Bmma Egyptian Art 41 1983 4

8/10/2019 Bmma Egyptian Art 41 1983 4

1/60

Egyptian Art

Reviewed work(s):Source: The Metropolitan Museum of Art Bulletin, New Series, Vol. 41, No. 3, Egyptian Art(Winter, 1983-1984), pp. 1+3-56Published by: The Metropolitan Museum of ArtStable URL: http://www.jstor.org/stable/3269068.

Accessed: 14/06/2012 15:25

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2/60

Egyptian

r t

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useum

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B u l l e t i n

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t t ) ' s

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31/60

statue epresenting

couple,lmost

_

_ -

by

sidewith heir nns boutach

other,n ront fa

slab nscribedn he

back

with inerasynvocationsor

ach | e . . 1 K

^

ofthem. arts fthe ext urviveRut

their ames re ost.

The tatuewas

_ _

madeor heupleR tomb tThebes.

P

| | l

us ogaugethel

ffACstusualheWoman's

q

t

yellowkin olors

contrastedith he L5e


32/60

S t # xfi*

were toS m the draserat oneenddf :

the boarrd.1 moveswew deteS

mined ytossing hmw ticlz such :

as thesered-stainederolyxatnpl,

carved t oneendmnthhehead fa

jadkal ndat theotherwitha fingemail,

a visual eferenceo theancaent ord

for hrow tick,djeba, rfinger."he

rules or hetwogames, orgotteninoe

RomaJlimes,havenever een ntirely

reconstructed.he idesand opofthe

board re nscribed ith unerazyor-

mulasnthename f heoverseer f

works ia andhisparents, ndat one

end dia is depictedeatedwithhiswife

andhermother.P.D.

29.Board ames, ly mtegnallv

ments f uney equipmentefbre

D9q1ast 1 (e. 31v B.C.), 8 ffie

entire ontinuumfEgyptian iviZza-

tion. lniswooden oF has woplay-

ing 811S, onewith wenty quares

on op or hegameoft1au, rS

bers," ppatentlyn mportromAsia,

andoneunth hirtOrquares n hebot-

tom or enS, whichmeans ssing."

Senet cqliiredfuneraryoleduling

the NewKingdom;heobstacles f he

gaxne ere quated ith hehazanls f

theafterlife, ndhlowledge f ts rules

was houghto enable ictoziousntry

into heunderworld.aniing ieces

W :1 *'' '


33/60

:'Si:EJ

g

the carved

panel

wasattached

o

the

: -

a..Ex7

LowerEgy

t.Thelion-headedgoddess

D

_St>'-'V

31


34/60

32 'rnishead m a ue of

AmenhotpeII (c.1417-1a79 B.C.) B

a characiristiciken of he dng

whoruled therxchestmp the

world adyet seen.The eatuxes f

Amenhotperecunously hildlike:

round heeks nda soft in; a

mouthwitha distinctivelyhaped

upperipslightly }ickerhan he

lower;arge, lanted, legantly utlined

eyes; nda pleasant utsomewhatnig-

rnatic pression Thepersonality

behindhis ace emains luave,

although e have oreiderablenfoF

rnationboutAmenhotpeWeignX

Heclaimedo haw beena mighthrion

hunterm hisyouth, utto judge rom

statues n the Metropolitanuseum

and lsewh@re-ebecame orpulent

iIl ater ears. EeR R


35/60

33.Although

hewasnotofroyal irth,

GreatQueenTiye eems o have xer-

cisedunusual

nfluence,robablyy

virtue f

her orceful ersonaSity.ike

most epresentations

f hecontempb

razies fanyEgyptian ing,

her mages

weremade o resemble

hoseofher

husband, menhotpeII, withyouth-

filly roundedaceand arge

almond-

shaped yes.YetTiyehad

herown

distinctive

eatures,ncludingdeter-

minedittle

rown t thebrows ndan

indescribable

utunmistaliableontour

to thefilllandgenerous ut aintly

poutingmouth.Thus his

ragment fa

statue, nbeautifilllyolished

asper,

is immediatelyecogiizable

s Tiye.

When omplete,

hefigurewasproba-

blya compositeork,wsth ppropri-

ately oloredtones nd

preciousmetals

formlnghe

variouslements fhercos-

tumeand

headdress a masterwork

n

a timeof

avishwealth ndbrilliant

craftsmanship. .R.R.

