of these dynasties, in about2686 B.C. It ended about 500 years later,when the strong centralized governmentestablished by the pharaohs was weakenedby the rise of a group of independent nobles.These nobles split the country into smallstates. Civil war and disorder soon brokeout between these states, and the authorityof the reigning pharaoh collapsed.

The Middle KingdomAfter a long period of turmoil, the nobles

in Thebes, a city on the upper Nile, wereable to gain control of the country. They

managed to unify Egypt once again into asingle state, and order was restored to theirtroubled land. The success of these noblesmarked the beginning of the Middle King-dom, a period of about 250 years fromaround 2050 to 1800 B.C.

The Middle Kingdom was a time of lawand order and prosperity in Egypt. This wastrue even though the pharaoh, while stillthe supreme head, was not as powerful aspharaohs had been during the Old Kingdom.Around 1800 B.C., Egypt was overrun for thefirst time by foreign invaders. Using horsesand chariots, the Hyksos from westernAsia swept across the country. They easilydefeated the Egyptians, who fought on foot.The Hyksos inhabited Lower Egypt and for200 years forced the Egyptian people to paythem tribute. Finally, the Egyptians, havinglearned how to use horses and chariots,drove the invaders from their country andrestored independence.

The New KingdomThe third and most brilliant period of

Egyptian history, which began in 1570 B.C.,is known as the New Kingdom, or Empire.Warrior pharaohs used their expertise withhorses and chariots to extend Egypt’s ruleover neighboring nations.

Under one of these pharaohs, Amen-hotep III, the New Kingdom reached thepeak of its power and influence. Thebes,the royal capital, became the most magnifi-cent city in the world. Suddenly Amen-hotep’s son and heir, Amenhotep IV, brokewith tradition. He tried to bring aboutchanges in Egyptian religion that for cen-turies had recognized many different gods.Amenhotep IV moved the capital fromThebes to Tel el-Amarna. There he estab-lished Aton, symbolized by the sun disk,as the one supreme god. In honor of hisgod, Amenhotep IV changed his name toAkhenaton, which meant “it is well withAton.” Unfortunately, while Akhenaton wasabsorbed in his new religion, Egypt’s ene-mies began to whittle away pieces of theonce-mighty nation.

Chapter 7 The Art of Ancient Egypt 149

The Decline of Ancient EgyptAkhenaton’s new religion did not

survive after his death. Tel el-Amarna wasdestroyed by Egypt’s enemies, the capitalwas returned to Thebes, and the old religionwas restored. Although other pharaohs afterAkhenaton tried to recapture the glories ofthe past, Egypt’s long chapter in history wascoming to an end. In 332 B.C., Alexander theGreat of Macedonia conquered Egypt, bring-ing the New Kingdom to a close. Severalcenturies of Hellenistic rule followed.

Finally, in 30 B.C., Egypt was made aprovince of Rome.

The greatness of ancient Egypt has notbeen forgotten over the centuries. Works ofart of all kinds remain. They range fromhuge pyramids and tombs to skillfullyformed stone statues, wall paintings, andcarved and painted reliefs (Figure 7.3).These and other treasures are fascinatingreminders of the magnificent civilizationthat flourished on the banks of the Nile.(See Figure 7.1, page 146.)

150 Unit Two Art of Early Civilizations

■ FIGURE 7.3Tutankhamenfollowed Akhenaton,or Amenhotep IV, aspharaoh. He restoredthe practice oftraditional religiousbeliefs. Why andhow were artworkssuch as this thronepreserved?

The Golden Throne ofTutankhamen (ruled1361–52 B.C.), detail. Woodoverlaid with gold, silver,semiprecious stones, andglass paste. EgyptianMuseum, Cairo, Egypt.

The PyramidsTry to picture the pyramids as they once

were: covered with a smooth layer of polishedwhite limestone. They were massive, pure-white monuments standing against a back-drop of constantly shifting brown sand andblue sky. What purpose did the pyramidsserve? How were they built? What is inside?

