What Time Periods Did the Egyptian Art Last From

Belatedly Egyptian Art

The Late Menses of Ancient Arab republic of egypt (664–332 BCE) marked a maintenance of artistic tradition with subtle changes in the representation of the human form.

Learning Objectives

Describe art in the Late Period of Ancient Egypt

Central Takeaways

Key Points

• Though foreigners ruled Ancient Egypt during the Late Menses , Egyptian culture was more prevalent than always.
• Some sculptures of the Late Menstruation maintain traditional techniques, while others characteristic more naturalistic attributes.
• 1 major contribution from the Late Period of aboriginal Egypt was the Brooklyn Papyrus . This was a medical papyrus with a drove of medical and magical remedies for victims of snakebites based on serpent type or symptoms.
• The Thirtieth Dynasty took its artistic style from the Xx-Sixth Dynasty.

Key Terms

• Late Flow:The time of Ancient Egypt betwixt the Third Intermediate Flow until the conquest by Alexander the Bully, from 664 BCE until 332 BCE; often regarded as the last gasp of the Egyptian civilisation.

The Late Menstruum of ancient Egypt refers to the last flowering of native Egyptian rulers later on the Tertiary Intermediate Period from the Twenty-Sixth Saite Dynasty into Persian conquests, and ended with the conquest by Alexander the Great and establishment of the Ptolemaic Kingdom. It ran from 664 BC until 332 BCE. Though foreigners ruled the country at this fourth dimension, Egyptian culture was more than prevalent than always. Libyans and Persians alternated rule with native Egyptians. Despite continued conventions in art, some notable changes in the man form did ascend. The sculpture (pictured below) of the god Horus as a child (664–332 BCE) represents a combination of the typical stylized stance of Egyptian statuary with a fleshier torso and pensive gesture of the right paw and arm.

Horus as a Kid (664–332 BCE)

The Late Period is oft regarded as the last gasp of a once groovy culture, during which the power of Egypt steadily diminished.

Xx-Sixth Dynasty

The Twenty-6th Dynasty, besides known every bit the Saite Dynasty, reigned from 672–525 BCE. Canal construction from the Nile to the Crimson Sea began. According to Jeremiah, during this time many Jews came to Egypt, fleeing subsequently the destruction of the Starting time Temple in Jerusalem by the Babylonians (586 BCE). Jeremiah and other Jewish refugees arrived in Lower Egypt, notably in Migdol, Tahpanhes, and Memphis. Some refugees also settled at Elephantine and other settlements in Upper Egypt (Jeremiah 43 and 44). Jeremiah mentions pharaoh Apries (as Hophra, Jeremiah 44:30) whose reign came to a violent cease in 570 BCE. This and other migrations during the Late Menses probable contributed to some notable changes in art.

Ane major contribution from the Late Menstruation of ancient Egypt was the Brooklyn Papyrus. This was a medical papyrus with a collection of medical and magical remedies for victims of snakebites based on snake type or symptoms.

Brooklyn Papyrus (c. 450 BCE): This papyrus provides the almost striking testify for the closely parallel roles of the physician swnw and the diverse priests concerned with healing.

Artwork during this time was representative of animal cults and animal mummies . The faience sculpture below shows the god Pataikos wearing a scarab beetle on his head, supporting two human-headed birds on his shoulders, holding a snake in each hand, and standing atop crocodiles. The style of this sculpture marks a divergence from its predecessors in its fleshiness, positioning of its arms and hands, and slight grin.

Figure of Pataikos (664–630 BCE): This glazed faience sculpture of the god Pataikos shows a somewhat naturalistic deviation from traditional depictions of Egyptian deities.

Despite the changes that took place in the sculpture of Pataikos, artists continued to apply the traditional catechism of proportions. A sunken relief from a chapel at Karnak depicting Psamtik III, the final pharaoh of this dynasty, displays the maintenance of traditional conventions in representing the body.

Relief of Psamtik III at a chapel in Karnak: Despite changes in the sculptures of Horus and Pataikos, this epitome of the last pharaoh of the Twenty-Sixth Dynasty appears in the more traditional stylized form.