33


36/60

34.These hree

arnelianlaqueswere

originallyet ingold

ewelry, robably

bracelets.

he tonewasprecious

nd,

beinghard,difflculto

carve;hese

ficts, and

heglorificationnall hreeof

AmenhotpeII, indicate

hat heywere

a product ftheroyalworkshops.

hey

mayhave

beenmade o

commemorate

oneoftheking's eb eds important

festivals froyal

enewal-foronone

(left)he sshown wice n he1oedcos-

tume,accompaiiedy

Queen 5ye.On

the second

right),Amenhotpend

Tiye

areattendedy two

princesses. he

third below), virtuoso

ittlepieceof

openworkarving,howsTiyeas a

wingedphinx,weating

floralrown.

Herhumannnsare

raised nadoration

ofthecartouche

ontainingerhus-

balld's ame.

TheprominencefTiye

on

all hree

plaquess significant,sign

of

hergreatimportance. .R.R.

35.TheRoyal

cribe enuappears t

the

tighton hisstela,worshiping

Imsety ndHapy,woof he

funerary

deities

known s the Four onsof

Horus.Hisown

on, he ector-priest

Pawahy,tands

elow,makinghepre-

scribed esture sherecites

orhis

father

hefunerary ymn

wtitten n

front

fhim.The ineworlunanshipnd

suave tyleare

characteristicfall he

artsofAmenhotpeII's eign.The

gracefuligures,with heir

light imbs,

rather

argeheads, ndgreat

lanting

eyes,recall he

elegant utvaguely

juvenile

ppearancef he dnghimsel

Senu

hada set of hesestelae

orhis

mortuaryult.Onenthe

Louvre

shows

himgreeting he other

woSons

of

Horus,DuamutefndKebehsenuef.

Another,n the

Metropolitan'sollec-

tion,representsimwith

Osiris.

E.R.R.

34


37/60


38/60

36,37.Mlbrant

ithcolor,

hese our

small essels

have he

bnlliancef

jewels.

Thecompanson

s not

at all b-

fetched,or

heEgyptianseem

o have

regarded

lassas a kind

fartificial

gemstone,

nd t

wasequally alued.

Glassmaldng

asapparently

n-

ventedn

westernAsia.The

art

reached gypt

early n

Dynasty 8,

around

500 .C.,

anduntil

at least he

endof hedynasty, lassmanufacture

was

a royalmonopoly.

here

were

glassworks

n the palace

omplex

f

AmenhotpeII

at Malkata,

nd n

Akhenaton's

esidential

apital t

Amarna.

uling hereigns

f hese

wo

ldngs,Egyptian

lassmaldngreached

its peak,

producingessels

ike hese,

whose echnical

xcellence

nd lear,

pure

olors re

unsurpassedn the

ancient

world.

The hapes

f Egyptian

lass

vessels

wereborrowed

rom

tonewarendpot-

tery.Theminiature

mphora

nd wo

miniatureraters

nght)have

heirpro

totypesn

arge toragears.

The ooted

bowlwith

holizontal

bbingbelow)

imitates

labasterxamples.

ll

he

vesselswere onned ver sandy ore,

whichwasscraped

utwhen

heglass

hadcooled

ndhardened.

dditional

colors

were railed n

and,while

till

soft,dragged

pand

downo produce

festoon nd eather

atterns.

hewhole

was

henmarvered,

rsmoothed,

o the

sheenofpolishedgemstones.

.R.R.

36


39/60


40/60

38. Generally estricted o formal tyl-

istic conventions ndrepetitious ubject

matter,Egyptianartisanswere never-

theless capable f creatingworksof

startlingrealism.The bodyof this

gazelle s carved roma singlepieceof

ivory,with hoovespaintedblackand

hairsalong he spinerenderedby small

scores; he missinghornswere proW

ablyof anothermaterial, uchas ebony.

Attached o the woodenbase by tenons

protrudingrom ts tiny hooves, he

gazelle s shownpoisedon a desert hil-

lock,tail raisedandeyes alert to dan-

ger. The smoothed urfaces, lender

legs, anddelicate olonngcontnbute o

this consummate ortrayal f fragile

grace. As in the hippopotamusfig.21),

reference s made o the animal's

environment:he base s incisedwith

desert flora hat represent he natunl

habitatof the gazelle,andthe hollows

are filledwith Egyptian-blue ig-

ment.

