Sculpture of Ancient Egypt. The most important feature of the religious ideas of the Egyptians was that it was a necessary prerequisite for a prosperous existence. Sculpture of ancient Egypt - distinctive features Rules of Egyptian sculpture

During the first dynasties (Theban era), sculpture was not yet fully defined or codified. Nevertheless, even then figures were created that anticipated characteristic features classical Egyptian sculpture.

The most commonly used materials are marble, wood, and enamelled clay, which are more delicate materials than stone and allow the creation of the most daring shapes.

Some Neolithic and Calcolithic burials in Egypt contained individual very elementary humanoid figurines in their household utensils. These figurines, often female, speak of religious attitudes that had already developed in the era of the pharaohs, of the belief that the afterlife experienced the same needs as the earthly one. A female figurine from the era of pre-dynastic Egypt, which is kept in the Louvre. This stereotypical figurine, executed with a high degree of stylization and undeniable features of individuality, has sometimes been interpreted for its sexual attributes as a representation of the mother goddess

The most common type is represented by naked women. They are executed with grace, the legs are together and the arms are extended along the body. The heavily carved "public triangle", a characteristic symbol of fertility, stands out. The Small Male Figures depict men standing, with their arms extended at their sides and a loincloth as the only item of clothing (Oxford, Ashmolean Museum). Finally, figures that represent kneeling and bound captives may be independent of the support into which they fit.

These are statues of round volume. They may also be included in some furniture or other items as part of the decoration.

The animal figures reveal a bolder sculpture than human figure, thus continuing a prehistoric tradition in which the animal was depicted with amazing perfection and believability. The figurines are graceful, made of stone or other materials (ceramics, ivory) and reproduce animals - monkeys, hippos or lions. Some of these animals are fixed in threatening poses with their mouths open, but the majority are still in serious and calm poses. This type of depiction was repeated during various dynasties, since the manner of depicting nature and establishing a connection with it was a constant in Egyptian culture.

The first images of the pharaohs

One of the earliest pieces of royal sculpture dating back to the Theban era is a tiny ivory figurine bearing the crown of Upper Egypt, which depicts a walking pharaoh. During the same period, sitting and standing prototypes made of limestone already appeared, with almost no separation of head and shoulders. The legs are usually depicted together. Even if one of them is put forward, then both of them are connected by the remains of stone material. At first, the seated statues had majestic and very expressive features, which makes a deep impression on the viewer. Over time, there was a gradual softening of these features, and ultimately the complete calm that characterized the faces of Egyptian statues began to be depicted. Starting with the statue of King Djoser from the serdab of the funerary complex of Saqqara (Cairo, Egyptian Museum) the formal rules to which Egyptian sculptural representation was subjected turn out to be completely determined.

It is in the first life-size sculpture that the focus on searching for a reflection of solemnity crystallizes. It is expressed through the simplicity of forms. The ideal model is considered to be in a sitting position. Then the figure forms a single whole with two planes that serve as support for it: one at the base of the legs, and the other in the supporting trunk. The lower limbs are joined together, one hand lies outstretched on the hips, and the other with a clenched palm is pressed to the chest. The head with headdress and ceremonial beard has a face with regular features and a constant expression, animated by glass eyes. It can be said that this represents one of the first attempts of Egyptian art to master the style of depicting a person.

Statue of King Khafre

The symbolic statue of Khafre, pharaoh of the 4th dynasty, unique in its size (20 m high), is the sphinx, which is located in the funerary complex of Giza. We are talking about the figure of a lion with the head of a king. It is carved into the mountain using the original shape of the limestone rock, so that the torso appears embedded in the desert plain at the same level, and the only thing that protrudes above it is the head. Khafre's idealized face is adorned with a headdress and ceremonial beard that personify the mighty figure of a lion. The giant statue looks east, to where the Sun god, with whom this king was identified, is born. Thus, the sphinx symbolizes the idea of ​​the king as a deity. He also acts as the patron of the Earth - he drives away evil spirits, rising as the permanent guard of the necropolis of monarchs.

Family groups and scribes

Within the homogeneous Egyptian art, there is a variety of figures, expressed in various combinations of groups of two, three or more characters. Among the family groups in one of the mastabas of Medum, seated figures made of limestone were discovered, which depict a noble couple, the spouses Rahotep and Nofret. Their torsos form a single compact block with pedestals and seats on which they are depicted, being made in the form of high relief. As is typical for sculpture, the images are not separated from the stone block; rather they seem to arise from it. Both figures are painted in the usual standard colors - brown skin for the man and yellow or pink for the woman. The volumes are simplified as much as possible so as not to dwell on unnecessary details that would distract attention from what is considered important.

One of the finest examples of wooden sculpture of the Old Kingdom, the figure of the priest of Kaaper, the chief of the readers or ceremonial (height 109 cm), which is currently kept in the Egyptian Museum in Cairo. Discovered in his own mastaba at Saqqara, this sculpture, created in the late 4th or early 5th dynasty, is known by the common name Sheikh el-Beled, meaning "village chief". She received this nickname due to her extraordinary resemblance to the representatives of the authorities who at that time ruled the municipality where she was found. A unique example of the hypertrophied arrogance that boasted the highest officials of ancient Egypt, this figure, one of many creations made of wood, which, unfortunately, was not fully preserved, did not have both legs at the bottom and a layer of plaster that helped emphasize it special realism. However, some of its former luster still remains. Moreover, currently this sculpture restored

The seated scribes are sculptural images embodying great realism. Undoubtedly two of the most important are the scribes dating from the Fifth Dynasty. One of them is kept in the Louvre, and the other in the Egyptian Museum in Cairo.

