Famous Kings and Queens of Egypt - Coursework Example

Art History: Kings and Queens of Egypt Although the art of ancient Egypt was primarily concerned with the concept of life after death, what remains available for viewing today also reveals a great deal about their culture and beliefs in this world. “While architecture, painting and sculpture ordinarily appeared in the service of the cult of a god or to glorify the wealth and power of a ruler, in Egypt we find emphasis laid upon providing a lasting dwelling-place to serve him and lastly the provision of a substitute in stone for his perishable body” (Smith, 1). Location played a significant role in the creation and stability of this culture as the Egyptian people remained protected behind uninhabitable deserts and sustained by the yearly flooding of the Nile River, which brought growth and renewal to their lands. As a result, the Egyptians experienced a period of particular artistic styles and conventions that remained relatively unchanged for nearly 3,000 years. By examining some of the art left behind, we are able to learn a great deal about what was important to these people, the structure of their culture and the activities they engaged in. Analysis of art such as the Palette of King Narmer (approximately 3000 BC), the Bursheh Procession (approximately 2000 BC) and the statue of Haremhab (Dynasty 18, 1336-1323 BC) reveals not only how much the culture managed to remain relatively unchanged, but also much about how people lived within this culture. The Palette of Narmer presents a continuous telling of the story of Narmers unification of Upper and Lower Egypt. While there is contention whether Narmer or Menes founded the first Egyptian dynasty, there is some speculation that these names referred to the same individual, but little evidence exists for the name Menes while the name Narmer is found all over ancient Egypt and the Mesopotamian valley (Robins, 1997). The palette illustrates a great deal of activity and sophistication of thought. Narmer’s presence, presented in frontality form, overshadows that of those who surround him in size and positioning. His dominance is emphasized on the first side as his figure takes up most of the available space. The king is seen wearing the crown of upper Egypt and ready to smash in the head of a victim whom he holds by the hair and who kneels at his feet. The king is also followed by a servant carrying his sandals, bringing attention to the fact that the king is standing barefoot. “He is thus walking on sacred ground and is barefoot out of respect for the gods and goddesses, in order to perform the ritual act of execution. Narmer, in this way, may be dedicating his victim to the gods and goddesses perhaps thanking them for their help in conquering his foes” (Jourdan, 2002). Other symbolism within this scene includes a papyrus blossom with six petals, indicating Narmer had defeated six thousand warriors as each petal symbolized the number 1,000 and the papyrus was the symbol of lower Egypt. The second and lower segment depicts two dead enemies, lying naked underneath Narmer’s feet symbolizing the fall of a large city or nation to the king. This same sort of symbolism and imagery is seen on the second side of the palette as Narmer, again larger than all the other characters, is seen wearing the red crown of lower Egypt while walking as part of a ceremonial procession (symbolized by his barefoot status) toward a group of ten decapitated bodies (Jourdan, 2002). The twined necks of the two felines in the second segment of this side frame the small circular depression essential in the creation of a palette as a place where cosmetics were mixed, although it is doubtful that the palette was ever used for this purpose. “In the bottom scene, the Apis bull is represented trampling a scared, naked bearded Deltaic foe. The symbolism of this scene is made clear: the bull represents the kings masculinity and vigorous power, while destroying his enemies with the force of a strong bull” (Jourdan, 2002). Thus, the entire palette illustrates the combined messages of domination and the blending of countries under a single crown. The summation of images gives off the impression of chaotic struggle held tightly under the reigns of authority. From the concepts of conquest and dominance over death, the Bursheh Procession provides another glimpse into the Egyptian lifestyle as more of the religious life of the people is illustrated. This is a painted wooden model dated at approximately 2000 BC and found in the tomb of Djehuty-nekht, who is believed to have been a governor of the area in his time (Hodge, 2006). It consists of a strip of wood representing the ground and four figures in walking positions arranged in a single-file line along the length of it. Three of the figures are tall and female, featuring black hair and simply cut white ceremonial dresses. The fourth figure, the lead figure, is male with a shaved head and also wearing ceremonial clothes that leave his upper torso bare. Each of the figures carries something different, but each item has spiritual significance in the Egyptian religious ceremonies. The leader carries what appear at first glance to be a scroll in one hand and a vase in the other, propped like a modern day baseball bat against his shoulder. Incense was an important part of the Egyptian