P.D.

l

if

t'''''\'1;'


41/60

39. The

reliefs hat adotned

he temples

of the

Aton at 1b11l Amarna

re some

of the most innovative

o havebeen pro-

duced n ancient

Egypt. Designed o

serve

the propagandist uiposes

of

Akhenaton

c.1379-1362 B.C.),

the

scenes

that complised he temple

deco-

rationswere planned

n a monumental

scaleandoftencovered ntirewalls,

enlivened n the

pezipheryby smaller

vignettes

or subsidiary igures.This

spanof

horses,undoubtedly

ccom-

panied

by other eamsandgrooms,

was

a subordinate etail

n a chariotpro-

cessionof which

Akhenaton ndhis

queen, Nefertiti,

were the primary

focus.Thesehorses

are givenunusual

vitalityby the

modeling f theirdroop-

ing

muzzles, apezingarched

necks,

attentiveears,

androunded yes.

Although

heir hind egsare predict-

ably

rendered n doubleprofile,

he con-

ventionsof Egyptianart

are stunningly

violatedn the

simpleactionof one

horsethrowing

ts headdown o gnaw

at its leg. The ifelikemovement as

been faithfully

eproduced y the sculp-

tor, who, rather

handepict he com-

monplace

mageof a synchronized

team,

has captured purelyephemeral

moment.The relief

s nowon loan o

the

Museumrom he

collection f Norbert

Schimmel. P.D.

3


42/60

u w , : : : ' 3

_

_

40


43/60

41.Generalf heAnny,Royal

Scnbe,

andDeputyorKing utankhamun,

h

Haremhab

itscross-leggedn hepose

: - *---X-.,lg-& m >

ofanordinarycnbe, olding

scroll

x - -

- Ww;;qt

onwhichs

ltten hymnoThoth.

_

lips,andsweet,ratherdrowsyexpres

4

sion remodeledn he eatwes

f

_ ;_

X 3

11ht;'> ;,;sX

ofHaremhab-who

irtuallyov-

3 Btk;0AX

erned gypt unnghereign

f

_ ffi

t@$Ug;

Tutankhamunc.

361-1352 B C.)

and _ ffi

whowouldnedaybecome

ung

iS

j_

l l

unmistakably

onveyedy he uperb

-1_

_

qualityf his

ifesizetatue, major

d

_

workrom great oyal telier.

hat j

_

such manhouldeportrayedsa

m

_ _

_

scribehows

herespectccordedo it-

n__

eracy. he osewasalso ppropriate

>_

for statue

edicatedoThoth,od f

writing,ndt may ave ad special

significe

forHaremhab,hose

_

inscnptions

n his tatue nd lse-

_

_ g

wheretress

headministrativespect

1._

__

_

d hili mamy adlievEm

141


44/60

soryand hepainting

mprecise,he

hasty xecutionf he

relief eems o

suit he confilsionfanned onflict.

Onginallyartofa battle cene n a

temple fRamesses I,

the blockwas

reused y Ramesses V

(c.1166-1160

B.C.) inthefoundationsfhismortuary

templen westernThebes,where t

wasdiscoveredy the

Metropolitan

Museumn 1912-13.

.D.

