Coffin and Mummy of Panchama - Research Paper Example

Lecturer: Coffin and Mummy of Paankhenamun The ancient Egyptians believed upon life after death, and the resurrected dead would continue to play real life activities such as eating food and dressing clothes. The believed that the soul or the presence of the departed would require a body to dwell in the eternity. Therefore, Egyptian preserved the dead body through a process known as mummification. They avoided decay at all value since it implied the separation between the soul and body. The artist placed the mummies in the structured grave with authentic materials necessary for the eternity. The illustration of the mummy of Paankhenamun is superb pieces of craft made by Egyptians artists during the period before Christ. It is avidly painted coffin of a deceased man named Paankhenamun, the gatekeeper of the temple of the Amun god. Therefore, the artwork reveals the way ancient Egyptians for ritualistic culmination functions and their beliefs of life after death. The mummy case is a wall piece of art resulting from the third, middle period, which is a decentralized period and fragmented end of the Egyptian bureaucracy. The artwork was done for a specific patron. The work was performed to reconstruct the cultural beliefs of the early Egyptians. Therefore, the artwork was meant for a certain person known as Paankhenamun who was the gatekeeper of the temple of the Amun god, thus his name meant that he lived for the Amun (Maria and Clarke 121). The art works is museum collection of artistic features placed in the institute or art, in Chicago. The artwork is a representation for the coffin for Paankhenamun; thus, the artwork provides a complex picture of mummification and the existence of the goddess of ancient Egyptians as indicated in figure 1. The case is significant because it reveals the way the ancient people view certain subjects. The ancient Egyptian culture believed that there was a life power, and the spirit existed inside the deceased. Therefore, they performed mummification as a ritual process of preserving the physical features of the deceased person in order to enable the body to dwell in the eternal life. The funeral psychology of the ancient Egyptian culture is that the death did not mean the end of life of an individual. However, it was an escape from the physical, human life and a gateway to everlasting being. Many ancient people believed that their life span was short; thus, they believed in life after death where they would be with their gods. Therefore, the mummification method enabled them to maintain the goddesses and royalty. The preservation method was to enable the deceased to come back to life. Interestingly, the X-rays revealed that the case of the mummy of Paankhenamun contains mummy inside that dates from the 945 to715 B.C (Maria and Clarke 79). The function of the artwork of the mummy case was for ritualistic culmination functions. The coffin was used in the funeral feast and offering scene thus the decorative relief work of the coffin played significant roles to the ancient Egyptians. The entire decoration process of the coffin and the decorative features included in the surrounding walls reveals the celebration of life after death with his family members. The kinsmen delight in the soul nourishment and they give their sacrifices to the gods in favor of the departed. For instance, the inscription that cuts across the perimeter of the scene is significant. This is because it is an offering formula or way through, which the Egyptians perform the funerary feast in different ways. Moreover, the painted scene plays a significant role of primarily prayer representation. When focusing on the paintings, one will encounter various inscription represented on the offering table and scattered all over the room. The top of the table has slices of bread on top of it is a monumental leg of an ox (James, Mancoff, Kozitka, and Steinmann 122). There are bottles of beer on the side of the table and some geese; thus, they all represent the funeral offerings meant to appease the gods. The decorative relief work is a symbolic way through which Egyptians scribes can represent their pictograph form. The decorative flowering reeds, loaves of bread, geese and other things put on the table are all the indications of things that the gods needs in order to survive. Therefore, the pictography form presented in the mummy case reveals the Egyptians funeral way and further symbolic messages are depicted in the scene. The Egyptian artists carried out mummification procedures under the surveillance of the priests. These mummification practices emerged during the Egyptian, modern Kingdom. Paankhenamun was most likely to be in charge of the mummification methods because he was a priest of the ancient Egyptian Kingdom. Therefore, when a person dies, the funeral practices involved drying the corpse for preservation. They also used anointing oils and protected the body with amulets, which is linen used for wrapping the body. Thus, it is placed in sequence of nesting coffins. The inclusion of the amulets was meant for the good luck of the deceased. The inner shell constituted the brightly painted scenes. The artist included writings, painted scenes and decorated symbols that identified the deceased and indicated I figure 2 below. For instance, Paankhenamun (the one who lives for Amun) was well written across the surface (Bernice 143). The inscription records were included; thus revealing that Paankhenamun was the gatekeeper of the Amun temple. The title and names placed on the coffin revealed that Paankhenamun used to live at Thebes. The main message scene exhibited the layout of the falcon headed gods. The afterlife ruler of the early Egyptians was usually known as the mummy. The artwork was made of varied materials and techniques including the gold leaf, pigments metal mount and cartonnage such as gum, papyrus and linen. The cartonnage cases were a common means through which the ancient Egyptian artists used in making coffins. The body of the deceased was wrapped and inserted in the case using the back entrance, and this was after the mummification processes have been carried out. The ancient people fastened up, attached the footboard and finally decorated the cover. They also placed the cartonnage coffins inside one or many nested wooden coffins, which have been decorated. In some instances, the artist built regulated series of cover