Monday, May 30, 2011

Amarna Art+ me getting my thoughts straight on Gay Robins and so wont sound to intelligent

In Breasted's book he calls Akhenaten the first 'individual' of ancient times. It's funny because he uses italics, its just funny ok.

I disagree with Gay Robins and her perception that Amarna art isn't very revolutionary in her book 'Proportion and Style in Ancient Egypt'. Yes there hasn't been MUCH that has changed about the construction and method the art was made in, but the artists at this time WERE experimenting! They developed a new style of carved reliefs, they made the King seem human and not the military driven man that other Pharaoh's were portrayed as. In the tomb of Amarna he and his family are shown GRIEVING in a position of weakness, which wasn't 'done' in previous reigns, as Pharaohs were warriors and so their weakness wasn't to be evident to their people or their enemies. Also, dead bodies were never shown in a tomb, thus changing the traditional conventions of Egyptian art.

Like Da Vinci's Mona Lisa, the artists of Amarna seem to have changed the traditional stances of their subjects. They are no longer confined to the rigid and limited stances and sittings, as seen in MANY of the wall reliefs in which the royal family play with their children, or SMOOTH CURVES convey the family leaning over in (as much as it is improper to label them) realistic.

The artists also experimented more than they had, refining the wall carving reliefs found in much of Amarna art. They also added toes and fingers and changed the skin colours of male and females; an innovation, if small, but an innovation none the less.

Also, in regards to the grid systems, they weren't used in the private tombs AND they were changed. besides this, the fact that the art changes from rigid stances to smooth movements is an innovation in itself.

Besides, Akhenaten had a short reign in which the royal artists were trained in a specific tradition, which encompassed grid systems. Surely it would be stupid to suddenly prohibit the artists from using it, changing artistic styles takes TIME something Akhenaten didn't have alot of. If one were to look at the Bek's limestone 'drawing' of Akhenaten you see how much he struggled in comprehending the new style. If one were to look a year sevens drawings in comparison to a year twelves you see the gradual understanding of drawing what you see: which I will say is mighty hard, one has to overcome their own conceptions of space and proportions, and then continually draw what you see. It is all too easy to draw without looking at the image or person and draw a 'characteristic' sketch, as opposed to a realistic one.

Though, i do agree the hype of Amarna is large, possibly even too much. But it IS the most distinct period of all of Egyptian history un-effected (relatively) by foreign influences or ruling. The rave of Tutankhamun though does supersede that of Amarna. I'm sure by now i've contradicted myself, but look at the title.

I was going to add something, but i forgot, oh well :)

Amarna art notes :) from a dvd set i have

Akhenaten

· Heretic????

· DID excommunicate the Priesthood of Re J_

· KV55: no inscriptions. No scenes. Cut for something. 197> Davis> strange things, gold plated wood. Damaged. 4 Canopic jars. Scene of Aki W name of Tye. Skeleton.

· Man: beautiful sarcophagus: skeleton

· NOTE: in video emphasises the MYSTERIOS NATURE: “but this coffin... inside it... a skeleton... a mysterious one”> Zahi Hawass (Director, Supreme Council of Antiquities)

· Wafah El Sediq (Director, Cairo Museum)

o “Prophet”

o Changed many things... 1st...

o She says that Nefertiti was the actual ruler, and that Akhenaten was primarily involved with his religion. SO perhaps it is Nefertiti’s sed festival and SHE is primarily rep. In the statues OR they are represented together. ?????

§ “She was actually the one who was ruling”

§ “Akhenaten devoted himself for his religion, and the actual ruler was Nefertiti”

o “The revolution was... in everything. They have changed the language, the language became very simple because it was to be used also by the people. So they changed the classical language of Ancient Egypt to be a very simple language... The new Egyptian Language... at the same time they changed a lot in the art. The way of showing everything, it was more free.”

o “he considered himself the son of.. the god who created the world.. male and female in one, because he is part of this god he also... he is the same, he is male and female”

· Priesthood had greater power than pharaoh

· Janice Kamrin

o Archaeologist

o Karnak, columns: one of 5 names of Amunhotep 3> hacked away

o

· 5th year go openly, against the Theban priesthood

· Changed name

· Religious changes effected all areas of Egyptian life

o Movie says that “The art was to be a clear message to the people, and the artists were to be it’s messengers.”