42.Thepandemonsumf hebattlefield

and he ang ishof hewoundedrepor-

trayed n hissandstone

lock,which

once onned artofa

largewarrelief

The cenemaynotrefer o anhistoncal

event,butmaybe a conventionalized

representationf he Egyptian ing r-

umphantverhisfoes,

dentifiables

northernersytheirdistinctiveress

andhairstyles.hnsfixedby the feath-

ered hafts fpharaoh'srrows, everal

dying

Asiaticsieentangledn a heap,

trampled eneathhehooves f he

ldnWs

hanot eam,whoseunderbellies

arevisible long heupper order.One

of hefallen nemy, ithyellow ldn

anda white

ong-sleevedarment,

is

apparentlymanof social r military

mnkdifferent rom hatof the

red-sldnnedoldiersn short mbroi-

deredkilts,

whose onger air s bound

byfillets.Althoughhe carvings cur-

42


45/60

43. Smoothimestonelakes rom he

excavationfrock-cutombswereoften

usedby draftsmennd clibes or

practicingheirprofessionalreehand

sldlls s wellas for dledoodling. his

ostracon, iscoverednthe Valley f he

Kings, ears ketches fboth erious

andhumorousntent,doubtless rawn

by oneof heworkrnenngagedndeco-

rating he royal ombs.The irst ketch

is thatofa Ramesside ing,whose

almond-shapedyesandgracefully

curved osewere ompleted itha few

confidenttrokes;hedome f he

crown, owever,pparentlyequired

correction.heartistalsodrew wo

standingigureswhosenames ppear

above: ayandhiswife,Meresger. ay

seems o be drinkingeer rom jar

through tube,andhis hinphysique

and onventionalressareanamusing

contrasto the corpulencendnear-

nakednessfMeresger. erhair,which

nonnally ould avebeencovered y a

longwig, s close-cropped,ndher

shoulders avebeenrenderednclumsy

foreshorteningorcomic ffect. P.D.

43


46/60

z

rf

ffi -

v - e

;

W^-R

S

Ti}i'}


47/60


48/60

o- s

t *

,

\ a

B-

t;>ti's>S*'s

1


49/60

*z--

147


50/60

48.ThevizierNespekashuty

c.656

B.C.) plarenedo be

buredat Thebes

n

a tomb overed

ithrelief

f he best

quality.

he omband ts

decoration

wereneverinished,

owever

whether ecause

heowner iedpre-

maturely rbecause e was orcedo

abandonhe project,

we donotknow.

The ubjectmatter

nthisdetail s

tra-

ditional, ith emale

ffenng earers

blinging

roduceo thetomb

owneror

hisafterlife. utwhile he

subjectn

Sobekhotpe's

omb fig. n ofeight

hundredears arlier

s maxleraceful

by means

f ancywigs,elegant

os-

tumes,and ransparent

rushstrokes,

thisscene

s rigid,with tolid

oses,

sharply ut

outlines, nd lat

relief

planes.

Thepreliminary

rawings ere

more ively, nda

hintofthatvitaSity

canbe seen n theright eg of he

woman n

he eft: he contour

f he

leg

would avebeen

deletednthefinal

smoothing

fthe stone.The

preference

in the seventh

entury .C.

was fora

readable

ormula,rsplyexecuted

n

the

finecrystalline

imestonef he

Thebanhills.C.L.

48


51/60

49.TEscurved ooden anel ormed

thehead ndof he

outer nthropoid

coffin fa temple

fficial,he Door-

keeper f he House fAmun,

Peldlerldlonsu.nund hebase,a

band fstylized

aw niches rdoor-

ways,a traditional

rchitecturalotif,

marksheboxasthemummgsinal

home.Above,

kneeling oddess

spreads erwinged

nns n a gesture f

protectionroundhe occupant'sead.

She s Amentet,hegoddess f he

West,where he

sun et and he dead

werebutied.

Amentets drawnwith

authority,nthe

precise,inear tyleof

paintingavored

t Thebesn thesev-

enthcentury .C. Thecolor, arefully

applied ithin

heoutlines,s subordi-

nate o thedrawing;ven heunearthly

greenof hegoddess's}dn eems

uS

dued n compaxison

o the complicated

branchesfher

elaboratelyrawn ar.

It is noteworthy

hatPeldlerldlonsu,

iVirlyminor fficial, asable o com-

mand uch inework orhis imerary

equipment.

E.R.R.


52/60


53/60

50.Carved f

graywacke,he

Metter-

nich

Stela s thefinest

ndmost labo

rate

examplefa genre

ofmagical

stelaehat

oxiginatedn the ate

New

Kingdom. hechild

Horus tanding n

two

crocodiless thedominant

otif

ofthesemonuments,

hichwere n-

sctibedwith

magicalexts hatwere

recitedo cure

ailmentsnd o

protect

against nimal ites.The

gemlike

vignettes f

hisstelaportray number

ofgodscounteractinghe nfluencesf

snalies,

rocodiles,nd cotpions.

Above,he sun

god s

worshipedy four

baboonsndakneeling

ectaneboI

(360-342 B.C.),

to whose eign

he

monuments dated.One ext

explains

thecentrality

fHorus n

magical

stelaeby

recountingheyoung

od's

cure

ofpoisonousitesby the

god

Thoth.Apparently

rectednane-

cropolisf

sacred ullsbythe

ptiest

Esatum,he stelawas

ound t Alex-

andria

ndpresentedn 1828o

Prince

Metternich,ywhosename tis now

known. P.D.

