This paper is the 38th research paper in a series investigating the evolution of mechanical engineering in ancient Egypt.
It tries to achieve this purpose through investigating the production of ancient Egyptians non-stone, non-wooden statues during
the era from Predynastic to Late Period. Each stone statue is presented chronically with present location if known and with
engineering analysis showing its creativity. The presentation is classified according to the material used in producing the
statues.
This paper is the 43rd research paper in a series investigating the evolution of mechanical engineering in ancient Egypt.
It tries to achieve this purpose through investigating the production of ancient Egyptians horse, leopard, turtle and frog statues
during the era from Predynastic to Late Period. Each statue is presented chronically with present location if known and with
engineering analysis showing its creativity. The innovation in the designs is outlined and the main concepts of mechanical
design methodology in ancient Egypt are outlined
Egyptian art developed between 5000 BC and 300 BC and was focused on honoring the dead. Paintings and sculptures depicted gods and the pharaohs and were meant to accompany people into the afterlife. Architecture like pyramids and temples were constructed as tombs and places of worship. Egyptian artforms included paintings on papyrus and walls, sculptures of gods and people, and massive architectural structures for burial and religion. Egyptian art and culture influenced later societies through hieroglyphics, calendar systems, and beliefs about the afterlife.
The document provides an overview of prehistoric and ancient art from various regions around the world, beginning with Paleolithic cave paintings dated to around 15,000 BCE. It then discusses the art of ancient civilizations like the Sumerians, Egyptians, Minoans, Mycenaeans, and others, focusing on materials, styles, religious and cultural influences. Major art forms included sculpture, architecture like pyramids and temples, and carved reliefs depicting rulers, gods, and important events. Styles ranged from naturalistic to highly stylized depending on the culture and time period.
Egyptian art began over 5000 years ago and was deeply influenced by their religion. Paintings and sculptures often depicted gods and other important figures, and followed strict rules for proportions. Sculptures included sphinxes and masks, while the most famous sphinx is the Great Sphinx of Giza from 2500 BC with the face of the Pharaoh Khafre. Mummies were also decorated elaborately as part of preparations for the afterlife.
Ancient Egyptian art was produced from 5000 BC to 300 AD and was characterized by keen observation, exact representations of life and nature, conformity to rules of three-dimensional forms, and highly religious subjects including gods, pharaohs and nature. Major art forms included architecture like pyramids and temples, sculpture of pharaohs and gods, and paintings on tomb walls.
The document provides descriptions of various works of ancient Egyptian art from around 2500 BCE to 1290 BCE. It includes summaries of sculptures like the Great Pyramids of Giza and the Great Sphinx, as well as paintings from tombs and temples depicting pharaohs and their activities. The art served religious purposes related to burial and commemorating rulers, and featured themes of royalty, the afterlife, and Egyptian mythology. Styles ranged from realistic portraits to idealized figures, and materials included stone, wood, and paintings on walls and papyrus.
Egyptian art and culture developed over thousands of years along the Nile River. Egyptian society was stratified, with pharaohs, priests and scribes at the top of social hierarchy. Common people included farmers, fishermen, artisans and laborers. The ancient Egyptians had a rich cultural tradition and produced art to serve religious and functional purposes. They also placed great importance on the afterlife, leading to the practice of mummification and burial customs. Hieroglyphics, papyrus and monumental structures like the pyramids and Sphinx provide insights into Egyptian civilization.
This is ninth paper in a series of research papers exploring the history of mechanical engineering during the
Ancient Egypt era. The paper investigates the industry of pottery in Ancient Egypt over periods from Predynastic
to Old Kingdom. The paper presents samples of pottery ware and tries to analyze each sample showing its
characteristics and location if known. The designs of each pottery ware is outlined. The decorations of the pottery
ware are outlined with emphases on the innovations in the pottery industry during the studied periods. The
manufacturing technique of pottery ware is stresses from point of view of mass production.
This paper is the 43rd research paper in a series investigating the evolution of mechanical engineering in ancient Egypt.
It tries to achieve this purpose through investigating the production of ancient Egyptians horse, leopard, turtle and frog statues
during the era from Predynastic to Late Period. Each statue is presented chronically with present location if known and with
engineering analysis showing its creativity. The innovation in the designs is outlined and the main concepts of mechanical
design methodology in ancient Egypt are outlined
Egyptian art developed between 5000 BC and 300 BC and was focused on honoring the dead. Paintings and sculptures depicted gods and the pharaohs and were meant to accompany people into the afterlife. Architecture like pyramids and temples were constructed as tombs and places of worship. Egyptian artforms included paintings on papyrus and walls, sculptures of gods and people, and massive architectural structures for burial and religion. Egyptian art and culture influenced later societies through hieroglyphics, calendar systems, and beliefs about the afterlife.
The document provides an overview of prehistoric and ancient art from various regions around the world, beginning with Paleolithic cave paintings dated to around 15,000 BCE. It then discusses the art of ancient civilizations like the Sumerians, Egyptians, Minoans, Mycenaeans, and others, focusing on materials, styles, religious and cultural influences. Major art forms included sculpture, architecture like pyramids and temples, and carved reliefs depicting rulers, gods, and important events. Styles ranged from naturalistic to highly stylized depending on the culture and time period.
Egyptian art began over 5000 years ago and was deeply influenced by their religion. Paintings and sculptures often depicted gods and other important figures, and followed strict rules for proportions. Sculptures included sphinxes and masks, while the most famous sphinx is the Great Sphinx of Giza from 2500 BC with the face of the Pharaoh Khafre. Mummies were also decorated elaborately as part of preparations for the afterlife.
Ancient Egyptian art was produced from 5000 BC to 300 AD and was characterized by keen observation, exact representations of life and nature, conformity to rules of three-dimensional forms, and highly religious subjects including gods, pharaohs and nature. Major art forms included architecture like pyramids and temples, sculpture of pharaohs and gods, and paintings on tomb walls.
The document provides descriptions of various works of ancient Egyptian art from around 2500 BCE to 1290 BCE. It includes summaries of sculptures like the Great Pyramids of Giza and the Great Sphinx, as well as paintings from tombs and temples depicting pharaohs and their activities. The art served religious purposes related to burial and commemorating rulers, and featured themes of royalty, the afterlife, and Egyptian mythology. Styles ranged from realistic portraits to idealized figures, and materials included stone, wood, and paintings on walls and papyrus.
Egyptian art and culture developed over thousands of years along the Nile River. Egyptian society was stratified, with pharaohs, priests and scribes at the top of social hierarchy. Common people included farmers, fishermen, artisans and laborers. The ancient Egyptians had a rich cultural tradition and produced art to serve religious and functional purposes. They also placed great importance on the afterlife, leading to the practice of mummification and burial customs. Hieroglyphics, papyrus and monumental structures like the pyramids and Sphinx provide insights into Egyptian civilization.
This is ninth paper in a series of research papers exploring the history of mechanical engineering during the
Ancient Egypt era. The paper investigates the industry of pottery in Ancient Egypt over periods from Predynastic
to Old Kingdom. The paper presents samples of pottery ware and tries to analyze each sample showing its
characteristics and location if known. The designs of each pottery ware is outlined. The decorations of the pottery
ware are outlined with emphases on the innovations in the pottery industry during the studied periods. The
manufacturing technique of pottery ware is stresses from point of view of mass production.
This document provides an overview of ancient Egyptian art from the Predynastic period through the Old Kingdom. It describes key developments like the unification of Egypt under King Narmer, the evolution of tomb architecture from mastabas to step pyramids and true pyramids, and important artistic conventions like frontalism. Major artworks discussed include the Narmer Palette, the Step Pyramid and mortuary of Djoser, statues of Khafre and Menkaure, and wall paintings from Saqqara tombs. The document also outlines Egyptian contributions to mathematics, shipbuilding, and other areas.
Ancient Egyptian art included tomb paintings, statues, and jewelry. Tomb paintings depicted figures and hieroglyphics in profile and showed the pharaoh as larger. Statues included magical shabti figures placed in coffins and carvings of wood, stone, and precious metals. Jewelry was crafted from gold, lapis lazuli, faience, beads, and silver. Coffins were typically wood or stone, sometimes inlaid with gold or painted, while the wealthy were buried in pure gold sarcophagi like Tutankhamun's. Egyptian art and architecture developed over thousands of years from pre-dynastic tombs at Abydos to the Great Pyramids built at Giza in
This document discusses prehistoric and ancient art from several early cultures and time periods. It begins by defining prehistoric art as that which was created before the development of writing or significant contact with other cultures. Examples of prehistoric art mentioned include the Cueva de las Manos stencils from 9500 BCE in Argentina and the Coldstream Burial Stone from 6000 BCE in South Africa. The document then discusses ancient Egyptian art from 3000 BC to 30 AD, noting its highly stylized and symbolic nature. Examples of Egyptian art objects provided are Naquada female figurines from 5500-3000 BCE, the funerary mask of Tutankhamun from 1332-1323 BCE, and the bust of Nefer
The document discusses various forms of ancient Egyptian art including painting, architecture, pottery, and sculpture. Painting followed conventions like depicting figures in profile with frontal eyes and shoulders, and using hieroglyphics as captions. Architecture featured pyramids as royal tombs. Pottery included soft, ordinary pottery and a coarse white pottery often with blue glaze. Sculpture included raised and sunk relief techniques. Symbolism was important in Egyptian art, conveying stories of life and the afterlife, such as the Scarab Beetle representing the Sun god and helping the deceased pass into the afterlife.
This document provides an overview of ancient and classical art from 15,000 BC to 450 AD. It mentions that early ancient art from Egypt is known for frescoes, pottery, metalwork and artifacts found in tombs, with a scarce amount of examples that favored drawing over color. Classical art from Rome and Greece is characterized by its use of geometry and symmetry rather than individual expression. Several known artists from this period are mentioned like Myron, Praxiteles, and the Niobid Painter, along with some of their notable works.
Ancient Egyptian art originated around 3000 BC and was highly symbolic. It was expressed through paintings and sculptures that were intended to keep history alive. Common art forms included architecture, papyrus, pottery, sculpture, hieroglyphs, and literature. Paintings depicted figures in profile views of the head and frontal views of the body using limited colors like red, blue, black, gold, and green. Symbolism was prominently featured through religious symbols, animals, and colors representing youth, women, gods, and royalty. Techniques included drawing heads in profile with full eyes and legs turned to match while the head was at a right angle to the body. Wall paintings adorned tombs and temples and depicted religious scenes
Ancient art refers to creative works from early civilizations where history was first recorded, including those in China, India, Mesopotamia, Babylonia, and Egypt. Prehistoric art from the Stone Age includes cave paintings from as early as 16,000 BC featuring animals and pictographs found in places like Lascaux, France and Altamira, Spain. Early civilizations like the Sumerians in Mesopotamia established writing systems and religious structures like ziggurats, while the Egyptians are renowned for their mummification practices, hieroglyphics, pyramid tombs for pharaohs, and sculptures and paintings found therein.