§ “the pharaoh invited them to abandon traditional limits and give free reign to their creativity and imagination”

· “Mahmoud Mabouk”

o Art historian

o (translation)“Artistic objects underwent change as well. Human characteristics and feelings were ever greater importance. But the proportions and artistic cannons were no longer similar to those of the past. Akhenaten gave the court sculptors Bek and Tutmose the job and responsibility of artistically changing the proportions, forms and shapes.”

o Tutmose set up a workshop in the area of Tell’ a Amarna, where plastic heads, rough drawings on limestone tablets and unusually proportioned busts of the King have been found. Some of these show the King with a very prominent chin, and others with a much shorter chin.

o “At this point we also see a change in the temples and fresco paintings, and in art in general. Styles become more human, with more refined features. Note the delicacy on the King’s fingers as he touches the sun’s rays during worship. We can almost see the emotions pass through his lips and body as he closes his eyes against the sun’s strong rays. This is what distinguishes Amarna art.”

o “In order to portray the religious concepts contained in Akhenaten’s hymn which declared ‘you are the mother and the father of everything created, and you in your compassion are mother or father’ the answer tends to modify the physical appearance of the statue to represent the sovereign as both maternal and paternal”

o “There was some debate about why these sovereigns, queens and daughter’s heads are portrayed as they are, and although some put it down to physical deformity or illness that probably effected the royal family it was actually part of a whole new art form.”

o “Here we see Akhenaten in front of his deceased daughters body, sad as any father would be. We see the girl’s body... her family crying, pulling at their hair as a sign of great suffering endured for this tragic death. We see Akhenaten holding Nefertiti’s wrist in an attempt to comfort her in the loss of her child. These details are a true revolution in Amarna art”

o “When you go into the Royal tomb at Amarna, there’s not a hint of that (AMDUAT) all you have are images of the sunlight, it’s a daytime... there’s nothing on the walls but the Aten and the King and Queen. ”

· “Art was to reflect the breakaway from the traditions of Egypt”

· The heads are also portrayed in an unusual way

o Large head: represent childhood, purity?

· For the first time the pharaoh was depicted in the intimacy of family life. Most that show are in tomb.!!

· No longer supreme god, but human being. Suffering from d. Death.

· Image from day to day life is fixed in stone, as do the other images on the walls of the tombs.

· Egyptians put tombs to west where the sun sets, North banks of Niles. Amarna tombs are dug out of the mountain to east. TOMB IS MASSIVE!

· Aki tomb compared to Valley of Kings is VERY different.

o NK walls painted W scenes from the book of the dead “Amduat”

o Journey and trials overcome in death.

o Aki sarcophagus guarded by figures if Nefertiti in protective embrace

· Gave orders for Eye’s burial:

· Vizier live in Memphis, bury at SACRA???

o 2007 excavations confirm

o Seal bearer

o Bar reliefs, monkeys eating fruit

· Barry Kemp J

o Archaeologist, director of the Amarna project

o “Whilst Akhenaten was at Amarna his second daughter _______ died. (In annex to main royal tomb) this is a scene of the family grieving over her... In front of her are arranged her family, here is Akhenaten himself.... behind Queen Nefertiti, and beyond three of her sisters; and they are shown in an attitude of extreme grief, they’re in despair. They’re raising their hands in a gesture of mourning and despair, and in a royal tomb this is a unique example of the expression of deep personal feeling. The scene does tell one or more other things about the Amarna period, what happened. Here is the name of Akhenaten.”

o (NOT HIM)“ a dead body had never before been depicted and nor had a Pharaoh in a moment of weakness”