51.

Thiskneeling

tatue epresentshe

Overseerf

Singers fAmun f

Luxor,

Amenemopiemhat.othhis itleand

hisname

ndicatehathe was

closely

associated itha cultofAmun

f Luxor

in ornear

Memphis. he tatuewas

designedora

Memphite

emple,

probablyhemain

emple fthe city's

major eities,

PtahandSelimet,

who

arenamednthe

nsctiptions.Amenemopiemhatolds cultobject f

the

cow-earedoddess

Hathor. hepro-

portions fhis

figure,ts

musculatity,

and uch

details s theslanted

dges of

the

collarbonend he

shallow epres-

siondown he

center f hetorso

represent conscious

ttemptnthe

Late

Penod oemulate

he classic

works f he

Old ndMiddle

King-

doms. E.R.R.


54/60

\

t

j j

g

;SA;

@'

siUh

-

*

44.

aM-x-

t

Y-z

-

ie:/

-

L'

:ser

is

#

o

SSefi

MS

'.t

5,.

.. Z

-

p

.

I

to S

:_,,

,,,f''

-

R

o

+

-

-_E

t

K

,4it

-st


55/60

A

tiiprset{tSd

1XRd

MM

a X@ S a

a A

] S_s

u

ur

with

bird'sead

rownedya

sun

e

e p

uisot

zroem

_

uette,

made

ometime

uringhe ast

is

nowhereore

vident

hann his

tilb Olos

artliL

tz

hreNd >

case,

xtremerthodoxy

as,m

part,

apbt

tmple

tatues nd

eliefs

functionsf

pharaoherhaps

he

most

wme

Ululg

t1e

4tx

is its

erF z5

i@

best

Egyptian rtof

allperiods.

he

EM)O

w

h gd Sur

E R s

1u


56/60

54.

Horus

he ilcon,

heroyal

od,

hovers

nflight.

His

claws zasp

he

(now roken)

ieroglyph

hen,

a

*

*

* *n *

s

clrcu

Larlgn

slgmIymg

mversa

doIIiinion,

nd

elated

othe

oval ar-

touche

nwhich

oyal ames

were

wtitten.

Horus

nthis

pose

wasusually

shown

irectly

bove

he king,

as

pr

tector nd

guarantor

f

heroyal

person.

Thisplaque

s

oneofa partially

preserved

roup

f Vience

nlayshat

decorated

large

laborate

bject,

probably

wooden

hnne.

Thered

and

dark-blue

etails

re he

prsduct

fa

champleve

echnique

ery

unusual

or

bience:

depressions

erecut nto

he

main

bodyof

heplaque

nd

illed

with

vitreous

astes.

Thewhole

was hen

fi>d,

and he

nlaid

uriace olished

likea

great ewel.

E.R.R.

54


57/60


58/60

PulitzerBequest, 1966-Fletcher FUnd

1922 58.153.1

[selective]); 58.153.2,3); 1982.137.1);

i983.1-13);

(66.2.77); 26.8.117A)

27.

Dynasty 18, c. 142>1417B.C., fromThebes.

Paint on

mud plaster,287/8 21 nches. Rogers Fund,

1930

(30.2.1)

28.

Dynasty 18, c. 1504 1425B.C. Painted

sandstone,

h. (left) 14Ysnches, (right)17Ysnches.

Rogers Fbnd, 1913 13.182.1AB)

29. Dynastyl8, c.1450-1360B.C.

Wood,blue faience,

and ivoly;

gameboard: Y4x 17/8 37/8nches-

draughtsmen: . % nch and Ys nch, diam. 7/8nch;

throw

sticks: w. Y2nch, l. 3Y4

Y2,

and 7/8nches.

Rogers Find, 1912 nd 1919 i2.182.72);

19.2.19-27);

(OC3014A-H, J-Q)

30. Dynasty 18, c. 1570-1379B.C.,

fmm Thebes,

Asasif

(MMA815).Paint on leatherJ Ysx 6Y4nches.

RogersFind, 1931(31.3.98)

31.