This chapter discusses Prehistoric Aegean art, including the Cycladic, Minoan, and Mycenaean cultures. It covers Cycladic marble sculptures from islands in the Aegean Sea dated around 2500 BCE. Minoan culture centered on Crete, with the palace at Knossos exhibiting advanced architecture and frescoes depicting daily life. Mycenaean palaces on the Greek mainland were influenced by Minoan styles but developed corbeled stonework and depicted martial themes in their pottery.
- During Egypt's Old Kingdom, pharaohs built pyramids and tombs to shelter their bodies in the afterlife, as ancient Egyptians believed the pharaoh's spirit remained with their body.
- The pyramids at Giza were built by skilled Egyptian workers and laborers over many years, with a core group working year-round supplemented by farmers during the Nile's annual flooding.
- While earlier accounts estimated 100,000 workers, modern archaeologists estimate the workforce was closer to 20,000-30,000 based on the size of excavated worker settlements, bakeries, and cemeteries at Giza.
The document provides an overview of New Kingdom art in Ancient Egypt from around 1550 BCE to 1069 BCE. Key developments include the final flourishing of classic Egyptian styles combining monumental Old Kingdom forms with inspiration from the Middle Kingdom. Paintings emphasized bold designs and controlled vitality while sculpture focused on bulk, solidity and impersonality. Grand temples built during this period to honor pharaohs and gods, such as Hatshepsut's temple at Deir el-Bahri and the Temple of Ramses II at Abu Simbel, demonstrate the period's monumental architecture. The hypostyle hall at Karnak Temple features massive columns symbolizing papyrus reeds from Egyptian creation myths. Funerary
This document provides a map and images summarizing important sites, artifacts, and time periods from ancient Egyptian history. It includes artifacts from as early as the Old Kingdom pyramid complexes to the New Kingdom period, including objects from Tutankhamun's tomb. The document spans from Egypt's early dynastic period through the rule of Ramesses II and highlights the diversity of Egyptian cultural developments over thousands of years.
The ancient Egyptians built pyramids as tombs for pharaohs and their queens. The three largest pyramids were built at Giza during the Old Kingdom. Pyramids were designed with symbolic meanings, representing the primordial mound the Egyptians believed the earth originated from and the sun's rays. The largest, the Great Pyramid of Giza, was built as a tomb for the pharaoh Khufu and remained the world's tallest building for over 3,000 years. Step pyramids were early pyramid designs, including one built for Pharaoh Djoser. The Great Sphinx is thought to represent Pharaoh Khafra and was later buried by sand until its excavation
This document summarizes key aspects of ancient Egyptian art from the Old Kingdom period. It describes the capital of Memphis and highlights major agricultural and architectural achievements like the Great Pyramids at Giza. Iconic artworks mentioned include the Sphinx, paintings adhering to strict composition rules, and scenes like Anubis weighing the heart of a pharaoh. Egyptian tombs and artifacts like those of Tutankhamun are also briefly outlined.
The Great Pyramids were built in ancient Egypt as royal burial chambers for pharaohs. There were three main types of pyramids: true pyramids with four triangular sides meeting at a point, bent pyramids which change angle part way up, and stepped pyramids with layers that decrease in size. The pyramids were built using limestone and sandstone, with some like the Red Pyramid at Dashur using reddish sandstone for their cores. They were precisely located and experiments show objects stored inside pyramids can be better preserved.
The document discusses several artifacts from Anglo-Saxon and Viking cultures including a round fibula from the 7th century AD decorated with gemstones, a purse lid from the Sutton Hoo ship burial decorated with gold and garnet plaques depicting animals, and a carved animal head found on the Oseberg ship burial in Norway from the 9th century AD. The artifacts demonstrate the importance of animals and animal-style artwork in Norse and Anglo-Saxon culture as symbols of strength and depictions on functional objects like weapons, jewelry, and ships.
The document provides an overview of prehistoric and ancient architecture and art from various periods and civilizations, including:
- Stonehenge and its megalith construction from around 3100 BCE.
- Early Sumerian architecture like ziggurats and statuettes from Tell Asmar from 3500-2400 BCE.
- The Standard of Ur showing the earliest representation of a Sumerian army from around 2600-2400 BCE.
- Akkadian victory steles and Babylonian law codes like the Stele of Hammurabi from the 2nd millennium BCE.
- Assyrian sculptures depicting war and hunting scenes from the 9th century BCE.
- Persian
This document provides information about sculptures from ancient China and Japan. It discusses how horses were important symbols that were often depicted in sculptures during Chinese dynasties like Shang, Qin, and Tang. During Tang, potters created figures called mingqi to place in tombs. Contemporary to Tang in Japan, large earthenware sculptures called haniwa were made. The document also details the terracotta army and other sculptures buried with Qin Shihuangdi to protect him in the afterlife, including over 8,000 life-sized soldier figures.
This document provides an overview of prehistoric and early civilizations from around the world. It describes Paleolithic and Neolithic cultures and some of the earliest examples of art, architecture, writing systems, legal codes, and religious beliefs. Key developments discussed include cave paintings from Lascaux, France dated 15,000-10,000 BCE; the earliest clay vessels from Japan dated 14,000 BCE; early civilizations in Mesopotamia, Egypt, India, China, and sub-Saharan Africa; and the epics of Gilgamesh from Mesopotamia and the Egyptian Book of the Dead.
Mesopotamian art developed over several periods, with the Sumer period focusing on sculpture and architecture depicting daily life, the Akkad period producing black sculptures, and the Assyrian period known for reliefs. The Babylonian period was marked by King Hammurabi and the establishment of codes of law. Key artworks included ziggurats, sculptures of bearded bulls and goats, and reliefs showing rulers and myths.
This document summarizes stone statues produced in ancient Egypt between the 11th and 17th Dynasties (2050-1550 BC). It presents 9 stone statues from the 11th and 12th Dynasties, including statues of kings, stewards, and officials made of materials like limestone, sandstone, granite and quartzite. The last example shown is a quartzite block statue from the late 12th Dynasty. No further statues are described from the 13th to 17th Dynasties.
This is the third paper in a series of research papers exploring the history of mechanical engineering during the Ancient
Egypt era. The industry of necklaces in Ancient Egypt is investigated over seven periods of Ancient Egypt History from
Predynastic to Late Period. The paper presents samples of necklaces from the seven periods and tries to analyze each sample
showing its materials and location if known. The various designs of necklaces are outlined showing the characteristics of each
design.
This document provides an overview of ancient Egyptian art from the Predynastic period through the Old Kingdom. It describes key developments like the unification of Egypt under King Narmer, the evolution of tomb architecture from mastabas to step pyramids and true pyramids, and important artistic conventions like frontalism. Major artworks discussed include the Narmer Palette, the Step Pyramid and mortuary of Djoser, statues of Khafre and Menkaure, and wall paintings from Saqqara tombs. The document also outlines Egyptian contributions to mathematics, shipbuilding, and other areas.
Ancient Egyptian art included tomb paintings, statues, and jewelry. Tomb paintings depicted figures and hieroglyphics in profile and showed the pharaoh as larger. Statues included magical shabti figures placed in coffins and carvings of wood, stone, and precious metals. Jewelry was crafted from gold, lapis lazuli, faience, beads, and silver. Coffins were typically wood or stone, sometimes inlaid with gold or painted, while the wealthy were buried in pure gold sarcophagi like Tutankhamun's. Egyptian art and architecture developed over thousands of years from pre-dynastic tombs at Abydos to the Great Pyramids built at Giza in
This document discusses prehistoric and ancient art from several early cultures and time periods. It begins by defining prehistoric art as that which was created before the development of writing or significant contact with other cultures. Examples of prehistoric art mentioned include the Cueva de las Manos stencils from 9500 BCE in Argentina and the Coldstream Burial Stone from 6000 BCE in South Africa. The document then discusses ancient Egyptian art from 3000 BC to 30 AD, noting its highly stylized and symbolic nature. Examples of Egyptian art objects provided are Naquada female figurines from 5500-3000 BCE, the funerary mask of Tutankhamun from 1332-1323 BCE, and the bust of Nefer
The document discusses various forms of ancient Egyptian art including painting, architecture, pottery, and sculpture. Painting followed conventions like depicting figures in profile with frontal eyes and shoulders, and using hieroglyphics as captions. Architecture featured pyramids as royal tombs. Pottery included soft, ordinary pottery and a coarse white pottery often with blue glaze. Sculpture included raised and sunk relief techniques. Symbolism was important in Egyptian art, conveying stories of life and the afterlife, such as the Scarab Beetle representing the Sun god and helping the deceased pass into the afterlife.
This document provides an overview of ancient and classical art from 15,000 BC to 450 AD. It mentions that early ancient art from Egypt is known for frescoes, pottery, metalwork and artifacts found in tombs, with a scarce amount of examples that favored drawing over color. Classical art from Rome and Greece is characterized by its use of geometry and symmetry rather than individual expression. Several known artists from this period are mentioned like Myron, Praxiteles, and the Niobid Painter, along with some of their notable works.
Ancient Egyptian art originated around 3000 BC and was highly symbolic. It was expressed through paintings and sculptures that were intended to keep history alive. Common art forms included architecture, papyrus, pottery, sculpture, hieroglyphs, and literature. Paintings depicted figures in profile views of the head and frontal views of the body using limited colors like red, blue, black, gold, and green. Symbolism was prominently featured through religious symbols, animals, and colors representing youth, women, gods, and royalty. Techniques included drawing heads in profile with full eyes and legs turned to match while the head was at a right angle to the body. Wall paintings adorned tombs and temples and depicted religious scenes
Ancient art refers to creative works from early civilizations where history was first recorded, including those in China, India, Mesopotamia, Babylonia, and Egypt. Prehistoric art from the Stone Age includes cave paintings from as early as 16,000 BC featuring animals and pictographs found in places like Lascaux, France and Altamira, Spain. Early civilizations like the Sumerians in Mesopotamia established writing systems and religious structures like ziggurats, while the Egyptians are renowned for their mummification practices, hieroglyphics, pyramid tombs for pharaohs, and sculptures and paintings found therein.
