This document provides an overview of ancient Egypt, beginning with a timeline of important dates. It then summarizes the geography of Egypt and Mesopotamia, noting how the predictable flooding of the Nile river made Egypt suitable for agriculture. Egyptian society was stable for 3000 years due to natural defenses and the river. Key periods of Egyptian history are outlined, along with the development of hieroglyphic writing and the important gods like Osiris, Isis, Horus and Ra. The document analyzes the Palette of Narmer, dating to 3000 BCE, which symbolizes the unification of upper and lower Egypt under King Narmer and the beginning of the dynastic period.
Ancient Egypt1The Civilization of the Nile River V.docxdurantheseldine
Ancient Egypt
1
The Civilization of the Nile River Valley: Egypt
Geography – Isolated by deserts on both sides.
The Nile’s periodic flooding made civilized life possible in Egypt. During drought or famine, Egypt was the place to go because Egypt always has water (cf. the story of Joseph and his brothers in Genesis).
The kingdom was divided into two parts: Lower Egypt and Upper Egypt (Upper Egypt is in the south), with Lower Egypt being a bit more cosmopolitan than Upper Egypt.
Unlike Mesopotamia, stone was plentiful.
2
Pre-Dynastic Egypt: There is some evidence that very early on (3400-3200 BC), Egypt was influenced by Mesopotamia (corresponds to Jemnet Nasr period at Uruk). The evidence includes:
the use of rectangular sun-dried mud-brick in building,
the use of cylinder seals only during this time (Egypt usually used stamp-seals before and after this period),
pictographic writing (the “idea” comes from Mesopotamia),
the idea of kingship, social stratification and specialization,
certain kinds of painted pottery,
and pictures of twisted animals and battling with animals.
This contact may explain Egypt’s sudden explosion into a complex, advanced civilization with writing. The use of mud-brick is peculiar, noting the abundance of stone. There is evidence, however, that the development begins in Upper Egypt (i.e., the south). Two distinct cultures, the Upper, with social stratification and royal artistic expression, etc., and the Lower, with contacts in Palestine, etc.
Egypt seems to go from the Neolithic to a complex civilization overnight. Linear development is not apparent. Agriculture appears to be introduced from outside.
The Pharaoh (the king) is somehow responsible for the yearly success of the Nile. His throne was Isis, the wife of Osiris and the mother of Horus. The king is identified with Horus.
Egypt seeks to portray changeless continuity over thousands of years. This is somewhat true, but not entirely accurate. Ancient Egypt went through a few periods of relative chaos or lack of centralized power. Egypt, however, as is well known, chose not to usually record such periods for posterity.
4
Map of Egypt
5
Egyptian history begins with King Narmer
Narmer united Upper and Lower Egypt
He is likely the same person as Menes
Mizraim is often the Hebrew name for Egypt
The combination of the two crowns appears.
This is the beginning of the First Dynasty, and of Egyptian history
He established his capital at the new city of Memphis (= neutral ground)
It was a new city, said to have arisen out of the ground when Narmer diverted the Nile.
The royal burial grounds of Saqqara and Giza are located nearby.
The uniting of Egypt is commemorated on the Palette of King Narmer (fig. 2.3)
Egyptian artistic canon for relief figures is manifested:
head and feet in profile, with one foot forward, but eye and shoulders shown frontally (cf. fig. 2.2)
This is the beginning of Egypt’s Bronze Age
It is also the beginning of Egy.
Ancient Egypt1The Civilization of the Nile River V.docxdurantheseldine
Ancient Egypt
1
The Civilization of the Nile River Valley: Egypt
Geography – Isolated by deserts on both sides.
The Nile’s periodic flooding made civilized life possible in Egypt. During drought or famine, Egypt was the place to go because Egypt always has water (cf. the story of Joseph and his brothers in Genesis).
The kingdom was divided into two parts: Lower Egypt and Upper Egypt (Upper Egypt is in the south), with Lower Egypt being a bit more cosmopolitan than Upper Egypt.
Unlike Mesopotamia, stone was plentiful.
2
Pre-Dynastic Egypt: There is some evidence that very early on (3400-3200 BC), Egypt was influenced by Mesopotamia (corresponds to Jemnet Nasr period at Uruk). The evidence includes:
the use of rectangular sun-dried mud-brick in building,
the use of cylinder seals only during this time (Egypt usually used stamp-seals before and after this period),
pictographic writing (the “idea” comes from Mesopotamia),
the idea of kingship, social stratification and specialization,
certain kinds of painted pottery,
and pictures of twisted animals and battling with animals.