The Egyptian administration was very well organized from the very beginning, and the posts of officials involved in administration were very numerous. Among the most recognized professions was that of a scribe.

The person holding this position had to be able to both read and draw, which implied the highest degree of specialization and social recognition. In the sculptures, scribes are depicted sitting, with their legs crossed and their arms holding papyrus and a drawing stick. These are statues made of limestone painted in different colors, with arms separated from the torso and with an expression of composure, concentration and calm. The transmission of restless liveliness was achieved in the gaze, thanks to the inlay of the eyes with glass.

In the group of Old Kingdom statues, depicting both pharaohs and low-ranking individuals, calm poses and actions, devoid of muscular tension, allow for a moderate realism in style and facial expression, usually of a delicate finish. The sculpture from the Fifth Dynasty, known as the "Seated Scribe", which is kept in the Louvre, was discovered in 1850 by the archaeologist Mariette in one of the tombs of Saqqara. She depicts the administrator Kai, another portrait of whom was found in the same tomb. The sculpture, which reaches 53.5 cm, impresses with the deep concentration it embodies. The face expresses a mysterious smile and reveals a gaze, emphasized through the inlay of solid stone. She is the image of an intellectual whose hand is ready to begin writing. Probably, this sculpture was a portrait copy of the deceased and was intended to guarantee his immortality.

Wooden statues of court officials exemplify another trend in sculpture that allows for individualization of the figure. Since we are talking about persons who did not have an aristocratic rank, they could be depicted without embodying the classical severity that distinguished the images of pharaohs or members of the royal family. In addition, from a purely technical point of view, wood processing is very different from stone processing. Wood made it possible to process different parts of the sculpture separately in order to later connect them. This means that sculptures of this type had a less strict character. One of the most famous is the statue of Sheikh el-Beled, commonly known as the “village chief”. It depicts a grown man standing, clutching a staff made of Egyptian fig in his hand. Glass eyes further emphasize the realism of the figure and embody the achievements of this unique trend in sculptural art.

The most important feature of the religious ideas of the Egyptians was that a necessary prerequisite for the prosperous existence of the soul of the deceased in the afterlife was the safety of his “material shell,” his body. This led to the appearance of tombs and the emergence of mummification of corpses. Mummy of Queen Hatshepsut

In that distant era, the custom arose of installing portrait statues of the deceased in tombs: they were supposed to become a kind of “duplicates” of the human body. True masterpieces of ancient Egyptian sculpture are the portrait statues of Prince Rahotep and his wife Nefert, found in Rahotep's tomb in Medum. Portrait funeral statues of Prince Rahotep and his wife Nefert from their tomb in Medum. Beginning of the 26th century BC e.

Images of characters who do not have divine rank are much more natural and less formal than images of pharaohs. This manifests itself in more free postures and gestures; in a more lively and natural expression of faces; in reflecting individual characteristics of a person, such as age, appearance, hairstyle, clothing, jewelry. Rahotep's clothing is minimal: he wears only a short white shenti loinguard. This was the usual clothing of Egyptian men of that time. Nefert is dressed in a narrow, figure-hugging dress made of thin fabric, the so-called kazali-ris. A light cloak is thrown over the casaliris.

The clothing of men and women from the era of the Old Kingdom is also conveyed by another sculptural group - a figurine depicting Tenti and his wife. Tenti wears a pleated loincloth. His wife is wearing a traditional casaliris, tightly fitting to the body. Tenti and his wife. Figurine from the Old Kingdom era. Ok BC e.

The clothing of Egyptian men was a loincloth. Commoners and slaves were content with a simple bandage made of coarse fabric, while the shenti of high-ranking persons, and especially the pharaoh, had a very elegant form. They were made of pleated fabric and supported by a leather belt. statue of Amenhotep III in the Luxor Temple (XIV century BC.

The nobleman Ptahkhenui served as “chief of the palace servants” and was buried in a tomb located in Giza near the pyramids of the pharaohs. A paired sculptural group depicting Ptahkhenui and his wife was found in this tomb. The nobleman Ptahkhenui and his wife. Sculpture from a tomb at Giza. Reign of the 5th Dynasty

An excellent example of Egyptian sculpture of the Middle Kingdom is a group carved from wood, found in the tomb of a certain Djehutinakht (he lived during the Middle Kingdom), depicting female servants carrying boxes of provisions and birds, all this was supposed to provide food and drink for the owner of the tomb, who had passed into another world. Bearers of gifts from the tomb of Djehutinakht in Deir el-Bersha. To the right is a maid carrying a box of sealed containers of beer. Middle Kingdom, late 11th or early 12th dynasty (late 20th century BC)

Bearer of gifts. Middle Kingdom figurine from a tomb in Thebes. Beginning of the 20th century BC e. The figurine of the “bearer of gifts”, which is kept in the Metropolitan Museum of Art in New York, dates back to the same period of the Middle Kingdom. Dates from the Twelfth Dynasty. It is assumed that this figurine depicts one of the servants of the temple of Isis.

There are a large number of statues and bas-reliefs in which the pharaoh is depicted wearing a special ritual striped scarf, the ends of which fall onto his shoulders. This scarf was called “nemese”. The most famous image of a pharaoh in the nemes is the famous Great Sphinx, whose head follows the facial features of the Fourth Dynasty pharaoh Khafre.