The Pyramid of Khufu■ FIGURE 7.4

Before considering these questions, con-sider one example of these great monuments.The Pyramid of Khufu (Figure 7.4) pre-sents rigid, straight contour lines thatclearly define and accent the simple trian-gular shape of this monumental structure.

Its size is truly massive: The Pyramid ofKhufu covers an area of almost 13 acres.This means that the five largest cathedralsin the world could be placed within itsbase with room to spare. It was madeby piling 2.3 million blocks of stone toa height of 480 feet. This makes the pyra-mid about as high as a modern 48-storybuilding.

The Design of PyramidsEach pyramid was built on an almost per-

fectly square ground plan. The pyramid baseis much greater than the height. Because thepyramid is wider than it is tall, it lacks an upward movement. Rather than a vertical,soaring quality, the shape and proportions ofthe pyramid suggest solidity and permanence.

Chapter 7 The Art of Ancient Egypt 151

■ FIGURE 7.4 The visual impact of this huge structure conveys a feeling of permanentsolidity. What response do you think this pyramid evoked in the people of ancient Egypt?

Pyramid of Khufu, Giza, Egypt. c. 2545–2520 B.C.

Ancient EgyptSee more Time & Place events on theTime Line, page H11 in your Art Handbook

c. 3100 B.C. 300 B.C.

Looking at it from the outside, you mightexpect the inside of the pyramid to be spa-cious. This is not the case. Except for pas-sageways and a few small rooms calledgalleries, the pyramid is made of solid lime-stone. Why build such a massive structureand then provide such little space inside? Toanswer this question, you must first learnsomething about the religious beliefs of theancient Egyptians. As you will see, religioninfluenced every phase of Egyptian life.

Influence of ReligionEgyptian religion placed great importance

on the resurrection of the soul and eternallife in a spirit world after death. The Egyp-tians believed that the soul, or ka, came intobeing with the body and remained in thebody until death. At death, the ka wouldleave the body for a time and eventuallyreturn and unite with the body again for thejourney to the next world and immortality.If the body were lost or destroyed, the kawould be forced to spend eternity wanderingaimlessly. For this reason, the Egyptianswent to great lengths to preserve and protectthe body after death. Following a complicated

embalming process, the body was wrappedin strips of cloth and placed in a fortress-liketomb, where it would be safe until the ka’sreturn. Such a tome served as a kind ofinsurance against final death.

The Pyramids as TombsThe most impressive tombs were built for

the pharaohs. Each pharaoh was more than aking; in the eyes of the people, he was also agod. When he died, the pharaoh was expectedto join other gods, including Re, the sun god;Osiris, the god of the Nile and ruler of theunderworld; and Isis, the great mother god.

Each pyramid was built to house andprotect the body of the pharaoh and thetreasures he would take with him from thisworld to the next. His body was sealed in asarcophagus, a stone coffin. It was thenplaced in a burial chamber located in thecenter of the pyramid. Dead-end passagesand false burial chambers were added tothe building. These were meant to confusetomb robbers and enemies who might try todestroy the pharaoh’s body. To an Egyptian,the destruction of the body was the mosthorrible form of vengeance.

STONE PALETTE OF NARMER. This flatstone palette shows images and symbols ofKing Narmer, also called Menes. The otherside of the palette has a small indentation inthe center, used for mixing eye paint.

152 Unit Two Art of Early Civilizations

SHIPPING TRADE. Egyptianstraveled in boats up the Nile toother Mediterranean cities. Theircargo boats could be filled withitems for trade with cities inMesopotamia and Arabia.

Map Skills. Locate amap showing Egypt and the Mediter-ranean Sea. Trace water routes thatlinked cities along the Nile River withother settled areas that carried ontrade with Egypt.

Activity

Evolution of the Pyramid ShapeThe pyramid shape developed gradually.