Twenty-Seventh Dynasty

The First Achaemenid Menstruation (525–404 BCE) marked the conquest of Egypt by the Western farsi Empire under Cambyses II. In May 525 BCE, Cambyses defeated Psamtik Iii in the Battle of Pelusium in the eastern Nile Delta. This basalt portrait bust (pictured below) of an unknown Egyptian dignitary from the period shows fiddling alter from convention in the representation of the human form. His necklace is typical of those made in the Achaemenid Period.

Statue of an Egyptian dignitary from the 20-Seventh Dynasty: The necklace on this dignitary has been identified every bit typical of the era of Western farsi occupation.

Twenty-8th through Thirtieth Dynasties

The Twenty-8th Dynasty consisted of a single king, Amyrtaeus, prince of Sais, who rebelled against the Persians and briefly re-established indigenous Egyptian rule. He left no monuments with his name. This dynasty reigned for six years, from 404–398 BCE. The Twenty-9th Dynasty ruled from Mendes, from 398–380 BCE.

The Thirtieth Dynasty took the art style from the Twenty-Sixth Dynasty. A series of iii pharaohs ruled from 380 BCE until their last defeat in 343 BCE led to the reoccupation by the Persians. Fine art featuring Nectanebo Ii, the concluding ruler of this dynasty, appears largely in the traditional Egyptian style. Except for the pocket-size-scale greywacke (sandstone) statue in the Metropolitan Museum, which shows him standing earlier the image of Horus as a falcon, no other annotated portraits of the pharaoh are known.

Horus and Nectanebo 2 (360–343 BCE): This is believed to exist the only surviving annotated sculpture of the last pharaoh of the Thirtieth Dynasty.

A fragment of Nectanebo 2's portrait, with its fractional smiling and sagging mentum, in the Museum of Fine Arts in Lyon, is slightly more naturalistic than previous representations of pharaohs.

Caput of Nectanebo Two: This portrait features a combination of traditional and naturalistic features.

Art and Compages in the Kingdom of Kush

The Kingdom of Kush was an ancient African state whose fine art and architecture were inspired by Egyptian design, simply were distinctly African.

Learning Objectives

Evaluate the influence of both Egyptian and African art on the art produced past the Kingdom of Kush

Key Takeaways

Key Points

• Kushite pharaohs built and restored many temples and monuments throughout the Nile Valley, and the construction of Kushite pyramids became widespread.
• The Kushites used relief sculpture to decorate the walls of palaces and pyramids. The cuts used were deeper and more strategic than Egyptian hieroglyphics . The reliefs more often than not describe scenes from African daily life, animals, battle scenes, and kings.
• Kushite portrait sculpture adopts some Egyptian attributes but emphasizes distinctly indigenous features, such as wide faces and unique regalia, hairstyles, and symbolism.
• Pottery was an important Kushite craft and consisted more often than not of pots and bowls that were shaped from clay and and then painted in many different colors. Mutual decorative motifs included animals and geometric and plant-based patterns.
• The kings of Kush adopted the Egyptian architectural idea of building stone pyramids every bit funerary monuments. Nevertheless, Kushite pyramids were built above the undercover graves, whereas the Egyptian graves were within the pyramid.

Key Terms

• relief:A type of artwork in which shapes or figures beetle from a apartment background.
• pyramid:An ancient massive construction with a square or rectangular base and four triangular sides coming together in an apex, such as those built as tombs in Egypt or every bit bases for temples in Mesoamerica.

The Kingdom of Kush was an ancient African state situated on the confluences of the Blue Nile, White Nile, and River Atbara in what is now the Democracy of Sudan.

Africa in 400 BCE: Map of kingdoms, states, and tribes in 400 BCE Africa.

Established later the Bronze Age collapse and the disintegration of the New Kingdom of Egypt, Kush was centered at Napata in modernistic solar day northern Sudan in its early stage, then moved farther south to Meroë in 591 BCE. After king Kashta invaded Arab republic of egypt in the eighth century BCE, the Kushite kings ruled as Pharaohs of the Xx-Fifth Dynasty of Arab republic of egypt for a century, until they were expelled by Psamtik I in 656 BCE. The reign of the Twenty-5th Dynasty ushered in a renaissance flow for aboriginal Egypt, and art and architecture emulating the styles of the One-time, Middle, and New Kingdoms flourished. Kushite pharaohs built and restored many temples and monuments throughout the Nile Valley, and the construction of Kushite pyramids became widespread. Some of these are still standing in modern Sudan.

