Nimaatre Amenemhat III
Writing, Alphabets, Hieroglyphic
Beliefs in the divine and in the afterlife were ingrained in ancient Egyptian civilization from its inception; pharaonic rule was based on the divine right of kings. The Egyptian pantheon was populated by gods who had supernatural powers and were called on for help or protection. However, the gods were not always viewed as benevolent, and Egyptians believed they had to be appeased with offerings and prayers. The structure of this pantheon changed continually as new deities were promoted in the hierarchy, but priests made no effort to organize the diverse and sometimes conflicting myths and stories into a coherent system. These various conceptions of divinity were not considered contradictory but rather layers in the multiple facets of reality. Gods were worshiped in cult temples administered by priests acting on the king's behalf. At the center of the temple was the cult statue in a shrine. Temples were not places of public worship or congregation, and only on select feast days and celebrations was a shrine carrying the statue of the god brought out for public worship. Normally, the god's domain was sealed off from the outside world and was only accessible to temple officials. Common citizens could worship private statues in their homes, and amulets offered protection against the forces of chaos.After the New Kingdom, the pharaoh's role as a spiritual intermediary was de-emphasized as religious customs shifted to direct worship of the gods. As a result, priests developed a system of oracles to communicate the will of the gods directly to the people. The Egyptians believed that every human being was composed of physical and spiritual parts or aspects. In addition to the body, each person had a šwt (shadow), a ba (personality or soul), a ka (life-force), and a name. The heart, rather than the brain, was considered the seat of thoughts and emotions. After death, the spiritual aspects were released from the body and could move at will, but they required the physical remains (or a substitute, such as a statue) as a permanent home. The ultimate goal of the deceased was to rejoin his ka and ba and become one of the "blessed dead", living on as an akh, or "effective one". For this to happen, the deceased had to be judged worthy in a trial, in which the heart was weighed against a "feather of truth". If deemed worthy, the deceased could continue their existence on earth in spiritual form.
Nebty ("two ladies")
Horus of Gold
The Egyptians believed that a balanced relationship between people and animals was an essential element of the cosmic order; thus humans, animals and plants were believed to be members of a single whole.Animals, both domesticated and wild, were therefore a critical source of spirituality, companionship, and sustenance to the ancient Egyptians. Cattle were the most important livestock; the administration collected taxes on livestock in regular censuses, and the size of a herd reflected the prestige and importance of the estate or temple that owned them. In addition to cattle, the ancient Egyptians kept sheep, goats, and pigs. Poultry such as ducks, geese, and pigeons were captured in nets and bred on farms, where they were force-fed with dough to fatten them. The Nile provided a plentiful source of fish. Bees were also domesticated from at least the Old Kingdom, and they provided both honey and wax. The ancient Egyptians used donkeys and oxen as beasts of burden, and they were responsible for plowing the fields and trampling seed into the soil. The slaughter of a fattened ox was also a central part of an offering ritual.Horses were introduced by the Hyksos in the Second Intermediate Period, and the camel, although known from the New Kingdom, was not used as a beast of burden until the Late Period. There is also evidence to suggest that elephants were briefly utilized in the Late Period, but largely abandoned due to lack of grazing land. Dogs, cats and monkeys were common family pets, while more exotic pets imported from the heart of Africa, such as lions, were reserved for royalty. Herodotus observed that the Egyptians were the only people to keep their animals with them in their houses.During the Predynastic and Late periods, the worship of the gods in their animal form was extremely popular, such as the cat goddess Bastet and the ibis god Thoth, and these animals were bred in large numbers on farms for the purpose of ritual sacrifice.