Originally, the Egyptians buried their dead inhidden pits and piled sand and stone overthe top. Later this practice changed, and theEgyptians began to use sun-dried bricks tobuild mastabas. A mastaba is a low, flattomb. These rectangular tombs had slopingsides and contained a chapel and a falseburial chamber in addition to the trueone hidden deep inside. In time, severalmastabas of diminishing size were stackedon top of each other to form a step pyramid(Figure 7.5). Finally, they were built withoutsteps, and a point was added on the top,thus creating the true pyramid form.

Construction of the PyramidsThousands and thousands of workers

toiled for decades to build a single pyramid.Limestone was quarried and dragged to theconstruction site and then carefully fitted intoplace. How the Egyptians managed to lift andfit these huge blocks of stone, each averaging2.5 tons, into place remains unclear.

By the time of the Middle Kingdom, theweakened position of the pharaohs and thethreat of invasion made construction of

large-scale structures such as the pyramidimpractical. Many small pyramids andmastabas may have been built during thisperiod. However, these were probably madeof mud bricks, which soon crumbled anddisintegrated. More permanent tombs pre-pared for the pharaoh were cut into the rockcliffs of a valley across the Nile from thecapital city of Thebes.

The TemplesIf the pyramids are evidence of the skill

of Old Kingdom builders, then the great tem-ples are proof of the genius of New Kingdom architects.

The practice of burying pharaohs andnobles in tombs hidden in the cliffs westof the Nile continued throughout the NewKingdom. Meanwhile, architects took onmore important tasks. Temples were erectedalong the eastern banks of the river nearThebes, and these became more and moreelaborate. Each of these temples was builtby command of a pharaoh and was dedi-cated to the pharaoh’s favorite god or gods.When the pharaoh died, the temple becamea funeral chapel where people brought offer-ings for the pharaoh’s ka.

Chapter 7 The Art of Ancient Egypt 153

■ FIGURE 7.5 Structures of thiskind were one step in a longtradition of Egyptian tombbuilding. Why were tombs suchan important concern for theEgyptians?

Step Pyramid of King Zoser. Saqqara, Egypt.c. 2681–2662 B.C.

The Temple of Amon■ FIGURE 7.6

A temple built to honor a particular god often was enlargedby several pharaohs until it reached tremendous proportions.The ruins of the Temple of Amon at Karnak, dedicated to theall-powerful chief god of Thebes, will give you an idea ofwhat these gigantic structures must have looked like.

154 Unit Two

DETAILS OF THE TEMPLE OF AMON

A wide avenue led directly to the frontof this massive temple complex.

• The great doorway wasflanked by obelisks, tall, four-sided, pointed stone shafts.

• Statues of the pharaoh andhuge banners opened ontoan uncovered courtyard.

• Entry to the great hall liesbeyond the courtyard.

• Massive stone columnsreached a height of nearly70 feet.

• The sanctuary was thesmall, dark, and mysteriouschamber where only thepharaoh and certain priestswere allowed to enter.

LOOKING Closely ➤

■ FIGURE 7.6

Hypostyle Hall, Temple of Amon.Karnak, Egypt. c. 1279–1212 B.C.

Visit art.glencoe.com for study tools and review activities.

Reviewing Art Facts1. Describe How did the fertile soil of

the Nile River valley influence thelives of the people in ancient Egypt?

2. Recall When did an Egyptian civiliza-tion develop along the banks of theNile. How long did it continue toexist?

3. Identify What are the three majorhistorical periods of ancient Egypt?

4. Explain Why and for whom were thepyramids built?

Designing a Cartouche Egyptian hieroglyphics continueto interest and amaze us because of their complexity. Withover 600 characters, this language remained a mystery formany years until it was deciphered by scholars in 1799during the reign of Napoleon.

Activity Egyptian rulers had special ways of writing theirthrone names. These symbols, called cartouches, may befound on many Egyptian works of art. They can be identi-fied as ovals that are filled with vertical hieroglyphics(Figures 7.3). Research hieroglyphics. Then design yourown personal cartouche. Exhibit your designs in class.

LESSON ONE REVIEW

Vocabulary■ hieroglyphics

DiscoverAfter completing this lesson,

you will be able to:■ Discuss the uses of sculpture,

relief sculpture, and painting in ancient Egypt.

