New Kingdom Society: Cultural life:
(i) Explain the most significant features of art in the pre-Amarna period?
Under the pharaohs in the pre-Amarna period, Egypt experienced a period of artistic excellence in painting, sculptures and on papyri, and artefacts of the ordinary such as jewellery and amulets. The art had certain features which included the use of a vast range of materials, in religious and political symbolism especially associated with the afterlife; variations upon a literature canon; and for the nobility, associated with ideology and aesthetic purposes. However, these depictions tended not to be the realistic accounts that they seem to be. Often works are incompletely preserved and those survived are representative.
The country’s copious natural resources influenced its art. For the Egyptians, stone sculptures for example the ‘indurated limestone sculpture of Hatshepsut[1]’ demonstrated durability, symbolising its permanence. The structural elements of pre-Amarna art were the cube, vertical and horizontal axes. Thus, this contributed to a balanced character by strengthening their frontality and axiality. As Cyril Aldred once stated ‘the civilisation of the New Kingdom seems the most golden of all epochs…[2]’ epitomises the secured empire through economic interests. These included access to gold, especially for jewellery while copper and wood were seen in furniture for example the ‘Gable-topped chest and linens[3]’introduced domestic life. Where stone came to usage in the reign of Amenhotep III, basalt[4] represented a significant expense, as hard stones were reserved for the nobility. Moreover faience was used, known for its brilliant colour of mostly shiny, green and blue as seen in the decorated ‘bowl with fish[5]’.
Egyptian art contains webs of symbols and allusions. Pre-Amarna artists tended to follow themes but produced variations on old subjects in the design. This included animal elements which visualised characteristics of the god and animal heads symbolised superhuman endowments of the deity. Artists used warm and cool colours in jewellery, reliefs and wooden figures. They did not only have an aesthetic appeal but symbolic meaning. Where blue and green represented the Nile and life and red stood for power and vitality. Despite the lack of perspective in a stilted form, this period of art was highly realistic. Artisans usually showed knowledge of anatomy while paying attention to detail including the rendering of animals. Art works presented a vivid representation of time and life. Frequently appearing images included ostrich feathers and the uraeus. This presented opportunities for artists to express abstract notions. This imagery was natural to the Egyptians as they believed no image could fully represent the many powers of the gods.
In the hierarchical structure, there was no division between royal and state property. Thus this was how pharaohs were depicted by demonstrating political and economic power. In order to create order, balanced forms, clear outlines of colour were used. On a two dimensional surface, the human body was depicted to show all parts of the body. The shoulders are seen from the front, the legs and arm seen by turning in the hips and torso in a three-quarter view. The head is shown to display the back and front with projecting nose and lips - the eye drawn to look directly at the viewer. Duality and relative sizes were significant features of art. The first includes the duality of two elements supported in opposition. This is reflected in examples of royal and everyday life including the title of pharaohs’ dual coronation. Duality encouraged balance and symmetry. Where size indicated relative importance, images of the pharaoh were often larger, for example the warrior pharaoh image of Thutmose III[6]. In paintings - wives, servants, animals and nature were shown in a smaller scale than the king, high official and tomb owner.
The second concept regards to the cyclical nature of events - related to life after death. This concept of rebirth played significant roles in Egyptian life, thus provided the inspiration for Egyptian art. The resurrection of Osiris became one of the symbols of Egyptian religion as seen from a painted coffin[7]. The statue of the deceased through the ritual of ‘opening the mouth’ was seen in wall paintings depicting pastimes and daily life. Jewellery such as the ‘pectoral in the form of a scarab[8]’ is significant in which both men and women adorned as symbol for status and magical protection on their life and next. As paintings dominated private tombs, a section from Amduat features two horizontal registers where the scene is centred, balanced and figures drawn with dark outlines as seen from the wall painting of Thutmose III[9]. The explanation of the cosmos and life after death, society and religious practices of the elite marked differently from those of the ordinary. Pre-Amarna art linked with these beliefs by lending significant continuity and homogeneity. It is art which expressed ideas about the afterlife and that numerous works came from tombs of officials which tend to suggest the Egyptian’s preoccupation with death. However this has been very much debated.
A key element of art was functionality to serve metaphysical purposes. Egyptian art obeyed the law of representing man including sculpted men who held their arms in several ways, nature as seen in the sculpture of ‘Prancing Horse[10]’ and environment such as the ‘Botanical garden[11]’ of Thutmose III. Although poses of sculptures were based upon the conventional, indications of bone structure and musculature proves no statues were made purely for aesthetic purposes. The only artworks which seem likely to have been secular were items of daily use including cosmetic utensils of ‘Basket and toilet articles’ and ‘razor and mirror’ and jewellery.
