Midterm
Portraiture in ancient Egypt stood as still in history as it does today. Figures were made to represent and embody the person they portrayed. Looking upon ancient Egyptian statues today transcends back into the time they were actually built. Each mimicked another throughout centuries of unbroken tradition standing still and strong. Very few rulers broke away from Egyptian paradigm. Ancient Egyptian portraits were created to serve the ruler of the period. They stood tall and shadowed over the culture. Statues and representations of ancient rulers among Gods or as hybrid forms of them sang out propaganda. Painted portraits, reliefs, miniature relics, architecture, and statues depicting a ruler all told a story. The tradition of these …show more content…
They would resemble them in a general sense but often would lack great detail or any defining features. The most prominent to stand out from the years of carried on tradition would be the portrait of Amenhotep IV or Akhenaten, father of Tutankhamen, and 18th century ruler of Egypt. His portrait, unlike any other in Egyptian history would take on an emphatic style unique in its 18 year consistency. He would be portrayed with elongated features, and in scenes that suggested emotion. Some scholars believe his defiance of traditional portraiture was actually due to a resulting deformity in Akhenaten’s appearance, others feel it relates to his conversion to monotheism and the influence of change alongside it. These exaggerated and distorted features could also have derived in a theme of spontaneity and naturalism. Akhenaten’s wife and cousin, Nefertiti is portrayed in the same style with elongated features and familial depictions which differ so drastically from other Egyptian portraiture. Most famous is a limestone painted bust of the queen wearing a modius offers a clear idea of 18th century art in Egypt. Although we see the Amarna style carried on through the family of Akhenaten and Nefertiti it is abandoned after Akhenaten’s death and his images destroyed at Amarna for his careless leadership. Tutankhamen aborts the Amarna style of portraiture even though traces of it carry into his own portraits. Years pass until a new style emerges but also resonates with the traditional style of Egyptian culture. This shows through in the Temple of Ramses II. Ramses II develops a new sense of familial portraiture in how his wife, Nefertari stands by his side at the same height as himself. This suggests an equality between the two as well as the fact that Nefertari was later deified as Hathor. With the Temple of Ramses II he has four gods worshipped including himself. The great rock temples stand
Portraiture in ancient Egypt stood as still in history as it does today. Figures were made to represent and embody the person they portrayed. Looking upon ancient Egyptian statues today transcends back into the time they were actually built. Each mimicked another throughout centuries of unbroken tradition standing still and strong. Very few rulers broke away from Egyptian paradigm. Ancient Egyptian portraits were created to serve the ruler of the period. They stood tall and shadowed over the culture. Statues and representations of ancient rulers among Gods or as hybrid forms of them sang out propaganda. Painted portraits, reliefs, miniature relics, architecture, and statues depicting a ruler all told a story. The tradition of these …show more content…
They would resemble them in a general sense but often would lack great detail or any defining features. The most prominent to stand out from the years of carried on tradition would be the portrait of Amenhotep IV or Akhenaten, father of Tutankhamen, and 18th century ruler of Egypt. His portrait, unlike any other in Egyptian history would take on an emphatic style unique in its 18 year consistency. He would be portrayed with elongated features, and in scenes that suggested emotion. Some scholars believe his defiance of traditional portraiture was actually due to a resulting deformity in Akhenaten’s appearance, others feel it relates to his conversion to monotheism and the influence of change alongside it. These exaggerated and distorted features could also have derived in a theme of spontaneity and naturalism. Akhenaten’s wife and cousin, Nefertiti is portrayed in the same style with elongated features and familial depictions which differ so drastically from other Egyptian portraiture. Most famous is a limestone painted bust of the queen wearing a modius offers a clear idea of 18th century art in Egypt. Although we see the Amarna style carried on through the family of Akhenaten and Nefertiti it is abandoned after Akhenaten’s death and his images destroyed at Amarna for his careless leadership. Tutankhamen aborts the Amarna style of portraiture even though traces of it carry into his own portraits. Years pass until a new style emerges but also resonates with the traditional style of Egyptian culture. This shows through in the Temple of Ramses II. Ramses II develops a new sense of familial portraiture in how his wife, Nefertari stands by his side at the same height as himself. This suggests an equality between the two as well as the fact that Nefertari was later deified as Hathor. With the Temple of Ramses II he has four gods worshipped including himself. The great rock temples stand