Kushite Arts

The Kushite arts were inspired by the Egyptians, only were drastically African. Most remarkable amongst these was Kushite relief sculpture, which adorned the walls of palaces or pyramids. The cuts that are on the walls are deeper and more strategic than Egyptian hieroglyphics. There are many reliefs scattered across the country of Africa. They mostly depict scenes from African daily life and animals. Reliefs depicting battle scenes or kings are somewhat less mutual.

Statues of rulers and other purple individuals emphasize the strange, non-Egyptian origin of their subjects. The Caput of a Kushite Ruler (c. 716-702 BCE), identified by some scholars every bit Rex Shabaqa, depicts a homo with a typically round Kushite confront. Although his eyes behave resemblance to those of Egyptian individuals in art, his hairstyle and regalia are distinctly non-Egyptian. The front of his headband once featured two cobras. While Egyptian pharaohs commonly wore a single cobra on their headgear, the double-cobra motif was unique to the Kushite civilization .

Caput of a Kushite Ruler (c. 716–702 BCE): This sculpture combines Egyptian and unique Kushite attributes.

Pottery was some other important Kushite craft and consisted mostly of pots and bowls that were shaped from clay and so painted in many different colors. Nigh pottery was initially made for the wealthy, but after on, many commoners likewise began using pottery in their households. While decoration usually took the grade of painted designs, some types of pottery also had stamped designs. Mutual motifs included geometric and institute-based patterns. The finest pottery was decorated with paintings of animals, such every bit giraffes, antelopes, frogs, crocodiles, snakes, and a variety of birds.

Kushite Architecture

The kings of Kush adopted the Egyptian architectural idea of building pyramids as funerary monuments. All the same, Kushite pyramids were built higher up the underground graves, whereas the Egyptian graves were inside the pyramid. The kings' tombs were lodged under big pyramids made of stone. For a brusque time, the Kushite kings were mummified. Ordinary citizens were buried in much smaller pyramids. The most famous examples of Kushite pyramids are located in their upper-case letter Meroë. There are three cemeteries in Meroë; the north and south cemeteries are royal cemeteries and firm the pyramids of kings and queens, whereas the west cemetery is a purely not-royal site.

Sudan Meroë pyramids: Sudan Meroë pyramids — UNESCO Earth Heritage.

Egyptian Art Afterward Alexander the Corking

Hellenistic art, richly various in subject area matter and in stylistic development, characterized culture later on Alexander the Great.

Learning Objectives

Draw the major events of the Ptolemaic Kingdom and the central characteristics of Hellenistic art

Key Takeaways

Key Points

• The Ptolemaic Kingdom (332–30 BCE) in and around Arab republic of egypt began following Alexander the Swell 's conquest in 332 BCE and ended with the death of Cleopatra VII and the Roman conquest in 30 BCE.
• Hellenistic art is richly various in discipline matter and in stylistic development. It was created during an age characterized by a stiff sense of history. For the beginning time, at that place were museums and nifty libraries, such as those at Alexandria and Pergamon.
• Prominent in Hellenistic art are representations of Dionysos, the god of wine and legendary conquistador of the Due east, likewise as those of Hermes, the god of commerce. In strikingly tender depictions, Eros, the Greek personification of dear, is portrayed as a immature child.
• Hellenistic civilization continued to thrive even after Rome annexed Egypt afterward the battle of Actium and did not decline until the Islamic conquests.
• Portraits of male rulers grew increasingly naturalistic, while those of female person rulers and non-elites remained stylized .

Cardinal Terms

• Hellenic:Referring to the ancient Greek world.
• Alexander the Not bad:Alexander the Keen was a king of Macedon, a state in northern aboriginal Greece. Born in Pella in 356 BCE, Alexander was tutored by Aristotle until the age of 16. By the historic period of xxx, he had created i of the largest empires of the ancient earth, stretching from the Ionian Sea to the Himalayas. He was undefeated in battle and is considered 1 of history's most successful commanders.