A huge statue of the Great Sphinx, half lion and half man, in Giza near modern Cairo on the west bank of the Nile River. In the background of the Sphinx is the pyramid of Khafre (Khafre). The Great Sphinx is the largest monolithic statue on Earth, believed to have been carved by the ancient Egyptians in the 3rd millennium BC, somewhere between 2520 and 2494 BC.

There are also statues in which the pharaoh’s head is decorated with both a nemes and a crown worn over it. It is precisely these kinds of headdresses that adorn the heads of those granite sphinxes standing on the Neva embankment in St. Petersburg, which depict the Eighteenth Dynasty pharaoh Amenhotep III, who lived in the 14th century BC. e.

"Western" sphinx Amenhotep III from Kom el-Hettan. Granite. St. Petersburg.

Artistic canons of Ancient Egypt The idea of ​​Eternity, the belief in the possibility of eternal existence in the other World, as mentioned above, formed one of the most important artistic qualities of the art of Ancient Egypt - their monumentality. Relatively small statues are also monumental, and sometimes works of Egyptian sculptors that are quite miniature in size, like those stone statues of scribes from the collection of the State Hermitage and Moscow State Museum Fine Arts named after. A.S. Pushkin, completely small in size. Figurine of a scribe Soapstone, grey. End of the Middle Kingdom, ca. XVIII century BC Museum named after A.S. Pushkin Hall of Ancient Egypt. Statue of the grain counting scribe Maa-ni-amon. Middle 15th century BC, Hermitage.

Huge stone statues of Amenhotep III are included in the composition of the pylon built during his reign in the Temple of Amun-Ra in Luxor. The pharaoh sits on the throne, and his main wife, Tia, depicted on a completely different scale, stands nearby, affectionately touching the shin of her master.

The ratio of the sizes of the figures of the pharaoh and his wife could be different depending on the location and ritual function of the image. In the compositions of the colossal statues of the pharaohs that adorned the pylons and colonnaded courtyards of temples, the queen-wife was depicted on such a reduced scale that her head barely reached the knees of the pharaoh’s statue. The beloved wife of Ramses II, the beautiful Nefertari, is also depicted on a reduced scale, at the feet of the statues of the pharaoh decorating the Gothic portal of the temple of Amun-Ra in Luxor, which was erected during the reign of Ramses II

The postures of the scribes were very traditional. The most famous architects were sometimes depicted in the same sitting poses, whose portrait statues were given the honor of being placed in the temples they built. Architect Amenhotep son of Hapu, builder of the temple of Amun-Ra at Karnak. XIV century BC e. Architect Senmut as the teacher of the king's daughter. Beginning of the 15th century BC e.

Osiric statues of pharaohs, installed along the walls of temples, always have parallel legs and heels pushed together. The funeral statues in the niches and along the walls in the tomb of the nobleman Irukaptah stand in the same poses: they depict the deceased in the traditional clothes of Egyptian men of that era. The poses of the sculptures are static and resemble soldiers standing in formation at the command “at attention!” Osiric statues of Pharaoh Ramses III in the Temple of Amun-Ra at Karnak. XII century BC e.

Art of the Early Kingdom period. In ancient times in Egypt, there was a ritual that was unpleasant for leaders: an aged, but still full of strength and energy, king had to, having reigned safely for a certain period of time (usually thirty years), prove that he was still fully capable. And the fact that the ruler, like any person, was still getting old, is reminded by the unique and very touching bone figurine of the pharaoh in the high crown of Southern Egypt. Figurine of an aged pharaoh. Bone. Early kingdom

And in ritual statues, the seated pharaoh remained forever young and strong, as evidenced, for example, by the well-preserved statue of the pharaoh of the Second Dynasty Hasekhem (XXIX century BC), carved from dark slate stone. This is perhaps the oldest example of a monumental portrait statue of this type. A statue of the Second Dynasty pharaoh Khasekhem was found at Hierakonpolis. It is considered one of the oldest statues depicting a royal person of the Tunisian era.

Pharaoh Djoser Pharaoh Djoser ruled for almost two decades in the mid-27th century BC. e. (according to modern Egyptologist P. A. Clayton from approximately 2668 to 2649 BC). In the famous list of pharaohs compiled by Manetho, Djoser is designated as the ancestor of the Third Dynasty. Already in ancient times, the statue of Djoser was damaged by robbers: they broke out holes made of rock crystal and alabaster. Now this statue looks at visitors with its empty eye sockets, which gives the pharaoh’s face an even more stern expression. Portrait statue of Pharaoh Djoser. XXVII century BC e.

The creator of the Djoser memorial complex is the architect Imhotep. His name is written in hieroglyphs next to Djoser's on a stone slab left over from the pharaoh's statue. This was a great honor for the architect, and this placement of his name testifies to the great respect for him and his high social position. Imhotep was not only an architect, but also Djoser's vizier - his closest advisor. The architect Imhotep is the creator of the ensemble of the Djoser pyramid. Bronze figurine created two thousand years after his death.

Sculpture of Egypt of the Ancient Kingdom. One of the finest examples of wooden sculpture of the Old Kingdom, the figure of the priest of Kaaper, the chief of the readers or ceremonial (height 109 cm), which is currently kept in the Egyptian Museum in Cairo. Discovered in his own mastaba at Saqqara, this sculpture, created in the late 4th or early 5th dynasty, is known by the common name Sheikh el-Beled, meaning "village chief".

