Egyptian civilization: history, culture, and society

Egyptian Art

The Art of Egyptian Civilization

To understand the art of Egyptian civilization one must understand the historical context. The period of art discussed in this paper comes from what is termed the "New Kingdom" period, or that time from approximately 1550 to 1069 BCE. Of course, Egyptian art significantly predates this period, but historical events tended to have the most dynamic impact during this era. Additionally, while the names of most of the artists have been lost to posterity, it is possible to describe important artistic influences and styles which define the period. Initially a polytheistic society, the original purpose of Egyptian art was as a repository for the essential element or ka of the human body. Early Egyptian art work was developed solely to decorate the resting place of the ka.

Reverence for the ka meant that the early work was almost grotesque in its exaggeration and restraint.

The reforms in art seen during this period represent a change from a rigid and stylistic form of art to art as a method of celebration of form as well as function.

Perhaps the most obvious and famous demonstration of the rigid early styles of the period is seen in the statue of King Khafre, thought to have been sculpted before this period in 2530 BCE. As was the accepted style of the time, the statue was designed by using a grid which allowed the artist to use specific proportions for the statue. Khafre's posture is also representative of the time in that his posture is erect, his feet do not touch the ground (representing his nobility), and he carries a staff representing his power. Additionally, the back of the statue is a flat surface, and the king is not represented in three dimensions. The hawk which rests above Khafre represents the Egyptian god Horus, protecting the neck of the king (thought to be the repository of the ka as well as paying respect to the monarch, who would himself have been considered a deity.

The Palette of King Narmer is another representation of this rigid style. A large, flat, ceremonial palette, it is a remarkable demonstration of the old Kingdom. It is decorated on both sides with raised relief carvings. It contains phonetic representation of Narmer's name and symbols felt to represent war and unification of Upper and Lower Egypt. Whether art or artifact, the palette uses both imagery and symbols to document Early Egypt and the typical use of art to glorify the King.

The period of the "New Kingdom" came after the end of the 2nd intermediate period with the definition of Egypt as a sovereign state and definition of borders. While Pharaohs Ahmose I and Ramses III worked to maintain these borders, the first great artistic influence of the time was the female Pharaoh Hatshepsut. Her re-establishment of trade routes with Asia allowed a renaissance of sorts within Egypt, and the resulting prosperity is shown in the significant innovations in sculpture, decorative arts and architecture. Perhaps the greatest of there is her mortuary temple, Deir el-Bahri, a colonnaded structure reached by long ramps decorated with lovely gardens. The temple is built into the side of a cliff and is considered to be one of the most beautiful monuments of ancient Egypt.

Akhenaten ruled Egypt in the 14th century B.C.E. Under his reign, Egyptian art changed from the rigid style seen in the statue of King Khafre. Under Akhenaton, the style of the period gave way to a softer and more three dimensional style, remarkable in its 180 degree change from the hyper realistic style. If anything, the style of Akhenaton would tend to emphasize positive features, and perhaps even idealize the figure. The change in style may be attributed to Akhenaton's introduction of monotheism into Egypt. Ahten, the one God into which all other Egyptian deities were formed, was usually portrayed as a sun figure. In keeping with Ahten's supremacy and the tendency of Egyptian monarchs to affiliate them with the prevailing deity, Akhenaton called himself the "One Unique of Re," signifying his individualism.

Because of this, Egyptian artists of the time began the movement to the previously mentioned idealistic portrayal of the human in art.

The representation of Akhenaton and his family members, therefore, was focused primarily on the favorable features and to deemphasize any flaws. The artist Bek is known to have developed sculpture of Akhenaton in such a favorable manner that the monarch used his physical appearance to represents the Egyptian god Re. Bek's work is more naturalistic than previously seen, especially the work most famously attributed to him, the bust of Nefertiti. Bek's work is noteworthy and representative of the period in that his sculptures have long faces, high foreheads, large lips, prominent chins, wide and elongated eyes, a three dimensional representation. As the period progressed, the art becomes even more exaggerated in form with figures demonstrated as having long skinny torsos and arms, but with the fuller hips, stomachs and thighs which demonstrated power and fertility.