This chapter discusses Prehistoric Aegean art, including the Cycladic, Minoan, and Mycenaean cultures. It covers Cycladic marble sculptures from islands in the Aegean Sea dated around 2500 BCE. Minoan culture centered on Crete, with the palace at Knossos exhibiting advanced architecture and frescoes depicting daily life. Mycenaean palaces on the Greek mainland were influenced by Minoan styles but developed corbeled stonework and depicted martial themes in their pottery.
- During Egypt's Old Kingdom, pharaohs built pyramids and tombs to shelter their bodies in the afterlife, as ancient Egyptians believed the pharaoh's spirit remained with their body.
- The pyramids at Giza were built by skilled Egyptian workers and laborers over many years, with a core group working year-round supplemented by farmers during the Nile's annual flooding.
- While earlier accounts estimated 100,000 workers, modern archaeologists estimate the workforce was closer to 20,000-30,000 based on the size of excavated worker settlements, bakeries, and cemeteries at Giza.
The document provides an overview of New Kingdom art in Ancient Egypt from around 1550 BCE to 1069 BCE. Key developments include the final flourishing of classic Egyptian styles combining monumental Old Kingdom forms with inspiration from the Middle Kingdom. Paintings emphasized bold designs and controlled vitality while sculpture focused on bulk, solidity and impersonality. Grand temples built during this period to honor pharaohs and gods, such as Hatshepsut's temple at Deir el-Bahri and the Temple of Ramses II at Abu Simbel, demonstrate the period's monumental architecture. The hypostyle hall at Karnak Temple features massive columns symbolizing papyrus reeds from Egyptian creation myths. Funerary
This document provides a map and images summarizing important sites, artifacts, and time periods from ancient Egyptian history. It includes artifacts from as early as the Old Kingdom pyramid complexes to the New Kingdom period, including objects from Tutankhamun's tomb. The document spans from Egypt's early dynastic period through the rule of Ramesses II and highlights the diversity of Egyptian cultural developments over thousands of years.
The ancient Egyptians built pyramids as tombs for pharaohs and their queens. The three largest pyramids were built at Giza during the Old Kingdom. Pyramids were designed with symbolic meanings, representing the primordial mound the Egyptians believed the earth originated from and the sun's rays. The largest, the Great Pyramid of Giza, was built as a tomb for the pharaoh Khufu and remained the world's tallest building for over 3,000 years. Step pyramids were early pyramid designs, including one built for Pharaoh Djoser. The Great Sphinx is thought to represent Pharaoh Khafra and was later buried by sand until its excavation
This document summarizes key aspects of ancient Egyptian art from the Old Kingdom period. It describes the capital of Memphis and highlights major agricultural and architectural achievements like the Great Pyramids at Giza. Iconic artworks mentioned include the Sphinx, paintings adhering to strict composition rules, and scenes like Anubis weighing the heart of a pharaoh. Egyptian tombs and artifacts like those of Tutankhamun are also briefly outlined.
The Great Pyramids were built in ancient Egypt as royal burial chambers for pharaohs. There were three main types of pyramids: true pyramids with four triangular sides meeting at a point, bent pyramids which change angle part way up, and stepped pyramids with layers that decrease in size. The pyramids were built using limestone and sandstone, with some like the Red Pyramid at Dashur using reddish sandstone for their cores. They were precisely located and experiments show objects stored inside pyramids can be better preserved.
The document discusses several artifacts from Anglo-Saxon and Viking cultures including a round fibula from the 7th century AD decorated with gemstones, a purse lid from the Sutton Hoo ship burial decorated with gold and garnet plaques depicting animals, and a carved animal head found on the Oseberg ship burial in Norway from the 9th century AD. The artifacts demonstrate the importance of animals and animal-style artwork in Norse and Anglo-Saxon culture as symbols of strength and depictions on functional objects like weapons, jewelry, and ships.
The document provides an overview of prehistoric and ancient architecture and art from various periods and civilizations, including:
- Stonehenge and its megalith construction from around 3100 BCE.
- Early Sumerian architecture like ziggurats and statuettes from Tell Asmar from 3500-2400 BCE.
- The Standard of Ur showing the earliest representation of a Sumerian army from around 2600-2400 BCE.
- Akkadian victory steles and Babylonian law codes like the Stele of Hammurabi from the 2nd millennium BCE.
- Assyrian sculptures depicting war and hunting scenes from the 9th century BCE.
- Persian
This document provides information about sculptures from ancient China and Japan. It discusses how horses were important symbols that were often depicted in sculptures during Chinese dynasties like Shang, Qin, and Tang. During Tang, potters created figures called mingqi to place in tombs. Contemporary to Tang in Japan, large earthenware sculptures called haniwa were made. The document also details the terracotta army and other sculptures buried with Qin Shihuangdi to protect him in the afterlife, including over 8,000 life-sized soldier figures.
This document provides an overview of prehistoric and early civilizations from around the world. It describes Paleolithic and Neolithic cultures and some of the earliest examples of art, architecture, writing systems, legal codes, and religious beliefs. Key developments discussed include cave paintings from Lascaux, France dated 15,000-10,000 BCE; the earliest clay vessels from Japan dated 14,000 BCE; early civilizations in Mesopotamia, Egypt, India, China, and sub-Saharan Africa; and the epics of Gilgamesh from Mesopotamia and the Egyptian Book of the Dead.
Mesopotamian art developed over several periods, with the Sumer period focusing on sculpture and architecture depicting daily life, the Akkad period producing black sculptures, and the Assyrian period known for reliefs. The Babylonian period was marked by King Hammurabi and the establishment of codes of law. Key artworks included ziggurats, sculptures of bearded bulls and goats, and reliefs showing rulers and myths.
This document summarizes stone statues produced in ancient Egypt between the 11th and 17th Dynasties (2050-1550 BC). It presents 9 stone statues from the 11th and 12th Dynasties, including statues of kings, stewards, and officials made of materials like limestone, sandstone, granite and quartzite. The last example shown is a quartzite block statue from the late 12th Dynasty. No further statues are described from the 13th to 17th Dynasties.
This is the third paper in a series of research papers exploring the history of mechanical engineering during the Ancient
Egypt era. The industry of necklaces in Ancient Egypt is investigated over seven periods of Ancient Egypt History from
Predynastic to Late Period. The paper presents samples of necklaces from the seven periods and tries to analyze each sample
showing its materials and location if known. The various designs of necklaces are outlined showing the characteristics of each
design.
This paper is the 27th research paper in a series investigating the evolution of mechanical engineering in
ancient Egypt. It tries to achieve this purpose through investigating the production of ancient Egyptians models for
weavers, carpenters, troops and human being. Each model is presented chronically with present location if known
and with engineering analysis showing its creativity. The materials used in producing the models are assigned.
The document discusses boat models from ancient Egypt spanning from the Predynastic Period to the New Kingdom. It describes 9 boat models in detail, providing images and information on the time period, purpose, design features and occupants of each boat model. The models show evolution in boat design from a Naqada II crocodile boat to 12th Dynasty funerary boats. The models demonstrate the ancient Egyptians' mechanical engineering expertise in developing watercraft suited for transportation, fishing and religious purposes.
1. The document summarizes key aspects of ancient Egyptian art and culture from the Predynastic period through the Late Period, focusing on funerary architecture and sculpture. It describes the evolution of burial monuments from mastabas and stepped pyramids to true pyramids and rock-cut tombs.
2. Notable monuments discussed include the stepped pyramid and mortuary complex of Djoser, the Great Pyramids of Giza, and the rock-cut tombs at Beni Hasan. Sculptural styles are examined, ranging from stylized figures to more naturalistic portraits.
3. Major historical periods like the Old Kingdom, Middle Kingdom, and New Kingdom are addressed in
The paper investigates the development of the stone vessels industry in Ancient Egypt during the periods from the
Middle Kingdom to Third Intermediate Period. The paper presents samples of the stone vessels during those periods and tries to
analyze each sample showing its characteristics and location if known. The design of each stone vessel is outlined and the
decoration (if any) is investigated. The development aspects of the stone vessels industry is investigated highlighting the
innovations of the designs and their manufacturing. The maximum development of stone vessels in the 18th dynasty is outlined
with example models from the rein of Pharaoh Tutankhamun.
British Museum has a “permanent collection of eight million works is among the largest and most comprehensive in existence. It documents the story of human culture from its beginnings to the present. The British Museum was the first public national museum in the world.
The Museum was established in 1753, largely based on the collections of the Anglo-Irish physician and scientist Sir Hans Sloane. It first opened to the public in 1759, in Montagu House, on the site of the current building. The museum's expansion over the following 250 years was largely a result of British colonisation” Wikipedia.
This document provides descriptions of important artworks and archaeological sites from ancient civilizations around the world between approximately 3000 BCE to 150 BCE, including:
1) Artworks from ancient Egypt such as King Tutankhamen's funerary mask and paintings from Queen Nefertari's tomb. 2) Archaeological sites like Stonehenge in England and the Indus Valley civilization sites of Mohenjo-Daro and Harappa with artifacts like the Dancing Girl statue. 3) Important early Chinese artifacts like Shang dynasty oracle bones and ritual vessels.
Read it carefully!!!1. 3-5 typed pages double-spaced. 2. ci.docxrudybinks
Read it carefully!!!
1. 3-5 typed pages double-spaced.
2. citing this textbook (no online research)
3. Make sure to have a thesis statement and use examples from images that i attached.
4. Make sure you include examples from the majority of chapters covered.
5. no plagiarism.
6. Here are the topics
Describe the development of depicting the human form from Paleolithic art through the arts of Ancient near-East, Ancient Egypt, the Aegean and Greek cultures.
Think about how humans are represented and what functions representation of humans have served. Is there in fact a clear “development”?
7.
