Egyptian sculpture of the ancient kingdom. Sculpture of ancient Egypt

Egyptian sculpture of the ancient kingdom. Sculpture of ancient Egypt
Egyptian sculpture of the ancient kingdom. Sculpture of ancient Egypt
08.03.2020

Sculpture of ancient Egypt

Sculpture of ancient Egypt - One of the most distinctive and strictly canonically developed areas of the art of ancient Egypt. The sculpture was created and developed to submit the ancient Egyptian gods, pharaohs, kings and queens in physical form. There were also many images of ka in the graves of ordinary Egyptians, mostly from the tree, some of them are preserved. The statues of the gods and pharaohs were put on the universal review, as a rule, on open spaces and outside the temples. Large Sphinx in Giza is no longer repeated in a natural value, but the alleys of reduced sphydrix copies and other animals became an indispensable attribute of many temple complexes. The most sacred image of God was in the temple, in the altar part, as a rule, in a boat or barca, usually from precious metals, however, no such image has been preserved. A huge number of carved figurines have survived - from the figures of the gods to toys and dishes. Such figures were made not only from wood, but also from alabaster, more expensive material. Wooden images of slaves, animals and property are kept in the tombs for escorting the dead in the afterlife.

Statues, as a rule, retain the original shape of a stone block or a piece of wood, from which it is carved. In the traditional status of seated scribes, similarity with the form of the pyramid (cubic statue) is just often detected.

There was a very strict canon of the creation of ancient Egyptian sculpture: the body's color of the man was supposed to be darker than the colors of the body of a woman, the hands of a sitting man should have been solely on the knees. There were certain rules for the image of the Egyptian gods: so, God Morave should be depicted from the head of Sokol, the god of the dead Anubis - with the head of Shakala. All sculptures were created on this canon and the following was so stringent that almost a three-time history of the existence of ancient Egypt, he did not undergo changes.

Sculpture of the early kingdom

The sculpture of the early trial period takes place mainly of three large centers where the temples were located - she, Abidos and Coptos. Statues served as an object of worship, committing rites and had a dedication destination. A large group of monuments was associated with the rite of "Cheb-Sed" - the ritual of updating the physical power of Pharaoh. This type includes the types of sitting and reaching the figures of the king performed in round sculpture and relief, as well as the image of its ritual run - characteristic exclusively for compositions in the relief.

The list of Cheb-Sedna Monuments belongs the statue of Pharaoh Hasesema, represented by the throne in a ritual apparel. This sculpture indicates the improvement of technical techniques: the figure has the right proportions and is modeled volumetric. Here already identified the main features of the style - the monumentality of the shape, the front of the composition. Mobility of the statue inscribed in the rectangular block of the throne, straight lines prevail in the outlines of the figure. Hashem's face is portraitfully, although it is greatly idealized. It draws attention to the formulation of the eye in orbit with a convex eye apple. This technique was applied to the entire group of monuments of that time, being a characteristic stylistic sign of portraits of the early kingdom. By the same period, the dynamic period standing at the entire growth (ancient Egypt) is established and the dynastic period]] is inferior in the plastic of the early kingdom to the correct transmission of the proportions of the human body.

Sculpture of the ancient kingdom

Statue of Kaaper ("Rural Older"). Cairo Museum. Egypt.

Sculpture of the middle kingdom

Significant changes in the sculpture occurs in the middle kingdom, which is largely due to the presence and creative rivalry of many local schools that have been independence during the decay period. Since the time of the XII dynasty, the wider uses (and, accordingly, they are made in large quantities) ritual statues: they are now installed not only in tombs, but also in the temples. Among them are still dominated by images associated with the rite of Cheb-Sed (ritual revival of the vitality of Pharaoh). The first stage of the rite was associated with the symbolically killing of the elderly Lord and was committed over his statue that reminded on the composition of canonical images and sculptures of sarcophagus. This type includes a Cheb-Sedna Statue of Mentukotepa-Neckepetra, depicting Pharaoh in an emphasized pose with arms crossed on his chest. The style is distinguished by a large proportion of convention and generalization, as a whole typical of the sculptural monuments of the beginning of the era. In the future, the sculpture comes to a more subtle modeling of individuals and greater plastic dismemberment: before all this is manifested in women's portraits and images of individuals.

Over time, the iconography of the kings is changing. By the time of the XII dynasty, the idea of \u200b\u200bthe divine power of Pharaoh is inferior to a place in the images of persistent attempts to convey human personality. The bloody sculpture with the official topics falls at the time of the reign of SENUSERT III, which was portrayed in all ages - from children to mature. The best of these images are obsidian head of SENUSERT III and the sculptural portraits of His Son Amenhemete III. The original finding of the masters of local schools can be considered the type of cubic statue - the image of the figure concluded in the monolithic stone block.

The art of the Middle Kingdom - the era of the flourishing of plastics of small forms associated for most of them is still with the funeral cult and its rites (swimming on the roaster, bringing sacrificial gifts, etc.). Statuettes were cut out of wood, covered with soil and signed. Often, whole multifigure compositions were created in a round sculpture (just as it was taken in the reliefs of the ancient kingdom).

Sculpture of the new kingdom

In the art of the new kingdom, a sculptural group portrait appears, especially the image of the married couple.

New qualities acquire the art of relief. Some genres of literature, who received a wide range of literature, who received a wide distribution of a wide distribution in the era of the new kingdom are notable for this artistic area. Hymns, military chronicles, love lyrics. Often, texts, weathered in these genres, are connected to the embossed compositions in the temples and tombs. In the reliefs of the Fan Temples there is an increase in decorativeness, free variation of the equipment of the bas-relief and high relief in combination with colorful paintings. Such is the portrait of Amehotep III from the Tomb of Haemchta, combining different elevation of the relief and in this respect is an innovative work. Reliefs are still located on registers, allowing you to create narrative cycles of a huge spatial extent.

AMARN period

The art of the Amarn period is distinguished by a wonderful originality, which follows primarily from the nature of the new worldview. The most unusual fact is to refuse strictly idealized, sacred understanding of the image of Pharaoh. The new style was reflected even in the colossios of Amenhotep IV installed in the Uton Temple in the carnac. These statues are not only typical canonical techniques of monumental art, but also a new understanding of the portrait, which now demanded a reliable transmission of the appearance of Pharaoh up to the characteristic features of the body structure. The criterion of believing was a kind of protest against the former official art, so the word "Maat" is filled with a special meaning - truth. Images of Ehnaton - a curious example of a combination of reliability with the requirement of marginal generalness and regulations inherent to Egyptian art. Pharaoh's head shape, unusually elongated face, thin hands and narrow chin - all these features are carefully preserved and reflected in a new tradition, but all the visual techniques have been fixed on special samples - sculptural models.

