TataKelola dan KamSiber Kecerdasan Buatan v022.pdf
Lecture, Ancient Egypt
1. The Art of Ancient Egypt
Art
for
the
Afterlife
Seated Scribe
ca. 2600 BCE
Painted limestone
Old Kingdom
http://smarthistory.khanacademy.org/seated-scribe.html
2. The Measure of a Man
Vanessa Beecroft, VB45.007.DR, 2001
c-print
Illustration of the Egyptian canon of proportions
3. Egyptomania
Luxor Hotel
Las Vegas, NV
Steve Martin, King Tut, SNL, 1979
http://www.hulu.com/watch/55342
Elizabeth
Taylor
Cleopatra
1963
Howard Carter, Tutankhamen’s Tomb, 1923
http://www.youtube.com/watch?v=7ZWB5-aXMXQ
The Bangles, Walk Like an Egyptian, 1986
4. Egypt
Dates and Places:
• 3500-1000BCE
• Nile River Valley (fertile--
then a lush land of
marshes and ridges)
People:
• Divine rulers
• Agriculture
• Hieroglyphic writing system
• Polytheism (many gods)
Map of Ancient Egypt
5. Egypt
Themes:
• Gods
• Rulers
• Life and death (the afterlife)
• Offerings
Forms:
• Stone and mud brick construction
• Natural and conceptual treatments of
figures
• Strict adherence to Egyptian canon
Menkaure and
(rule of representation according to Khamerernebty(?),
unity of measurement) ca. 2490-2472BCE.
• Registers of space Fig. 1-27.
• Hierarchy of scale
6. Egypt: The Vocabulary of Power
Narmer
(crown of
Lower
Egypt)
Hathor
(divine
mother)
Beheaded
Narmer
enemies
(crown of
Upper
Egypt)
Horus
(protector
Papyrus Circular
of pharaohs)
(Lower depression
Egypt) (surrounded
Slain by feline
enemies Heads)
Palette of King Narmer, ca. 3000-2920BCE, Predynastic period
7. Egypt: The Vocabulary of Power
• Ceremonial palette (stone slab with
circular depression) commonly used
to prepare eye makeup
• Marks transition from prehistorical to
historical Egypt
• Story of unification of Upper and
Lower Egypt
• Divine ruler (Narmer) and gods
(Hathor (cow), Horus (falcon), etc)
• Symbols of authority
• Canon of proportions (would last for Palette of King Narmer, ca.
3,000 yrs) 3000-2920BCE. Fig. 1-22
• Hierarchy of scale (Narmer much
larger than attendants and enemies)
• Composite view (head profile, chest
frontal, legs in profile
• Hieroglyphs (Narmer’s name)
8. “Regarding the Pain of Others” (Sontag)
from Abu Ghraib Prison Iraq, 2004
Francisco de Goya, Disasters of War (What
more can be done?), 1810-20, etching
9. Egypt – Tombs & the Afterlife
• Knowledge of Egypt from tombs &
burial artifacts
• Preoccupation with afterlife
• Mastaba (stone or brick structure
erected over burial chamber)
• Shaft connected tomb with outside
world (so ka (spirit) could escape)
• Contained chambers &
compartments (statues, paintings,
reliefs, etc. to accompany dead)
• Axis mundi (ziggurat) Imhotep, Stepped Pyramid and
mortuary precint of Djoser, 2630-
2611BCE. Fig. 1-24.
Ziggurat at Ur,
ca. 2100BCE. Fig. 1-11.
10. Egypt - Mummification
King Tut’s Death mask
Reconstruction of King Tut’s face by Elisabeth Daynes
http://www.daynes.com/en/home.php
http://fieldmuseum.org/explore/multimedia/video-gilded-lady-mummy
11. Egypt – Spatial
Hierarchies
(Old Kingdom)
Hammurabi and Shamash, detail of the
stele with Law Code of Hammurabi
ca. 1780BCE, Babylon (Ancient Near
East)
Great Pyramids, Gizeh, Egypt, 4th Dynasty, ca. 2551-2528BCE. Fig. 1-1.