· Amarna letters= know foreign relations. Know that let political tasks slid with concentration on religion.

o 1880’s

o Temples = military, correpsondance = complicated political game (not that effective!)

o Hatti> Hittites

o Ak. B/c weak> require intervention of Queen tye> W arrived Neffertiti disappear> replaced by eldest daughter CHANGE NAME?. 12th year husband

o Nefertiti Nefu Nefru Aten

o Same time = NEW KING appears ruling beside Akhenaten!!!

o Convincing evidence new king= female! And believe Nefertiti

o 3 names recorded in this way

o 1 Aki (not commonist)

o 2 Ankkeprerura (Smenkarae- Nef or a brother) and Nebkeprerura (MOST COMMON) (TUT) > after Ak two corenations

o Nefertiti, unsure where buried: 2 anonomas female mummies of Amenhotep II

On this dvd set J



* just a few things i would like to point out

> Elder Lady is Queen Tyie

> The younger Lady is Akhenaten's sister, and mother of Tutankhamun



Akhenaten NOT physically deformed: Genetic proof

This is a National Geographic article that PORVES that Akhenaten had NO physical deformities!!!! Thus the theories that claimed that he was physically deformed FOREVER J can’t argue with genetic FACTS!!!!

Article: “King Tut Mysteries Solved: Was Disabled, Malarial, and Inbred”

By: Ker Than for National Geographic News

Published February 16, 2010.

MEDICAL EVIDENCE:

h Said study of tut, confirming that Aki was his daddy AND which mummy he was. Also whom Tut’s mum and Aki’s mum was.

h “While the body of King Tut's mother has finally been revealed, her identity remains a mystery. DNA studies show that she was the daughter of Amenhotep III and Tiye and thus was the full sister of her husband, Akhenaten.” eww

h John Darnell: Egyptologist, Yale University: “Most important result” of the study was confirming that appearance not b/c of genetic deformities

RELIGIOUS EXPLANATION:

Akenhaten is odd in his appearance because he belongs to the time of creation, not because he was physically different," said Darnell, who also did not participate in the DNA research.

h "People will now need to consider Akenhaten as a thinker, and not just as an Egyptian Quasimodo.

h Hawass And team conclude that woman and man feat= religious and political reasons.

h “The poems said of him ‘you are the man, and you are the woman’, so artists put the picture of man and a woman in his body”

h In his book Tutankhamun's Armies, Darnell proposes that Akhenaten's androgynous appearance in art was an attempt to associate himself with Aten, the original creator god in Egyptian theology, who was neither male nor female

Barry Kemp, who has worked the site since 1977

This is a link to the article:

file:///Volumes/PC/King%20Tut%20Was%20Disabled,%20Malarial,%20and%20Inbred,%20DNA%20Shows.webarchive

Monday, May 23, 2011

Two new Gods associated to Aki

Shu and Tefenet, twins of Aten who (IN A REALLY GROSS WAY) makes them live, and then they get married and have other God children.

This is all i have so far and don't totally understand HOW they have a connection to Akhenaten apart from the fact that they are Aten's children> NO WAIT TOTALLY GET IT!!!!!

B/c Akhenaten (like Pharaoh's being sons of Re) is the 'son' of Aten and so embodies Shu and Tefenet in the colossi!!! And as the twins are male and female, he must embody both of them :) :) YAY!!! get it.

This seems like a reasonable reason for WHY there is a sexless colossi (but i still think it would be funny if when they were defaced that someone cleverly chiseled it off, but oh well). It also explains WHY he has womanly features and yet is male :):)

Just some questions on the colossi

How are they meant to be seen???

There are lots of artworks that are intended to be seen a particular way?

Due to their size surely the proportions were a factor intended to affect the audience.

What time of day were they meant to be seen? Does this affect the sculptures also?

As Aten was the sun god, and Karnak was chosen specially by Akhenaten does this then affect the colossi??