Characteristic techniques of Pharaoh were distributed to members of his family. Frank innovation was the image of the figures entirely into the profile, which was not allowed by the Egyptian canon before. New was the fact of conservation in the portrait of ethnic traits: Such is the head of the head of Mother Pharaoh's head and vitreous paste. Intimate lyrical beginning is manifested in the Amann reliefs performed by natural plastics and not containing canonical frontal images.

The culmination of the development of visual art is rightly considered works by the workshop sculptors. They own the well-known Polychrome head of Queen Nefertiti in Blue Tiara. Together with the completed works in the excavations of sculptural workshops, many plaster masks that served models were found.

Sculpture of the late kingdom

Notes


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Details Category: Fine Arts and Architecture of Ancient Peoples Published December 21, 2015 10:46 Views: 8850

The art of ancient Egypt is divided into three periods:

The art of the ancient kingdom, the art of the Middle Kingdom and the art of the new kingdom. In each of these periods, his own style was developed, their canons were developed and innovations were introduced. Briefly, these periods can be described as follows.

General characteristic of the art of ancient Egypt

Art of the ancient kingdom (XXXII V.-XXIV c. BC. E.)

The main canons of Egyptian art, which were then saved over the centuries, developed in the first half of the 3th millennium BC. e. It was a monumental style, due to the fact that the art of Egypt was an integral part of the funeral ritual, closely connected with the religion, which was generally the force of nature and earthly power.
By this time include Great Pyramids and Big Sphinx.

Pyramids of Egypt

Egyptian pyramids are the greatest architectural monuments of ancient Egypt. These are huge stone structures of the pyramidal form used as tomb for the pharaohs of ancient Egypt. In total, more than 100 pyramids were found in Egypt.

Neferra Pyramid in Abusire

Big Sphinx

Big Sphinx in Giza - the oldest preserved monumental sculpture on Earth. It is carved from a monolithic limestone rock in the form of a sphinx - lying on the sand of a lion, the person of which is granted portrait similarity with Pharaoh Hefren (approx. 2575-2465 BC. E.). Statue length 72 m, height 20 m; There was a small sanctuary between the front paws in ancient times (the altar dedicated to the Divine).

Large Sphinx and Hekops Pyramid
From ancient times in Egypt, it was customary to depict Pharaoh in the form of a lion, exterminating his enemies. Circumstances and the exact time of the construction of the Sphinx are not yet defined. For locals, Sphinx was a kind of talisman, the ruler of the Nile. They believed that the level of spill of the Great River and the fertility of their fields depended.

Great Pyramid Heops

Heops - the second pharaoh of the IV dynasty of the ancient kingdom of Egypt (2589-2566 BC. E. Or 2551-2528. BC e. E. presumably), builder of the Great Pyramid in Giza. Behind the cheops, the reputation of the classic oriental despot and a cruel ruler was fixed. He reigned for about 27 years. The pyramid is the greatest achievement, as well as the first among seven wonders of the world in the ancient world. She is the only miracles of the world, preserved to the present day. The initial height of 146.6 m (today only 137.5 m) was considered the highest structure in the world for 3,500 years.

Art of the Middle Kingdom (XXI V-XVIII century. BC.)

The art of the Middle Kingdom thoroughly observed the traditions and canons of ancient, but made their own characteristics. The beginning of the Middle Kingdom: after a long period of the Troubles and the decay of Egypt, it was united under the authority of the Fan governments. But now the centralization was not absolute as before. Local rulers (nomarhi) became richer and more independent and assigned to themselves royal privileges. The venel tombs began to be located at the foot of the royal pyramids, but separately. The pyramids became more modest and less than sizes. During this period, the development of a jewelry business began.
With a decrease in the pathos of monumentality begins to develop genre diversity. The portrait develops, the individual traits are gradually intensified.

Art of the new kingdom (XVII V.-XI century BC er)

In the art of the new kingdom, the manifestation of human feelings was notable, reflections.
The tombs ceased to be ground and hide in the gorges. The architecture of temples began to prevail. The priests became an independent political force, competing even with the authorities of the king. Although pharaohs, their exploits and conquests were glorified in the temples.
For several centuries, the famous Temples of Amon-ra in Karnak and Luxor, near Five were built and completed.

The main temple of Amona in Karnak
The innovative stage is associated with the reign of Pharaoh reformer Ehnaton in the XIV century. BC e. Ehnaton spoke out against the Fivansky Vribony, canceled the entire ancient Pantheon of the gods, made priests with his irreconcilable enemies.

Ehnaton
The art of Ehnaton's times turned to simple senses of people and their mental states. In art, the lyrical scenes of the family life of Ehnaton appear: he hugs his wife, caresses the child.
But the reaction to his reforms began already at one of his nearest successors - Tutankhamon. Soon all old cults were restored. But many innovative ideas and techniques of Ehnaton have been preserved in ancient Egyptian art.

Ramses II.
The last illuminated conqueror Ramses II began to cultivate the solemn-monumental style, and after Ramses followed a strip of long wars, the conquest of Egypt with Ethiopses, Assyrians. Egypt lost military and political power, and then the cultural championship. In the VII century BC e. The Egyptian state is again united around the Sais rulers, and ancient Egyptian art in their traditional forms has been revived. But in it no longer had the same vitality, fatigue is felt, the drying of creative energy. The world-historical role of Egypt was exhausted.

Architecture of ancient Egypt

Architecture of the early kingdom

Monuments of the monumental architecture of this period are practically not survived, because The main building material was easily destroyed raw brick. Cline, reed and wood used. The stone was used only as a finishing material. This era includes the type of palace facades. The cult and memorial buildings are better preserved: sanctuary, chapels and mastabi. During this period, some receptions have developed: concave eaves, ornamental friezes (scenic or sculptural), the design of the doorway is a deep ledge.

Architecture of the ancient kingdom - "Time Pyramids"

During this period, a powerful centralized state under the rule of Pharaoh was created, which is considered the son of God RA, it was dictated by the main type of architectural structure - the tomb. The largest tsaric tomb-pyramids are created in size, over the facilities of which tens of years have worked not only slaves, but also peasants. The pyramids indicate that in the ancient Egypt of this time, accurate sciences and crafts were well developed.

Step-pyramid of Josrah in Sakkare
Step pyramids were erected by other pharaohs of the III dynasty. By the end of the period of the ancient kingdom, a new type of building appears - the solar temple, which was usually built on the elevation and was applied by the wall.