■ Explain the strict set of rules imposed on Egyptian artists.

ncient Egypt’s most impressive achievements in the field of artwere the publicly visible pyramids and temples. Within the pyra-

mids, however, were sculptures and paintings. Many of these treasureshave survived over the centuries.

SculptureDespite every precaution taken by the Egyptians, the fortress-like pyra-

mids and tombs of the pharaohs were soon robbed of their treasures.Frequently the mummified bodies of the pharaohs were mutilated ordestroyed in the process. To make certain the ka still would have a bodyto unite with, sculptors were ordered to carve the pharaoh’s portrait outof hard stone. These sculptures were placed in the tomb near the sar-cophagus, where they acted as substitutes for the body inside. The Egyp-tians believed that even if the real body were destroyed, the ka would beable to enter the stone substitute for the journey to the next world.

The Great Sphinx■ FIGURE 7.7

The strength and dignity that were a trademark of the pyramids alsocharacterized the sculptures produced during the Old Kingdom. Perhaps

the most familiar and impressiveexample of Old Kingdom sculptureis the Great Sphinx (Figure 7.7).Carved from rock at the site, theSphinx presents the head ofa pharaoh, probably the FourthDynasty pharaoh, Khafre, placedon the body of a reclining lion.It towers to a height of almost65 feet.

Portrait of Khafre■ FIGURE 7.8

In the seated portrait of Khafre,the figure has the solid, blocklikeform of the hard diorite stonefrom which it was carved. (SeeFigure 7.8, page 156.)

The pharaoh is shown sitting-erect and attentive. His bodyappears stiff and rigid, but the headhas a more lifelike appearance.

155

LESSON TWO

Egyptian Sculpture and Painting

A

■ FIGURE 7.7 The massive size of the Great Sphinx was intended to demonstratethe power of the pharaoh. Why do you think the pharaoh’s head was placed on thebody of a lion?

Great Sphinx, Giza, Egypt. c. 2600 B.C.

156 Unit Two Art of Early Civilizations

n studying Khafre’s portrait, youmay have the feeling that thepharaoh is aware of, but above,the concerns of ordinary mortals.He looks straight ahead, yet theeyes seem alive to events takingplace around him. It is this quietaloofness that makes this portraita symbol of eternal strength andpower—befitting a king and a god.Look below at some of the uses ofsymbolism in this sculpture.

I

Symbolism in Egyptian

■ FIGURE 7.8 Pharaoh Khafre, (front view only). c. 2600 B.C.

Diorite. 1.7 m (66”) high. Egyptian Museum, Cairo, Egypt.

Art

➤

The pharaoh’sthrone is inscribedwith symbols pro-claiming him theking of Upper andLower Egypt.

1

➤

A falcon, which repre-sents Horus, the god of the sky, was placedbehind Khafre’s head to remind viewers of the pharaoh’s divinity.Khafre was consideredto be the descendent ofRe, the sun god.

3

His right handforms a fist,which must haveonce grippedsome symbol ofhis high office.

2 ➤

Portrait of a Middle Kingdom Ruler■ FIGURE 7.9

The Middle Kingdom, which lasted fromaround 2050 to 1800 B.C., was a time oflaw and order that ended when Egypt wasinvaded by the Hyksos. Much of thesculpture produced during this period wasdestroyed by the invading Hyksos and bythe New Kingdom rulers who followed.

The works that survived have a widerange of quality. A fragment of a portraitof King Sesostris III (Figure 7.9) is anexample of the skill and sensitivitydemonstrated by the best of the MiddleKingdom carvers. The expression on thissurprisingly realistic face suggests noneof the confidence and aloofness noted inthe portrait of Khafre. In this work, thefirmly set mouth and the “worry” linesabove the eyes convey a look that istroubled and weary.