Dynasty 18, c. 142>1417B.C., from Thebes

Valleyof the Kings, tomb 43. Cedar

wood, h. 97/8

inches.

TheodoreM. Davis Collection,Bequest of

TheodoreM. Davis, 1915 30.8.45A-C)

32.

Dynastyl8, c. 1417-1379 .C.. Quartzite,h. 133^'4

inches.

Rogers Fbnd, 1956 56.138)

33. Dynasty 18, c. 1417-1379 .C.

Yellow asper, h.

5Y2nches.

Purchase, Edward S. Harkness Gift, 1926

(26.7.1396)

34. Dynasty 18, c. 1417-1379 .C.

Carnelian,23^48

1%, Y2x

13^/4,Y2x 13^/4nches. Purchase, Edwar1d

S. Harkness Gift, 1926 26.7.1339,1340,

342)

35.

Dynasty 18, c. 1417-1379 .C. Limestone, 29Y2

12%nches. Rogers iind, 1912 12.182.39)

36. Dynasty 18, c. 1370-1320B.C. Glass, h. 57/8, Ys,

3Ys nches.Purchase, Edward S.

Harkness Gift

1926;

Rogers Fund, 1944 26.7.1177,1181);44.4.48)

37.

Dynasty 18, c. 1370-1320B.C. Glass, h. 23^'4

inches, diam. 4Y2nches. Purchase,

Edward S.

Harkness Gift, 1926 26.7.1178)

38.

Dynasty 18, c. 1379-1362B.C. Ivory,wood, and

Egyptian-bluepigment, l. 37/8nches,h. 4Y2nches.

Purchase,Edward S. Harkness Gift,

1926 26.7.1292)

39.

Dynasty 18, c. 1373-1362B.C. Limestone, 9 x

20Y2nches. Collectionof NorbertSchimmel

(L.1979.8.19)

40. Dynasty 18, c. 1365

B.C.,

from

Thebes, Valleyof

the Kings,tomb 55. Alabaster,

obsidian,and blue

paste, h.

20Y2nches, diam. 9Y2nches.Jar:Gift of

TheodoreM. Davis 1907 07.226.1)-id:

TheodoreM.

Davis

Collection,Bequest of TheodoreM. Davis,

191530.8.54)

41. Dynasty 18, c. 1361-1352 .C. Gray

granite, h.

46 inches.

Gift of Mr.and Mrs. V. Event Macy,1923

(23.10.1)

42. Dynasty 19, c. 1304 1237B.C., from

Thebes

Asasif,temple of Ramesses IV. Painted

sandstone

24 x 45Y4

nches. Rogers Fund, 1913 13.180.21)

43.

Dynasty 19-20, from Thebes, Valleyof the

Kings. Limestone, lOY4 8Ys nches.Gift of

TheodoreM. Davis, 1913 14.6.191)

44. Dynasty 20, c. 1113-1085 .C.

Gessoed and

painted

wood, 1. 76Y4nches, w. 207/8nches. Rogers

Find, 1917

17.2.7A)

45.

Dynasty 21, c. 103W991 .C., fromThebes, Deir

el Bahri,

SAE 358 (MMA65). Paintedand inscribed

papyrus,h. 133M4-14Ysnches. Rogers

Find, 1930

(30.3.31)

46. Dynasty 22. Gold,h. 67/8nches.Purchase

Edward S.


47.

Dynasty 22. Fiience, h. 5Y4nches. Purchase,

EdwardS.

HarknessGift, 1926 26.7.971)

48. (Detail).Dynasty 26, 656-610B.C.,

from Thebes,

Deir el Bahti, SAE 312 MMA509).

Limestone, total

h. of

figures, c. 16M2nches. Rogers Find, 1923

(23.3.468A)

49. Dynasty 25, c. 690-656 B.C., from

Thebes, MMA

832. Paintedwood, h. 22 x 227/8-263H8

nches. Rogers

Fund, 1928 28.3.53)

50. Dynasty 30, 36W342B.C.,

Graywacke, 27/8

lOYsnches.

Fletcher Find, 1950 50.85)

51.

Dynasty 26, 664-610B.C. Graywacke,h. 25Y4

inches. Rogers Fund, 1924 24.2.2)

52. Dynasty 30 or PtolemaicPeriod.Bronze,h. 77/8

inches. Rogers Fund, 1925 25.2.11)

53.