The seated scribes are sculptural images embodying great realism. Undoubtedly two of the most important are the scribes dating from the Fifth Dynasty. The eye socket is copper. Protein is alabaster. Iris - rock crystal. A cone filled with soot is carved into the crystal, which imitates the pupil and the gaze itself. "Seated Scribe" is an ancient Egyptian (BC) statue of a scribe in the Louvre.

The figures of pharaohs and nobles emphasized physical strength. While retaining some undoubtedly portrait features, the authors discarded minor details, gave the faces an impassive expression, and generalized the powerful, majestic and monumental forms of the body. But the most talented sculptors, even within the restrictive framework of the canon, managed to create a number of wonderful, vibrant portrait works. Bust of the king's son Ankhhaf (Boston, Museum fine arts)

Sculpture of Egypt of the Middle Kingdom. Since the XII Dynasty, they have been increasingly used (and, accordingly, made in large quantities) ritual statues. This type includes the gray-haired statue of Mentuhotep-Nebkhepetra, depicting the pharaoh in a pointedly frozen pose with his arms crossed on his chest. Also, a deviation from the deviation from the canon of the Old Kingdom is expressed in more slender proportions of the human body.

A completely different, more realistic direction is also observed in the work of the Thebans. Theban craftsmen create a number of magnificent portrait heads of the pharaohs of the 12th dynasty. Head of Senusret III, pharaoh of the XII dynasty, from the former McGregor collection (now Gulbenkian collection) Sculptural portrait of Amenemhat III. One of the most famous monuments from the collection of V.S. Golenishcheva. XII din.

Sculpture of New Kingdom Egypt. During the New Kingdom, Egypt, on the basis of military conquests, was drawn into relations with the Asian world. These relationships have led to the forging of close cultural ties that enrich works of art. In sculpture, unprecedented figures are created, called colossi, which are installed outside the temples. The most famous colossi are located in Thebes and since the times of the Greeks they have been called the “Colossi of Memnon”.

The facade of the temple built in Abu Simbel (Nubia) by order of Ramses II in honor of Queen Nefertari, his main wife in his youth, and in honor of the goddess Hathor. This rock-cut facade has seven buttresses, the central one providing access to the interior of the temple, while the others are inscribed in six niches, in which are placed four standing statues of this pharaoh and two of Nefertari, decorated with the attributes of the goddess Hathor.

Bust of one of the 28 colossi of Pharaoh Akhenaten, erected in the Hematon Temple at Karnak (Cairo, Egyptian Museum). The religious reform of this pharaoh produced a real revolution in art, which was embodied in a conscious desire, unique throughout the entire evolution of Egyptian art, to establish a break with traditional artistic norms. Thus, the elongated face and the special expression of the monarch’s gaze strive to convey, like new symbols of divinity, his inner spiritual power

Bust of Queen Nefertiti (painted limestone 48 cm high). This creation is kept in the Archaeological Museum of Florence (Italy) and is considered one of the most perfect artistic expressions in world art. Nefertiti shared with Akhenaten, her husband, a deep admiration for Aten. As with other depictions of the heretical monarch's consort, this sculpture emphasizes the length of her neck and other facial features to present her in accordance with the Eastern ideal of voluptuousness. Sculpture of the Late Period In the Late Period, Egypt appears to be much more connected with other civilizations of the ancient world. Although stylistically the sculpture of the first millennium BC. e. does not constitute a single whole, the general approach to the transfer of the human body in stone does not change, the statues of the Late Period retain all the main features and types of statues inherent in the canon of sculpture of earlier eras. The figurine was first published and identified as a portrait of Pharaoh Taharqa (BC) by N. D. Flittner, and then was repeatedly cited in the literature. It is an excellent testimony to the high level of art of royal and private portraiture during the XXV Ethiopian dynasty.

Statue of Osiris. Black granite. High 0.52 m. The statue gives the impression of an unfinished work; the bridge between the artificial beard and the neck is left the same width as the goatee, whereas it should be narrower. The outlines of the whip, rod and hands are not clear. The figures of the goddesses and hieroglyphs are outlined in relief, but are not finished. The entire surface of the statue is left rough and has not been finished.

Figurine of the priest Irefo-en-Hapi. Brown quartz. High 0.205 m. The figurine depicts a man sitting on the ground with his legs pressed to his body and his hands folded on his knees. He is completely shrouded in clothes that leave only his hands and feet exposed. Such statues, which convey the usual posture in which Egyptian fellahs like to sit, reminiscent of a “package with a head,” as Maspero puts it, are characteristic only of Egypt. They appear in the Middle Kingdom, but were then also made throughout the New Kingdom and the Late Period.

Part of a statue of a man. Basalt. High 0.098 m. Facial features are given softly, even somewhat fuzzy, without sharp lines or excessively prominent details. The face is somewhat asymmetrical: the left eye is placed higher than the right and set a little deeper. The small ears fit more closely to the skull than is usually the case on Egyptian statues.

Excellent ART OF PRESENTATION for everyone ART OF PRESENTATION

ARTANCIENT EGYPT, art of the state located in the lower reaches of the river. Nile (North-East Africa), where one of the oldest centers of civilization arose. The following periods are distinguished in the history of ancient Egyptian art:

• - Ancient Kingdom (31-22 centuries BC),
• - Middle Kingdom (21-16 centuries BC),
• - New Kingdom (16-11 centuries BC);
• - Late period (11th century BC - 6th century AD).