This contact may explain Egypt’s sudden explosion into a complex, advanced civilization with writing. The use of mud-brick is peculiar, noting the abundance of stone. There is evidence, however, that the development begins in Upper Egypt (i.e., the south). Two distinct cultures, the Upper, with social stratification and royal artistic expression, etc., and the Lower, with contacts in Palestine, etc.
Egypt seems to go from the Neolithic to a complex civilization overnight. Linear development is not apparent. Agriculture appears to be introduced from outside.
The Pharaoh (the king) is somehow responsible for the yearly success of the Nile. His throne was Isis, the wife of Osiris and the mother of Horus. The king is identified with Horus.
Egypt seeks to portray changeless continuity over thousands of years. This is somewhat true, but not entirely accurate. Ancient Egypt went through a few periods of relative chaos or lack of centralized power. Egypt, however, as is well known, chose not to usually record such periods for posterity.
4
Map of Egypt
5
Egyptian history begins with King Narmer
Narmer united Upper and Lower Egypt
He is likely the same person as Menes
Mizraim is often the Hebrew name for Egypt
The combination of the two crowns appears.
This is the beginning of the First Dynasty, and of Egyptian history
He established his capital at the new city of Memphis (= neutral ground)
It was a new city, said to have arisen out of the ground when Narmer diverted the Nile.
The royal burial grounds of Saqqara and Giza are located nearby.
The uniting of Egypt is commemorated on the Palette of King Narmer (fig. 2.3)
Egyptian artistic canon for relief figures is manifested:
head and feet in profile, with one foot forward, but eye and shoulders shown frontally (cf. fig. 2.2)
This is the beginning of Egypt’s Bronze Age
It is also the beginning of Egy.
Without the Nile, the rise of Egypt as one of the oldest civilization would not be possible. Travellers to Egypt would be surprise to find the desert is never very far from the Nile. The predictable cycle of flooding of the Nile was a blessing, a major factor to enable civilization to put down its roots in Egypt. This presentation can only give you a briefest of all introductions. It touches upon the deep rooted origin of the Egyptian civilization, it sketches all the important monuments and marks major turning points in their history for its 3000 years of existence. After centuries later, its people disappeared. It civilization forgotten. Though the ruins of their monument and in particular their writing, we began to rediscover their world again, their people, their culture, their religion and their history. We know a lot about their ancient Egypt, perhaps more than others civilization of the time, because they left us with a lot of records in writing. What we have found are fascinations, a human ascend in our long journey to civilization
Without the Nile, the rise of Egypt as one of the oldest civilization would not be possible. Travellers to Egypt would be surprise to find the desert is never very far from the Nile. The predictable cycle of flooding of the Nile was a blessing, a major factor to enable civilization to put down its roots in Egypt.
This presentation can only give you a briefest of all introductions. It touches upon the deep rooted origin of the Egyptian civilization, it sketches all the important monuments and marks major turning points in their history for its 3000 years of existence. After centuries later, its people disappeared. It civilization forgotten. Though the ruins of their monument and in particular their writing, we began to rediscover their world again, their people, their culture, their religion and their history. We know a lot about their ancient Egypt, perhaps more than others civilization of the time, because they left us with a lot of records in writing. What we have found are fascinations, a human ascend in our long journey to civilization
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The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
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Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
8. The Nile River was very predictable, and its annual flooding (innundation) brought rich
silt that made the land suitable for farming
9. The Greek historian Herodotus called Egypt the “gift of the Nile” since the kingdom owed
its survival to the river – without it, Egypt would be nothing but desert
10. Egypt also enjoyed natural defenses, which enabled it to prosper for thousands of years
11. The two regions there developed very differently
Mesopotamia:
Unstable society, subject to
constant warfare and
competition for resources
Egypt:
Stable society;
maintained a culture
that saw little change
for 3,000 years
12. During the Neolithic period, settlements began to develop along
the fertile banks of the Nile River
Decorated jar, Predynastic/Late Naqada II
c. 3500-3300 BCE
Metropolitan Museum
Figurine of a Man
c. 3650-3450BCE
Metropolitan Museum
13. During the pre-Dynastic period these settlements developed into
the rival kingdoms of Upper and Lower Egypt
Lower Egypt
Upper Egypt
14. The Nile flows North, so to the Egyptians Southern Egypt was “up”
and Northern Egypt was “down”
Lower Egypt
= North
Upper Egypt
=South
15. The rival kingdoms of Upper and Lower Egypt were symbolized by
different crowns
Lower Egypt
Upper Egypt
16. The crown of Lower
Egypt was the
Deshret crown: a
red crown with a
coiled cobra
emerging from it
Lower Egypt
Upper Egypt
The crown of Upper
Egypt was the Hedjet
crown: a white
crown with a bowling
pin shape
17. According to written records, King Menes was the first king to unify
Upper and Lower Egypt, marking the beginning of the Dynastic
period
Unified Egypt
18. At this time, the crowns of Upper and Lower Egypt were combined
to form the Double Crown of unified Egypt
Unified Egypt
19. Egyptian Chronology
PRE-DYNASTIC/EARLY
DYNASTIC PERIODc.