PtolemaicPeliod, 50-30 B.C. Basalt, h. 36Ys

inches.Purchase,Lila Acheson

WallaceGift and

Rogers Fund, 1981(1981.224.1)

54. Macedonian-Ptolemaic eriod,332-30

B.C

Polychrome Vience, . 113^/8nches. Purchase,Edward

S.


55.

RomanPeriod,A.D. 150 61.Encausticon wood

h. 153^/4

nches. Rogers Fbnd, 1909 09.181.3)

EgyptianChronology

Paleolithic Period c. 300,000-6000B.C.

Neolithic Period c. 6000-4300

B.C.

Predynastic Period c. 4300-3000B.C.

Badanan Culture c. 4300-4000 B.C.

Amratian

Culture c. 4000-3600 B.C.

Gerzean

Culture c. 3600-3200 B.C.

Dynasty 0 c. 3200-3100 B.C.

Archaic

Period c. 3100-2686B.C.

Dynasty 1 c. 3100-2890 B.C.

Dynasty2 C.2890-2686B.C.

Old Kingdom c. 268s2160 B.C.


Dynasty 4 c. 2613-2498 B.C.

Dynasty 5 c. 2498-2345 B.C.


Dynasty 7 c. 2181-2173 B.C.

Dynasty

8 c. 2173-2160 B.C.

First Intermediate Period c.

2160-2060B.C.

Dynasty

9 c. 2160-2130 B.C.

Dynasty 1O c. 2130-2040 B.C.

Middle

Kingdom c. 2060-1786B.C.

Dynasty 11 c. 2133-1991 B.C.

Dynasty

12 c. 1991-1786 B.C.

Second Intermediate Period c. 1786-1570

B.C.

Dynasty 13 c. 1786-1668 B.C.

Dynasty

14 c. 1700-1668 B.C.

Dynasty

15 (Hyksos) c. 1667-1559 B.C.

Dynasty 16 c. 1667-1559 B.C.

Dynasty 17 c. 1667-1570 B.C.

New Kingdom c. 1570-1085B.C.

Dynasty 18 c. 1570-1320 B.C.

Dynasty 19 c. 1320-1200 B.C.

Dynasty 20 c. 1200-1085 B.C.

Third

Intermediate Period c. 1085-656B.C.

Dynasty 21 c. 1085-945 B.C.


Dynasty

23 c. 818-715 B.C.

Dynasty 24 c 730-715 B.C.

Dynasty 25 (Kushite) c. 760-656

B.C.

Late

Dynastic Period 656-332 B.C.

Dynasty

26 (Saite Perlod) 666525 B.C.

Dynasty 27 (First Persian

DomInation) 525-404 B.C.

Dynasty28 404-399B.C.



Second

Persian Domination 342-332

B.C.

Macedonian Period 332-305 B.C.

Ptolemaic Period 305-30 B.C.

Roman Pleriod 30 B.C.-A.D. 325

Coptic PleriodA.D. 325 641

Cover:Youthfulmajesty and courtly

elegarlceare

apparent

n the features of an Egyptian royalwoman

who died thirty-threecentures ago. Althoughher

face was carved ust 2Y4nches (5.4

cm.) high, this

enlargeddetail (see fig. 40) only

enhances he lifelike

formscreatedby the ancientartisan.

Inside iFont and back covers:

Details of papyrusof

Nany

(fig. 45)

56

Credits

1. GerzeanPeriod. Ivoly, l. 4Ysnches.

Purchase,

Edward S. Harkness Gift, 1926

26.7.1281)

2. Dynasty 1.

Graywacke, . 67/8nches, w. 53^'4nches.

Rogers Find, 1919 19.2.16)

3. Dynasty 0.

Quartz,h. 43^t4nches, l. 97/8nches.

Purchase,

Fletcher Find and The GuideFoundation

Inc. Gift,

1966 66.99.2)

4. Dynasty 4, from Saqqara.Limestone,h. 38

inches.