Official Temple of Network I in Abidos

Architecture of the Middle Kingdom

After Mentukhotep i in 2050 BC. Egue united Egypt and restored the United Pharaoh Power under the auspices of Phi, the psychology of individualism began to dominate: everyone began to take care of his own immortality. Now not only Pharaoh is already, but simple mortals began to claim privileges in the otherworldly world. There was an idea of \u200b\u200bequality after death, it immediately affected the technical side of the deceased cult. The tombs of the Mastaba type became excessive luxury. To ensure eternal life, one stele was already enough - the stone slab on which magical texts were written.
But Pharaohs continued to build tombs in the form of a pyramid, although their dimensions decreased, no two-ton blocks served material for construction, and the raw brick changed the masonry method. The base is 8 capital stone walls. Other 8 walls arrived from these walls at an angle of 45º, and the gaps between them were filled with chips of stone, sand, brick. From above, the pyramids were faced with limestone plates. To the eastern side of the pyramid adjoined the upper clock temple, from which the indoor transition to the temple in the valley was walking. Currently, these pyramids are piles of ruins.

Official Temple of Pharaoh Mentukotep II
A new type of burial structures appeared: tombs. The main part of the tomb was a closed temple decorated by a portion; In the center, the Rampus led onto the second terrace, where the second portico was surrounded by a column hall on three sides, in the center of which built folded from the stone blocks of the pyramid. Its foundation served natural rock. From the western side there was an open courtyard. Pharaoh's tomb was placed under the column hall.

Architecture of the new kingdom

In the architecture and art of the new kingdom, the main role is started to play the hair. They are built in lush palaces and houses, magnificent temples. The glory of the city remained for many centuries.
The construction of temples was carried out in three main directions: ground, rock and semi-flue temple complexes.

Facade of the rocky temple of Ramses II

Architecture of the late kingdom

With the era of XXVI, the dynasty of the income lose their political and artistic importance, and the city of SAIS becomes the new capital of Egypt. The architectural monuments of the Saasle period are almost preserved. In the few preserved ground and rock facilities, some elements of the temple architecture: hypostyls, pylons, chains hall.
Hypostil - supported by columns a large hall of the temple or palace with numerous, regularly supplied columns.

Large hypostile hall in Karnak (Egypt)
In the architecture of the Epoch of Persian rule, there is a gradual refusal of the type of monumental ensembles; Temples become much smaller in size. The type of classical colonnade of the time of the new kingdom is preserved, but the magnificity and detailed development of the decor increase markedly.
After the conquest of Egypt, Greeks occurs the synthesis of local artistic culture with the traditions of antiquity.

Temple in fillet - evidence of the evolution of the traditions of ancient Egyptian art during the period of Hellenism

Sculpture of ancient Egypt

The sculpture of ancient Egypt is distinctive and strictly canonically regulated. It was created and developed to present the ancient Egyptian gods, pharaohs, kings and queens in physical form. The statues of gods and pharaohs were put on the universal review usually on open spaces and outside the temples. The most sacred image of God was in the temple. Many carved figurines have survived. Such figures were made of wood, alabaster, more expensive material. Wooden images of slaves, animals and property put in the tombs for escorting the dead in the afterlime world.

Statues of Hatshepsut and Tutamos III (Carnac)
There were also many images of ka in the graves of ordinary Egyptians, mostly from the tree, some of them are preserved. Ka - the spirit of man, the creature of the highest order, the Divine Life force. After the death of a person Ka continued his existence within the tomb and took offering.
Ka portrayed in the form of a person, on the head of which raised hands bent in the elbows are placed.
Ka had inanimate objects. The gods had several ka.
Canon creation of ancient Egyptian sculpture: the body of the man's body was supposed to be darker than the color of the body of a woman, the hands of a sitting man should have been solely on her knees. Rules of the image of the Egyptian gods: God the mountain should be depicted from the head of Sokol, the god of the dead Anubis - with the head of Shakala, etc. The sculptural canon of ancient Egypt existed 3 thousand years.
The blooming sculpture of small forms began in the art of the Middle Kingdom. Although it was still associated with a funeral cult, but the figurines were already covered with soil and signed, integer multifigure compositions were created in a round sculpture.
In the new kingdom, a monumental sculpture was actively started to develop, the appointment of which began to go beyond the borders. In the FVAN sculpture of the new kingdom, individuality features appear. For example, portrait images of Hatshepsut. Hatshepsut - Female Pharaoh of the new kingdom of ancient Egypt from the XVIII dynasty. Hatshepsut finished the restoration of Egypt after the invasion of Gixos and erected a lot of monuments throughout Egypt. She, along with Tutamos III, Ehnanton, Tutankhamon, Ramses II and Cleopater VII is one of the most famous Egyptian rulers.

Hatshepsut
In the art of the new kingdom, a sculptural group portrait also appears, especially the image of the married couple.
The innovation was the image of the figures entirely into the profile, which was not allowed by the Egyptian canon. New was the fact of conservation in the portrait of ethnic traits. The lyric start manifests itself in the Amann reliefs, performed by natural plastics and not containing canonical frontal images.
The culmination of the development of fine art is fairly considered works of sculptors of the workshop of Thames. They belong to the well-known head of Queen Nefertiti in Blue Tiara.

Bust Nefertiti. New Museum (Berlin)
Nefertiti - "Home Spouse" of the ancient Egyptian pharaoh of the XVIII dynasty of Ehnaton (approx. 1351-1334 BC. E.). It is believed that never before Egypt did not give rise to such beauty. She was called "perfect"; Her face decorated temples across the country.
In the sculpture of the late kingdom, the skills of an ancient high skill of sculpture partly fade. It becomes relevant to current static, the conditional outlines of persons, canonical postures and even the similarity of the "archaic smile" characteristic of the art of the early and ancient kingdom. The sculptures of the Ptolemeevsky period are also mainly implemented in the traditions of the Egyptian canon. But the Hellenistic culture influenced the nature of the interpretation of the person, a large plasticity, softness and lyricism appear.

Statue of Osiris. Louvre (Paris)

Painting ancient Egypt

All sculptural images in ancient Egypt brightly painted. The composition of the paint: egg tempera, viscous substances and resins. The real fresco was not used, only "fresco a secco" (wall painting, performed on solid, dried plaster, secondaryly moistened. Paints are used, arranged on a vegetable glue, egg or mixed with lime). From above, painting was covered with a layer of varnish or resin to save the image for a long time. Most often, small statues painted, especially wooden.
Many Egyptian paintings have been preserved due to the dry climate of the ancient Egypt. Pictures were created to improve the life of the late in the afterlife world. Travel scenes were depicted in the afterlife and a meeting in the afterlife with the Divine (the court of Osiris).

Part of the Book of Dead from Ahmim, depicting the court of Osiris (IV-I centuries. BC. E.)
Often, the earthly life of the deceased was often depicted to help him do the same in the kingdom of the dead.
In the new kingdom, together with the dead began to bury the book of the dead, which was considered important for the afterlife.