Here is examples for citation. (use only this contents what i wrote on this question and should see and use the picture what i uploaded)
1. PALEOLITHIC and NEOLITHIC
-PALEOLISTHIC (OLD STONE AGE) ART, ca. 30,000–9000 BCE
VENUS OF WILLENDORF The composite feline-human from Germany is exceptional for the Stone Age. The vast majority of prehistoric sculptures depict either animals or humans. In the earliest art, humankind consists almost exclusively of women as opposed to men, and the painters and sculptors almost invariably showed them nude, although scholars generally assume that during the Ice Age both women and men wore garments covering parts of their bodies. When archaeologists first discovered Paleolithic statuettes of women, they dubbed them “Venuses,” after the Greco-Roman goddess of beauty and love, whom artists usually depicted nude (FIG. 5-62). The nickname is inappropriate and misleading. It is doubtful that the Old Stone Age figurines represented deities of any kind. One of the oldest and the most famous of the prehistoric female figures is the tiny limestone figurine of a woman that long has been known as the Venus of Willendorf (FIG. 1-5) after its findspot in Austria. Its cluster of almost ball-like shapes is unusual, the result in part of the sculptor’s response to the natural shape of the stone selected for carving. The anatomical exaggeration has suggested to many that this and similar statuettes served as fertility images. But other Paleolithic stone women of far more slender proportions exist, and the meaning of these images is as elusive as everything else about Paleolithic Paleolithic Art 3 1-4 Human with feline head, from Hohlenstein-Stadel, Germany, ca. 30,000–28,000 BCE. Mammoth ivory, 11 5 – 8 high. Ulmer Museum, Ulm. One of the oldest known sculptures is this large ivory figure of a human with a feline head. It is uncertain whether the work depicts a composite creature or a human wearing an animal mask. 1-5 Nude woman (Venus of Willendorf ), from Willendorf, Austria, ca. 28,000–25,000 BCE. Limestone, 4 1 – 4 high. Naturhistorisches Museum,Vienna. The anatomical exaggerations in this tiny figurine from Willendorf are typical of Paleolithic representations of women, whose child-bearing capabilities ensured the survival of the species. 1 in. 1 in. 73558_02_Ch01_p001-015.qxd 10/20/08 8:10 AM Page 3 art. Yet the prepondera.
The document provides an overview of prehistoric art from the Paleolithic to Neolithic periods. It discusses definitions of key terms and examines art from different time periods and regions, including sculptures of female figures from the Upper Paleolithic, cave paintings from the Paleolithic, and developments in materials, techniques, and subjects in Neolithic art like narrative paintings at Çatalhöyük. The document also explores early civilizations in Mesopotamia like Sumer and the origins of writing in ancient Near East cultures.
Mesopotamian art spanned several ancient civilizations along the Tigris and Euphrates rivers including the Sumerians, Akkadians, Assyrians, and Babylonians. Sumerian art featured sculptures with stylized figures and relief work on objects like the Standard of Ur. Akkadian art assimilated Sumerian styles like the Victory Stele of Naram-Sin depicting military campaigns. Assyrian art specialized in narrative stone reliefs that decorated palaces and included scenes from the Palace of Ashurbanipal. Babylonians excelled at glazed tile sculptures and rebuilt the Ishtar Gate originally from the Temple of Bel.
Elise Morero: Fatimid rock crystal carving techniques (10th -12th century AD) International Framework
Lecture held at the Conference "Gemstones in the first Millennium AD. Mines, Trade, Workshops and Symbolism", October 21 2015, at the Römisch Germanisches Zentralmuseum, Mainz, Germany.
FIRST QUARTER Grade 9 ARTS- Prehistoric Art: Prehistoric Beginnings and Egyp...BenedictPakelmanPera
1. The document discusses prehistoric art from the Stone Age, including cave paintings from Lascaux Cave in France dating back 15,000-13,000 BCE depicting animals.
2. It also describes megalithic structures from the Stone Age such as menhirs, dolmens, and cromlechs which were made from large standing stones. The most famous is Stonehenge in England.
3. Egyptian art is also examined, including reliefs carved on tombs and structures like mastabas. Hieroglyphics developed as a system of writing using pictures. Ancient Egyptian architecture and sculptures provide insight into their society.
1) The document outlines the evolution of Egyptian art and architecture from the Predynastic period through the New Kingdom, including the development of royal tombs from mastabas to pyramids and the stylistic conventions that remained consistent over thousands of years.
2) Notable periods discussed include the Old Kingdom with sculptures showing status differences and the innovations of Imhotep, the Middle Kingdom with rock-cut tombs, and the New Kingdom featuring the grand mortuary temples of Hatshepsut and Ramses II along with the distinctive Amarna style during Akhenaten's reign.
This document provides an overview of representative artworks and artists from various art periods, including:
- Prehistoric cave paintings from the Cave of Lascaux in France and Neolithic sculptures like the Venus of Willendorf.
- Ancient Egyptian art like tomb paintings from Tutankhamen's sarcophagus, Queen Nefertiti's bust, and the Great Pyramids of Giza.
- Ancient Greek art such as the Discobolus sculpture and frescoes from the Tomb of the Diver.
- Ancient Roman art including the Colosseum amphitheater and Portonacio Sarcophagus carvings.
- Byzantine artworks like the
Mechanical Engineering in Ancient Egypt, Part 92: Tomb Inscription During the...Scientific Review SR
This document discusses ancient Egyptian tomb inscriptions from the Old Kingdom period, specifically the Third through Fifth Dynasties. It provides several examples of reliefs and scenes from tombs that contain hieroglyphic inscriptions, including a relief of a dentist from the Third Dynasty, a hunting scene from a Fourth Dynasty tomb with an inscription above, and a colorful scene from a Fifth Dynasty tomb with a descriptive text in four columns above the images. The document examines the development of tomb inscriptions during this early period in ancient Egypt and highlights the important role they played in documenting the tomb owners' lives and achievements.
The document provides descriptions of 14 works of art and archaeological sites from around the world ranging in date from 30,000 BCE to 660 BCE. It includes summaries of cave paintings from the Chauvet Cave in France and the Lascaux Cave in France from approximately 30,000 BCE to 15,000 BCE. It also briefly describes reconstructed mammoth bone houses in Ukraine from 16,000-10,000 BCE and the Royal Standard of Ur from Mesopotamia from approximately 2600 BCE.
This document provides an overview of Prehistoric Aegean art, including Cycladic sculptures from 2500-2300 BCE which depicted stylized female and male figures. It also discusses Minoan culture on Crete from 1700-1400 BCE, noting their advanced palace architecture at sites like Knossos with frescoes depicting bull leaping. Minoan pottery styles like Kamares Ware featured naturalistic imagery. The document also describes Mycenaean culture from 1400-1200 BCE, noting their fortified palaces at sites like Mycenae and Tiryns showed Minoan influence mixed with mainland styles like the Lion Gate entrance.
These days we have an increased number of heart diseases including increased risk of heart attacks. Our proposed system users sensors that allow to detect heart rate of a person using heartbeat sensing even if the person is at home. The sensor is then interfaced to a microcontroller that allows checking heart rate readings and transmitting them over internet. The user may set the high as well as low levels of heart beat limit. After setting these limits, the system starts monitoring and as soon as patient heart beat goes above a certain limit, the system sends an alert to the controller which then transmits this over the internet and alerts the doctors as well as concerned users. Also the system alerts for lower heartbeats. Whenever the user logs on for monitoring, the system also displays the live heart rate of the patient. Thus concerned ones may monitor heart rate as well get an alert of heart attack to the patient immediately from anywhere and the person can be saved on time.This value will continue to grow if no proper solution is found. Internet of Things (IoT) technology developments allows humans to control a variety of high-tech equipment in our daily lives. One of these is the ease of checking health using gadgets, either a phone, tablet or laptop. we mainly focused on the safety measures for both driver and vehicle by using three types of sensors: Heartbeat sensor, Traffic light sensor and Level sensor. Heartbeat sensor is used to monitor heartbeat rate of the driver constantly and prevents from the accidents by controlling through IOT.
ABSTRACT The success of the cloud computing paradigm is due to its on-demand, self-service, and pay-by-use nature. Public key encryption with keyword search applies only to the certain circumstances that keyword cipher text can only be retrieved by a specific user and only supports single-keyword matching. In the existing searchable encryption schemes, either the communication mode is one-to-one, or only single-keyword search is supported. This paper proposes a searchable encryption that is based on attributes and supports multi-keyword search. Searchable encryption is a primitive, which not only protects data privacy of data owners but also enables data users to search over the encrypted data. Most existing searchable encryption schemes are in the single-user setting. There are only few schemes in the multiple data users setting, i.e., encrypted data sharing. Among these schemes, most of the early techniques depend on a trusted third party with interactive search protocols or need cumbersome key management. To remedy the defects, the most recent approaches borrow ideas from attribute-based encryption to enable attribute-based keyword search (ABKS
This document reviews the behavior of reinforced concrete deep beams. Deep beams are defined as having a shear span to depth ratio of less than 5. The response of deep beams differs from regular beams due to the influence of shear deformations and stresses. Failure modes include flexure, flexural-shear, and diagonal cracking. Previous studies investigated factors affecting shear strength such as concrete strength, reinforcement, and loading conditions. Equations have been proposed to predict shear strength based on test results.
Subcutaneous administration of toluene to rabbits for 6 weeks resulted in significant increases in liver enzyme levels and histopathological changes in the liver tissue. Liver sections from toluene-treated rabbits showed congested central veins, flattening and vacuolation of hepatocytes, and disarrangement of hepatic architecture. In contrast, liver sections from control rabbits appeared normal. Toluene exposure is known to cause oxidative stress and damage cell membranes in the liver through its metabolism.
This document summarizes a research paper that proposes a system to analyze crop phenology (growth stages) using IoT to support parallel agriculture management. The system would use sensors to collect data on soil moisture, temperature, humidity and other parameters. This data would be input to a database. Then, a multiple linear regression model trained on past data would predict the optimal crop and expected yield based on the tested sensor data and parameters. This system aims to help farmers select crops and fertilization practices tailored to their specific fields' conditions.
This document summarizes a study that determined the liberation size of gold ore from the Iperindo-Ilesha deposit in Nigeria and assessed its amenability to froth flotation. Samples of the ore were collected and subjected to sieve analysis to determine particle size fractions. Chemical analysis found that the actual and economic liberation sizes were 45μm and 250μm, respectively. Froth flotation experiments at 45μm particle size and varying collector dosages achieved a maximum gold recovery of 78.93% at 0.3 mol/dm3 collector dosage, with concentrate grade of 115 ppm Au. These parameters will be used for further processing to extract gold from this deposit.
This document presents a proposal for an IOT-based intelligent baby care system with a web application for remote baby monitoring. The system uses sensors to automatically swing a cradle when a baby cries, sound alarms if the baby cries for too long or the mattress is wet, and sends alerts to a web page for parents to monitor the baby's status from anywhere via internet connection. The proposed system aims to help working parents manage childcare remotely using sensors, a Raspberry Pi, web camera, and cloud server to detect the baby's activities and notify parents through a web application on their phone.
This document discusses various sources of water pollution and new techniques being developed for water purification. It begins by outlining how water pollution occurs from industrial wastes like mining and manufacturing, agricultural runoff containing pesticides, and domestic waste. It then examines some specific pollutants in more depth from these sources. New techniques under research for water purification are also mentioned, with the goal of developing more affordable methods. The document aims to analyze the impact of pollutants on water and introduce promising new purification techniques.