12. Egypt – Spatial Hierarchies Great Sphinx, Gizeh
plateau, ca. 2551-2528BCE
• Funerary precinct with burial
pyramids and temples (enormous
expense, built over 75 yrs)
• Pyramid symbol of god Re (god of
the sun, reborn daily)
• Testifies to king’s power (oversee
huge workforce quarrying,
carrying, and dressing stone
(wooden rollers/sleds)
• Masonry (ashlar) construction
with internal chambers (hoisted
Man-headed lion (image of
up on ramps with ropes/pulleys) Khafre & symbol of Re)
• Stone facing reflected sun
Fernand Khnopff
The Sphinx
(The Caress)
1896
oil on canvas
13. Egypt: Old Kingdom
Tomb Sculpture –
The Measure of a Man
(God and King)
Khafre Enthroned
Gizeh, Egypt
4th Dynasty
diorite, 5 ft 6”
ca. 2500 BCE
14. Old Kingdom Tomb Sculpture
• Ka sculpture for king’s temple
(Valley of Kings)
• Stone (diorite) used for tomb
statuary
• Quarried 400 miles up river
• Attributes of pharaoh (nemes
headdress (uraeus cobra), kilt,
false beard)
• Enthroned (resembles two
lions’ bodies)
• Between legs intertwined lotus
and papyrus (symbolize united
Egypt)
• Horus (protector) behind head Khafre Enthroned
• Idealized body (youthful divine Gizeh, Egypt
4th Dynasty
leader) diorite, 5 ft 6”
• Compact, frontal, solid, ca. 2500 BCE
symmetrical (eternal power)
15. Egypt - Old
Kingdom Tomb
Sculpture
Ti Watching a Hippopotamus Hunt,
painted limestone
in mastaba of Ti, Saqqara
4’ high, Egypt, ca. 2450 BCE
16. Egypt - Old Kingdom
Tomb Sculpture
• Painted relief for tomb of Ti
• One of many depictions of
agriculture and hunting
• Hippopotamus hunt (an allegory for Detail
Hall of
defeat of evil) Bulls
• Ti and attendants in thick grove of Lascaux
ca. 25,000 BCE
papyrus
• Animals (birds, foxes, fish,
hippopotami) at top and bottom
• Strict adherence to canon (system
of proportions) in Ti Ti Watching a
Hippopotamus Hunt,
• Composite (conceptual) painted limestone relief in
representation (head in profile, mastaba of Ti, Saqqara
4’ high, Egypt, ca. 2450
chest frontal, legs in profile) BCE
• Timeliness and enduring power in Victory Stele of Naram-Sin
Ti’s aloof stance (detail)
ca. 2254-2218BCE
17. Egypt – New
Kingdom
Architecture
Colonnade
(row of columns usually
spanned by lintels above)
Mortuary temple of Hatshepsut,
Deir el-Bahri, New Kingdom, ca.
1473 BCE
Sphinx of Hatshepsut, New
Kingdom, ca. 1473 BCE
18. Hypostyle hall Clerestory
Egypt – New
Kingdom 22’
Architecture
Capital
Amiens 66’
Cathedral
13th century Column
CE
France
Model of the
hypostyle hall
Stonehenge,
Temple of
Salisbury Plain Amen-Re
Wiltshire Karnak, Egypt
England ca. 1290 BCE
2550 – 1600
BCE
19. Egypt - Defying the
Canon (New Kingdom
Sculpture)
Akhenaton
Temple of
Aton
Karnak, Egypt
ca. 1350 BCE
sandstone
13’ high
20. Egypt – Defying the Canon
• New Kingdom pharaoh
• Changed name from Amenhotep IV to Akhenaton
Akhenaton Temple of
Aton
• In honor of Aton (only god, sun) Karnak
• Declared monotheism and moved ca. 1350 BCE
temple down river (to Akhenaton) 13’ high
• Brief departure from strict adherence to
canon
• Naturalism and realism
• Androgynous & effeminate
representation (thin, elongated face and
arms, swollen belly, hips)
• Identifying himself with Aton (not
represented naturalistically but as sun
itself)?
The Royal Family
Akhenaton, Nefertiti
and their family
21. Egypt –
Defying the
Canon
Thutmose, Nefertiti, ca.
1353-1335BCE. Painted
limestone, 1’8”, Fig. 1-34.
22. Egypt – Defying the Canon
• Akhenaton’s wife
• Name means “The Beautiful One Has Come”
• Influential queen (shared power?)
• Named sculptor (Thutmose)
• Deliberately unfinished (left eye not inlaid)
• Ideal beauty over true likeness
• Possibly resembles flower (enlarged head
over thin, delicate neck)
Thutmose, Nefertiti,
Painted limestone
1’8” tall
ca. 1353-1335BCE
Notas do Editor
Themes: -Art and power: political, social, and spatial hierarchies -Power of tradition: formal conventions (vocabulary) in Egyptian art -Power of myth: Egypt of/in the imagination (the afterlife) Similar to the art of the Ancient Near East, Ancient Egyptian artists were devoted to expressing the absolute power of their leader (pharaoh) and their belief in the afterlife. Here we will continue to explore the visual vocabulary of power through the built environment and in representations of man.