Book of dead

In the era of the ancient kingdom, there was a custom of reading out loud spells for the deceased king. Later, such texts began to record both the tombs of Egyptian nobles. By the time of the Middle Kingdom of the Assembly of Sapproaching Spells, they were already on the surface of sarcophagus and became available to everyone who could acquire such a sarcophagus. In the new kingdom and later they were recorded on papyrus scrums. These scrolls and got the name of the "Books of the Dead": the jet of prayers, chants, sallows and spells associated with a funeral cult. Gradually, the elements of morality penetrate into the book of the dead.

Court Osirisa

This is the 125th chapter, which describes the posthumous court of Osiris (Tsar and the judge of the afterlife) over the dead. To chapter. Illustration: Osiris with crown and rod sits on the throne. Upstairs depicted 42 God. In the center of the hall, there are scales on which Gods weigh the heart of the late (the symbol of the soul in the ancient Egyptians). On one cup of weights there is a heart, that is, the conscience of the deceased, light or burdened with sins, and on the other truth in the form of the feather of the Goddess Maat or Mat figurines. If a person led the righteous lifestyle on earth, his heart and feather weighed the same, if sinned, then the heart weighed more. The justified deceased sent to the afterlife paradise, the sinner went the monster Amat (Leo with a crocodile head).
At the court, the deceased appeals to Osiris, and then to each of the 42 gods, justifying in mortal sin, which God behaved this or that. The same chapter contains the text of the exclusive speech.

Gods weigh the heart of the late (the Book of the Dead)
The main colors of painting in ancient Egypt were red, blue, black, brown, yellow, white and green.

Sculpture of ancient Egypt

The sculpture in Egypt appeared in connection with religious requirements and developed depending on them. The cultural requirements led to the appearance of a type of statues, their iconography and installation site. The basic rules for sculptures are finalized during the early kingdom times: symmetry and frontal in the construction of figures, clarity and calm position in the best way corresponded to the cult destination of the statues. These features of the statues were due to the location of them in the wall or in niche. The prevailing poses - sitting with his knees and standing with the left foot standing forward - folded very early. A little later appears "Pozcov's Pose" - a person sitting on crossed legs. At first, in the pose of the scribe, only tsarist sons were depicted. Family groups appear early. A number of rules was required for the whole sculpture: a direct statement of the head, some attributes of power or profession, a certain coloring (male bodies were brick colors, women's yellow, black - black). Eyes often encrusted bronze and stones.

Bodies statues were exaggerated with powerful and developed, informing the statue of solemn elevation. Persons in some cases, on the contrary, had to transmit individual traits of the deceased. Hence the early appearance of a sculptural portrait in Egypt. The most wonderful, who now became famous portraits were hidden in tombs, some of them are in the stirred premises where no one could see them. On the contrary, the statues themselves could, according to the beliefs of the Egyptians, to observe the life through small holes at the level of the eyes.

Mastering the sculptor with portrait art probably contributed to one of the funds, with the help of which they tried to save the corpse from the tension: sometimes it was covered with plaster. At the same time, a gypsum mask was obtained on the face. However, since the eyes had to be open to portray the face of a living person, such a mask required additional processing. Apparently, this receipt of the mask and casting from it was used by sculptors when working on portraits. In some tombs, two types of statues are found: one - the transmitted individual traits of a person depicting it without a wig and dressed in fashion his time; The other - with the face, is projected significantly more idealized, dressed in short formal obscurity and in a lush wig. The same phenomenon is observed in the relief. It is still impossible to explain this with reliability, it is undoubtedly only that these statues reflected various aspects of the clock cult. In a number of tombs, wooden statues were discovered, which may have been associated with one of the moments of the clock ritual, when the statue was raised several times and lowered. Above the statue committed a rite of "cuddle of mouths and eyes", after which it was considered revived and got the opportunity to speak.

In addition to the statues of the dead in the tomb, especially in the middle kingdom, the figures of workers were also placed, who, as believed, should have been provided to ensure the afterwarding existence of the deceased. From here there are other requirements for sculptors - to portray people engaged in the most diverse work. In full compliance with the general requirement of Egyptian art, a characteristic moment is selected for each occupation, which becomes canonical for this type. The general rules, such as the frontal and adopted coloring, are preserved here.

Statues played a big role in the architectural design of the temples: the roads leading to the temple were bordered by pylons, in the courtyards and interior. Statues that had a large architectural and decorative burden differed from purely cult. They were made of large sizes, they were interpreted generally, without much detail.

The tasks of sculptors who worked on the cult images of the gods, kings and individuals were different. The large group was the royal statues dedicated to the Pharaohs in the temple in order to forever put themselves under the defense of the Divine. Prayers in such statues usually contain requests for health, well-being, sometimes requests for a political nature. Changes in the field of ideology, which occurred after the fall of the ancient kingdom, lead to changes in the field of art: Pharaoh, seeking to glorify its power, put his statues not only in the funeral sanctuations, but also in the temples of various deities; Such figures were supposed to glorify the living ruler and the most specifically transmit portrait similarity.

In a special grace of Pharaoh in the temple, the statues of the venel, in particular architects that built this temple were dedicated. You could only dedicate my statue in the temple only with the permission of Pharaoh, but with a change in religious ideas and the spread of some royal rites to know, and then on the Middle Society Society, the privilege to devote their statues to the temple went to individuals.

Even by the end of the ancient kingdom, areas, monuments of which are distinguished by uniqueness. In the middle kingdom, centers are determined (in particular, the workshops of the Middle Egypt) with their own characteristics and traditions. Light figures with extended proportions occurring from Siuta (Soviet Assault), differ from Meirsk with their short heads and an underlined chest muscular; Mildly traded forms of bodies, the absence of sharp lines are characteristic of the Abidos sculpture.

The period of the XVIII dynasty is the heyday of Egyptian art, in particular in the field of sculpture. A special direction appeared at the end of this period under the influence of the new religious and philosophical teaching and state cult created by Amenhetepheep IV (Ehnaton). Paving with the old canon, the royal sculptors of this time produced new artistic principles. At the same time, seeking to transfer the characteristic features of the model, they overly sharpened and emphasized them. A new canon began to produce on the basis of the iconography of the very pharaoh reformer. However, later statues of the Amarn period are of greater development of the image, lack of exaggerations. The world famous sculptural portraits of Ehnaton and Queen Nefertiti from the workshop of the Johthymes sculptor. During the period of the XIX dynasty, returns to the former traditions, especially in the philas. The political situation, which pretended in the second half of the new kingdom, led to the allocation of northern workshops. Statues with mighty torso, thick hands and legs, wide flat faces were contrasted with external elegacity and the grace of sculpture with elongated proportions.