The great pharaoh Khafre never wouldhave been portrayed with the expressionseen on the sculpture of Sesostris III, butKhafre ruled during the Old Kingdom—a time when no one dared question thepharaoh’s divine power or authority.Conditions had changed by the MiddleKingdom, when this pharaoh’s portraitwas carved. The sculptor captured a lookof concern and resignation on the face ofthis ruler, whose authority dependedlargely on his personality, strength, andcleverness.

Egyptian Empire ExpandsBy about 1570 B.C., all of the conquering

Hyksos who had not been killed or enslavedhad been driven out of the country. Egyptthen entered a period of expansion and pros-perity known as the New Kingdom.

The Egyptians maintained their powerfularmy, which had been formed to defeat theHyksos invaders. They waged a series ofsuccessful raids both to the east and into therest of Africa. Eventually, Egypt found itselfin control of a vast territory.

The expansion of the Empire, which nowextended from the upper Nile to theEuphrates River, brought new wealth to thecountry, and this wealth encouraged artisticactivity. During the New Kingdom, sculptorswere commissioned to complete a variety ofworks. These ranged from huge tomb sculp-tures carved in the native rock to smallerpieces used to decorate temples. Statues ofpharaohs were often gigantic, reachingheights of 90 feet. Some statues werepainted and had eyes made from rockcrystal, which heightened their realisticappearance.

Chapter 7 The Art of Ancient Egypt 157

■ FIGURE 7.9 The sculptor recognized that King Sesostris III was acareworn individual as well as a ruler and a god. Compare this portraitwith a formal photograph of a current head of state.

Fragment of Head of King Sesostris III. 1887–49 B.C. Red quartzite. 16.5 cm (61�2�) high. The Metropolitan Museum of Art, New York, New York. Purchase, Edward S. Harkness Gift, 1926. (26.7.1394).

Portrait of Akhenaton■ FIGURE 7.10

During the New Kingdom, the pharaoh Amen-hotep IV, or Akhenaton, refused to follow thereligious customs of his ancestors. Many of Akhen-aton’s portraits depict him realistically, with anelongated head, pointed chin, heavy lips, and along, slender neck (Figure 7.10). Much of the artcreated during Akhenaton’s reign also took on amore realistic look. Instead of the solemn, stiff like-nesses favored by earlier pharaohs, Akhenaton’sportraits are more natural and lifelike. They oftenshow him in common, everyday scenes in whichhe is playing with his daughters or strolling withhis wife, Nefertiti (Figure 7.11).

Although Akhenaton’s revolutionary religiousideas died with him, much of the art producedafter his death continued to exhibit the realistic,relaxed poses favored during the reign of thisunusual king.

Relief SculptureAbout 4,500 years ago, a relief panel was carved

showing a man of that period and two of his chil-dren (Figure 7.12). This panel illustrates an artisticstyle practiced without change throughout the longhistory of Egyptian art.

Methethy with His Daughter and a Son■ FIGURE 7.12

Notice the unusual appearance of the figure ofMethethy. His head, arms, legs, and feet are inprofile, but his shoulders and eye are shown asseen from the front. The man even appears tohave two left feet, since there is a big toe on theoutside of each foot. Furthermore, the figureseems to have been twisted in some way, makingit look flat. All parts of the body seem to be atthe same distance from the viewer’s eye.

Did the artist who carved this panel simply lackthe skill needed to make his portrait more lifelike?A close examination of the figure reveals that thisexplanation is not reasonable. The head, forinstance, is skillfully modeled and looks realistic.The body is correctly proportioned, and details onthe other parts of the panel show that the sculptor

158 Unit Two Art of Early Civilizations

■ FIGURE 7.11Notice the similaritiesin the expressionsshown on the facesof Akhenaton(Figure 7.10) and hiswife, Queen Nefertiti.How did the sculptorsconvey a feeling ofauthority?

Queen Nefertiti. c. 1360 B.C.Limestone. Approx. 51 cm(20�) high. ÄeyptischesMuseum, Staatliche Museen,Berlin, Germany.