cases to encompass the mummy. This is in case the family of the deceased could afford it. The underlying case was made of the cartonnage substances, through which the artists connected papyrus strips or flaxen fabric by using the sticky substances. For instance, the cartonnage for the cover of the corpse was fabricated of the temporary case cover. The lengthwise line of stitching, which is along the stern, enabled secure insertion of the covered mummy. The cases were usually coated with a layer of firm gesso or plaster type materials. Therefore, the scholars presume that the painted adornments were added later to the corpse after the deceased person was fitted in the casket. The personal analysis as expressed by the Egyptian artists in the mummy case of Paankhenamun is the conviction of eternal life of the death person. The symbolic images placed in the mummy cases reveal the eventual rebirth and immortal life of Paankhenamun. The essential representation of the torso is the prologue of the Osiris, which is the Amun gods. The Osiris reveals the judgment of god made in the eternal life by the son Horus, who guides Paankhenamun by hand. The green color of the decorated face of Osiris is a symbol of rebirth and the lotus blossom on the feet of the Osiris holds the four sons of Horus, the deities that protect the canonic organs. The research indicates that the lotus blossom is figurative feature of reincarnation meaning that the dead grows uncontaminated out of mud (Maria and Clarke 76). The decorated feature of a scarab beetle placed on the heart of Paankhenamun represents his reincarnation. The scholars believe that the scarab beetle play significant role of pushing the sun far to the sky in order to enable the dead to begin each fresh day. The priest believed that the sun god known as Re-Atum proceeded into the underworld every night after setting in the west in order to allow the deceased to be reborn every morning. The gold molded face and head of the mummy case reveals the enlightenment of the dead faces as the light of Re-Atum shines upon the face of the deceased. The phoenix placed on the throat of Paankhenamun, is a magnificent bird signifying his reincarnation. The early Egyptians think that the magnificent bird enabled those who died to rise from ashes. Moreover, the personal views of the ancient Egyptians towards the mummy case are that when a person dies, the Osiris and his 42 assessors begin to judge the deceased. This is before the deceased begins his life after death. The artistic feature of the mummy case has a Ma’at symbol placed on the throat as indicated in figure 2. Ma’at refers to the goddess of reality; thus, the hearth of Paankhenamun is balanced with the feather of Ma’at. This will enable him to unite with the Osiris; thus allowing him to live a peaceful life full of blessings. This means an everlasting afterlife for the ancient Egyptians. The scrupulous procedures taking place during the mummification process of the dead reveals that the deceased receives an eternal presence in the next world. This makes the work of art promising for the modern viewers of the artistic features to be aware of the convictions and lives of the early Egyptians. The issue of the artwork of the mummy case signifies god’s abilities to cater for the needs of the subjects. The artwork meant that there is life after death as it was believed to the ancient Egyptians whom the art work belong to. Hugh (102) argues that the ancient Egyptians believed that when a person dies, the soul and the body separate from the body. Therefore, the deceased rise into a new creature and start living in a physical world where he or she could communicate with the gods. The Osiris is the goddess of the Egyptians. Thus, the Egyptians   believed that when an individual dies, the Osiris protect the person. However, in the social context, the artwork of mummy case may have significant meaning to the Christian religious believes. This is because the Christians believe in life after death; thus, the artwork may be of significant meaning to them. The most striking aspect of Egyptian religious is the immortality aspect and possibilities of life after death (James, Mancoff, Kozitka and Steinmann 86). Christians also believe that when a person dies, the soul and spirit of the person separates from the body. The body remains to decompose while the soul is taken into the everlasting peaceful world. The style employed in making the artwork is a symbolic way of expressing the unified theme of funereally belief for Egyptian people. The visual, artistic features express the notion of birth, death and resurrection as well as the external life. The symbol of resurrection and restoration is famous in the Egyptian funerary sculptures. For instance, on may notice the little circle on a flat base just below the scarab. This is a pictograph of Egyptians known as shen. It is a loop of rope, which as knot; thus representing the concept of eternity. The shen symbol stretches in oval rather than a circle and within; the name of the Egyptian king is indicated. In conclusion, the artwork reveals the way ancient Egyptians for ritualistic culmination functions and their beliefs of life after death. The ancient Egyptian culture believed that there was a life power, and the spirit existed inside the deceased. The function of the artwork of the mummy case was for ritualistic culmination functions. The artwork was made of varied materials and techniques including the gold leaf, pigments metal mount and cartonnage such as gum, papyrus and linen. The issue of the artwork of the mummy case signifies god’s abilities to cater for the needs of the subjects. Therefore, the artwork is a symbolic way of expressing the unified theme of funereally belief for Egyptian people. Fig. 1: An illustration of Coffin and Mummy of Paankhenamun Fig. 2: Painted and decorated symbols of Mummy of Paankhenamun Work Cited Bowden, Hugh. Mystery Cults of the Ancient World. Princeton: Princeton University Press, 2010. Print. Cicero, Maria, and Jane H. Clarke. Mummy Case of Paankhenamun: Egypt, Third Intermediate Period, Dynasty 22 (c. 945-715 B.c.). Chicago: Art Institute of Chicago, 2000. Print. Wood, James N, Debra N. Mancoff, Laura J. Kozitka, and Catherine Steinmann. Treasures from the Art Institute of Chicago. Chicago: Art Institute of Chicago, 2000. Print. Wilson, Bernice. Art of the Ancient Mediterranean World. New York, NY: Facts on File, 2001. Print. Read More