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Astrology of ancient Egypt has his flourishing astrology acquires in ancient Egypt. This is not by chance: his natural conditions were such that cyclicity was brightly expressed - the flood time was replaced by the growth time of the seed grain, and then occasionally occasionally, again

From the book Secrets and Riddles of Ancient Egypt Author Califluch Nikolai Mikhailovich

The architecture of the ancient Egypt of the Egyptians believed that if the body of the deceased mummicify, put it posthumously to all htits and put it in the "pyramid", then the spirit of the body of the ka, returning from the country of the dead, to visit the descendants learning "herself" and enter her body. Incue to us

From the book Secrets and Riddles of Ancient Egypt Author Califluch Nikolai Mikhailovich

The music of ancient Egypt Ancient Egyptian texts - the first written and, perhaps, the most important source of our ideas about music and musicians of that era. Images of musicians, scenes of musice and individuals are directly adjacent to this type of sources.

From the book Secrets and Riddles of Ancient Egypt Author Califluch Nikolai Mikhailovich

Features of ancient Egypt Poetics of ancient Egyptian mythology, unlike ancient, alien to the worldview of a person who is brought up in European culture due to its alogue: inconsistency prevents the material to systematize the material with the goal if not explained, then at least

From the book Secrets and Riddles of Ancient Egypt Author Califluch Nikolai Mikhailovich

History of Ancient Egypt All the history of ancient Egypt is divided into periods: a dalued period (up to 3000 BC. Er). Ancient kingdom (2900-2270 BC. E.) - The Epoch of the Board of the I-VI dynasties. This is the time of the builders of the pyramids in Giza, Kings: Heops (Houfou), Hefrena (Hafra) and Micheerina

Sculpture in the culture of ancient civilization on Earth plays a crucial role. According to the ideas of the Egyptians, one of the human souls - ka - has the ability to stay immediately in two worlds: earthly and ground. Hence the desire by any ways to preserve the body of the deceased person (embalming and mummifying), as well as the creation of a large number of sculptures that can serve as a shell for the soul "ka".

Another feature of the Egypt sculpture is strict canons (rules), for which all images were created. On the one hand, the sculpture was supposed to be quite realistic so that the soul could "recognize" his shell, on the other hand, canon demanded complete symmetry in the image of a person, and the physique also subordinate to the strict rules. That is why numerous images of the pharaohs, priests and gods seem to be the same type, and differences exist only in facial features. The departure from the rules was allowed only in the image of a low class people: officials, military, etc.

The absolute majority of the sculptures of ancient Egypt are static. Most often, the kings and gods are depicted by sitting on the throne, or standing, the hands of the shapes rest on their knees, or crossed on the chest, the look is directed right in front of them. A similar perspective created an amazing effect, the viewer seems that the statue looks straight to him, with whatever angle he did not look at the sculpture. Huge eyes of sculptures - also has a cult value. The Egyptians were confident that the man's soul is in his eyes. Therefore, all sculptures were painted very carefully.


The most famous Egyptian sculpture is a large Sphinx. The mythical creature with the head of Pharaoh Hafra and the body of a lioness. The monumental sculpture, the guardian of the pyramids served as the guard guard guard of the kings in the Valley of the Pyramids. The majestic posture, full of peace and renunciance, the power and internal force still produce an indelible impression on tourists.

The temple sculptures of the pharaohs and gods deserve special attention. Made in strict accordance with the canon, the Egyptian kings are represented by majestic, well-folded and unfounded. To depict Pharaoh, living God, could only be time and life. All the standing sculptures depict the king makes a step forward (the so-called "step in eternity"), symbolically, it means the transition of the lord from earthly life into eternal life.


The sculptural masks of Pharaohs, who closed the face of the pharaohs in sarcophagas were unusually interesting. Masters used precious metals and multicolored enamels to create masks. The most famous mask - Pharaoh Tutankhamon.

Sculpture portraits of Egyptian masters left us shiny samples of realism and plastics. Portraits of Nefertiti, Teeye, Micherina, Amenhotep III and others - undoubted masterpieces of ancient art. Most often sculptural portraits are the preserved parts of the statues lost in the centuries.

A separate conversation is worthy of the art of Amarne period. At this time, when Pharaoh Ehnaton forbade the worship of the numerous Gods of the Egyptians and proclaimed monotheism. At the same time, artists allowed to move away from the canon, to portray people as they really are. Therefore, the statues and images of the very rebellious pharaoh differ radically from images of other rulers. In front of the viewer, an ugly man, with curves of legs and a discover belly. But the value of these images lies in their historical accuracy and truthfulness.

For his sculptures, the Master of Ancient Egypt used the most different material: a tree, alabaster, basalt, quartzite, limestone. Features of each material were taken into account, helping to create unique, special, accurate and reliable images within the framework of strict canons.

The best samples of the sculpture of ancient Egypt are stored in museums

Art of Ancient Egypt in the collections of the British Museum

I will continue my show of the British Museum, catching up for you his best exhibits ... the next view of my favorite Egyptian art. And ....

Hall number 4-Egyptian sculpture

The most visited and popular are the halls of ancient Egypt. The people always crowd here. And this is not surprising - if you were in the British Museum, how to miss the opportunity to see with your own eyes the Mummy Pharaoh and their sarcophages? It is also interesting to see Wall drawings of 1350 BC, depicting the life of wealthy Egyptians of that time, a collection of amulets and jewelry, mummy cats and other animals.

It is always crowded here, well. What sculptures are large enough and sleepily watching the crowds of tourists from the depths of centuries. I will not talk, I will stop at some epoponates ... significant

Ancient Egyptian museum collection is one of the largest in the world (over 66 thousand exhibits). Chronologically covers the period IV-III thousand BC. before the VII century The richest section is the monumental plastic plate of the new kingdom (XVI-XI centuries BC): Granite head of Tutmes III, two figures of Amenhotep III from black granite, a huge head from his statue (approx. 1400 BC), Pharaoh Ramses II sculpture (approx. 1250 BC), stone sarcophages, sculpture of the gods.

About one hundred wooden sarcophagus, well-preserved mummies, including mummies of sacred animals, Coptic fabrics and Fayum portraits (I-IV centuries) are exhibited here. The meeting is 31 portrait: Sarcophagus with a portrait of Artemidor from Fayum (beginning II century), "Portrait of a young woman from Er-Rubai" (II century), "Portrait of a man from Havar" (beginning II century).