In technology, medicine and mathematics, ancient Egypt achieved a relatively high standard of productivity and sophistication. Traditional empiricism, as evidenced by the Edwin Smith and Ebers papyri (c. 1600 BC), is first credited to Egypt. The Egyptians created their own alphabet and decimal system
Early Egyptians knew how to assemble planks of wood into a ship hull and had mastered advanced forms of shipbuilding as early as 3000 BC. The Archaeological Institute of America reports that some of the oldest ships yet unearthed are known as the Abydos boats. These are a group of 14 discovered ships in Abydos that were constructed of wooden planks "sewn" together. Discovered by Egyptologist David O'Connor of New York University, woven straps were found to have been used to lash the planks together, and reeds or grass stuffed between the planks helped to seal the seams.Because the ships are all buried together and near a mortuary belonging to Pharaoh Khasekhemwy, originally they were all thought to have belonged to him, but one of the 14 ships dates to 3000 BC, and the associated pottery jars buried with the vessels also suggest earlier dating. The ship dating to 3000 BC was 75 feet (23 m) long and is now thought to perhaps have belonged to an earlier pharaoh. According to professor O'Connor, the 5,000-year-old ship may have even belonged to Pharaoh Aha. Early Egyptians also knew how to assemble planks of wood with treenails to fasten them together, using pitch for caulking the seams. The "Khufu ship", a 43.6-meter vessel sealed into a pit in the Giza pyramid complex at the foot of the Great Pyramid of Giza in the Fourth Dynasty around 2500 BC, is a full-size surviving example that may have filled the symbolic function of a solar barque. Early Egyptians also knew how to fasten the planks of this ship together with mortise and tenon joints.Despite the ancient Egyptian's ability to construct very large boats to sail along the easily navigable Nile, they were not known as good sailors and did not engage in widespread sailing or shipping in the Mediterranean or Red Seas.
The ancient Egyptians engaged in trade with their foreign neighbors to obtain rare, exotic goods not found in Egypt. In the Predynastic Period, they established trade with Nubia to obtain gold and incense. They also established trade with Palestine, as evidenced by Palestinian-style oil jugs found in the burials of the First Dynasty pharaohs. An Egyptian colony stationed in southern Canaan dates to slightly before the First Dynasty. Narmer had Egyptian pottery produced in Canaan and exported back to Egypt. By the Second Dynasty at latest, ancient Egyptian trade with Byblos yielded a critical source of quality timber not found in Egypt. By the Fifth Dynasty, trade with Punt provided gold, aromatic resins, ebony, ivory, and wild animals such as monkeys and baboons. Egypt relied on trade with Anatolia for essential quantities of tin as well as supplementary supplies of copper, both metals being necessary for the manufacture of bronze. The ancient Egyptians prized the blue stone lapis lazuli, which had to be imported from far-away Afghanistan. Egypt's Mediterranean trade partners also included Greece and Crete, which provided, among other goods, supplies of olive oil. In exchange for its luxury imports and raw materials, Egypt mainly exported grain, gold, linen, and papyrus, in addition to other finished goods including glass and stone objects.
The ancient Egyptians produced art to serve functional purposes. For over 3500 years, artists adhered to artistic forms and iconography that were developed during the Old Kingdom, following a strict set of principles that resisted foreign influence and internal change.These artistic standards—simple lines, shapes, and flat areas of color combined with the characteristic flat projection of figures with no indication of spatial depth—created a sense of order and balance within a composition. Images and text were intimately interwoven on tomb and temple walls, coffins, stelae, and even statues. The Narmer Palette, for example, displays figures that can also be read as hieroglyphs.Because of the rigid rules that governed its highly stylized and symbolic appearance, ancient Egyptian art served its political and religious purposes with precision and clarity. Ancient Egyptian artisans used stone to carve statues and fine reliefs, but used wood as a cheap and easily carved substitute. Paints were obtained from minerals such as iron ores (red and yellow ochres), copper ores (blue and green), soot or charcoal (black), and limestone (white). Paints could be mixed with gum arabic as a binder and pressed into cakes, which could be moistened with water when needed. Pharaohs used reliefs to record victories in battle, royal decrees, and religious scenes. Common citizens had access to pieces of funerary art, such as shabti statues and books of the dead, which they believed would protect them in the afterlife. During the Middle Kingdom, wooden or clay models depicting scenes from everyday life became popular additions to the tomb. In an attempt to duplicate the activities of the living in the afterlife, these models show laborers, houses, boats, and even military formations that are scale representations of the ideal ancient Egyptian afterlife. Despite the homogeneity of ancient Egyptian art, the styles of particular times and places sometimes reflected changing cultural or political attitudes. After the invasion of the Hyksos in the Second Intermediate Period, Minoan-style frescoes were found in Avaris. The most striking example of a politically driven change in artistic forms comes from the Amarna period, where figures were radically altered to conform to Akhenaten's revolutionary religious ideas. This style, known as Amarna art, was quickly and thoroughly erased after Akhenaten's death and replaced by the traditional forms.