funeral ceremony, as it has been illustrated in several other artifacts from ancient Egypt. These other artifacts make it clear that the object carried by the man in the lead is intended to help disperse the incense that purified the religious ceremonies (From Daily Life, 2006). While the priest sanctifies the ceremony, the women indicate the degree to which the Egyptians felt death was only a means of attaining a new life on another plane. Two of the women in the procession carry ducks in their hands and support baskets on their heads. The first basket is closed, making it impossible to tell what it might have been intended to contain, but speculations, based on items found in this tomb and others, indicate it might have been shown to indicate the inclusion of food items or linens in preparation for the deceased’s internment (Hodge, 2006). The other basket contains several jars for liquid, which was probably intended to be mead as remnants of this liquid were often found in tombs. The appearance of these baskets are made with exquisite attention to detail, showing the typical form of weaving that was used in the creation of the baskets, both open and closed. The jars of the second basket show the detail of the seals that were used to stopper the openings. The third girl represents a shift in the funerary offerings, but what that offering was remained a mystery for many years (Hodge, 2006). This is because the tomb had been robbed several times throughout the centuries, sometimes resulting in extensive damage. This piece was among those found scattered and broken on the floor of the tomb. Continued study into the items found within the ransacked tomb as well as examples of other funeral procession models have enabled the museum to complete the display in what is believed to be a closer approximation to the image the model originally depicted (From Daily Life, 2006). Based on the findings of their research, the Boston Museum where the piece may be found has reorganized the items that are carried by the individual people in the piece, showing what appears to be an elaborate fan slung from the shoulder of this third woman that used to be placed in the hand of the leader. Information regarding the model at the museum suggests that this item is probably intended to be a covered mirror. This is supported by the use of mirrors in ancient religious ceremonies as well as examples of other covered mirrors elsewhere in Egyptian art. One of these examples can also be found painted upon the surface of Djehuty-nekht’s outer coffin. With her other hand, this woman supports a wonderfully decorated chest, suggesting worldly wealth to be left behind for the deceased to pay for anything he might need in the afterlife. Although this piece bears striking resemblance to other Egyptian art, such as their darkened eyes and the cut of the figures’ costumes, there are also various ways in which it is different from the rather simplistic seeming, almost geometric shapes used elsewhere in Egyptian painting. The figures are carefully carved to provide realistic curves and dimension, which is significantly different from the flat images presented in Egyptian painting and low relief sculpture (Cartocci & Rosati, 2007). While many of the characters used for these types of displays can sometimes seem as if they’ve been stamped into place, these figures each have their own individual characteristics. An example of this is in the women’s hairstyles, which are each different. The first has short hair in front and long hair in back, the second has a short bobbed haircut and the third has long hair flowing over and around her shoulders. In addition, each of these figures stands at a different height, with all of the women towering over the shorter stature of the man, allowing the importance of women to be seen as somewhat more balanced than it is typically understood in later cultures. From the lives of the conquering heroes to the basic necessities of the common people, the statue of Haremhab provides a glimpse into the life of the individual powerful man. According to the Metropolitan Museum of Art where the piece is housed, “Haremhab was a royal scribe and general of the army under Tutankhamun” who also served under Aya until he himself was made king (“Haremhab”, 2006). The statue is life-sized and made of granite, depicting the man prior to his being made king sitting in a cross-legged position. He holds a scroll in his lap and an inkwell on his leg. In addition, there are numerous instances of writing and use of symbols in just about every element of the sculpture. This tells us a great deal not only about the society in which he lived and what was happening during this time period, but also about the man himself, what was important to him and where his loyalties lie. The statue is missing the right hand, which the museum says was slightly raised and holding a brush to denote the concept that Haremhab was in the process of writing on the scroll he holds in his lap (“Haremhab”, 2006). Not knowing this can change the way in which the statue is viewed. For example, his eyes are looking downward, but not so far down to make it appear as if he is actually reading the text on the scroll. Without the context of the right hand, it may seem as if he cannot understand the text or is just holding it for show. Understanding