At the entrance to one of the halls, a Rosett stone is set (approx. 196 BC), with the carved text of the decree in honor of King Ptolemya V. Black basalt stove was found in 1799 French soldiers near the city of Rosette. Thanks to the inscription, twice repetitive text with various systems of Egyptian writing and transfer to Greek, Jean-Francois Champsolon (1790-1832) in 1822 deciphered Egyptian hieroglyphs.
In the Egyptian collection of the museum, papyrus is kept (approx. 800 documents), introducing peace with literary works, theological essays, religious anthem and myths, scientific treatises, records of historical events, as well as business and personal penwriting, legal documents. The museum stores the so-called "books of the Dead" - a set of magic spells, which included more than 180 chapters. The best samples were decorated with drawings, screensavers, miniatures: "Book of the Dead" Priestess Angei (approx. 1100 BC), "Book of the Dead" HUNERFER (approx. 1300 BC).
In this department, craft products, ceramics, glass and faience vases, jewelry, scarabs, paintings taken from the walls of the Fan Certiquates and made in Tempera technique (XV century BC) are: "Agriculties with Goose", "Hunting On water birds, "" singer and dancers "and others - all dating from 1425-1379 BC.

Kings, queens, their children of different kingdoms and also bas-reliefs and the wall painting of the tomb

Akhmenotep and Vizier from Memphis

And these birds are a sample of the deity of the choir

ABIDOS list of kings

Rosett stone Ancient Egypt. 196 BC e. Basalt (?). 11 2.3x75.7x28,4

On the famous Rosett stone there are inscriptions in three languages, the content of the text - the resolution of Ptolemy V epiphan, who freed the Egyptian priests from paying one of the taxes and established the cult of the king in the Memphis Church. The repetition of the decree in the tsings of the Hellenistic Egypt (Greek), the people's conversational (demotic) and hieroglyphic (priest language) was necessary, because the decree was concerned. The upper part of the plate was not preserved, several hieroglyphic lines were also lost.

The inscriptions, drawn on the plate presumably from the dark basalt, were discovered in 1799 Engineer Pierre-Francois Bushhar, who during the Egyptian Campan of Napoleon Bonaparta Kopal Shannts at the city of Rosette. After the defeat of the French Expeditionary Corps on the Nile and the surrender of Alexandria, the Rosett Stone, according to the XVI article of the Alexandria, departed to England and got instead of the Louvre into the British Museum.

With decryption of these inscriptions and egyptology begins. The draining of the same text written in different languages \u200b\u200ballowed the specialists to understand the ancient Egyptian hieroglyphs unreadable before that. It was possible to find the key to letters only 20 years after the detection of the Rosett stone at once, by two scientists - the Englishman Thomas Yungu (1819) and, regardless of him, Frenchman Jean-Francois Champolon (1822), who managed to establish the pronunciation of each hieroglyph in the Cartus (oblong contour from The horizontal line at the bottom, indicating that the text written in it is the royal name) "Ptolemy" and read it in all three languages. Then, relying on the knowledge of Coptic and Greek languages, he deciphered the remaining unknown signs of the inscription.

Sarcophagus

Man with an ancient Egypt hoe. VI dynasty, about 2250 BC. e. Tree, mineral paints. Height 33.

Wooden figurines of farmers, bakers, potters, weales were found in many tombs of the era of ancient and middle kingdoms. The ancient Egyptians believed that the life of a person after death would be similar to the earthly - you will have to drink, eat and dress. Therefore, Pharaoh left the "Country of Blessed" needed numerous servants. In other countries (for example, in Mesopotamia), the slaves of the deceased ruler were killed for such purposes. In ancient Egypt, they received much more than one: instead of real people in the "Eternal House", the king left their images. The Egyptians believed that after death, a person, as in life, would most need to need bread, respectively, the work of farmers and bakeries will become the most important.

Figurines depicting these types of work were discovered in the tips of many pharaohs. A miniature sculpture represents a man with a hoe in his hands. To break the closure, which remained after the processing of the Earth Plow, is very difficult, but it was necessary, because provided a rich harvest. The sculptor accurately and realistically showed the instrument of work and the posture of the agriculture, whereas it was very depicted according to the conditional rules of the canon: a small growth and a weak physique - evidence of low social status, and the red-brown skin of the skin is a sign of belonging to the male sex.

Sculptural group showing the work of bakers ancient Egypt. XII dynasty, about 1900 BC. e. Tree, mineral paints. Height 23, length 42.5

Egyptian art, performing magical tasks, was designed to keep only what matters for eternity. The person employed by the work is little interested in the artist, because he is not important, and his work, on whom the well-being of the afterlife of Pharaoh depends. Therefore, accuracy is manifested only in the image of the attributes of crafts and gestures "servants of the king". The style of such statuettes right up to the era of the new kingdom changed little: each of them, being a symbol of a certain profession, was vested with typical and memorable features. Sometimes the figures were combined into groups representing live and immediate genre scenes.

It is very believable in a miniature sculptural composition of the work of bakers whose work, providing bread on the king's table, was considered sacred. Two workers of the court cuisine are busy every business. One so diligently knead the dough that wrinkles are formed on his forehead from the stress, the other, sitting on squatting and flap to face the face from the fire, takes out ready-made loaf out of the furnace. The master showed the result of the work of the bakers - a whole mountain of finished breads, designed for a long time to provide the host of the tomb of a fishing life.

The head of the cult statue of the goddess Hathor Ancient Egypt, Deir El Bakhri. XVIII dynasty, about 1450 BC. e. Alabaster. Height 34.8, width 16.5

Hathor, whose name is translated as "Choir House", was revered by the Egyptians as a goddess-mother who was in the womb of the Supreme Divine. Her image was contacted by mythological ideas about the creation of the world, and patronage applied to all areas of earthly and afterlife. The favor of Hathor was a guarantee of continuously updating vitality. Among the wide segments of the population, she was considered an assistant in everyday affairs. In the sculpture and painting of the ancient Egypt, the goddess could appear an excellent young woman crowned with cow horns with a sunny disk between them. As early as the ancient kingdom (2613-2160 BC), Hathor was depicted in the form of a cow, a nursing king. The divine animal has always ended with solar symbols: Golden disk shone between gilded horns, and the eyes were heavenly blue.

This oldest aspect of Cult Hathor was restored and strengthened during the Board of Hatsepsut. The only in the Egyptian history of Woman Pharaoh, officially did not have the right to the throne, declaring his divine origin, sought to enlist the intercession of Hathor in the hypostasis of the "Nutrition of Kings".

The wonderful head of the cult statue of the goddess in the image of a cow comes from the sanctuary, built next to the clock temple of Hatsepsut in Deir El Bakhri. The sculpture is made of white translucent alabaster symbolizing the purity and holiness of the mother's goddess, as well as the milk of the heavenly cow, giving the energy to the gods and pharaohs. The statues of the statue-inlated lazurite and the mountain crystal, like a gilded horns with a high-end gold disk, are not preserved. However, without these precious attributes, the image produces a vivid impression. Nature-like image is full of soft kindness, calm and solemn greatness. Keeping the realism of the feature, the sculptor enlisters the animal, turning it into a higher creature.