■ FIGURE 7.10

Akhenaton (Amenhotep IV).18th Dynasty. 1348–1336 B.C.Fragment of a limestonestatue from the Temple ofAton, Karnak. EgyptianMuseum, Cairo, Egypt.

could carve realistically when he chose to. He alsoknew how to achieve effective design relation-ships. The detailed areas at the top and left edgeof the panel offer a pleasing contrast to the largearea occupied by the figure of the man.

Rules of Egyptian ArtThe carving’s unusual features adhere to a

strict set of rules followed by all Egyptian artists.These rules required that every part of the bodybe shown from the most familiar point of view.For this reason, the head, arms, legs, and feetwere always shown in profile, whereas the eyesand shoulders were presented as seen from thefront. Following these rules meant that paintingsand relief sculptures of the body looked distortedand unnatural. It is a credit to the skill of Egypt-ian artists, however, that this distortion was keptto a minimum and did not detract from theappealing appearance of their works.

The Egyptians were greatly concerned aboutlife after death. Paintings and relief sculpturesof the dead were meant to serve as substitutesfor the body. When artists created images of thepharaoh, they wanted to make sure that all partsof the body were clearly shown. This was moreimportant to them than making the image beauti-ful or accurate. A complete image was vital.

NECKLACE. This gold and jeweled orna-ment represents the falcon god Horus.Small statues and symbols like these werecreated to honor and protect the pharaohs.

CARTOUCHE. Early Egyptians used a form of picture writing to create a pic-togram called a cartouche. These carvedoval symbols represent the name of animportant person.

■ FIGURE 7.12 This limestone relief conforms to the rules governingancient Egyptian art. Why does this figure look appealing and familiar,in spite of the distortions required by the rules of Egyptian art?

Methethy with His Daughter and Son. c. 2565–2420 B.C. Polychromed limestone relief.143 � 76 cm (561⁄4 � 30�). The Nelson-Atkins Museum of Art, Kansas City, Missouri.Purchase: Nelson Trust.

Compare and contrast.Symbols were significant to society andwere used in various forms in the Egyp-tian culture. Look through the text andidentify two other cultures that usedsymbolism in writing and ornamenta-tion. How do these symbols differ andhow are they similar?

Activity

Ancient EgyptSee more Time & Place events on theTime Line, page H11 in your Art Handbook

C. 3100 300 B.C.

Chapter 7 The Art of Ancient Egypt 159

After all, if an arm were hidden behind thebody in a relief sculpture or painting, itwould mean that the ka would enter a bodythat was without an arm. It would then beforced to spend eternity in a deformed body.Thus, a strict set of rules was developed overthe years to make sure that all parts of thebody were shown—and shown correctly—insculptured and painted images.

Art in Egyptian TombsAt one time, it was customary for a

pharaoh to have his wife, servants, andslaves sealed in the tomb with him whenhe died. Then, when he arrived in thenext world, he would have his loved onesand servants with him for eternity. Theywould make sure that his new life would bejust as pleasant as the old one. In time, thispractice of burying others with the pharaohwas discontinued. Instead, painted reliefsculptures or sculptures in the round weresubstituted for real people and placed in thetomb with the dead king.

PaintingEventually the tomb of every important or

wealthy person was enriched with paintedrelief sculptures. When it became difficultand costly to carve reliefs on the rough, hardwalls of cliff tombs during the Middle King-dom, painting came into its own asa separate art form.

First, the walls of the cliff tombswere smoothed over with a coatingof plaster. When the plaster was dry,the artist went to work, drawing aseries of horizontal straight lines onthe plastered wall. Figures andanimals were carefully arranged

along these lines to tell a story, usually anevent from the life of the deceased. The pic-tures were then colored with rich red and yel-low hues, with black and blue-green added forcontrast. Typically, little shading was used, sothe figures tend to look flat, as if they hadbeen cut from paper and pasted on the wall.This method of arranging pictures in horizon-tal bands and using bright colors with littleshading resulted in a style similar to that ofcontemporary comic strips.

Nakht and His Wife■ FIGURE 7.13

A look inside a New Kingdom tomb pre-pared for a priest named Nakht will add toyour understanding of Egyptian painting.