The architecture of ancient Egypt includes some of the most famous structures in the world: the Great Pyramids of Giza and the temples at Thebes. Building projects were organized and funded by the state for religious and commemorative purposes, but also to reinforce the power of the pharaoh. The ancient Egyptians were skilled builders; using simple but effective tools and sighting instruments, architects could build large stone structures with accuracy and precision. The domestic dwellings of elite and ordinary Egyptians alike were constructed from perishable materials such as mud bricks and wood, and have not survived. Peasants lived in simple homes, while the palaces of the elite were more elaborate structures. A few surviving New Kingdom palaces, such as those in Malkata and Amarna, show richly decorated walls and floors with scenes of people, birds, water pools, deities and geometric designs. Important structures such as temples and tombs that were intended to last forever were constructed of stone instead of bricks. The architectural elements used in the world's first large-scale stone building, Djoser's mortuary complex, include post and lintel supports in the papyrus and lotus motif. The earliest preserved ancient Egyptian temples, such as those at Giza, consist of single, enclosed halls with roof slabs supported by columns. In the New Kingdom, architects added the pylon, the open courtyard, and the enclosed hypostyle hall to the front of the temple's sanctuary, a style that was standard until the Graeco-Roman period. The earliest and most popular tomb architecture in the Old Kingdom was the mastaba, a flat-roofed rectangular structure of mudbrick or stone built over an underground burial chamber. The step pyramid of Djoser is a series of stone mastabas stacked on top of each other. Pyramids were built during the Old and Middle Kingdoms, but most later rulers abandoned them in favor of less conspicuous rock-cut tombs. The 25th dynasty was a notable exception, as all 25th dynasty pharaohs constructed pyramids.
Materials, Stones, Mud bricks, Wood
Style, Pyramids, The temples at Thebes, Great Pyramids of Giza, The Sphinx
Temples & Tombs
All Egyptian reliefs were painted, and less prestigious works in tombs, temples and palaces were just painted on a flat surface. Stone surfaces were prepared by whitewash, or if rough, a layer of coarse mud plaster, with a smoother gesso layer above; some finer limestones could take paint directly. Pigments were mostly mineral, chosen to withstand strong sunlight without fading. The binding medium used in painting remains unclear: egg tempera and various gums and resins have been suggested. It is clear that true fresco, painted into a thin layer of wet plaster, was not used. Instead the paint was applied to dried plaster, in what is called "fresco a secco" in Italian. After painting, a varnish or resin was usually applied as a protective coating, and many paintings with some exposure to the elements have survived remarkably well, although those on fully exposed walls rarely have.Small objects including wooden statuettes were often painted using similar techniques. Many ancient Egyptian paintings have survived due to Egypt's extremely dry climate. The paintings were often made with the intent of making a pleasant afterlife for the deceased. The themes included journey through the afterworld or protective deities introducing the deceased to the gods of the underworld (such as Osiris). Some tomb paintings show activities that the deceased were involved in when they were alive and wished to carry on doing for eternity. In the New Kingdom and later, the Book of the Dead was buried with the entombed person. It was considered important for an introduction to the afterlife. Egyptian paintings are painted in such a way to show a profile view and a side view of the animal or person. For example, the painting to the right shows the head from a profile view and the body from a frontal view. Their main colors were red, blue, black, gold, and green.