Egyptian art also presents the opportunity to discuss the establishment of artistic conventions and the desire to control the representation of the human body. In representations of the human form, particularly of leaders like pharaohs and noblemen, pose, proportions, skin coloring, gender roles, etc, become canonized and remain consistent for hundreds, if not thousands, of years. The consistency of image is central to our modern understanding of the ideal human form and may be one of the reasons for our continued fascination with and indebtedness to Egyptian culture.
Myth making has also significantly affected our understanding. Since the early 19 th century when Napoleon invaded Egypt, Westerners have long been fascinated with all things Egyptian, from its architecture, to its fashions, to its kings (pharaohs) and queens. This was further escalated by the discovery of King Tutankhamun’s tomb in 1923 by archeologist Howard Carter in the Valley of the Kings. As a result, Hollywood responded with scores of movies, skits, and songs. As legend has it, eleven people connected with the discovery died within 6 years of the tomb’s desecration. The mythic curse of the Egyptian pharaohs served as continued fodder for the imagination.
Moving past the myths about ancient Egypt, let’s take a look at the facts.
As seen in the Mesopotamian ziggurats, the axis mundi of the Egyptian pyramids represents the desire to connect and exert control over the material and spiritual realms. Through the plans of the temple or pyramid complexes we can also consider how power was communicated through the marking of ceremonial spaces that similarly reflect a sense of hierarchy and power. Along a horizontal axis, Egyptians established processionals that served as gradual transitions from open secular spaces to the innermost sanctuaries that few accessed. These spaces frequently incorporated the symbolic use of light, reflecting transitions from life to death. Thus, organization and planning of architectural spaces reflect the hierarchy and beliefs of society.
The Egyptians practiced mummification as a means of providing an eternal home for the spirit ( ka) of the deceased, believing that the soul of the dead continued to live on long after the body dies. The embalming process was lengthy (70 days) and involved. Major internal organs were removed from the left side, then individually wrapped and placed in jars for inclusion in the tomb next to the mummy. The brain was pulled through the nose and discarded. The heart remained in the body since it was thought to be the seat of the life force and of its intelligence. The body was then embalmed with a salt compound, resin-soaked linens were placed inside, and the incisions covered with an amulet (Horus’s eye) to ward off evil. Finally, the body was covered in lotions and wrapped in hundreds of yards of linen to maintain its shape. The mummified body would then be entombed with all manner of needs (food, servants in effigy, furniture, ka sculptures) in the afterlife.
This preoccupation with the afterlife converged with the Egyptian interest in a highly stratified and hierarchical society. Therefore, their burial practices and tombs reflected this hierarchy. Here, we see the pyramids of the pharaohs Menkaure, Khafre, and Khufu. They are the oldest of the Seven Wonders of the ancient world. The tomb of Khufu is the oldest and largest. At its base, the length of one side is 775 ft. The surface area is 13 acres. Its current height is 450 ft. 2.3 million blocks of stone, each weighing 2.5 tons (enough to encircle France in a 10ft high wall).
Old Kingdom
To carve this sculpture, the artists used a subtractive process. First, they drew the design on the block of stone. Then, they carved away the excess with chisels. Finally, the master sculptor smoothed the form.
Hatshepsut was the first recorded female pharaoh. She ruled for 2 decades. Here is her temple, which stands as the first great tribute to a woman’s achievements in art history. Within it included painted reliefs detailing her expedition to the “land of Punt” on the Red Sea, and representations of her birth and coronation. Representations of Hatshepsut show how gendered such portrayals of powerful figures were. In the above Sphinx of Hatshepsut, we can see how she adopted the visual vocabulary of male pharaohs (the headdress, false beard) to indicate eternal power and legitimize her rule.
Here is a model from the hall of the sprawling complex of the Temple of Amen-Re in Karnak, Egypt. It is a hypostyle hall, which in its most basic form, means that columns support a roof. In this case, extraordinarily tall columns (66’) would have supported lintels resting on cubicle blocks, which rest on 22 ft wide capitals. In order to illuminate the interior of the hall, the central columns were taller to allow for window openings above. This Egyptian-invented element is called a clerestory, which, like the post-and-lintel system of the hypostyle hall, creates the basic vocabulary for many structures built thereafter. Some of these include Gothic cathedral and later, the modernist skyscraper.
With the reign of Akhenaton (Amenhotep IV), a religious upheaval altered not only religious practices in the New Kingdom but artistic representations of the king and his family.