This may/ may not affect the colossi but they were just some thoughts that sprung to mind when I was reading over the book.... as all photos (that i have seen so far) are in profile, but perhaps b/c of the size and the fact that they were so tall they look more realistic and proportioned when viewed from bellow or a distance? The way local Egyptians would have viewed the sculptures. This is the case with a particular painting style.....

Just some thoughts

Not saying this is WHY they look so weird though, just a though...

Interesting point on colossi!!

According to Spieser:

colossi are a "giant piece of rhetoric on the nature of Aten blended with that of the sovereign"

"The Akhenaten Colossi of Kanark" by Lise Manniche

Dominic Montserrat

  • Died age 40 (had lifelong struggles with health :()
  • Egyptologist
  • Papyrologist
  • Writer and teacher
  • Post Modern historian (he himself comments in book "History, Fantasy and Ancient Egypt")
http://www.guardian.co.uk/news/2004/nov/10/guardianobituaries.obituaries

Obituary written by Ashley Jones

Afrocentrism

Definition from Akhenaten: History Fantasy and Ancient Egypt
By Dominic Montserrat

Afrocentrism: "a political and and cultural movement that seeks to reclaim origins of world civilisations in black africa". It is a movement that has been criticised by many historians (black and white), especially those associated to Egypt. Ironically the movement seems to follow old fashioned views of races.

Sunday, May 8, 2011

The book Mr WRIGHT FOUND :)

This was one of the comments made about the book, "The Akhenaten Colossi of Karnak, by Lise Manniche (Hardcover)" by Bruce Trique. Found on Amazon books, on comments and reviews.

"Lise Manniche presents a persuasive picture that the statues, for the most part, were dismantled with considerable care (although the{re} is a subset of the statues that do show deliberate mutilation that appears to reflect real animosity)"


>> This is interesting because i had no idea that the hostility towards Amarna is evident in the art. Though i think it importent to talk about the Re priesthood and their opposition, and their subsequent return to power in the subsequent rulers, Horemheb and the disgrace of Nefferttiti.

"Manniche explores the vexed question whether these statues were an effort to portray a physical reality (and, if so, what medical pathology could explain such an appearance?) or whether the statues were the product of a deliberate evolution in artistic style (something more intellectually accessible to a 20th century audience than perhaps to people in 14th century BCE Egypt."

>>This directly affects my project :) as it is the basis of it.

THIS IS SOMETHING I DIDN'T KNOW :)

" A theme to which the author frequently returns -- but of course for which is unable to provide a final answer -- is why one subset of these statues (basically, those showing the head weaing the Double Crown of Egypt without nemes or khat headdress) were subjected to a very evidently non-random mutilation invoving smashing of the nose, mouth, chin, and eyes (while such a mutilation pattern is virtually absent from all the other statues). Manniche discusses the possibility that these mutilated statues were intended to represent Nefertiti rather than Akhenaten himself and that something in her later life (she may have become co-pharaoh, an elevation distasteful to some traditionalists) called forth such vehement violence. "

>> this is relevant to my study b/c it involves the artworks. In particular, what evidence it provides historians specifically concerning the issue present in the art and speculated after the Amarna period of 'co-regency'. This i plan to look at in my project.

William Suddaby's comments:

"Her research brings together a gold mine of scholarly observations from all over the world and organizes it in a cogent and unintimidating way."

>> This conveys her style which i will need to compare to others in the past who have written about Amarna b/c of the necessary focus in my project.

Stanly C. Sargent comments:

"The text is quite intriguing and well-written. The author considers (without bias) the several theories about the possible meanings of the colossi, the significance of varying crowns, whether the colossi represent Akhenaten alone (as king), as the phases of the Aten, or himself, Nefertiti and Amenhotep III, and more. "

>> Again the author's style, seems to be a Von Ranke with varying perspectives.