3500-2575 BCE
OLD KINGDOM
c. 2649 – 2150 BCE
MIDDLE KINGDOM
c. 2030-1640 BCE
NEW KINGDOM
c. 15501070 BCE
Egyptian history is divided into four main periods: Pre-Dynastic and Early Dynastic, Old
Kingdom, Middle Kingdom, New Kingdom — separated by Intermediate periods
when centralized government broke down
First Intermediate
Period
Second
Intermediate
Period
20. Egyptian Chronology
PRE-DYNASTIC/EARLY
DYNASTIC PERIODc.
3500-2575 BCE
OLD KINGDOM
c. 2649 – 2150 BCE
MIDDLE KINGDOM
c. 2030-1640 BCE
NEW KINGDOM
c. 15501070 BCE
These periods are also divided into dynasties, referring to dynasties of kings that
descended from the same family
First Intermediate
Period
Second
Intermediate
Period
21. Stele of Minnakht, Louvre
Image source: http://commons.wikimedia.org/wiki/File:Egypte_louvre_144_hieroglyphes.jpg
The Egyptians developed a system of writing called hieroglyphics
22. It is a phonetic language in which images stand for things, or sounds — depending on
the context
23. The Rosetta Stone, Egypt, Ptolemaic Period, 196 BCE
British Museum
Hieroglyphs remained indecipherable until the discovery of the Rosetta Stone in 1799
24. It had three columns with the same text written in hieroglyphs, Demotic (a later form
of the Egyptian language), and Greek
25. This enabled the French lexicographer Jean-François Champillon to “crack the code”
and decipher the strange symbols that had eluded scholars for centuries
27. The gods were represented as humans with animal heads, or animal attributes
28. The Egyptian creation myth explains how the world was created out of the primeval
waters of Nun, and includes a story about the rivalry between Osiris, the good ruler of
Upper Egypt, and Seth, the jealous brother and ruler of Lower Egypt
Seth
God of storms, desert,
evil, chaos, war
Osiris
God of the afterlife,
death, life, resurrection
29. Seth killed his brother and threw his dismembered body into the Nile, but Isis (Osiris’
wife and sister) gathered up the pieces and restored him to life
Seth
God of storms, desert,
evil, chaos, war
Osiris
God of the afterlife,
death, life, resurrection
Isis
Goddess of health,
marriage wisdom
30. Seth
God of storms, desert,
evil, chaos, war
Osiris
God of the afterlife,
death, life, resurrection
Isis
Goddess of health,
marriage wisdom
Horus
God of the sky and
kingship
Isis and Osiris bore a son named Horus, who became the ruler of the world, while Osiris
became the ruler of the dead
31. These gods are recognizable by their attributes
Horus
God of the sky and
kingship: falcon head,
and double crown of
unified Egypt
Osiris
God of the afterlife,
death, life, resurrection:
green skin, plumed
crown, carries a crook
and flail, and legs bound
together like a mummy
Isis
Goddess of health,
marriage wisdom: wears
a throne on her head
32. Osiris
God of the afterlife,
death, life, resurrection:
green skin, plumed
crown, carries a crook
and flail, and legs bound
together like a mummy
Isis
Goddess of health,
marriage wisdom: wears
a throne on her head
Ra-Horakhty
God of the sun; head of a
falcon (Horus), and a sun
disc enclosed by a cobra
on his head
Horus
God of the sky and
kingship: falcon head,
and double crown of
unified Egypt
Later Horus merged with the sun god Ra to become Ra-Horakhty (“Ra, who is Horus of
the two horizons”); he has the head of a falcon like Horus, but he wears the sun disc on
his head, enclosed by a cobra
33. Osiris
God of the afterlife,
death, life, resurrection
Isis
Goddess of health,
marriage wisdom
Ra-Horakhty
God of the sun; head of a
falcon (Horus), and a sun
disc enclosed by a falcon
on his head
To the Egyptians, the death of Osiris and his rebirth as Horus/Ra-Horakhty represented
the unchanging order of the universe:
34. “For the Egyptians, creation was reenacted yearly as the inundation of the Nile receded
and the land was renewed, bringing forth lush vegetation and a good harvest. They
interpreted this annual event as a renewal of life and a triumph over death. They saw the
same cosmic drama embodied in the daily cycle of the sun, which was born in the east
and died in the west only to be reborn the next day. They also saw it in the human cycle
of birth, death, and rebirth in the afterlife.”
