Emma-Kate Weaver à Proposal for History Extension
1. Description of Preliminary Research:
Initially I researched the features of the Amarna art style, and what characteristics made it distinctive from other periods. The characteristics are, feminie attributes (breasts, prominent stomach, hips, thighs), illustration of toes and fingernails, unisexual dark brown flesh and right and left foot inclusion[1]. This made me curious about Akhenaten, his religious doctrines and when the art emerged[2].
I became interested in different interpretations of the art, and the change in historians interpretations. The views of Eugene Lefèbvre, Elliot Grafton Smith, and Alywn Burridge[3], provided a basic outline.
When written information became needed, I encountered a problem at the State Library, as there were no blurbs (on website), or attained information I had. Abandoning this, I used ‘Google Books’ to find a larger variety that dealt with the art style, (successful, but problems because of Google’s reading limits)[4]. Providing new theories, some based on specific artworks (e.g. incest and realism)[5], and stated the Amenhotep III, attempted to control the Re priesthood through new cult. The art is controversial because of the short reign and the few examples of the art[6]. Though, many texts argue similar points, which may require looking at other issues in the art style.
Realising information solely from books wasn’t satisfactory; I other text-types. I began with “YouTube” and found a podcast[7]. I also found a miniseries[8], providing me with a new interpretation, that the art had purely religious meaning, and Aten being unisex (like the Christian God) his son[9] and prophet, must resemble this. An older article from New York Magazine, 12th November 1973 contains interesting and important early information.
2. Enquiry Questions
Originally, I was going to do a comparison on the art style of Amarna to that of another Egyptian period, focusing on the meaning and techniques used. Though, as my research has led me further, I would like to do an explanation and evaluation of the theories surrounding the art style of Amarna. Looking at:
· Why did the art style change? Are there any possible influences?
· What is the significance of the distinctive portrayal of figures? (focusing on the Royal family)
· Does the change in artist affect the style? Why? How?
· Why have interpretations of the art style changed?
· What are the interpretations of Historians and Egyptologists? Who are they, would they know, what is their basis for their theory, are they reliable? What do I think?
· Was there co-regency between Nefertiti and Akhenaten? An issue which arises in many of the works, and other political issues that arise from the art (such as a reversion to the traditional art in later periods).
3. Research Intentions in relation to areas/texts to examine
My research intentions are, the re-examination of all sources and attaining new sources with new and distinctive, so that I have a wide range of options. Finding interviews with experts about my topic, articles, more podcasts or documentaries. Examine works myself and find the techniques (like the grids and tools) used, also find works from early, middle and late period of Amarna. Research the issue of co-regency and it’s relation in the art. Then I will need to look at the particulars of my findings.
4. Research intentions in relation to methodology
My project is an interdisciplinary study, focusing on the historical controversy of the art in the Amarna period. I will examine why they have changed over time and who the historians (or ‘theorists’) are. As aforementioned due to the limited information on the Amarna period there can be no final judgement, but my project should discuss the likelihood of theories as I will need to make an evaluation. When viewing the historians I must account from their viewpoint, i.e. Elliot Grafton Smith was looking at the viewpoint from an anatomist, and so assumed clinical reasons for the art style.
[1] http://en.wikipeadia.org/wiki/Amarna_Art
[2] Basic info found in; Antiquity 2, Interpreting the Past, Toni Hurley, Philippa Medcalf, Christine Murray, Jan Rolph (p 204-205) AND http://en.wikipeadia.org/wiki/Amarna_Art
[3] Antiquity 2, Interpreting the Past, Toni Hurley, Philippa Medcalf, Christine Murray, Jan Rolph (p 204-205)
[4] Proportion and Style in Ancient Egypt” By Gay Robins and Ann S. Fowler (specifically p119 so far)
“Egypt, Trunk of the Tree, Volume 2”Simson Najovits (p148 aprox)
“The Egyptian Museum in Cairo: A walk through the Alleys of Ancient Egypt” Farid Atiya, Abeer El-Shahawy, Mataf al-Mirī, Farid S. Atiya
“Eternal Egypt: Masterworks of ancient art from the British Museum” Edna R. Russmann, Thomas Garnet Henry James, British Museum
[5] E.g. artworks of Akhenaten kissing his daughter on the lips whilst she sits on his lap. “Egypt, Trunk of the Tree, Volume 2”Simson Najovits.
[6] There is a large amount of mystery surrounding Akhenaten and his family, especially after his reign. “Egypt, Trunk of the Tree, Volume 2”
[7] “Akhenaten and the Amarna style (Ancient Art Podcast 21)”
[8] “Egypt – New discoveries- ancient mysteries”. Interviews include, Barry Kemp, Zahi Hawass, Wafaa El Sediq, and Janice Kamrin
[9] “Gardener’s Art through the Ages (tenth edition)” (international edition). Richard G. Tansey and Fred S. Kleiner. Will be used later for art specifics in relation to period.
