Egyptian burial art and cultural significance

Egyptian Funerary Art of the Amarna Period: 1372-1350 BC

The art of the Amarna period is unique in the Egyptian world for its realistic depiction of the people that it represents. Amarna art differs from the stylized representations found in older art forms. Art during this period strays from Egyptian conventions by portraying a more human side of the Royal family. One way to study how this period in Egyptian art differed from prior forms is to examine an object that was common throughout these periods. This study will examine the canopic jar as it appears in the Amarna period, as compared to earlier art on these objects.

The Amarna Period represents a time of change in how the royal family relates to the general public (Nobelcourt and Kennet, p. vii). This change is reflected in art and in the transformations in form that took place from the early Amarna Period with the later Amarna period, ending with the time of Tutankhamen. This research will explore the hypothesis that technology played a major role in the development of art throughout the period by examining examples of early and late art from the period.

The function of the canopic jar is to hold the viscera of mummified corpses. The jars are made of various materials depending on the materials available in the area. Each organ was kept in its own separate jar and they were stored together as a collection. The jars were decorated with hieroglyphics, often with the figures of gods and goddesses hand painted on the jars. Sometimes the jar lids were made in the shape of the god that they represented. The canopic jars were buried in tombs along with the sarcophagus in order to preserve the integrity of the entire body as a whole. Figures that topped the canopic jars go through several phases where the lid represented the human whose organs it contained, rather than representations of guardian gods and goddesses.

The city of Amarna arose in the 6th year of Akhenaten's reign (Noblecourt and Kennet, p. vi). The town lies near alabaster quarries that had been worked since the time of Cheops in the 4th dynasty (Noblecourt and Kennet, p. vi). During this period, Egyptian art underwent some fundamental changes. During this time, the features of the human figure were softened so that they became more rounded. The human face lost the angular harsh character of earlier periods. This gave the human face a more realistic character that more closely resembled the person that it was intended to represent.

One of the clues as to how this level of realism was achieved was found in the excavated shop of a sculptor. In the remains of this shop, plaster casts in the form of masks were found (Smith, p. 205). It is surmised that these cases were destined for the faces of figurines made from various types of stone. This new level of realism may have been the result of technological advances that allowed it.

The level of detail in the Amarna heads far exceeds that of the Fourth Dynasty (Smith, p. 206). This is the first suggestion that we have of the use of plaster casts to obtain an accurate, detailed depiction of the person. Earlier sculptures were more abstract, with the sculptures of various persons having a somewhat homogeneous appearance. The canopic jars found at Amarna easily distinguish the royal family members from one another (Smith, p. 206). The use of plaster casts is similar to having a photo of the person, rather than simply an artist's impression of the person. However, it is not known if the casts were taken from the living person, or if they were made after the person was already deceased. This could change the characteristics slightly, but they are still a more accurate representation than earlier attempts to depict actual persons.

Another factor that may have influenced the amount to detail in the Amarna sculptures is that earlier heads were carved of limestone, which lends itself to much less detail than other materials. Using materials that allow for a precise level of detail may be a factor in the differences seen in Amarna art and in earlier art forms. The use of local alabaster allows for astonishing detail in the face.

The artist's study of the human form is apparent in the details that were included in the sculptures. For instance, the artist accurately depicted the tendons in the neck (Smith, p. 206). This differed from earlier forms that simply portrayed the neck in a tubular form. This level of detail and attention to human proportion demonstrates that the artist spent some time studying the human body and the subject before making the representation. It has been suggested that this level of detail is the result of the artist being in the presence of the royal family, rather than making the sculptures after they were deceased (Smith, p. 206). However, this is only supposition by academic circles and there is not evidence to support this theory. It provides one possible explanation for the level of detail in the sculptures.

One of the theories surrounding the plaster masks is that they were taken from stone statues rather than from the actual person (Smith, p. 206). However there is little to support this theory due to the exceptionally realistic faces found on the tops of canopic jars of the period. For instance one can see the wrinkles around the eyes and wrinkles of the brow of the person (Smith, p. 206). Details such as these are not depicted on earlier representations.

Comparisons of pieces from early to late period reflect a dramatic change in the ability to represent the human side of the image, rather than a cartoon-like image depicted in earlier art. The average human can relate to the level of emotion portrayed in later period art. They were able to see the royal family in a romanticized manner that made them appear more like any other citizen. The royal family was set apart from the public less in later period than in early period. Let us examine several examples that illustrate this point.

The following is a close-up detail of canopic jar lids from Tutankhamen's tomb.

Image source: Kent R. Weeks, "Valley of the Kings,"

National Geographic, September 1998, Vol. 194, No. 3, p. 28.

The most noticeable feather of these figures is the amount of expression in their faces. The figures expression is serious, yet there is an underlying passion that was absent in art from earlier times. The portrayal of emotion was a new concept in Egyptian art. This portrayal so emotion was only possible with the development of techniques to capture this level of detail. The ear on the figure to the right is strikingly accurate. The figures seem to gaze into each other eyes.

This level of detail and portrayal of emotion occurs in other changes in the representation of the royal family. During the Amarna period, we begin to see representations of the royal family showing affection to his daughters. In the past this was strictly taboo and the royal family was represented as emotionless (Smith, p. 186). During this period we begin to see the royal family represented in a more humanistic attitude. They begin to be portrayed as humans, rather than above the capability of human emotion. This change in attitude broke traditional conventions and represented a new paradigm that permeated Egyptian art from this point forward.

Art forms changed dramatically from the early Amarna period to the later half of the period. This example of early Amarna period art reflects the abstracted features of the earlier period.

Image Source: http://catzappin.com/amarna/Copy%20of%20Armana%20Art%202.htm

This image is a typical early Amarna period representation of Akhenaton. The full lips and exaggerated neck characterized early period art (Noblecourt and Kennett, p. vii). This form is more like a caricature than a realistic representation of the person. Skulls were unnaturally elongated and faced showed angular, exaggerated features. The eyes are half-closed and the face shows little expression. This example demonstrates the stark contrast between art in the early Amarna period and late period.