Edith W. Watts, “Ancient Egypt: A Resource for Educators,” Metropolitan Museum of Art,
p. 20
35. The Osirin myth also explains the source of kingship in ancient Egypt
36. The Egyptians believed that the Pharaoh was the living embodiment of Horus, and when
he died he became Osiris
37. The Pharaoh was therefore believed to be a living god, and the cycle of death and
resurrection embodied in the Osirin myth echoed the cycles of the sun and the moon,
the changing seasons, and the ebb and flow of the Nile river
38. The Pharaoh’s immortality therefore embodied the unchanging cycles of nature, and
guaranteed the stability and prosperity of the kingdom
41. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
Roughly contemporary with The Stele of Naramsin, The Palette of Narmer dates to
about 3,000 BCE, and is one of the first time an Egyptian king is represented in art
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
42. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
Decorated on both sides, the object was a ceremonial palette used for mixing eye paint
The circular recess
was used for mixing
eye paint
43. Egyptian queen Hatshepsut is depicted on a painted limestone statue in the Egyptian Museum in Cairo. Photograph by Kenneth Garrett, National Geographic
Image source: http://news.nationalgeographic.com/news/2010/01/100114-cleopatra-eye-makeup-ancient-egyptians/
The Egyptians used eye paint for cosmetic purposes, but also to protect their eyes
against the glare of the desert sun, and to prevent infection
44. Two Dogs Palette, Hierakonpolis, Egypt c.3100 B.C.E.
(Ashmolean Museum, University of Oxford)
Numerous ceremonial palettes have been found, but the Narmer Palette is distinctive for
its complex iconography of Egyptian kingship
45. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
The palette is associated with King Narmer because his name is carved in a serekh at
the top of both sides
46. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
A serekh is a pictographic image of a palace that contains the kings name written inside
(the word “pharaoh” actually means “great house”)
47. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
Narmer is believed to be the same person as the legendary king Menes, who was the
first to unify Upper and Lower Egypt, and the palette’s decorations seem to focus on the