A special period is the reign of Pharaoh Akhenaten (the so-called Amarna era; 1365-48 BC).

Great Sphinx in Giza. 27-26 centuries BC e.

The art of Ancient Egypt was closely connected with religion and mythology. All works of art were created according to strict rules - canons. Grandiose temples were erected in honor of the gods. In sculpture and painting they were depicted in human form (the solar god Amon-Ra, ruler the afterlife Osiris and his wife Isis - the goddess of love and motherhood, the goddess of justice and cosmic order Maat, etc.), and in the form of animals or people with animal heads (Chorus - in the form of a falcon; the god of wisdom, justice and writing Thoth - ibis birds; patron of embalmers and guide of the dead to the afterlife Anubis - jackal; goddess of war, disease and patroness of healers Sokhmet - lionesses, etc.).

Isis Thoth Set Osiris Anubis

Unlike other cultures of the Ancient East, the Egyptians emphasized in the images of gods not frightening and terrible features, but greatness and solemnity. Pharaohs (kings) were revered as living gods. Art was focused on afterlife. The Egyptians believed in the continuation of life after death if the body was preserved. The bodies of the dead were treated with special compounds that turned them into mummies. According to the Egyptians, after death the vital essences of a person continued to exist. One of them - Ba, the life force - was depicted as a bird flying out of the mouth of the deceased. The other is Ka, the invisible double.

In tomb statues and reliefs, it was not the person himself who was depicted, but his Ka, which was born along with the person, but had no age and did not change, so the deceased was represented in the image of a flourishing, healthy youth. All images were signed with a name (Ren), which was also considered one of the essences of a person. A statue without an inscription was considered unfinished.

Of particular importance were inlaid or painted eyes in sculptures and reliefs. For the Egyptians, vision was the most important condition for life, and the dead were thought of as blind. According to Egyptian myths, the god Osiris, treacherously killed by his brother Set, was resurrected by his son Horus, who allowed him to swallow his eye. Before burying the mummy, it was necessary to perform a special ritual of “opening the mouth and eyes,” which “revives” it for eternal life. A similar ceremony completed the creation of a statue, which was supposed to replace the mummy in the event of its loss. Already in their youth, wealthy Egyptians began to decorate their “eternal homes” - tombs - with reliefs and wall paintings, not intended for inspection, but designed to provide the deceased with abundance and contentment in the afterlife. The images were perceived as something “living”, possessing magical powers. The word artist meant “creator of life.”

Funeral mask of Pharaoh Tutankhamun. Gold. 14th century BC e. Egyptian Museum. Cairo

The art of the Old Kingdom became a model for the Egyptians of subsequent eras: in their minds, this was a time when the order established by the gods who once ruled the earth reigned. The capital city was Memphis.

Architecture, as in later eras, played main role. The buildings were erected from stone (limestone); They are distinguished by strict geometric forms and a grandiose scale. Types of structures were developed that are still used today (pyramids, obelisks, pylons). Temples were decorated with powerful columns with capitals in the form of a blooming lotus or papyrus. The oldest form of tomb was mastaba.

Later, huge funeral complexes were built, which included royal tombs - pyramids surrounded by small pyramids of queens and tombs of nobles, and mortuary temples (step pyramid of Djoser, 28th century BC, architect Imhotep; “great pyramids” (27-26th centuries . BC) pharaohs Khufu (Cheops; architect Hemiun); Egyptian pyramids). Nearby stood the statue of the Great Sphinx like a formidable guard.

Step pyramid of Djoser. 28th century BC e., architect Imhotep.

Pyramid of Djoser - not only the first pyramid built in Ancient Egypt by order of the ruler of the III dynasty, Pharaoh Djoser, but also the first large stone structure of a monumental nature of the Ancient World. The height of the pyramid corresponds to a modern twenty-story building - 61 m, and the length of one of the sides is 125 m - this is more than the length of a football field. The construction of this structure most likely took place in the 28th century BC.

The architect of the pyramid was, according to ancient Egyptian tradition, the highest dignitary of Djoser - Imhotep. He directly supervised the construction of the pyramid. According to Egyptian tradition, recorded by Manetho, Imhotep was considered the founder of all stone construction.

The construction of the Pyramid of Djoser was an unprecedented event in the history of the Ancient World. As soon as the construction of the pyramid came to an end, Imhotep was immediately proclaimed a sage and began to give him the highest honors along with the gods. And in the Ptolemaic era, the Egyptians also revered him as the god of medicine.

At the base of Djoser's pyramid, like almost all later pyramids, is rock. Leveling its surface horizontally is obviously a labor-intensive operation, but there was no shortage of labor, and the ability to break hard stone with fire, water and diorite hammers had been accumulated earlier. It is more difficult to obtain a plane with an area of ​​more than one and a half hectares. There was a pattern - receding after the flood, the Nile water left field areas between the dams shimmering with a chocolate sheen, but here, in the place now called Saqqara, there was no water. Nevertheless, a flat platform was created almost without support, without lining up stones, that is, by cutting off all the protrusions above a pre-established horizontal mark. This is technically not feasible without using a level.

Apparently, the leveling was carried out using racks with marks applied on them and a simple but fairly reliable device, consisting of a tripod, a horizontal rod forming the base of the triangle, and a weight hanging from its top. Knowing how regular surveying procedures were in Egypt, associated with the breakdown of sites after a river flood, we have the right to assume that in Saqqara a means of solving problems in one area of ​​​​practice was consciously used to solve a problem in another. If this is so, then for the first time we are faced with the most important operation for the entire evolution of architecture, the conscious transfer of skills “from outside” the sphere of construction “inside.”