This document summarizes a research paper on using big data methodologies with IoT and its applications. It discusses how big data analytics is being used across various fields like engineering, data management, and more. It also discusses how IoT enables the collection of massive amounts of data from sensors and devices. Machine learning techniques are used to analyze this big data from IoT and enable communication between devices. The document provides examples of domains where big data and IoT are being applied, such as healthcare, energy, transportation, and others. It analyzes the similarities and differences in how big data techniques are used across these IoT domains.
The document describes a proposed smart library automation and monitoring system using RFID technology. The system uses RFID tags attached to books and student ID cards. An RFID scanner reads the tags to automate processes like tracking student entry and exit, book check-in/check-out, and inventory management. This allows transactions to occur without manual intervention. The system also includes an Android app for students to search books and check availability. The goals are to streamline library operations, prevent unauthorized access, and help locate misplaced books. Raspberry Pi hardware and a MySQL database are part of the proposed implementation.
This document discusses congestion control techniques for vehicular ad hoc networks (VANETs). It first provides background on VANETs, noting their use of vehicle-to-vehicle communication to share information. Congestion can occur when there is a sudden increase in data from nodes in the network. The document then reviews different existing congestion control schemes, which vary in how they adjust source sending rates and handle transient congestion. It proposes a priority-based congestion control technique using dual queues, one for transit packets and one for locally generated packets. This approach aims to route packets along less congested paths when congestion is detected based on buffer occupancy.
This document summarizes a research paper that proposes applying principles of Vedic mathematics to optimize the design of multipliers, squarers, and cubers. It begins by providing background on multipliers and their importance in electronic systems. It then reviews related work applying Vedic mathematics to multiplier design. The document outlines the methodology for performing multiplication, squaring, and cubing according to Vedic mathematics principles. It presents simulation and synthesis results comparing the proposed Vedic designs to traditional array-based designs, finding improvements in speed, power, and area. The document concludes that Vedic mathematics provides an effective approach for optimizing the design of these fundamental arithmetic components.
Cloud computing is the one of the emerging techniques to process the big data. Large collection of set or large
volume of data is known as big data. Processing of big data (MRI images and DICOM images) normally takes
more time compare with other data. The main tasks such as handling big data can be solved by using the concepts
of hadoop. Enhancing the hadoop concept it will help the user to process the large set of images or data. The
Advanced Hadoop Distributed File System (AHDF) and MapReduce are the two default main functions which
are used to enhance hadoop. HDF method is a hadoop file storing system, which is used for storing and retrieving
the data. MapReduce is the combinations of two functions namely maps and reduce. Map is the process of
splitting the inputs and reduce is the process of integrating the output of map’s input. Recently, in medical fields
the experienced problems like machine failure and fault tolerance while processing the result for the scanned
data. A unique optimized time scheduling algorithm, called Advanced Dynamic Handover Reduce Function
(ADHRF) algorithm is introduced in the reduce function. Enhancement of hadoop and cloud introduction of
ADHRF helps to overcome the processing risks, to get optimized result with less waiting time and reduction in
error percentage of the output image
Text mining has turned out to be one of the in vogue handle that has been joined in a few research
fields, for example, computational etymology, Information Retrieval (IR) and data mining. Natural
Language Processing (NLP) methods were utilized to extricate learning from the textual text that is
composed by people. Text mining peruses an unstructured form of data to give important
information designs in a most brief day and age. Long range interpersonal communication locales
are an awesome wellspring of correspondence as the vast majority of the general population in this
day and age utilize these destinations in their everyday lives to keep associated with each other. It
turns into a typical practice to not compose a sentence with remedy punctuation and spelling. This
training may prompt various types of ambiguities like lexical, syntactic, and semantic and because of
this kind of indistinct data; it is elusive out the genuine data arrange. As needs be, we are directing
an examination with the point of searching for various text mining techniques to get different
textual requests via web-based networking media sites. This review expects to depict how
contemplates in online networking have utilized text investigation and text mining methods to
identify the key topics in the data. This study concentrated on examining the text mining
contemplates identified with Facebook and Twitter; the two prevailing web-based social networking
on the planet. Aftereffects of this overview can fill in as the baselines for future text mining research.
Colorectal cancer (CRC) has potential to spread within the peritoneal cavity, and this transcoelomic
dissemination is termed “peritoneal metastases” (PM).The aim of this article was to summarise the current
evidence regarding CRC patients at high risk of PM. Colorectal cancer is the second most common cause of cancer
death in the UK. Prompt investigation of suspicious symptoms is important, but there is increasing evidence that
screening for the disease can produce significant reductions in mortality.High quality surgery is of paramount
importance in achieving good outcomes, particularly in rectal cancer, but adjuvant radiotherapy and chemotherapy
have important parts to play. The treatment of advanced disease is still essentially palliative, although surgery for
limited hepatic metastases may be curative in a small proportion of patients.
This document summarizes a research paper on the thermal performance of air conditioners using nanofluids compared to base fluids. Key points:
- Nanofluids, which are liquids containing nanoparticles, can improve heat transfer in heat pipes and cooling systems due to their higher thermal conductivity compared to base fluids.
- The document reviews how factors like nanofluid type, nanoparticle size and concentration affect thermal efficiency and heat transfer limits. It also examines using nanofluids to enhance heat exchange in transmission fluids.
- An experimental setup is described to study heat transfer and friction factors of water-based Al2O3 nanofluids in a horizontal tube under constant heat flux. Temperature, pressure and flow rate are measured
Now-a-day’s pedal powered grinding machine is used only for grinding purpose. Also, it requires lots of efforts
and limited for single application use. Another problem in existing model is that it consumed more time and also has
lower efficiency. Our aim is to design a human powered grinding machine which can also be used for many purposes
like pumping, grinding, washing, cutting, etc. it can carry water to a height 8 meter and produces 4 ampere of electricity
in most effective way. The system is also useful for the health conscious work out purpose. The purpose of this technical
study is to increase the performance and output capacity of pedal powered grinding machine.
This document summarizes a research paper that proposes using distributed control of multiple energy storage units (ESUs) to manage voltage and loading in electric distribution networks with renewable energy sources like solar and wind. The distributed control approach coordinates the ESUs to store excess power generated during peak periods and discharge it during peak load periods. Each ESU can provide both active and reactive power to support voltage and manage power flows. The distributed control strategy uses a consensus algorithm to divide the required active power reduction equally among ESUs based on their available capacity. Simulation results are presented to analyze the coordinated control of ESU active and reactive power outputs over time.
The steady increase in non-linear loads on the power supply network such as, AC variable speed drives,
DC variable Speed drives, UPS, Inverter and SMPS raises issues about power quality and reliability. In this
subject, attention has been focused on harmonics . Harmonics overload the power system network and cause
reliability problems on equipment and system and also waste energy. Passive and active harmonic filters are
used to mitigate harmonic problems. The use of both active and passive filter is justified to mitigate the
harmonics. The difficulty for practicing engineers is to select and deploy correct harmonic filters , This paper
explains which solutions are suitable when it comes to choosing active and passive harmonic filters and also
explains the mistakes need to be avoided.
This Paper is aimed at analyzing the few important Power System equipment failures generally
occurring in the Industrial Power Distribution system. Many such general problems if not resolved it may
lead to huge production stoppage and unforeseen equipment damages. We can improve the reliability of
Power system by simply applying the problem solving tool for every case study and finding out the root cause
of the problem, validation of root cause and elimination by corrective measures. This problem solving
approach to be practiced by every day to improve the power system reliability. This paper will throw the light
and will be a guide for the Practicing Electrical Engineers to find out the solution for every problem which
they come across in their day to day maintenance activity.
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1. International Journal of Engineering and Techniques - Volume 3 Issue 1, Jan – Feb 2017
ISSN: 2395-1303 http://www.ijetjournal.org Page 43
Mechanical Engineering in Ancient Egypt, Part XXXVIII: Non-
stone, Non-wooden Human Statues Industry
Galal Ali Hassaan
Department of Mechanical Design & Production, Faculty of Engineering,
Cairo University, Giza, Egypt
I. INTRODUCTION
Ancient Egyptians were pioneers in resource
planning and using all available raw materials in
their domestic and engineering applications. This
research paper focuses on this fact in the industry of
human statues using non-stone, non-wooden
materials during a history span from Predynastic to
Late Period.
Smith (1960) in his book about ancient
Egypt as represented in the Museum of Fine Arts at
Boston presented small statuettes produced during
the Predynastic Periods from mud, clay and ivory.
He presented also an ivory statue for King
Menkaure of the 4th
Dynasty, faience shawabties for
Pharaoh Thutmose IV of the 18th
Dynasty [1].
Branchi (1989) in his research paper about the
Egyptian metal statuary during the Third
Intermediate Period presented a hollow cast statue,
a hollow-cast bronze statue for Pharaoh Osarkon I
of the 21st
Dynasty, a hollow-cast bronze with gold
inlay for Amun, a hollow-cast bronze statue for a
Queen from the 25th
Dynasty, a Kushite female
bronze figure from the 25th
Dynasty, all in display
in the Brooklyn Museum at NY [2]. Tassie (2008)
in her Ph. D. Thesis about the social and ritual
contexualisation of an Egyptian hair and hairstyle
presented a copper statue for King Pepi I of the 6th
Dynasty, ivory and clay figurines from the
Predynastic Periods, ivory and lapis lazuli figurines
from Hierakonpolis, ivory figurine from Abydos
and ivory figurines from the 1st
Dynasty [3].
Koehler (2010) presented a number of clay
and ivory figurines from the Prehistory Periods of
ancient Egypt [4]. Sourouzian (2010) in his book
chapter about the Old Kingdom sculpture presented
the ivory statuette of King Khufu of the 4th
Dynasty,
two copper statues of King Pepi I of the 6th
Dynasty
[5]. Gravett (2011) in her Ph. D. Thesis about the
analysis of selected Egyptian bronze artifacts in the
National Cultural History Museum stated that the
museum collections included five bronze figures for
Osiris. She analysed in details a large gilded bronze
statue of Osiris from the 12th
Dynasty [6].
Wikipedia (2015) wrote an article about bone
carving clarifying its use in the Prehistoric era of
ancient Egypt where many venus figurines were
carved from bone [7].
Hassaan (2016,2017) studied the evolution
of mechanical engineering in ancient Egypt through
investigating the industry of human wooden statues
during the Predynastic to Late Periods [8,9] and the
human stone statues industry from Predynastic to
Late Periods [10-14]. Wikipedia (2017) wrote an
article about women in ancient Egypt and presented
a bronze statue for a woman from the 22nd
Dynasty
in display in the Egyptian Museum at Berlin [15].
RESEARCH ARTICLE OPEN ACCESS
Abstract:
This paper is the 38th
research paper in a series investigating the evolution of mechanical engineering in ancient Egypt.