Portraits of Nakht and his wife are foundon one wall of this tomb (Figure 7.13). Theyare surrounded by busy servants engaged invarious hunting and fishing activities on thepriest’s land.

The way in which the figures have beenpainted should look familiar. This artist, likethe relief sculptor who created the portrait ofMethethy, was bound by the standard rulesof ancient Egyptian art.

The figures of the priest and his wife aremuch larger than the other figures, to showthat Nakht and his wife are more important.They are also stiff and solemn because theEgyptians believed that such a pose was

160 Unit Two Art of Early Civilizations

■ FIGURE 7.13 Several scenes are shown in this wallpainting. What does this painting indicate about thesocial structure of ancient Egypt?

Nakht and His Wife. Copy of wall painting from Tomb of Nakht. c. 1425 B.C.2 � 1.53 m (6.5 � 5�). Egyptian Expedition of the Metropolitan Museum ofArt, New York, New York. Rogers Fund, 1915. 15.5.19e.

fitting for people of high rank. In contrast,the smaller servants are shown in more nat-ural positions as they hunt and fish.

HieroglyphicsUnder the border at the top of the painting

in Figure 7.13 are rows and columns of smallbirds and other shapes. These are Egyptianhieroglyphics, an early form of picture writ-ing. These symbols, some of which repre-sented objects, communicated informationand were included in wall paintings and otherart forms to help tell the story. The signs weregenerally spaced to form attractive patterns,frequently clusters of squares or rectangles.

False Door Stela■ FIGURE 7.14

Painted on another wall of the small chapelwithin Nakht’s tomb is a false door. Thepriest’s ka was expected to pass throughthis door in search of offerings. Arranged inbands on either side of the door are paintedsubstitutes for servants bearing food anddrink for the ka. An assortment of offeringsis painted in the section directly below thedoor where the ka would be sure to findthem when it entered.

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■ FIGURE 7.14 The priest’s ka was expected to pass through thedoor painted on the wall of his tomb. How does this false doordemonstrate the important relationship between religion and artin ancient Egypt?

False Door Stela. Copy of a wall painting from the Tomb of Nakht. Thebes, Egypt.c. 1425 B.C. 1.69 � 1.54 m (5.5 � 5�). 1:1 scale with original. Egyptian Expedition ofthe Metropolitan Museum of Art, New York, New York. Rogers Fund, 1915. 15.5.19c.

Egyptian artists were content to echo theart of the past until they encountered newideas from outside sources, such as Greeceand Rome. As the influence of these newideas grew, Egyptian art lost much of itsunique character, and Egyptian artists ceasedto create the unique art of the pharaohs.

Visit art.glencoe.com for study tools and review activities.

Reviewing Art Facts1. Explain Why were sculptures of the

pharaoh created?2. Compare How are the portraits of

Akhenaton different from portraits ofearlier pharaohs?

3. Describe What rules were Egyptianartists required to follow when paint-ing or sculpting a figure?

4. Explain What is the purpose of afalse door painted on the wall of anEgyptian tomb?

Using Perspective The ancient Egyptians produced wallpaintings that allow us to learn about their lives and cus-toms. Wall painting was done according to strict rules thatdeveloped over Egypt’s long history. The Egyptians did notuse the rules of perspective, so their works have a distinc-tive look (Figures 7.13 and 7.14). Many of them tell storiesand depict the passage of time, much like a cartoon does.

Activity In your visual arts journal, write an Egyptian-stylestory about an event in your life. Create a design for a wallpainting based on your story. Explain your story and designto your class.

LESSON TWO REVIEW

A mummy burial ground gives a look atancient Egyptian life.

In 1996, a man and his donkey were riding along adusty road near El Bawiti, Egypt, when the donkey

tripped and its leg slipped into a hole. The man peeredinto the opening and saw a tomb stacked with gold-covered mummies.