We clearly encounter the same procedure with the problem of orienting the base of the pyramid according to the cardinal points. Again, the hypothetical reconstruction is quite reliably supported by long subsequent practice: only with the help of the so-called artificial horizon (keeping the observation point fixed and fixing on the wall-screen the points of rising and setting of the chosen star (for the Egyptians this is always Sirius), and then dividing the distance between the marks in half, it is possible to obtain the north-south direction with an accuracy of a fraction of a degree.) it was possible to achieve high accuracy of orientation. So, from the very first steps we are dealing with the borrowing of technical techniques from the field of construction art.

The construction of the pyramid took place in several stages. At the first stage, Djoser ordered the construction of a pyramid as a traditional mastaba) with a square horizontal base with sides of 63 m and a height of 9 m. It should be mentioned here that the mastaba was a special tomb in the form of a rectangular structure with inclined walls. It was built from raw brick and was intended to preserve the body of the deceased pharaoh. The only new thing was that Djoser ordered the tomb to be built not from traditional material, but from limestone blocks, which were lined with slabs of thinner limestone on the outside.

Pyramid of Pharaoh Khufu (Cheops). 27-26 centuries BC e. architect Hemiun

Accurately determine the initial parameters pyramids of Khufu (Cheops) is not possible, since its edges and surfaces are currently mostly dismantled and destroyed. This makes it difficult to calculate the exact angle of inclination. In addition, its symmetry itself is not ideal, so deviations in the numbers are observed with different measurements. The Pyramid of Cheops most likely reached 146 m in ancient times; currently, the upper part of the Pyramid of Cheops has been destroyed and its height is 137 meters. The construction of the Cheops pyramid took 2.3 million stone blocks with an average weight of 2.5 tons each. During the time of Cheops, the edges of the Cheops pyramid were lined with polished slabs of fine-grained sandstone. According to the calculations of English scientists, the construction of all Christian churches in England, less material was used than for one Cheops pyramid.

The base of the pyramid rests on a natural rocky elevation in the center about 9 m high.

Initially, the pyramid was lined with white sandstone, which was harder than the main blocks. The top of the pyramid was crowned with a gilded stone - the pyramidion. The facing shone in the Sun with a peach color, like “a shining miracle to which the Sun God Ra himself seemed to give all his rays.” In 1168 AD. e. The Arabs sacked and burned Cairo. Residents of Cairo removed the cladding from the pyramid in order to build new houses.

The entrance to the Cheops pyramid was originally located on the north side, at the level of the 13th row of granite slabs. The entrance is formed by stone slabs laid in the form of an arch. This entrance to the pyramid was sealed with a granite plug. Now this entrance to the Pyramid of Cheops is closed. You can get inside the Egyptian pyramid of Cheops through a hole left by ancient robbers. A narrow corridor leads at first almost horizontally to the surface inside the pyramid, then gradually rises higher and higher. Along it you get to the chamber of the pharaoh's wife, which is located in the middle of the Cheops pyramid, approximately 120 meters from its top. Having gone back a little and climbed a narrow wooden staircase into a granite gallery, going at an angle of 30 degrees, you find yourself in the burial chamber, where the sarcophagus of Cheops is located.

Pyramid of Khafre and the Great Sphinx on the Giza Plateau

Pyramid of Khafre (more precisely, Khafre) - the second largest ancient Egyptian pyramid. Located next to the Great Sphinx, as well as the pyramids of Cheops (Khufu) and Mikerin in Giza. Built in mid. XXVI century BC the structure (215.3 × 215.3 m and height 143.5 m) was named Urt-Khafra (“Khafra is great” or “Revered Khafra”).

Although Khafre's pyramid is smaller in size than that of his father Khufu, its position on a higher hill and its steeper slope make it a worthy rival to the Great Pyramid. Two rather large chambers and two intersecting passages that lead to a horizontal corridor represent a rather modest space in relation to the Khufu pyramid. The burial chamber located under the pyramid is no longer lined with granite, although this protective material was used in abundance inside the pyramid (the high passage itself, enclosures and sarcophagus), as well as outside (lining the foundations of the pyramid and temples). The roof of the chamber was provided by a vault on the rafters, regarded as stronger than the horizontal crossbars of the Khufu pyramid. Khafre's classically rectangular sarcophagus made of superbly polished granite was placed in the lining of the burial chamber. The canopic niche placed near Khafre's sarcophagus was an innovation that would become common in later times. Nowadays this pyramid is in good condition, although its dimensions have decreased somewhat, and today they are 210.5 × 210.5 m and high. 136.5 m. Pyramid of Khafre on Wikimedia Commons?

Khafre's pyramid was merely part of a mortuary complex that included a small satellite pyramid, probably built for Khafre's wife, an enclosure wall, a mortuary temple, a road, a valley temple, and a port that also needed to be built. Current state the preservation of the complex allows us to say that all its elements were completed. The temples of Khafre, which became models for the pharaohs of the Old Kingdom, were built from multi-ton blocks of granite and limestone. The stone blocks at the entrance to his mortuary temple reach a length of 5.45 m and weigh up to 42 tons. These were extensive buildings: 113 m by 49 m - a mortuary temple, and 45 m by 50 m - a temple in the valley, the surviving height of which is currently 13 m. Taking into account the found fragments, the total number of sculptural works of the lower temple of Khafre amounts to more than 200 statues . Among them is the famous, remarkably preserved statue of the king, made of dark green diorite. The ruler sits proudly on the throne with an elegant scarf on his head and a uraeus on his forehead, and behind him the falcon-like god Horus soars.