The Ptolemaic Kingdom (332–30 BCE) in and effectually Egypt began following Alexander the Great's conquest in 332 BCE and concluded with the death of Cleopatra VII and the Roman conquest in xxx BCE. It was founded when Ptolemy I Soter alleged himself Pharaoh of Egypt, creating a powerful Hellenistic state stretching from southern Syria to Cyrene and south to Nubia. Alexandria became the capital city and a heart of Greek culture and trade.

Alexander the Swell bust: Portrait of Alexander the Great, said to be from Alexandria, Egypt. Marble, 2nd to first century BC.

Hellenistic Art

Hellenistic art is richly diverse in bailiwick matter and in stylistic development. It was created during an age characterized past a potent sense of history. For the first time, there were museums and nifty libraries, such every bit those at Alexandria and Pergamon. Hellenistic artists copied and adapted earlier styles , and also made bang-up innovations. Representations of Greek gods took on new forms . The popular image of a nude Aphrodite, for example, reflects the increased secularization of traditional religion. Also prominent in Hellenistic fine art are representations of Dionysos, the god of wine and legendary conquistador of the East, as well as those of Hermes, the god of commerce. In strikingly tender depictions, Eros, the Greek personification of dearest, is portrayed as a immature kid.

Eros Sleeping (Hellenistic, specific date unknown): Nudity in sculptures of gods like Eros signified an increasing humanization of deities during the Hellenistic era.

Encouraged past the many pharaohs, Greek colonists set upwards the trading post of Naucratis, which became an important link betwixt the Greek world and Arab republic of egypt's grain. As Egypt came under foreign domination and turn down, the pharaohs depended on the Greeks every bit mercenaries and even advisers. When the Persians took over Arab republic of egypt, Naucratis remained an important Greek port, and the colonists were used equally mercenaries by both the rebel Egyptian princes and the Persian kings, who later gave them land grants, spreading the Greek civilisation into the valley of the Nile . When Alexander the Great arrived, he established Alexandria on the site of the Farsi fort of Rhakortis. Post-obit Alexander's death, control passed into the hands of the Lagid (Ptolemaic) dynasty ; they built Greek cities beyond their empire and gave land grants across Egypt to the veterans of their many armed forces conflicts. Hellenistic culture connected to thrive even after Rome annexed Egypt afterwards the battle of Actium and did not refuse until the Islamic conquests.

Nile Mosaic of Palestrina (c. 100 BCE)

1 significant modify in Ptolemaic art is the sudden re-appearance of women, who had been absent since well-nigh the Twenty-6th Dynasty. This miracle was probable due, in part, to the increasing importance of women as rulers and co-regents, as in the instance of the series of Cleopatras. Although women were nowadays in artwork, they were shown less realistically than men in the this era, as is evident in a portrait of a Ptolemaic queen (mayhap Cleopatra VII) from the first century BCE. Different its Classical and Hellenistic counterparts elsewhere in the Hellenic world, this sculpture bears a more stylized appearance.

Sculpture of a Ptolemaic Queen, possibly Cleopatra VII (c. 50–30 BCE): Despite a growing naturalism amid portraits of male elites, those of women remained stylized.

Among male rulers, portraiture assumed a more naturalistic appearance, fifty-fifty when the sitter was pictured in traditional Egyptian regalia, every bit in a relief of Ptolemy IV Philopator (r. 221–204 BCE), who wears the traditional pharaonic crown of Upper and Lower Egypt. However, even with this Greek influence on art, the notion of the individual portrait still had not supplanted Egyptian artistic norms among non-elites during the Ptolemaic Dynasty.

Ptolemy Half-dozen Philometor (c. 186–145 BCE): In this relief from a ring, Ptolemy VI wears the traditional white and red dual crown of Upper and Lower Egypt while displaying the naturalistic and individualized facial features typical of Classical and Hellenistic portraiture.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/late-egyptian-art/

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