The monumental sculpture of Ancient Egypt is world-famous, but refined and delicate small works exist in much greater numbers. The Egyptians used the distinctive technique of sunk relief, which is well suited to very bright sunlight. The main figures in reliefs adhere to the same figure convention as in painting, with parted legs (where not seated) and head shown from the side, but the torso from the front, and a standard set of proportions making up the figure, using 18 "fists" to go from the ground to the hair-line on the forehead.This appears as early as the Narmer Palette from Dynasty I, but there as elsewhere the convention is not used for minor figures shown engaged in some activity, such as the captives and corpses.Other conventions make statues of males darker than females ones. Very conventionalized portrait statues appear from as early as Dynasty II, before 2,780 BCE,and with the exception of the art of the Amarna period of Ahkenaten,and some other periods such as Dynasty XII, the idealized features of rulers, like other Egyptian artistic conventions, changed little until after the Greek conquest. Egyptian pharaohs were always regarded as gods, but other deities are much less common in large statues, except when they represent the pharaoh as another deity; however the other deities are frequently shown in paintings and reliefs. The famous row of four colossal statues outside the main temple at Abu Simbel each show Rameses II, a typical scheme, though here exceptionally large.Most larger sculpture survives from Egyptian temples or tombs; massive statues were built to represent gods and pharaohs and their queens, usually for open areas in or outside temples. The very early colossal Great Sphinx of Giza was never repeated, but avenues lined with very large statues including sphinxes and other animals formed part of many temple complexes. The most sacred cult image of a god in a temple, usually held in the naos, was in the form of a relatively small boat or barque holding an image of the god, and apparently usually in precious metal – none have survived. By Dynasty IV (2680–2565 BCE) at the latest the idea of the Ka statue was firmly established. These were put in tombs as a resting place for the ka portion of the soul, and so we have a good number of less conventionalized statues of well-off administrators and their wives, many in wood as Egypt is one of the few places in the world where the climate allows wood to survive over millennia, and many block statues. The so-called reserve heads, plain hairless heads, are especially naturalistic, though the extent to which there was real portraiture in Ancient Egypt is still debated. Early tombs also contained small models of the slaves, animals, buildings and objects such as boats necessary for the deceased to continue his lifestyle in the afterworld, and later Ushabti figures.However the great majority of wooden sculpture has been lost to decay, or probably used as fuel. Small figures of deities, or their animal personifications, are very common, and found in popular materials such as pottery. There were also large numbers of small carved objects, from figures of the gods to toys and carved utensils. Alabaster was often used for expensive versions of these; painted wood was the most common material, and normal for the small models of animals, slaves and possessions placed in tombs to provide for the afterlife. Very strict conventions were followed while crafting statues and specific rules governed appearance of every Egyptian god. For example, the sky god (Horus) was essentially to be represented with a falcon’s head, the god of funeral rites (Anubis) was to be always shown with a jackal’s head. Artistic works were ranked according to their compliance with these conventions, and the conventions were followed so strictly that, over three thousand years, the appearance of statues changed very little. These conventions were intended to convey the timeless and non-aging quality of the figure's ka.
Symbolism also played an important role in establishing a sense of order. Symbolism, ranging from the pharaoh's regalia (symbolizing his power to maintain order) to the individual symbols of Egyptian gods and goddesses, is omnipresent in Egyptian art. Animals were usually also highly symbolic figures in Egyptian art. Colors were more expressive rather than natural: red skin implied vigorous tanned youth, whereas yellow skin was used for women or middle-aged men who worked indoors; blue or gold indicated divinity because of its unnatural appearance and association with precious materials; the use of black for royal figures expressed the fertility of the Nile from which Egypt was born. Stereotypes were employed to indicate the geographical origins of foreigners