The base of the pyramid is a square with sides of 215.16 meters (i.e. 410 cubits); the error from a perfect square is no more than 8 cm. The parallel approach is almost ideal and is equal to 1"15. The side faces are oriented along the four cardinal directions with an error of no more than 5"26". The curvature of the sides due to deformation leads to the appearance of an error from the correct one in the upper part pyramids at 3"46". The angle of inclination of the faces is 53°10" and 52°02", which is very close to the theoretical values ​​​​corresponding to a slope of 4/3. This slope of the Egyptian triangle (. right triangle 3,4,5, with a theoretical inclination angle of 53°07"48"), was mentioned in four sections of the Papyrus of Ahmes (see Mathematics in Ancient Egypt). The pyramid originally had a height of 143.87 meters. It was covered with limestone, which is still visible today at 45 meters at the very top.

The pyramid was decorated with a pink granite pyramidion, which is now lost. We have no information as to whether the granite was decorated with limestone, plaster or gold.

Great Pyramids and Great Sphinx at Giza. 27-26 centuries BC e.

Pyramid of Mykerinus in Giza.

Pyramid of Mikerin (more precisely - Menkaure) - the southernmost, latest and lowest of the three Egyptian pyramids at Giza. Despite its nickname "Heru" (high), it barely reaches 66 m in height, and the side length of its base is 108.4 m. Its volume of 260,000 m³ is only a tenth of the volume of the Khufu pyramid: this was the end of the era of the great pyramids. The interior of the pyramid reveals a lack of unity in plan: probably the original modest dimensions, not intended for the heir to the throne, were increased with his accession. The Pyramid of Menkaure is somewhat out of the general picture of buildings in Giza, and in antiquity its construction was sometimes attributed not to Mikerin, but to the hetaera Rhodopis, who lived during the time of Amasis II.

Despite the small size of the pyramid (considered a sign of decline), according to eyewitnesses, the pyramid of Menkaure was the most beautiful of all the pyramids. The potential of the builders of Menkaure's pyramid was enormous, as evidenced by one of the monoliths used in Menkaure's mortuary temple. Its weight is estimated at more than 200 tons. Putting a block of this size in place, the heaviest on the Giza Plateau, was a true technical feat. The colossal statue of a seated king from the central chapel of the temple is one of the largest in the era of the Old Kingdom - an excellent proof of the skill of the pharaoh's sculptors. The works of sculpture from the reign of Menkaure were characterized by the highest quality of artistic execution. Her the best examples there were greywacke statues, among which was a new type sculptural group: triads. The meticulous workmanship that went into the construction of the royal pyramid, called Necheri-Menkaura ("Divine Menkaura"), is another evidence of this commitment to quality workmanship.

About a third of its height, the pyramid was faced with red Aswan granite, then it was replaced by white slabs of Tura limestone, and the top, in all likelihood, was also red granite. The pyramid remained this way for four thousand years, until the Mamluks removed the cladding at the beginning of the 16th century.

The choice of granite for facing the pyramid, primarily a protective material, perhaps made the construction of a huge pyramid to protect the royal mummy useless.

From an architectural point of view, it was not necessary to build a very high pyramid, since the burial chamber was now located at ground level, and after Khufu, the idea of ​​a high-rise arrangement of chambers was no longer implemented, probably due to the technical difficulties of lifting the ceiling blocks of the burial chamber.

The Pyramid of Menkaure represents the end of this era, but it, in particular, also expresses the beginning of another era, during which the dimensions of the pyramids became standardized.

In fact, starting from the reign of Menkaure, the height of the pyramids stabilized and deviations rarely exceeded twenty meters.

The mortuary complexes at the foot of the pyramids (funeral temples connected by long covered corridors with entrance pavilions, the majestic figure of the sphinx, strict rows of mastaba-shaped tombs of the courtiers) reflect the ceremonial order and hierarchy of Egyptian society.

The sculptural portrait received great development. According to the Egyptians, portrait statues played the role of doubles of the dead and served as a receptacle for their souls.

Huge statues of gods and pharaohs were erected, personifying their power and authority, but never of evil demons. There were three types of royal statues:

1. “Walking” pharaoh with his leg extended forward (paired statue of Mikerin and Queen Khamerernebti, 27th century BC);

"Pharaoh Mikerin and Queen Hamerernebti II", c. 2548-2530 BC e., Boston

Mikerin (actually Menkaura, Min-kuu-Ria, lit. “Forever preserving the Ka of the great Ra”) is one of the Greek transcriptions of the name of the fifth pharaoh of the IV ancient Egyptian dynasty Menkaura, builder of the third pyramid at Giza. Ruled around 2520-2480 BC. e. (2494-2471 BC) after Pharaoh Khafre.

Apart from legends, little is known about Mikerin. According to Herodotus, he was the son of Cheops (Khufu).

In general, folk and ancient tradition tried to present Mikerin as the complete opposite of his father and grandfather - the other builders of the pyramids in Giza.

