By Melinda K. Hartwig
A spouse to historic Egyptian paintings provides a complete selection of unique essays exploring key recommendations, serious discourses, and theories that form the self-discipline of historical Egyptian art.
* gains contributions from best students of their respective fields of craftsmanship when it comes to historical Egyptian artwork * presents overviews of prior and current scholarship and indicates new avenues to stimulate debate and make allowance for serious readings of person paintings works * Explores issues and issues comparable to methodological methods, transmission of Egyptian paintings and its connections with different cultures, historic reception, know-how and interpretation, * presents a accomplished synthesis on a self-discipline that has varied to the level that it now comprises topics starting from gender idea to 'X-ray fluorescence' and 'image-based interpretations platforms'
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Extra info for A Companion to Ancient Egyptian Art
The Old Kingdom leatherworker, Weta, possessed a ﬁne stone sarcophagus (Donadoni Roveri (1969), 132–133, pl. 1). From the Amarna period, when change in artistic forms was intense and rapid, names of several sculptors are known. An ivory horse blinker found in the house compound of the sculptor Thutmose, from which came the painted bust of Nefertiti, shows that he possessed a chariot, a status marker that had no direct utility for his occupation (Krauss and Newesely 1983). Thus, members of the elite were not just aesthetic consumers or audiences, but also patrons, project directors, administrators, and to some extent designers or executants.
3 Ancient Eastern Mediterranean (after V. Karageorghis (2000), Ancient Art from Cyprus: The Cesnola Collection in the Metropolitan Museum of Art, xiv. New York). CHAPTER 1 What Is Art? John Baines Introduction: “Art” and the Aesthetic Studies of ancient Egyptian art since the nineteenth century have generally used approaches and categories similar to those that have dominated research on western art. Earlier Egyptologists and art historians often assumed implicitly that ancient Egypt, being older than European traditions, produced works that were less evolved and at a lower level than those of later times.
Tempera on paper facsimile by Hugh R. Hopgood (1914–1916). 60. Rogers Fund, 1930. Photograph by Valérie Angenot. 5 The Geese of Meidum, mastaba of Nefermaat and Atet, Old Kingdom, beginning of Dynasty 4, Meidum, painted plaster. Photograph: Francesco Tiradritti. 6 Papyrus thicket, tomb of Ankhtiﬁ in Moalla, First Intermediate Period, mid to late Dynasty 9, Moalla, painted plaster. Photograph: Francesco Tiradritti. xxxii 7 List of Plates A detail of sunk relief painted with the red and blue symbolizing darkness and light, water and earth, humidity and dry, divine and human, death and life, seventh century BCE, Assasif.