theme of unification
48. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
The back of the palette depicts king Narmer smiting an enemy with a mace
49. Relief at Medinet Habu, Ramesses III smiting his enemies in the battle
against the sea peoples. Egypt. Ancient Egyptian. 20th dynasty c 1186
1070 BC. Medinet Habu.
This “smiting-pose” became a standard convention in the representation of Egyptian
rulers for centuries to come
50. Rather than representing an “actual battle,” it is more like a symbol
connoting the kings’ conquest of his enemy
51. The king’s status is indicated by the use of hierarchic scale, and his
idealized muscular appearance – but his costume also indicates his
importance
52. He wears the bowling pin shaped crown of Upper Egypt, and a
false beard – attributes of kingship in Egypt
53. He also wears the shendyt skirt with bull’s tail, probably connoting
his “bull-like” strength
54. The defeated enemy also wears a
beard, but he wears a loincloth
rather than the shendyt skirt
55. Though smaller in size, if he stood
up he would be as tall as Narmer
– suggesting that he could be the
enemy king
56. Two figures on the lower register probably signify the enemy dead
57. Behind Narmer (and represented in
smaller scale) a servant carries a
jar and a pair of sandals
58. The king is also clearly barefoot,
perhaps symbolizing that he is
carrying out a sacred act
59. To the right of Narmer is a strange symbol: a Falcon perched atop
a clump of Papyrus, and clutching a leash attached to a man’s
head
60. The falcon is a reference to the god Horus, who was identified with
Egyptian kingship, and papyrus was a common symbol for Lower
Egypt
61. So the pictograph symbolized the idea that Narmer, as the Living
Horus, has conquered Lower Egypt – the “land of the papyrus”
62. Divine approval of Narmer’s deed is further emphasized on top,
with two images of the cow goddess (Bat or Hathor), flanking his
serekh
63. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
The other side of the palette includes the kings name, and the
image of the cow goddess
64. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
On the next register, king Narmer particiaptes in a procession, as
he inspects the battlefield in the aftermath of the battle
66. The figures in front of him are represented in descending scale according to importance,
and they carry standards representing the different nomes (provinces) of Egypt
67. To the right, the enemy dead are piled vertically rather than in perspective; they have
been castrated and decapitated, their heads placed between their legs
68. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
The center register shows two fantastic creatures whose necks are
intertwined to form a reservoir for mixing eye-paint
69. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
The intertwined necks probably symbolize the theme of “unification”
– having conquered Lower Egypt, Narmer has unified all of Egypt
into a single kingdom
70. Palette of Narmer, c. 3,000-2950 BCE
Egyptian Museum, Cairo
On the bottom register, Narmer’s conquest is represented by the
image of a bull toppling the walls of a fortified city
71. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
There are many similarities between the Palette of Narmer and the Stele of Naramsin
72. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
Both show powerful rulers, whose importance is indicated by size, costume and
attributes – not to mention their idealized muscular bodies, and powerful stance
73. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
Both also emphasize the king’s close connection to the gods
74. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
But a major difference is how the story is told
75. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
The Stele of Naramsin is like an action packed drama, as if the battle is happening right
in front of our eyes
76. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
The Palette of Narmer on the other hand has none of this sense of the momentary
77. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
The figures are more symbolic than real, and seem to be frozen in time, as if to suggest
a timeless order, rather than an actual event
78. Palette of Narmer, c.
3,000-2950 BCE
Egyptian Museum, Cairo
Victory Stele of Naramsin,
c. 2254-2218, sandstone. Louvre
As we will see, this timeless quality was a distinguishing feature of Egyptian art, and was
intimately connected to Egyptian beliefs about the afterlife – which they believed to be
an unchanging continuation of the present; as if time really did stand still – and for an
eternity!
83. Everybody knows how to “walk like an Egyptian” because we’ve all seen Egyptian
images -- and they all look like pretty much alike
Offering Bearers, relief from Mastaba of Nofret and Rahotep, c. 2570-2545 BCE
84. Wall Fragment from the Tomb of Amenemhet and His Wife Hemet, Middle Kingdom, Dynasty 12 (1991-1784 B.C.)
Art Institute of Chicago
This is because Egyptian artists used a standard formula for representing the
human figure that varied very little for over one thousand years
85. Stele of Zezen-nakht, 2000 BCE
Toledo Museum of Art
Let’s start with the composite pose
86. When the Egyptians represented the human body they did not depict it the way it
appears to the eye
87. Instead, they represented the figure in a combination (or a “composite”) of multiple
perspectives at once