the importance of the ruling class to be perceived as wise and educated, this would be a strong possibility since Haremhab rose to his position through his loyal and dedicated service for Tutankhamun (“Haremhab”, 2006). With the right hand, however, it is abundantly clear that he is in the process of composing the text that appears in front of him and explains the appearance of the small shell, seen balancing on his left thigh within easy dipping distance of the right hand. It is clear from the symbols included in the statue that Haremhab was a scribe in real life and this education was important to him. Not only has he opted to be depicted sitting at his work in composing a poem, but the poem he is composing is a poem to Thoth, the patron god of the scribes (“Haremhab”, 2006). The text is facing Haremhab as would be appropriate if he were in the process of composing. There is a cord that crosses over Haremhab’s left shoulder that contains small tools necessary for the scribe’s profession on each end and further denotes Haremhab as belonging to this elite class of learned men (“Haremhab”, 2006). This emphasis on the ability to use and transmit knowledge illustrates the importance his society placed on learning and education and also indicates the elite status that one attained simply by having gained this ability. It also emphasizes Haremhab’s own sense of worth and values as being particularly tied up in his literary abilities as he could have had himself depicted in any one of dozens of poses and opted to immortalize himself as a thinking man. This level of importance attached to the simple-seeming ability to read and write begins to suggest that these were relatively rare qualities in his society, but that they were acquirable. The idea that Haremhab had attained wisdom can also be found in the details provided regarding his physical condition. What can be seen of his face indicates a young man without any of the care and concern one would expect in an experienced warrior as we know Haremhab to have been (Payne, 1981). However, his shoulders are bent in study, which also begins to denote the weight of years and hard decisions, and his chest has begun to cave in somewhat, leaving fleshy folds under his breasts and allowing his stomach to distend slightly over the sash he has tied around his waist. Elsewhere, the lines of his body seem soft, as if once hard muscle is now giving way to softer tissue with disuse and age. While the museum again suggests this is done to denote the idea that Haremhab has attained the age of wisdom (“Haremhab”, 2006), highlighting the importance of experience to his society and to himself in allowing himself to be depicted in this state of less-than-perfect physical form, it also serves to convey a deeper sense of rest and stillness. On initial observation, the body’s pose also seems to support this idea as the cross-legged sitting position sets up a natural pyramid form, the most stable of geometric shapes. Since the statue was made to be freestanding, this foundational form is not even disrupted by the common column supports required for most statues. By carefully observing these ancient works of art in Egypt, we are able to gain a more complete understanding of how these people lived and died in an ancient world otherwise lost to us. Understanding how they rose to power and greatness as in the Palette of Narmer begins to suggest their tremendous connection to religious devotion as well, as this powerful king, trampling all around him who are not already serving him, remains forever engaged in honoring the gods with the blood of his enemies. The important elements of life are seen in the Bursheh Procession as the essentials of life are included within the procession of death, beginning to break down the hierarchy of people as women are depicted in a variety of fashions and permitted to retain their height before a presumably more powerful man. With the details of more intricate and personal statuary such as that of Haremhab, assumptions can be made regarding the treasured attributes of the elite class, such as a once-hard warrior’s body coupled with the academics of literacy and the wisdom of age. While not many texts have been passed down to us from these very ancient times, artworks such as these manage to teach us much about who these people were and how they lived. Works Cited Cartocci, Alice & Gloria Rosati. Egyptian Art: Masterpieces in Painting, Sculpture and Architecture. New York: Barnes and Noble, 2007. “From Daily Life to Afterlife and Back.” Explore Ancient Egypt. 2006. Boston Museum of Fine Art. May 24, 2008. “Haremhab as a Scribe [Egyptian] (23.10.1).” Timeline of Art History. New York: The Metropolitan Museum of Art. (October 2006). May 25, 2008 Hodge, Susie. Ancient Egyptian Art. New York: Heinemann, 2006. Jourdan, Francesca. “The Narmer Palette.” The Bibliography of Ancient Egypt. May 25, 2008 < http://www.ptahhotep.com/articles/Narmer_palette.html> Kinnaer, Jacques. “Narmer.” The Ancient Egypt Site. (February 10, 2007). May 26, 2008 < http://www.ancient-egypt.org/index.html> Payne, Elizabeth. The Pharaohs of Ancient Egypt. New York: Random House Books, 1981. Robins, Gay. The Art of Ancient Egypt. Harvard: Harvard University Press, 1997. Smith, W. Stevenson. The Art and Architecture of Ancient Egypt. Yale University Press, 1998. Read More