It tries to achieve this purpose through investigating the production of ancient Egyptians non-stone, non-wooden statues during
the era from Predynastic to Late Period. Each stone statue is presented chronically with present location if known and with
engineering analysis showing its creativity. The presentation is classified according to the material used in producing the
statues.
Keywords — Mechanical engineering, ancient Egypt; non-stone; non-wooden statues
2. International Journal of Engineering and Techniq
ISSN: 2395-1303
II. BONE HUMAN STATUES
Bone was the first raw material available
easily for the ancient Egyptian to produce some of
his needs including statuettes. The ancient Egyptian
succeeded to carve bone from more than 5600 years.
Here are some examples of his of his bone
statuettes produced during th era of Naqada I
(4000-3600 BC):
- Fig.1 shows a figurine of a woman carved from
bone during Naqada I of the Predynastic Period
(4000-3500 BC) and in display in the British
Museum at London [16]. Its height is 110 mm
and the designer showed the lady putting both
hands on her waist, wearing a headdress with
painted horizontal bands, wearing a decorated
panty and wearing a lapis lazuli eye glasses !!
as clear in the zoomed view in Fig.1.
Fig.1 Bone figurine from Naqada 1
- The second example of bone
woman figurine from Naqada 1
the British Museum and shown in Fig.2 [1
The designer showed the lady standing and
her hands are both set vertically. She has no
hair nor headdress and wearing only a
decorated panty. The left hand and part of
the face are broken.
International Journal of Engineering and Techniques - Volume 3 Issue 1, Jan –
1303
Bone was the first raw material available
easily for the ancient Egyptian to produce some of
his needs including statuettes. The ancient Egyptian
succeeded to carve bone from more than 5600 years.
Here are some examples of his of his bone
ed during th era of Naqada I
of a woman carved from
during Naqada I of the Predynastic Period
in display in the British
Its height is 110 mm
ady putting both
hands on her waist, wearing a headdress with
painted horizontal bands, wearing a decorated
panty and wearing a lapis lazuli eye glasses !!
as clear in the zoomed view in Fig.1.
Bone figurine from Naqada 1 [16].
statues is a
woman figurine from Naqada 1 in display in
Museum and shown in Fig.2 [17].
The designer showed the lady standing and
her hands are both set vertically. She has no
hair nor headdress and wearing only a
decorated panty. The left hand and part of
Fig.2 Bone figurine from Naqada 1
III. IVORY HUMAN STATUES
Ivory is a hard, white material from
the tusks (traditionally elephant's) and
animals, that can be used in art or
manufacturing [18]. Ancient Egyptians knew
ivory from very early times. They used it in
producing figurines from more than
Here are some examples of using ivory in
producing statuettes and statues up to the New
Kingdom of ancient Egypt.
- The first example is an ivory figurine for a
woman and her child from Badari culture
(4400-4000 BC) in display in the Neues
Museum at Berlin and shown in Fig.3 [1
Even though, ivory has a moderate hardness,
the carver could produce the many details
for a standing lady carrying a child with
primitive tools more than 6000 years ago.
The lady was shown holding her child by
her left hand on his waist and her righ hand
on his left leg.
- The second example is an ivory statuette for
King Khufu, the second Pharaoh of the 4
Dynasty (2589-2566 BC) in display in the
Egyptian Museum at Cairo and shown in
Fig.4 [20]. The height of the statuette is 75
mm and the King was shown wearing a
Modius Crown. The carver within the small
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Naqada 1 [17].
STATUES
is a hard, white material from
(traditionally elephant's) and teeth of
that can be used in art or
Ancient Egyptians knew
ivory from very early times. They used it in
producing figurines from more than 6000 years.
Here are some examples of using ivory in
producing statuettes and statues up to the New
an ivory figurine for a
from Badari culture
in display in the Neues
and shown in Fig.3 [19].
Even though, ivory has a moderate hardness,
produce the many details
for a standing lady carrying a child with
primitive tools more than 6000 years ago.
The lady was shown holding her child by
her left hand on his waist and her righ hand
The second example is an ivory statuette for
second Pharaoh of the 4th
2566 BC) in display in the
Egyptian Museum at Cairo and shown in
Fig.4 [20]. The height of the statuette is 75
mm and the King was shown wearing a
Modius Crown. The carver within the small
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space available of the statuette could carve
the King face with very high
professionalism.
Fig.3 Ivory figurine from Badari
Fig.4 Ivory statuette of King Khufu
- The third example is a young boy figure of
142 mm height from the 6th
Dynasty (2345
2181 BC) credited to De Agostin
shown in Fig.5 [21]. The carver showed the
boy striding, completely necked and putting
one of his fingers on his mouth. The
statuette was nicely carved with
smooth surfaces and wonderful details. The
hair, eyes and eyebrows were painted.
- The fourth example is an ivory statue for a
female from the Old Kingdom (2686
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1303
able of the statuette could carve
the King face with very high
Ivory figurine from Badari [19].
Ivory statuette of King Khufu [20].
young boy figure of
Dynasty (2345-
2181 BC) credited to De Agostini and
The carver showed the
boy striding, completely necked and putting
one of his fingers on his mouth. The
statuette was nicely carved with very
smooth surfaces and wonderful details. The
hair, eyes and eyebrows were painted.
is an ivory statue for a
female from the Old Kingdom (2686-2181
BC) credited to De Agostini and shown in
Fig.6 [22]. The designer showed the woman
standing, wearing a medium length Tunic
and a long decorated (painted) headdress.
One f the hands is extending downward,
while the other is on her chest underneath
the Tunic.
Fig.5 Figure of a boy from the 6
Fig.6 Statue of a woman from the 6
- The fifth example is a painted ivory statuette
of a nude girl from the 18
1292 BC) in display in the Brooklyn
Museum of New York and shown in Fig.7
[23]. The designer showed the girl striding
with her right hand extending downward
and her left hand on her chest. She is
completely necked and putting something
on her head, may be a perfume cone or
something else. The face and body are
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BC) credited to De Agostini and shown in
The designer showed the woman
standing, wearing a medium length Tunic
and a long decorated (painted) headdress.
One f the hands is extending downward,
while the other is on her chest underneath
Figure of a boy from the 6th
Dynasty [21].
Statue of a woman from the 6th
Dynasty [22].
The fifth example is a painted ivory statuette
of a nude girl from the 18th
Dynasty (1543-
1292 BC) in display in the Brooklyn
Museum of New York and shown in Fig.7
The designer showed the girl striding
with her right hand extending downward
and her left hand on her chest. She is
completely necked and putting something
er head, may be a perfume cone or
something else. The face and body are
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professionally carved with painting the hair,
eyes and eyebrows.
.
Fig.7 Statuette of a nude girl from the 18
[23].
- The sixth example is a 105 mm ivory
statuette for a nude girl from the 18
Dynasties credited to De Aqostini
shown in Fig.8 [24]. The designer again
showed the girl completely necked except a
nicely decorated headdress. The zoomed
image depicts the beauty of the girl face.
The carving of the whole state is more than
wonderful and one can imagine it was
carved using modern CNC machines. In the
same time it reflects the glory of the 18
and 19th
Dynasties of ancient Egypt.
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1303
professionally carved with painting the hair,
Statuette of a nude girl from the 18th
Dynasty
The sixth example is a 105 mm ivory
statuette for a nude girl from the 18th
/19th
Dynasties credited to De Aqostini and
shown in Fig.8 [24]. The designer again
showed the girl completely necked except a
nicely decorated headdress. The zoomed
image depicts the beauty of the girl face.
The carving of the whole state is more than
wonderful and one can imagine it was
carved using modern CNC machines. In the
same time it reflects the glory of the 18th
Dynasties of ancient Egypt.
Fig.8 Statuette of a nude girl from the 18
Dynasties [24
IV. FAIENCE HUMAN STATUES
Faience is the conventional name
pottery on a delicate pale buff earthenware
ancient Egyptians knew faience and produced some products
from it including statuettes as will be illustrated in the
following examples from the New and Late Periods:
- The first example is a faience sphinx for
Amenhotep III, the 9th
Dynasty (1391-1353 BC)
Metropolitan Museum of Art and shown in
Fig.9 [26]. The designer showed the
Pharaoh wearing a Nemes headdress with
Cobra on its front with thin tall beard and
holding two offering pots in both hands.
Fig.9 Faience sphinx of Amenhotep III [26].
- The second example is a 70 mm faience
statuette of a Priest from the 18
(1479-1458 BC) shown in Fig.10 [27].
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Statuette of a nude girl from the 18th
/19th
24].
STATUES
s the conventional name for fine tin-glazed
earthenware body [25]. The
ce and produced some products
from it including statuettes as will be illustrated in the
from the New and Late Periods:
The first example is a faience sphinx for
Pharaoh of the 18th
1353 BC) in display in the
Metropolitan Museum of Art and shown in
The designer showed the
Pharaoh wearing a Nemes headdress with
Cobra on its front with thin tall beard and
holding two offering pots in both hands.
enhotep III [26].
The second example is a 70 mm faience
from the 18th
Dynasty
1458 BC) shown in Fig.10 [27].
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Fig.10 Faience statuette of a Priest [27].
It takes the shape of classical stone block statues
appeared during the 12th
Dynasty and continued up
to the Late Period [8,14]. It is of the design of
putting both arms over the knees above the Schenti.
The Priest is wearing a Khat headdress.
statuette has an estimated sale price of $ 10000
15000 [27].
- The third example is a female figurine from
the New Kingdom (1550-1077 BC) in
display in the Louvre Museum at Paris and
shown in Fig.11 [28]. The designer showed
the woman standing with both hands
extending downward. He used a black
colour to identify the short hair of the
woman, her eyes, eyebrows, two necklaces,
panty and decorations on hair waist and legs.
Fig.11 Faience figurine from New Kingdom [28].
- The fourth example is a female statue from
the 26th
Dynasty found within the funerary
objects of six tombs excavated in the west
bank of the River Nile near Aswan [29].
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1303
Fig.10 Faience statuette of a Priest [27].
It takes the shape of classical stone block statues
Dynasty and continued up
It is of the design of
putting both arms over the knees above the Schenti.
The Priest is wearing a Khat headdress. This small
statuette has an estimated sale price of $ 10000-
The third example is a female figurine from
1077 BC) in
display in the Louvre Museum at Paris and
The designer showed
the woman standing with both hands
extending downward. He used a black
short hair of the
woman, her eyes, eyebrows, two necklaces,
panty and decorations on hair waist and legs.
Fig.11 Faience figurine from New Kingdom [28].