The 2,000-year-old tombs—and the mummiesfound inside—are in nearly perfect condition. Thetombs are full of bracelets, charms, statues, and othertreasures. There are also offerings of date and oliveseeds for the gods. The ancient Egyptians buried theirdead with food and other items that they believedwould be helpful in the afterlife. Each burial chamberhas its own entrance, two burial rooms, and a “handing-over” room. There, Egyptians believed, the mummies were delivered to the land of the dead, where their souls were judged by the Egyptian god Osiris.

This burial site has earned the nickname “Valley ofthe Golden Mummies” for the gold-covered masksand chest plates discovered on many of the mummies.In one year the archaeologist in charge of the dig, Zahi Hawass, uncovered 105 mummies infour tombs. He estimates that there could be as many as 10,000 more.

Hawass believes it will take archaeologists50 years to explore the whole area. Whatother secrets of Egyptian life will they discover?

ZA

HI H

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S/A

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This painted wooden shrine near a female mummywas found in 1996 near the oasis town of Bawiti.

TIME to Connect

A great deal can be learned about the belief systems of ancient cultures from the way theyburied their dead.

• Using the Internet and your school’s media center,research the burial traditions and beliefs of the ancient Egyptians, the Aztecs of Mexico, and the Asante people of Africa.

• Write a paper comparing their burial practices. How are theyalike? How are they different?

• Share your findings with the class. Include illustrations if possible.

162 Chapter 7 The Art of Ancient Egypt

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Archaeologist Mohammed Ayadi brushes a 2,000-year-old mummy. Ayadi and other scientists kept the tomb’s location secretfor many months to protect its treasures from thieves.

7 REVIEW

Reviewing the FactsLesson One1. How long did each of the three major historical

periods of ancient Egypt last?2. How did the Egyptians view the pharaoh?3. Name three other gods that the Egyptians

believed the pharaoh would join when he died.4. Why were dead-end passages and false burial

chambers added to pyramids?5. Describe the development of the true

pyramid form.6. Why and when were temples built?Lesson Two7. How did the expansion and prosperity of the

New Kingdom affect artistic activity?8. Explain why Egyptian paintings show the head,

arms, legs, and feet in profile, but show the eyesand shoulders as seen from the front.

9. Why were sculptures or painted relief sculpturesburied in the tomb with the dead king?

Thinking Critically1. COMPARE AND CONTRAST. Compare the

reigns of Menes, Amenhotep III, and AmenhotepIV. Which reign do you think contributed themost to the development of Egyptian arts? Why?Support your opinion.

2. ANALYZE. What clues do sculptures such asthe portrait of Khafre (Figure 7.8, page 156) pro-vide about the Egyptians’ beliefs concerning theafterlife and the pharaoh’s divinity?

The Great Pyramid of Khufu is consideredone of the Seven Wonders of the AncientWorld. Indeed, the structure exhibits a levelof precision that would be hard to matchtoday. In its original state, the pyramid hadswivel doors weighing 20 tons each. Eachdoor was so perfectly balanced that a slightpush would open it. When closed, the doorsfit into place so flawlessly that the structureappeared seamless.

The Great Pyramid is the most accuratelyaligned structure on earth. It is situated atthe exact center of the earth’s land mass andfaces true north. At noon on the springequinox, the pyramid casts no shadow. Eachof its sides at the base measures 365.24cubits—the exact number of days in a year!

The passage tries to persuade the reader

that the Great Pyramid was immense.

of the genius of the ancient Egyptians.

that modern technology is inferior.

that the Great Pyramid is superior toother ancient wonders.

Chapter 7 Review 163

Read the paragraphs below and then answer the question.

Choose one symbol from this chapter touse as a design element for an originalartwork for your portfolio. You mightchoose the mastaba, hieroglyphics, obelisk,or sarcophagus. Make notes or sketchesdescribing how you would use the design.Determine what qualities are associatedwith the symbol, and how you mightcombine two symbols to create a singledesign. Scan your selected symbol into acomputer paint program. You can thenmanipulate it and try different possibilities.

Standardized Test PracticeStandardized Test Practice