The development of Egyptian architecture from the Predynastic period through the New Kingdom revealed Egypt’s journey in the world of art. The Predynastic Period started at around 3500 BCE. It was from this period of time that the earliest Egyptian narrative reliefs and paintings were found, and the name of the first artist, Imhotep, was recorded. The Palette of King Narmar (3000-2920 BCE), was a ceremonial palette, and set the standards in regards to style, and perspective for many years to come. This palette portrayed the unification of the Upper and Lower Kingdoms, the “Kingdom of the Two Lands” (pg 57). It was designed and made from a commonly used object used to prepare eye makeup. In the palette, the dead could be seen from above, a perspective commonly found in Paleolithic art. It was on this palette where the use of symbolism and metaphors were clearly visible, and would be used as a standard in Egyptian art. Animals were used to represent the unification of the kingdoms, their necks
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It is in this statue that made it clearly visible just how much Egyptians appreciated ideal proportions of the human anatomy. Khafe was portrayed as sitting upright, his body made to “proclaim divine nature” (pg 64). His form was rigid, well defined, flawless with a perfect face. His pose was frontal, bilaterally symmetrical, as if it was meant to last for all of eternity. The god Horus extended his winds over the pharaohs head, symbolizing protection over his rule. Once again, animals were used, in this case two stylized lion bodies were used to make the throne occupied by the pharaoh. The rigid frontal form of eternity could also be seen in the statue of Menkaure and Khamerernebty (2490-2472 BCE), an example of a standing statue. The husband and wife stood side by side, perfect proportions and all, with no affection show towards one
It is in this statue that made it clearly visible just how much Egyptians appreciated ideal proportions of the human anatomy. Khafe was portrayed as sitting upright, his body made to “proclaim divine nature” (pg 64). His form was rigid, well defined, flawless with a perfect face. His pose was frontal, bilaterally symmetrical, as if it was meant to last for all of eternity. The god Horus extended his winds over the pharaohs head, symbolizing protection over his rule. Once again, animals were used, in this case two stylized lion bodies were used to make the throne occupied by the pharaoh. The rigid frontal form of eternity could also be seen in the statue of Menkaure and Khamerernebty (2490-2472 BCE), an example of a standing statue. The husband and wife stood side by side, perfect proportions and all, with no affection show towards one