Although most Egyptian artworks were functional, this does not detract from aestheticism. Egyptian artists reflected stages of economy flourish where subject matter was re-interpreted and adapted to suit new requirements. Literature contained art with texts and connected pictures recorded on papyruses. The subject matter, often in regards to hymns, mythological texts were because of the religious nature of Egyptian civilisation. Characterised by the idea of order, simple lines, shapes and flat areas of colour were assisted to create a sense of order and balance. Artists used horizontal and vertical lines to maintain correct proportions of their work.
As Siliotti stated the pre-Amarna period was ‘a time distinguished by remarkable developments in art… increased flexibility and freedom in form[12]’ can be seen in the poses of figures, usually motionless of walking, sitting and standing. But arm gestures were used to explain what the figure was doing. Poses of the ordinary such as farmers and herdsmen were more active. Pottery demonstrated a love of decoration, with painted surfaces employing floral motifs. The ‘painting of opulent parties[13]’ interpreted as funerary repasts are shown with musicians in an atmosphere of luxury. The human figure was to create attractiveness rather than impersonal impression. Artists also tended to present more open, optimistic expressions of society. Moreover, it can be seen from limited written references where women were linked to the production of art. This historiographical issue emerged through the belief of a closed male domain[14]. During the reign of Hatshepsut, portraits of men and women became more feminine, with heart-shaped faces, arched eyebrows and kind smiles. This reflected the evolution of societal transformation and artistic tradition through significant features of art.
Art, being highly symbolic has revolved around the past and proven to be imperative in keeping history alive. Although such a repetition of iconic features contributes to popular misleadings of ancient Egyptian art as unchangeable. In conclusion, art in the pre-Amarna period shows complexities of ancient egyptian civilisation. However it is evident that the focus is primarily on political, religious and economical interests. Through the significance of art on society, Egyptian civilisation appears as one of stability, a culture still partly understood in terms of religious and funerary beliefs.
Melanie Zhou 12AHA 6 page1of4
[1] Hatshepsut, New Kingdom, Dynasty 18, reign of Hatshepsut, ca. 1473–1458 B.C. Egyptian; From Deir el-Bahri, western Thebes, Indurated limestone; H. 76 3/4 in. (195 cm), Rogers Fund, 1929 (29.3.2)
[2] http://reference.allrefer.com/country-guide-study/egypt/egypt17.html
[3] Gable-topped chest and linens, New Kingdom, Dynasty 18, 1550–1295 B.C. Egyptian; From the tomb of Hatnofer and Ramose, western Thebes, Whitewashed wood; linen; H. of chest 17 3/8 in. (44 cm), Rogers Fund, 1936 (36.3.56,.54,.111,.140)
[4] Fragment sculpture of a coffin, Basalt, Height 30 cm, width 20 cm, late dynasty 18, reign of Amenhotep III, Saqquara, Serapeum, Excavations of M. Ibrahim Aly, 1986 – Hawass, Zahi, Hidden Treasures of Ancient Egypt – Unearthing the masterpieces of Egyptian history, National Geographic, 2004
[5] Bowl with fish, c.1400 BC, Faience with painted decoration; diam 15.7cm, 6 1/8 in, Museum of Fine arts, Boston.
[6] The warrior king Thutmose III on the southern face of the 7th pylon of the temple of Amun at Karnak, Thebes, c.1450 BC, Sandstone, sunk relief.
[7] The God Osiris – King of the Dead, protected by falcons – from a painted coffin c.1550 BC (British Museum) – Putnam, James, Egyptology – An introduction to the history, culture and art of ancient Egypt, Sandstone publishing, 1990, p47
[8] ‘A magnificent pectoral in the form of a scarab – mounted coloured stones in cloisonné work and lapis lazuli wings in a circle, height 9 cm (Egyptian Museum, Cairo)
[9] (Wall-painting, showing scenes from Imi-duat in the burial chambers of Thutmose III, Valley of the Kings, Western Thebes, c.1430 BC, painting on plaster.) Anna Maria Donadoni Roveri, Egypt Classical Art Tours, The valley of the Kings, Atlantis publishing, p.21
[10] Prancing Horse, New Kingdom, late Dynasty 18, probably reign of Amenhotep III, ca. 1391–1353 B.C. Egyptian Ivory, garnet inlay; L. 6 in. (15 cm) Purchase, Edward S. Harkness Gift, 1926 (26.7.1293)
[11] Reliefs decorating the ‘Botanical Garden’ of Thutmose III (1479-1425 BC), depictions of remarkable animals and exotic or fabulous plants - Siliotti, Alberto, Egypt – splendours of an Ancient Civilisation, Thames and Hudson publishing, 1994, p.174
[12] Siliotti, Alberto, Egypt – splendours of an Ancient Civilisation, Thames and Hudson publishing, 1994, p54
[13] Female Musicians and dancers entertaining guests at a meal, from the tomb of Nebamun, Western Thebes, c.1360 BC. Painting on plaster; h 61cm, 24 in, British Museum, London.
[14] Malek, Jaromir, Egyptian Art, Phaidon Publishing, 1999, p.243