Hall 61.Sim and death in Egypt.

Madridges of the paintings of tomb from Nebamuna

Hunting of water birds painting the tomb in the philas of ancient Egypt. XVIII dynasty, about 1350 BC. e. Limestone, Mineral paints. 98x115

The painting of the tomb of Nebamuna, the "scribe, who maintains a grain," included several wonderful scenes, imprinted the most joyful moments of his earthly life for eternity.

One of the best compositions is a hunting for water birds in the Nile Thickets: Young Veneus Nebamun, standing on the boat surrounded by flowers and holding a bait - three blue herkels, "prepares boomerang in a flock of pheasan whiskers. The scribe accompany his wife and daughter. Beautiful and elegantly dressed woman depicted by a little behind her husband holding a large bouquet of white lotuses in his hands, and a little nude girl sitting in a boat and adhering to the foot of his father, pulling a huge flower out of the water. To emphasize the high position of Nebamuna, the artist significantly increased the size of his figure.

Images of people are strictly subordinate to the canon: faces and legs are shown on the side, eyes and shoulders - in the FAS, and the bodies have a conditional symbolic color. But the painting of hunting, abounding with bright colors and many entertaining details, hoped from life observations, is full of joy and movement. Butterfly flute in the air, among the disturbed birds you can distinguish between geese, ducks, shaking and sitting on the nest of the Racing. A greedy wild cat was illuminated in a jump grabbed three birds at once. The artist shows even the fact that a person cannot see, for example, floating under water huge camp.

Living inhabited by all grains, the Nile thickets turn into a fruitful, drowning in the colors of Paradise, where life flies everywhere and the beauty dominates. Blue, gold and white paintings are also reminded of the heavenly river in the "country of blissful", where people will be able to enjoy forever, contemplating beautiful. The genre scene turns out to be filled deeply symbolism. Successful Hunting Nebamuna is a sign of his victory over the natural elements and death, the deposit of revival in eternity. Red cat, skillfully palasing with prey, - the embodiment of the sunny deity, driving the darkness.

Holiday in honor of Nebamuna. Singers and dancers painting the tomb in the pubes of ancient Egypt. XVIII dynasty, about 1350 BC. e. Limestone, Mineral paints. 69x30.

In paintings, adorning the grazers of the ancient Egyptian nobles of the new kingdom, often there are images of peters, dates and recreation in the garden. These bright, filled with sensual beauty scene of idle pastime should have been preserved forever, continuing to delight the deceased.

In the tomb of Nebamun, the artist captured a magnificent celebration. The elegant guests are squeezed by couples, distribute instructions to servants and enjoy life. For them they sing, beating the palms of tact, beautiful vocalists, playing flotwork, dancing young Nagi dancers. Golden flowing dresses, luxury wigs, precious necklaces and massive earrings, bracelets on elegant hands and crowded hairstyles of aromatic substances that drove under the rays of the sun, - the master catches all the details of the appearance, no detail of those that create beauty does not slip away from His attentive gaze.

To emphasize the subtlety of linen fabric, fitting flexible bodies, the artist makes outfits translucent. Single lines outline the figures of dancing, contours and accurate faces. Depicting girls, the author sometimes uses unusual for Egyptian art, going beyond the canon of the angles. Colorful gamma enhances the light mood of the scene in which white, yellow and blue colors dominate. The hieroglyphic inscription transmits the words of the song performed: "Sweet flowers are fragrant, the gifts of Ptah, trembled by Geb, everywhere spills his beauty, ptah created her to please her heart. Ponds are filled again with water, the earth is filled with love for him. "

Hall 62-63

The court of Osiris drawing from the book of the Dead Hunifer Ancient Egypt. XIX dynasty, about 1300 BC. e. Papyrus. Height 38.5.

Conditional title The Book of the Dead received an extensive arch of magical texts known from the era of the new kingdom. They, serving a kind of guide to the afterlife, should have helped a person to cope with demonic beings and after the favorable outcome of the Osiris court to achieve the "Countries of Blessed".

The scroll of the Hunifer was found in his tomb, inside the hollow statuette made in the form of mummy with the attributes of Osiris and Ptah's gods. The most interesting illustrations of this papyrus belongs to the scene of the court in the kingdom of the dead. It shows how the deceased, accompanied by the God of Anubis, enters into the courtroom and pronounces the "Negative Confession" gods in the face of the gods, arguing that "he did not make an evil, did not stain himself with false, theft, robbery or murder, did not enjoy the temple treasures and not Divided the water from the fields, did not rebel against Pharaoh, did not insult the gods. "

The truthfulness of words should have been checked, and the artist depicts scales, on one bowl of which is the heart of the Hunifer, on the other - the pen who personifies the goddess of the truth of Maat. Annubis follows testimony: if the bowl is balanced, it means that the dead told the truth and endured the test before the judges (their figures are presented in the upper case). Standing to the right of the scales God from Ibis's head, he records the decisions of the court. On him, the opening fall, it looks the monster with a crocodile head - Ammaat, ready to devour the husky. But Hunifer was hunter, and the mountains brings him to the throne of his father Osiris, squeezing on the throne. The goddesses of Isis and Oil bless arriving in the "Country of Blessed", and the lotus growing from the water symbolizes its purity.

Figures that are consistently depicting all the stages of the afterlife are made with calligraphic accuracy and are distinguished by saturated local colors, their rhythmically organized compositions are characterized by rigoriness and laconicism.

Networking Network I The upper part of the statuette from the Tomb of the Network I ancient Egypt, the valley of the kings. XIX dynasty, about 1290 BC. e. Faience. Height 22.8.

According to the ideas of the ancient Egyptians, a small figurines depicted a deceased person had to play an important role in ensuring his prosperity in the afterlife. They should be carried out instead of the deceased the most severe and dirty work on the "cane fields". It was believed that each resident of Egypt after death should work on the ground.

This sacred duty could not neglect the Pharaoh himself. To save the ruler from a difficult share, several leaving was placed in his tomb. The magical rites of the ceremony should have revived the figures and endow their vital power. Since in the kingdom of the dead, you became twins of a person, they made them similar to him. Figurines could depict the dead in the form of mummy or in ordinary clothes. To strengthen the effectiveness of rituals, on each figure followed the chapter from the Book of the Dead, which referred to its appointment. The earliest pastures belong to the XXI century BC. e.

At the beginning of the new kingdom (1550-1070 BC. E.) Their number has increased significantly. Only in one tomb of Tutankhamon was discovered several hundreds of pastures. Then, according to the incomprehensible reason, the figures of the deputy workers disappeared from the royal burials, and only in the tomb of the network I appeared again.