The fourth example is a female statue from
Dynasty found within the funerary
objects of six tombs excavated in the west
bank of the River Nile near Aswan [29].
Fig.12 Female faience statue from the 26
[29].
It seems that the faience statue is for an old Roy
woman because the designer shoed here wearing a
Crown above the long headdress. She is also
wearing bracelets on her arm and wrist.
V. TERRACOTTA HUMAN STATUES
Terracotta is a clay-based unglazed
glazed ceramic, where the fired body is porous
local easily obtained raw material, ancient Egyptians used
terracotta in producing some of their statues since very early
times (more than 5400 years). We have two examples of using
this material in human statues production:
- The first example is a
figurine from Naqada II (3500
display in the Brooklyn Museum and shown
in Fig.13 [31]. The designer showed the
lady wearing a painted long Schenti down to
her feet and raising her hands.
Fig.13 Female figurine from Naqada II [31].
- The second example is a mourner woman
from the 18th
Dynasty in display in the
Louvre Museum and shown in Fig.14 [32].
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Fig.12 Female faience statue from the 26th
Dynasty
It seems that the faience statue is for an old Royal
woman because the designer shoed here wearing a
Crown above the long headdress. She is also
on her arm and wrist.
STATUES
based unglazed or
where the fired body is porous [30]. As a
local easily obtained raw material, ancient Egyptians used
terracotta in producing some of their statues since very early
ore than 5400 years). We have two examples of using
this material in human statues production:
The first example is a 292 mm female
from Naqada II (3500-3400 BC) in
display in the Brooklyn Museum and shown
13 [31]. The designer showed the
lady wearing a painted long Schenti down to
her feet and raising her hands.
Fig.13 Female figurine from Naqada II [31].
The second example is a mourner woman
Dynasty in display in the
um and shown in Fig.14 [32].
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Fig.14 Mourner woman from the 18th
Dynasty [32].
The designer showed the lady putting her right hand
on her head with clear sadness signs on her face.
She has a black hair and a black scarf around her
neck.
VI. COPPER HUMAN STATUES
The ancient Egyptians new copper from times
starting from 4000 BC (during Naqada I Period)
[33]. The copper statues available belongs to King
Pepi I, the 3rd
King of the 6th
Dynasty and are
presented as follows:
- The first example is a small copper statue of
the King found inside a life
statue. The statue is shown in Fig.15 [34].
The statue is hollow and the King was
shown striding wearing a short Schenti and
a Cap headdress as clear in the zoomed
image of Fig.15. The design and p
of the statue is more than excellent.
Fig.15 Small copper statue of King Pepi I [34].
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1303
Dynasty [32].
The designer showed the lady putting her right hand
on her head with clear sadness signs on her face.
She has a black hair and a black scarf around her
STATUES
The ancient Egyptians new copper from times
starting from 4000 BC (during Naqada I Period)
The copper statues available belongs to King
Dynasty and are
copper statue of
the King found inside a life-size copper
statue. The statue is shown in Fig.15 [34].
The statue is hollow and the King was
shown striding wearing a short Schenti and
a Cap headdress as clear in the zoomed
15. The design and production
of the statue is more than excellent.
Fig.15 Small copper statue of King Pepi I [34].
- The second example is a life
statue for King Pepi I in display in the
Egyptian Museum at Cairo and shown in
Fig.16 [35]. The designer showed the King
striding, wearing a small Schenti and a Cap
headdress and holding a long bar by his left
palm and an object in his right palm. The
eye is inlaid by limestone and obsidian.
Fig.16 Copper statue of King Pepi I [35].
- The third example is a 152 mm height
copper kneeling statue of King Pepi
display in the Brooklyn Museum and shown
in Fig.17 [36]. The designer showed the
King wearing a short Schenti with front tail
and a decorated Nemes Headdress
offering two pots, one in each palm. The
designer succeeded to produce the copper
statue with different colors for the Schenti,
the Nemes, the eyes and the eyebrows. This
artefact indicates how the pioneer engineers
could master using copper in constructing
statuettes from more than 5000 years.
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The second example is a life-size copper
I in display in the
Egyptian Museum at Cairo and shown in
The designer showed the King
striding, wearing a small Schenti and a Cap
headdress and holding a long bar by his left
palm and an object in his right palm. The
ne and obsidian.
Fig.16 Copper statue of King Pepi I [35].
The third example is a 152 mm height
copper kneeling statue of King Pepi I in
display in the Brooklyn Museum and shown
in Fig.17 [36]. The designer showed the
King wearing a short Schenti with front tail
and a decorated Nemes Headdress and
offering two pots, one in each palm. The
designer succeeded to produce the copper
with different colors for the Schenti,
s and the eyebrows. This
artefact indicates how the pioneer engineers
could master using copper in constructing
statuettes from more than 5000 years.
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Fig.17 Kneeling copper statue of King Pepi I [36].
VII. BRONZE HUMAN STATUES
The ancient Egyptians have known the bronze
material as an alloy replacing the copper material to
improve its mechanical properties since 270
during the Old Kingdom [33]. Bronze statues
appeared during the New Kingdom, Third
Intermediate and Late Periods as will be illustrated
by the following examples of bronze statues:
- The first example is a bronze statue for
Meryetmut from the 18th
Dynast
in the Louvre Museum and shown in Fig
[37]. She designer could decorate the whole
statue showing the woman wearing an
elaborated half-sleeved Tunic, decorated
headdress and a wide pectorals
painted black and she is raising her f
to the level of his waist.
Fig.18 Bronze statue of Meryetmut [3
- The second example is a bronze statue for
Seti I, the 2nd
Pharaoh of the 19
(1290-1279 BC) from Memphis of Lower
Egypt in display in the Metropolitan
Museum and shown in Fig.19 [38].
designer showed the Pharaoh striding,
having a thin long beard, wearing a
decorated short Schenti and a compound
headdress with a Cobra on its front.
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1303
neeling copper statue of King Pepi I [36].
STATUES
The ancient Egyptians have known the bronze
material as an alloy replacing the copper material to
improve its mechanical properties since 2700 BC
during the Old Kingdom [33]. Bronze statues
appeared during the New Kingdom, Third
Intermediate and Late Periods as will be illustrated
by the following examples of bronze statues:
bronze statue for
Dynasty in display
Museum and shown in Fig18
She designer could decorate the whole
statue showing the woman wearing an
sleeved Tunic, decorated
a wide pectorals. Her face is
painted black and she is raising her forearms
Fig.18 Bronze statue of Meryetmut [37].
The second example is a bronze statue for
Pharaoh of the 19th
Dynasty
1279 BC) from Memphis of Lower
in display in the Metropolitan
Museum and shown in Fig.19 [38]. The
designer showed the Pharaoh striding,
having a thin long beard, wearing a
decorated short Schenti and a compound
on its front.
- The third example is a 152 mm height statue
for Imhotep, a Vizier and
Djoser manufactured from bronze during the
23rd
Dynasty of the Third Intermediate
Period (773-769 BC)
Metropolitan Museum of Art and shown in
Fig.20 [39]. The designer showed him
setting, putting his hands on his thighs,
wearing a long Schenti and a Cap headdress
as clear in the zoomed image.
and seat are from bronze indi
old Egyptians could master the technology
of bronze casting from more than 2750
years.
Fig.19 Bronze statue of Seti I [38].
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a 152 mm height statue
izier and Architect of King
manufactured from bronze during the
Dynasty of the Third Intermediate
in display in the
Metropolitan Museum of Art and shown in
The designer showed him
setting, putting his hands on his thighs,
wearing a long Schenti and a Cap headdress
as clear in the zoomed image. Both statuette
and seat are from bronze indicating how the
old Egyptians could master the technology
of bronze casting from more than 2750
Fig.19 Bronze statue of Seti I [38].
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Fig.20 Bronze statue of Imhotep [39].
- The fourth example is a kneeling
statue for Necho II, the 2nd
Pharaoh of the
26th
Dynasty of ancient Egypt (610
in display in the Brooklyn Museum and
shown in Fig.21 [40]. The designer showed
the Pharaoh kneeling with both hands about
100 mm above his thighs, wearing a short
decorated Schenti and a decorated Nemes
headdress with Cobra on its front. This
statue represents the top quality in using
bronze in producing statues. There are too
many details complicating the statue design,
but the ancient Egyptians did it with high
production quality may be available
nowadays only using Computerized
machines !!.
Fig.21 Bronze statue of Necho II [40].
- The fifth example is a 110 mm height
bronze statuette for Amasis
Pharaoh of the 26th
Dynasty (570
in display in the Metropolitan Museum of
Art and shown in Fig.22 [41]. The designer
showed the Pharaoh kneeling and holding
an offering pot in each hand, wearing a short
International Journal of Engineering and Techniques - Volume 3 Issue 1, Jan –
1303
Fig.20 Bronze statue of Imhotep [39].
kneeling bronze
Pharaoh of the
Dynasty of ancient Egypt (610-595 BC)
in display in the Brooklyn Museum and
shown in Fig.21 [40]. The designer showed
the Pharaoh kneeling with both hands about
above his thighs, wearing a short
and a decorated Nemes
headdress with Cobra on its front. This
statue represents the top quality in using
bronze in producing statues. There are too
many details complicating the statue design,
cient Egyptians did it with high
production quality may be available
nowadays only using Computerized
Fig.21 Bronze statue of Necho II [40].
The fifth example is a 110 mm height
II, the 5th
570-526 BC)
in display in the Metropolitan Museum of
The designer
showed the Pharaoh kneeling and holding
an offering pot in each hand, wearing a short
precious-metal-inlaid Schenti with front tail
and a decorated Nemes headdress with
Cobra on its front. Again, the statue reflects
the top technology of manufacturing bronze
statues in the 26th
Dynasty.
Fig.22 Bronze statue of Amasis II [41]
- The sixth example is a bronze statue of a
woman from the 26th
Pharaoh Necho II in display in the
Metropolitan Museum of Art and shown in
Fig.23 [42]. The designer showed the
woman relatively necked with only a
decorated headdress and a
putting her left hand on her right breast and
her right hand extending fully with straight
fingers. Even though, this is a metallic
material not a stone or wood, the designer
tried all his best to show the beauty of the
woman. .
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Schenti with front tail
and a decorated Nemes headdress with
Cobra on its front. Again, the statue reflects
the top technology of manufacturing bronze
Dynasty.
Fig.22 Bronze statue of Amasis II [41].