Purchase, unds from variousdonors 1958

(58.123)

'

5. (Detail).Dynasty 5, from Saqqara.Painted

limestone, h.

of main igure, 393o'4nches. Rogers

Find, 1907

08.201.2)

6. Dynasty 5,

c. 2456-2345 B.C. Painted imestone,

h. 22Y2nches. Rogers Fbnd, 1952 52.19)

7. Dynasty 11, rom Thebes, Deir el Bahri, temple of

Mentuhotpe I. Painted imestone, 14Ys

38%

inches. Giftof Egypt ExplorationFlund,

907

(07.230.2)

8. Dynasty 11,c. 2009 1998B.C., fFom

Thebes, tomb

of Mekutra MMA1101). aintedwood, h. 44Ys

inches. Rogers Find and EdwardS.

HarknessGift,

1920 20.3.7)

9. Dynasty 11,c. 2009 1998B.C., fFom

Thebes, tomb

of Mekutra MMA1101).Gessoed and

paintedwood,

linen, and

cord, 1.50Ys nches, h. 14%nches, w. 12

inches.

Rogers Find and EdwardS. Harkness Gift,

1920 (20.3.1)

10. Dynasty12, c. 1962-1928

B.C.,

fromLisht, South

Pd cemetely. Gessoedand paintedwood,

h. 227/8nches. Rogers Fundand Edwar1d

.


11. Dynasty

12, c. 1962-1928B.C., from Lisht, South

Pd.

Limestone, h. 13 ft., 1137/8nches. Rogers

Fund,1934

34.1.205)

12. Dynasty 12, c. 1878-1843B.C. Gneiss,

l. 283^t4

inches, h. 163^/4

nches. Gift of Edward S. Harkness,

1917 17.9.2)

13. Dynasty12, c. 1955B.C. Painted

imestone

41 x l9Ys nches. Gift of Edward S.

Harkness, 1912

(12.184)

14-17.

Dynasty 12, c. 1897-1878B.C., from Lahun,

tomb 8.

Pectoral:gold, amethyst, turquoise

feldspar,

arnelian, apis azuli, and garnet;girdle,

wtistlets, and

anklets:gold andamethyst. Pectoral:

1.3Y4nches, h. 13M4nches;circumference f clasped

girdle, 317/8nches-wtistlets: l. 53M4nches-anklets:

1. 7Ysnches.Purchase, Rogers Fundand

Henry

WaltersGift,1916 16.1.3); 16.1.6)-

16.1.14,15)-

(16.1.7AB,55)

18. Dynasty 12-13. Ivory, . 133H8nches,

w. 2 inches.

TheodoreM.

Davis Collection,Bequestof Theodore

M. Davis, 1915 30.8.218)

19. Dynasty

12-13. Amethyst, turquoise,red jasper,

and apis

lazuli, . 17/8nches. Purchase,EdwandS.


20. Dynasty12-13. Steatite, l. 103M4

nches. Purchase,

EdwardS.

Harkness Gift, 1926 26.7.1275A4)

21. Dynasty

12, from Meir,bunal of Senbi, B3 pit 1.

Blue faience, . 77/8nches, h 43H8nches.Gift of

Edward S. Harkness, 1917 17.9.1)

22. Dynasty

12, fromMeir.Wood,gold leaf,

alabaster,

obsidian,and variousorganicmatetials,

1. 6 ft., 5 inches, w. 1 ft., 7 inches. RogersFund, 1912

(12.182.132C)

23. Dynasty 17-18, c. 1668-1450B.C.,

fromThebes,

Asasif

Paintedsycamorewood, 1. 763M4nches, w.

187/8nches. Rogers Find, 1930 30.3.7)

24. Dynasty 18, c. 1503-1482B.C., from

Thebes, Deir

el Bahri.Painted ndurated imestone, h.

76Y4nches.

Rogers Fund,

1929 29.3.2)

25. Dynasty 18, c. 1482-1450 .C., bom Thebes

WadiGabbanet l Qurud.Sandals:gold,

1. 10 nches

W. 3N4 inches.

Bracelets:gold, carnelian,and

turquoise

glass, 1.

N4

inches, w. 23H8nches. Fletcher

Fund, 1922 26.8.146AB), 26.8.125,127)

26. Dynasty

18, c. 1482-1450

.C.,

from Thebes,

Wadi

Gabbanet l Qurud.Gold, carnelian, urquoise

glass, and clear glass, max. diam. 12

nches, h. 9Y2

inches.Purchase, FrederickP. Huntley

Bequest,

1958;LilaAcheson WallaceGifts, 1982,

1983; oseph


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Documents

Bmma Egyptian Art 41 1983 4