Most of the presence of this pharaoh of the XIX dynasty from his burial, open Giovanni Beltsoni in 1817, were shortly splitting. Visitors of the tomb set fire to wooden figurines using them as lamps. Numerous, often made from inexpensive figures of figures appreciated, apparently low. Avoiding barbarian destruction managed only to a few tsarist to leave, among them this wonderful instance. This is an elegant faience statuette covered with shiny blue enamel and masterfully painted black paint. A canonical appearance (so Pharaoh was portrayed on sarcophagas): a portrait mask framed a royal headdress with cobro-uream, arms crossed on the chest. However, in them, instead of the attributes of the authorities, hoes were embedded, the need for work on the "cane fields" resembles the inscription on the rehabilitation, as if mummy, the lower part of the figure.

Bust Ramses II Ancient Egypt. XIX dynasty, about 1280 BC. e. Granite. Height 158.

Ramses II (1304-1237), the great great-grandfather of the XIX dynasty, Ramses I, who returned the ancient possession of Egypt and concluded after a long war with Hettites favorable peace treaty for the country, restored and strengthened the glory and the power of the state, which was successfully ruled 67 years. He not only fought, but also built a lot: in the phids, the cliffs of Abu-Simbel, the Majestic Temples were erected, where they were on steles, columns of the hypostyl halls and sculptures of the king - numerous inscriptions proclaimed the power of Ramses: "He is like fire, coming And there is no water to repay it. He forces the rebels to swallow the cries of indignation, which are escaping from their mouth when he takes them in captivity. " Slavovia retired perpetuation in stone - thousands of Pharaoh sculptures were erected throughout the country. Among them is the granite bust of Ramses II from the island of Elefantin, presented with the British museum in 1838 by Lord Hamilton.

The great ruler of Egypt is presented in the form of a "good god", "who suppressed the south and conquered the north, fighting his sword." The features of the famous Pharaoh, well known for its numerous images, are relaxed here and endowed with eternal youth. On a young face - a long beard with curl at the bottom - the conditional sign of unearthly origin and the attribute of the gods. Such a form of beard was not shattered to wear any resident of ancient Egypt, except the king himself.

On the head of Pharaoh, a united country, two crowns are immediately: the lower and Upper Egypt. In his arms crossed on his chest, he holds a staff and whip - symbols of power and control over a huge power. Sacred Cobra-urea on the forehead Ramses prepared for a fatal throw on any enemy who dares to encroach on His divine rights. The name of the great king on the shoulder of the Granite Bust is strengthened by its strength and glory on Earth and in eternity.

Cat statuette Ancient Egypt. I - III century BC e. Bronze. Height 33.

Cats, deeply revered in ancient Egypt, were considered the sacred animals of the goddess of love Bastet. Animals were kept in the temples, in private ownership of the cat was great value for their owners. When the favorite pet died, the servants of the temple and the inhabitants of the house in the mourning sign were to shake their eyebrows, repeatedly cry, and the animal shoulder to mummify and bury on a special cemetery.

This cat sculpture may have participated in such a funeral rite. The image is performed in a natural value, it is extremely concise in its finished simplicity.

Figurine - masterpiece animalistic sculpture of ancient Egypt. The talented master was transferred to the bronze restrained strength and the grace of the mainstream, flexible cat, the alertness of its poses and the elasticity of the elegant, and the body. The sculptor faithfully caught the main features of the image of the animal: this is a real wild cat, which is sitting, grouped and focusing before the jump, proud and confident in his dexterity.

But at the same time, in front of the audience, the royal beast, his possession of a majestic, and attentive timeless look calm. An animal is a silver tear with the image of the sacred symbols of eternal life, in the ears and nose - gold earrings. Precious decorations are clearly charged against the background of the polished bronze surface of the statuette. This sculptural image, despite the miniature size, looks monumental due to the laconism of the parts, the generalization of plastic forms and the exact figure of the silhouette.

Amenhonatep III

Portrait of a young woman Egypt, Fayum Oasis, Havar. Start II century n. e. Tree, Enkauska. Height 38.2.

Picturesque portraits of the I-IV centuries n. er, opened at the end of the XIX century during the excavations of the Roman Necropolis of the Fayum Oasis and therefore called by Fayum, represent the gallery of various persons: men, women, children and old people. These single surviving samples of antique easel painting were associated with a funeral cult. In Egypt, they replaced the traditional masks of mummies. Under the influence of the traditions of Greek realistic painting and Roman sculptural portrait, Fayum artists have improved their skills and learned from the extraordinary truthfulness to reproduce the appearance of dead people, while maintaining the features of their individuals, but also characteristics.

Surprisingly vividly and directly executed portrait of a young dark-haired woman in a lilac shetone. The look of her huge shiny eyes is aimed at the viewer, the poetic appearance breathes life: the shadows, gold jewelry and sonicing color are trembled on the gentle skin, the beauty of the face is emphasized. In this adorable image there is no trace of the abundance characteristic of the ancient Egyptian customer portrait. Encoustics technique, in which artists from Fayum worked, largely contributed to the creation of expressive and realistic images. The masters cooked beeswax in sea water, added a resin into it and mixed with mineral paints with mint powder, then applied them with a metal rod and brush to the primed cypress boards. This method allowed using the game of lighting, to give the face almost sculptural volume. Wax paints, remaining transparent, retained brightness and color saturation.

Sarcophag with the portrait of Artemidor Egypt, Fayum Oasis, Havar. Start II century n. e. Tree, Enkauska. 43x23, Sarcophague length 127

The best samples of Fayum painting include a portrait on a sarcophage of Havars, glued out of several layers of canvas and papyrus sheets, covered on top of a pink gypsum plaster. It shows the scenes associated with the ancient Egyptian clock cult. The embossed figures of the gods, like the convex letters of inscriptions, containing the name of the deceased - Artemidor, covered with gold. The golden wreath, depicted on top of the hairstyle of a young man, is a symbol of his happy future in the afterlime world. Portrait of a gifted artist. The appearance of the young man - a sophisticated face with expressive features and attentive look of large dark eyes - creates the impression of a person with a strong character and a rich inner world. In the open view of Artemidor, the consciousness of their dignity is read, strong will and passion of nature.

Portraits from Fayum were often written during a person's life and, as some researchers believe, could decorate his house for a long time, so they depict the deceased very young. The image of Artemidor in this regard is unique - it made it possible to check this version, because the mummy itself is preserved. After spectral analysis, it was found that age in the portrait accurately corresponds to the time of the death of the young man, who at the time of death was about 20 years. Such a number of young people in Fayum portraits apparently reflected the real demographic situation: many in those distant times were very early to leave this world.