The sixth example is a bronze statue of a
Dynasty, reign of
Pharaoh Necho II in display in the
Metropolitan Museum of Art and shown in
The designer showed the
woman relatively necked with only a
decorated headdress and a wide pectoral,
putting her left hand on her right breast and
her right hand extending fully with straight
fingers. Even though, this is a metallic
material not a stone or wood, the designer
tried all his best to show the beauty of the
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Fig.23 Bronze statue of a woman from the 26
Dynasty [42].
VIII. GOLD HUMAN STATUES
The ancient Egyptians new gold mining from more
than 6000 years and gold artefacts were discovered
dated to about 3500 BC [43], i.e. to the end of
Naqada I. We have examples of golden statues from
the golden age of the New Kingdom presented as
follows:
- The first example is a two golden statue
for Tutankhamun, the 13th
Pharaoh of the
18th
Dynasty (1332-1323 BC) in display in
the Egyptian Museum at Cairo and shown in
Fig.24 [44]. The mechanical designers
showed the Pharaoh striding, holding a
Crook in his left hand, wearing a Schenti
with long belt, a sandal and a Crown. One of
the statuettes with the Upper-Egypt
(to the left) and the other with the Lower
Egypt-Crown (to the right) with Cobra on
the front of the Crown. The eyes and
eyebrows may be outlined by precious or
semi-precious stones.
Fig.24 Gold statuettes of Pharaoh Tut [44].
International Journal of Engineering and Techniques - Volume 3 Issue 1, Jan –
1303
Fig.23 Bronze statue of a woman from the 26th
The ancient Egyptians new gold mining from more
than 6000 years and gold artefacts were discovered
], i.e. to the end of
We have examples of golden statues from
the golden age of the New Kingdom presented as
golden statuettes
Pharaoh of the
1323 BC) in display in
Cairo and shown in
The mechanical designers
showed the Pharaoh striding, holding a
Crook in his left hand, wearing a Schenti
with long belt, a sandal and a Crown. One of
Egypt-Crown
th the Lower-
Crown (to the right) with Cobra on
the front of the Crown. The eyes and
eyebrows may be outlined by precious or
Fig.24 Gold statuettes of Pharaoh Tut [44].
- The second example is a
Pharaoh Tutankhamun. It is a two life
gold statues for the Pharaoh in display in the
Egyptian Museum at Cairo and shown in
Fig.25 [45]. Here, the designer showed the
Pharaoh having a dark blue skin may be
through using semi-prec
painting), wearing a Schenti with
trapezoidal belt, wearing a Khat in the left
statue and a Nemes in the righ statue with
Cobra on the front of each of them and
holding a mace in his right hand and a spear
in his left hand. The Pharaoh
a wide pectoral, a necklace and bracelets on
his arm and wrest.
Fig.25 Gold statuettes of Pharaoh Tut [45].
- The third example is a golden statue for
Queen Tuya, wife of Pharaoh Seti I and
mother of the Great Pharaoh Ramses II of
the 19th
Dynasty in display in the Egyptian
Museum at Cairo and shown in Fig.26 [46].
The designer reflected the wealth of the
Royal and strong family
The Queen is wearing
headdress decorated from inside and outside,
a wealthy wide pectorals and a coloured
Tunic. The multi colours in the statue means
that the designer used precious or semi
precious stones besides the gold in
producing this valuable statu
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Page 51
is again for the rich
. It is a two life-size
gold statues for the Pharaoh in display in the
Egyptian Museum at Cairo and shown in
Fig.25 [45]. Here, the designer showed the
Pharaoh having a dark blue skin may be
ious stones (or even
painting), wearing a Schenti with
trapezoidal belt, wearing a Khat in the left
statue and a Nemes in the righ statue with
Cobra on the front of each of them and
holding a mace in his right hand and a spear
in his left hand. The Pharaoh is wearing also
a wide pectoral, a necklace and bracelets on
Fig.25 Gold statuettes of Pharaoh Tut [45].
The third example is a golden statue for
, wife of Pharaoh Seti I and
mother of the Great Pharaoh Ramses II of
Dynasty in display in the Egyptian
Museum at Cairo and shown in Fig.26 [46].
The designer reflected the wealth of the
of the 19th
Dynasty.
aring an elaborated
headdress decorated from inside and outside,
a wealthy wide pectorals and a coloured
Tunic. The multi colours in the statue means
that the designer used precious or semi-
precious stones besides the gold in
producing this valuable statue.
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Fig.25 Gold statue of Queen Tuya [46].
- The fourth example is a 175 mm height
golden statue for Amun produced during the
22nd
Dynasty of the Third Intermediate
Period (945-712 BC) in display in the
Metropolitan Museum of Art and shown in
Fig.26 [47]. The designer shown Amun
wearing a medium Schenti, a Modius Crown,
having a long thin beard, holding a
his right hand and the ankh in his extending
left hand. The old Egyptian
mechanical technology to manufacture this
complex-man-full-size statue from gold
either using metal-sheet pressing or metal
casting more than 2700 years !.
Fig.26 Gold statue of Amun [47].
IX. SILVER HUMAN STATUES
The ancient Egyptians used silver as a raw
material to produce human statues during the 26
Dynasty of the Late Period (664-525 BC). We have
two example authorizing this fact:
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1303
Fig.25 Gold statue of Queen Tuya [46].
The fourth example is a 175 mm height
golden statue for Amun produced during the
Dynasty of the Third Intermediate
in display in the
Metropolitan Museum of Art and shown in
The designer shown Amun
wearing a medium Schenti, a Modius Crown,
having a long thin beard, holding a sickle in
his right hand and the ankh in his extending
left hand. The old Egyptians had the
mechanical technology to manufacture this
size statue from gold
sheet pressing or metal
casting more than 2700 years !.
Fig.26 Gold statue of Amun [47].
The ancient Egyptians used silver as a raw
material to produce human statues during the 26th
BC). We have
- The first example is a silver statue for a
Royal woman with the Cartou
the 2nd
Pharaoh of the 26
595 BC) in display in the Metropolitan
Museum of Art and shown in Fig.27 [48].
The designer showed the woman wearing a
decorated Cap headdress and a pectoral. The
Cartouche of the Pharaoh is clear on
right hand in the zoomed image of Fig.27.
The technique used needs more close
investigation to see if it was a silver
process or a pressing process.
Fig.27 Silver statue of a woman from the 26
Dynasty [48].
- The second example is a 240 mm gold
plated silver figure for Amun
26th
Dynasty in display in the British
Museum and shown in Fig.28 [49].
designer showed Amun
holding a short stick in his left hand and an
object in his right hand, wearing a short
Schenti, wide pectoral and a Double
Crown. The silver statue is plated by gold
leafs at the Crown, pectoral and Schenti.
– Feb 2017
Page 52
The first example is a silver statue for a
Royal woman with the Cartouche of Neco II,
Pharaoh of the 26th
Dynasty (610-
595 BC) in display in the Metropolitan
Museum of Art and shown in Fig.27 [48].
The designer showed the woman wearing a
decorated Cap headdress and a pectoral. The
Cartouche of the Pharaoh is clear on her
right hand in the zoomed image of Fig.27.
The technique used needs more close
investigation to see if it was a silver-casting
process or a pressing process.
Fig.27 Silver statue of a woman from the 26th
Dynasty [48].
The second example is a 240 mm gold-
plated silver figure for Amun-Ra from the
Dynasty in display in the British
Museum and shown in Fig.28 [49]. The
designer showed Amun-Ra striding while
holding a short stick in his left hand and an
bject in his right hand, wearing a short
Schenti, wide pectoral and a Double-reed
Crown. The silver statue is plated by gold
leafs at the Crown, pectoral and Schenti.
11. International Journal of Engineering and Techniq
ISSN: 2395-1303
Fig.28 Silver figure of Amun-Ra from the 26
Dynasty [49].
X. CONCLUSIONS
- Ancient Egyptians were pioneers in
producing all types of human statues
- They used most available
materials around them to produce statues
sustained environmental effects for
thousands of years.
- They could carve animal bone and produce
nice figurines since Naqada I of the
Predynastic Period.
- Most of their women figurines in the
Predynastic Period appeared with panty.
- They could produce complex figurines using
ivory since the Badari culture (more t
6000 years).
- They carved an ivory statuette for King
Khufu of the 4th
Dynasty.
- They continued to use ivory in the
statuettes industry through the 6
19th
Dynasties of ancient Egypt.
- They produced wonderful sphinx from blue
faience during the 18th
Dynasty
statuette and standing figurine during the
New Kingdom and up to the 26
the Late Period.
- The ancient Egyptians used terracotta as a
raw material for the human-statues industry
International Journal of Engineering and Techniques - Volume 3 Issue 1, Jan –
1303
from the 26th
Ancient Egyptians were pioneers in
statues.
They used most available-reasonable
materials around them to produce statues
nvironmental effects for
They could carve animal bone and produce
nice figurines since Naqada I of the
Most of their women figurines in the
Predynastic Period appeared with panty.
They could produce complex figurines using
ivory since the Badari culture (more than
They carved an ivory statuette for King
They continued to use ivory in the
statuettes industry through the 6th
, 18th
and
Dynasties of ancient Egypt.
They produced wonderful sphinx from blue
Dynasty, block
statuette and standing figurine during the
New Kingdom and up to the 26th
Dynasty of
The ancient Egyptians used terracotta as a
statues industry
since the time of Naqada II (more than 5400
years ago). A figurine from this period
authorized using the long Schenti as as a
ladies dress from this early time.
- The statues designers and technicians
succeeded to translate the human feeling
and character to their statues.
- Regarding metals as raw mat
statues industry, they used copper, bronze,
gold and silver.
- They produced valuable gold statues in
small size and life size.
- They achieved production of very complex
designs using copper, bronze and gold.
- Metallic statues were produced in
striding, kneeling and setting positions.
- They used semi-precious stones to act as
functional parts in their designs.
- They could generate wonderful statue
designs through decoration and inlay.
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BIOGRAPHY
Galal Ali Hassaan
Emeritus Professor of System Dynamics
and Automatic Control.
Has got his B.Sc. and M.Sc. from Cairo
University in 1970 and 1974.
Has got his Ph.D. in 1979 from Bradford
University, UK under the supervision of
Late Prof. John Parnaby.
Now with the Faculty of Engineering, Cairo
University, EGYPT.
Research on Automatic Control, Mechanical
Vibrations , Mechanism Synthesis and
History of Mechanical Engineering.
Published more than 200 research papers in
international journals and conferences.
Author of books on Experimental Systems
Control, Experimental Vibrations and
Evolution of Mechanical Engineering.
Chief Justice of the International Journal of
Computer Techniques.
Member of the Editorial Board of some
international journals including IJET.
Reviewer in some international journals.
Scholars interested in the authors
publications can visit:
http://scholar.cu.edu.eg/galal