88. The legs and hips are shown from the side, but the shoulders are twisted frontally,
rather than being shown in true perspective
89. While the head is seen from the side, the eyes are shown straight on – and while
the shoulders are twisted frontally, the breast is actually represented from the side
90. Relief from the Tomb of Kahai, c. 2649-2150 BCE
Image source: http://www.nbcnews.com/science/science-news/pyramid-age-love-story-comes-life-egyptian-tombs-vivid-color-f2D11603592
This is much easier to see in images of women
91. The composite pose is similar to the use of “twisted perspective in Paleolithic art
92. It ensured that the image was conceptually complete and that no essential parts
were missing
93. To the Egyptians, the striding man on the right would appear “incomplete” because
part of his arm is “missing”
94. The striding man on the left is more conceptually complete, because all of the
essential features of the body can be seen clearly
95. Stela of Mentuwoser, c. 1944 BCE
Metropolitan Museum
This conceptual approach also applied to the rendering of depth and perspective
96. Stela of Mentuwoser, c. 1944 BCE
Metropolitan Museum
This painted relief depicts an official named Mentuwoser seated at a banquet table
97. Stela of Mentuwoser, c. 1944 BCE
Metropolitan Museum
The table is laden with food: we can see meats, bread, and vegetables
98. Stela of Mentuwoser, c. 1944 BCE
Metropolitan Museum
If this table was seen in perspective, the objects would be seen behind one
another, and we wouldn’t be able to see some of the items because they would be
blocked by the objects in front of them
99. Stela of Mentuwoser, c. 1944 BCE
Metropolitan Museum
So the artist used vertical perspective – stacking the items up vertically – so we
would have a complete view of all the items on the table
100. Another reason why all Egyptian images look pretty much alike is that the
Egyptians used a standard formula called the Egyptian Canon of Proportions
Offering Bearers, relief from Mastaba of Nofret and Rahotep, c. 2570-2545 BCE
101. The Canon of Proportions was essentially a grid, that was used for plotting out the
figure following a standard formula
102. Here’s how it works: The Egyptian artist would begin by plotting the figure out on
the grid, using a pre-determined set of measurements
103. Key anchor points of the figure
would be set in place, starting with
18 squares from the top of the
head to the feet (the hair will rise
above the top square)
104. Count 2 squares down for the
base of the neck, and 3 square
either way for the shoulders
Count 2 squares over from the left
shoulder, and 5 squares down for
the belly button
105. Keep plotting out the anchor
points, and eventually drawing the
figure becomes simply a matter of
connecting the dots
106. Egypt was a highly stratified
society, and the formulas used
in art helped to visually
differentiate between social
strata
107. Relief from the Tomb of Kahai, c. 2649-2150 BCE
Image source: http://www.nbcnews.com/science/science-news/pyramid-age-love-story-comes-life-egyptian-tombs-vivid-color-f2D11603592
Men and women, for example, were differentiated by the color of their skin
108. Wall Fragment from the Tomb of Amenemhet and His Wife Hemet, Middle Kingdom, Dynasty 12 (1991-1784 B.C.)
Art Institute of Chicago
Men had darker red skin, and women had lighter skin
109. Relief of Nofer, 2540–2465 BCE. Museum of Fine Arts Boston
Hierarchic scale was also used to differentiate social status
110. Relief of Nofer, 2540–2465 BCE. Museum of Fine Arts Boston
More important people were
larger in scale, and less
important people were smaller
111. Ti Hippopotamus Hunting, painted relief from the tomb of Ti, Saqqara, Dynasty V,
Old Kingdom, c. 245-2350 BCE
Social status was also differentiated by degrees of naturalism
112. Ti Hippopotamus Hunting, painted relief from the tomb of Ti, Saqqara, Dynasty V,
Old Kingdom, c. 245-2350 BCE
This can be illustrated by this painted relief depicting an important official named
Ti, hunting hippopotamus with his servants
113. We can tell that Ti is the most important person in the scene because he is larger
than everyone else, and because he is shown in the conventional composite pose
114. But his servants are rendered very differently; not only are they smaller in scale,
they are also shown in active poses
115. In fact, lower class people are often depicted with great naturalism in Egyptian art
116. Fishermen, from the Mastaba of Kaemni, Saqqara
Image source: http://picssr.com/tags/kagemni/page2
Shoulders are seen in true perspective, rather than twisted frontally
117. Cow Milking, from the Mastaba of Kaemni, Saqqara
Image source: http://picssr.com/tags/kagemni/page2
And we see a variety of active poses that contrast with the frozen, immobile pose that
was characteristic of the Egyptian canon
118. Stele of Zezen-nakht, 2000 BCE
Toledo Museum of Art
Why did Egyptian artists choose to depict important people in such a stiff and
formulaic manner?
119. Stela of the Gatekeeper Maati, c. 2051-2030 BCE
Metropolitan Museum
As we will see, much of the art that was made in Egypt was made for people’s
tombs
120. Stele of Meny, c. 2100 BCE
Museum of Fine Arts Boston
The stiff and immobile figures usually represent the deceased tomb owner
121. The purpose of the images was to remove the individual from reality
so that they can exist in a suspended state of timelessness in which they remain
eternally young for eternity
Stele of Zezen-nakht, 2000 BCE
Toledo Museum of Art