"The only fault I found with the book was the author does not translate quotes from sources in French, in the text or in the footnotes. Luckily, there are not a lot of these instances, but for someone who doesn't know French, it is a little frustrating. "

>> 1. BAD thing for a writer or historian, the reader needs to understand everything, and an effective argument for anything as all facts must be understandable. 2. Style again, obviously the author explains evidence throughout her text and uses footnotes, a good thing. 3. Just the first comment again.

Wednesday, May 4, 2011

Hitler- Neferttiti lover

1930's Adolf Hitler decided that the Nefertiti bust was his fave. artwork from ancient Egypt, and would therefore remain in Germany.

According to Ian Shaw's "Ancient Egypt: a very short introduction" draws parallels between the seeming European characteristics of the bust opposed to African.

i will look at this again later, too busy creating myself as a Simpson's character

Tuesday, May 3, 2011

NEW THING EXCITING!!!!!

In the END (sorry sir u were right) C19th (leading onto the C20th) the influence of a guy called "Blyden" and his influential essays and criticisms of white historians, with regard to Egypt, particularly Amarna Egypt. One of his essays is titled, "The Negro in Ancient History".

During this period there was a push by African Americans who saw the stylistic features of Amarna (specifically the statues of Karnak as they convey features of thick lips and broad nostrils) as indicators that Akhenaten as African.

Though, looking at the evidence provided in later works (particularly Thutmose) and the evident struggle of the artist Bak to sculpt in the Amarna style and the hatred between the Nubians and Egyptians this doesn't seem likely.

Thus the fact that 'white historians' were calling these statues grotesque (to quote the book) "seemed to prove the racist conspiracy by white historians to deny and degrade the blackness of the Egyptians".


p120

History, Fantasy and Ancient Egypt

Monday, May 2, 2011

Studies in Ancient Egypt (second edition) Periods and Personalities

Jennifer Lawless (editor)
Kate Cameron
Gary Kenworthy

  • artists would have never produced works like this without direction from the King
  • Naturalism and spontaneity seen >> Thutmosis sculptor......
  • seen as loving> express grief for death of their daughter, not usually done. Not show weakness in the royal family. Before had been formal and idealised.
  • military art showed unusual aspects of reality, book asks if concept of ma'at is being applied

INTERESTING on how perceptions have changed about Amarna art!!!!

The Encyclopedia of Ancient Egypt by Margaret Bunson

copyright 1991
BUT is a 1999 edition

Under Amarna (el-'Amarna) and Akhenaten heading
  • describes the art style as 'naturalistic'
  • THIS derives from artwork at reliefs and paintings in the Palace (unsure which one it talks about, assume place of Kanark)>> "Waterfowl and marsh scenes graced the walls, adding a natural and pastoral quality to the residence"
  • "examples of this style surviving today depict the King and his family with strange deformities and peculiar physical traits" >>> WOW i didn't know they still thought that the Pharaoh had something wrong with him.
  • Book states that Akhenaten attacked other cults and deities of Egypt, "especially Amon">> apparently his "agents" went around destroying their statues and desecrating sites and other evidence of their worship. "Even the cartouche of Akhenaten's father, Amenhotep III, was destroyed because it bore Amon's name."
The Cannon of the Human Form

  • representation of the human form evolved within religion BECAUSE.......
  • "The predynastic Egyptians, already deeply concerned with the spiritual concepts, had a need to communicate ideas and ideals through the representation of divine beings..."
  • "Art was ment to convey information" >>> thus the convention was developed to serve a religious purpose "could convey metaphysical concepts" and bring "a vision of the material world to the viewer"
  • This is good for me because this applies to the theory that modern historians now seem to theorise for the purpose of the art= religion.
Art and Architecture- New Kingdom- Amarna
  • Note in the period prior, Tuthmossid Period. Polychromatics (variety of colour) and application of a simplified cubist form.
  • "In honour of the got Aten, set off an artistic revolution"
  • again mentions the use of a more naturalistic style
  • physical deformities comment, "frankly portrayed"
  • though notes that the busts of Nefertiti demonstrates technical skill
  • POSSIBLY ignoring evidence????