In particular, Herodotus characterizes him as a kind and fair ruler: “He opened the temples and freed the people exhausted by hardships, letting them go to work and make sacrifices. He was the most righteous judge of all the kings, for which he is especially praised by the Egyptians among all the kings who ever ruled over them. After all, he was not only a righteous judge, but even gave money from his property to those dissatisfied with his sentences in order to satisfy their requests.”

Folk tales about him told, among other things, that Prince Gordedef, sent by him to inspect the temples, found part of the “Book of the Dead” in Hermopolis; they talked about his piety, wisdom, in particular, about how he outwitted the oracle who predicted his short reign by doubling the time with nightly feasts.

As retold by Herodotus, this story reads as follows: “The prophecy of the oracle from the city of Buto announced that he had only six years left to live, and in the seventh year he would die...

In response to the prophecy, the king complained that his father and uncle, who locked the temples, forgot the gods and oppressed the people, lived a long time, but he, a pious man, still had to die soon...

Mikerin realized that fate was inevitable and ordered the production of many lamps. At night, the king ordered them to be lit, began to drink wine and constantly have fun day and night.

He wandered through meadows and groves and wherever he found suitable places for pleasure. This is what he did, turning nights into days in order to convict the oracle of a lie and turn six years into twelve.”

2. Seated on a throne with his hands on his knees (statue of Khafre, 27th century BC);

Seated statue of Khafre; Egyptian Museum, Cairo

Khafre, or Khafre in the Greek version, is the fourth pharaoh of Egypt from the IV dynasty; reigned, according to the Turin papyrus, for 24 years (presumably between 2558 and 2532 BC).

It is believed that Khafre was either the brother and heir of Cheops (Khufu), or the son of Khufu and heir of Pharaoh Djedefre.

The veneration of Khafre as a god lasted until the Late Kingdom period.

The name of the IV Dynasty pharaoh Khafre today can be read in different ways.

The Greek reading of the name sounds like Chephren, but if you read the hieroglyphs (transliteration of ancient Egyptian hieroglyphs: Ḫˁjˁ.f Rˁ), then this name sounds like Khafre (Chaefre). Approximate meanings of the name: “Like Ra”, “Is (an incarnation) of Ra.”

However, another reading is also possible: Rahaf (RˁḪˁjˁ.f or Rachaef), i.e. "Ra-incarnate."

The last option arose after studying the grammar of the ancient Egyptian language.

It turned out that there was a special sequence of signs: in the name of the pharaoh there is a symbol of the god Ra, which must be read before all other symbols of the name of the pharaoh.

Greek historians knew little about Khafre. Herodotus mentions him in the second book of his History and Hecataeus of Abdera.

Khafre was usually portrayed, like his father Cheops, as a harsh despot.

However, the significant veneration of this pharaoh among the Egyptians for a long time is also noticeable.

Diodorus reports that the son of Cheops, Khafre, was so hated by the Egyptian people that, fearing for the safety of their tombs, the tombs of Khafre and his relatives had to be made not in pyramids, but in secret places.

Statues of Pharaoh Ramesses II.

3. In the guise of the god Osiris there is a standing figure with his hands folded on his chest and holding symbols of royal power (a rod and a whip).

Wooden figurines depicting the king

Sculptures of nobles were created in the likeness of the royal ones.

Sculptors used stone, wood, and ivory. Hard rocks were preferred (granite, basalt, porphyry, etc.).

The statuette was drawn on the edges of a rectangular stone block and then carved; therefore, in Egyptian sculptures the original cubic volume is always felt.

The statues face Eternity; Everything accidental and unimportant has been expelled from them.

Strict symmetry, immobility, laconicism and generality of forms enhanced the feeling of monumentality, inviolability, and solemn grandeur.

At the same time, the statuary images are amazingly lifelike: the connection of the sculptural image with the funeral cult required the transfer of portrait resemblance (bust of Prince Ankhhaf, mid-3rd millennium BC; statues of the architect and vizier Hemiun, 27th century BC ., scribe Kaya, mid-3rd millennium BC, prince Kaaper, mid-3rd millennium BC; portrait groups of prince Rahotep with his wife Nofret, first half of the 3rd millennium BC. . e., and the dwarf Seneb with his family, 25th century BC).

Bust of Prince Ankhhaf

Statue of Hemiun, Pelsau Museum, Germany

Hemiun was an ancient Egyptian architect from the Fourth Dynasty of the Old Kingdom.

Hemiun is the purported architect of the Great Pyramid of Pharaoh Khufu (Cheops) at Giza. Son of Nefermaat, a relative of Khufu. He had the titles of "Master of Works" and Vizier of the Pharaoh. He died of illness shortly before the completion of the Great Pyramid and was buried in a preserved mastaba nearby.

"The Scribe Kaya" Ser. 3rd millennium BC e. Louvre. Paris

During excavations, the statue of the scribe Kaya caused a stir among the workers helping with the excavations: they mistook it for a living person when a ray of light penetrated the eternal darkness of the tomb and Kaya’s gaze flashed straight into their eyes.

At that time, the eyes of the statues were inlaid with rock crystal and shiny ebony.

Statue of Prince Kaaper. Ser. 3rd millennium BC Egyptian Museum. Cairo. Tree.

Sheikh El Balad (V Dynasty)

This figurine is known under the name “Village Headman” not because it actually depicts a headman. This is a member of the royal family Kaaper. When she was found during excavations in Saqqara, one of the fellahs exclaimed: “Yes, this is our village headman!” Since then, this nickname has stuck with Kaaper.

This famous wooden statue dates back to the Old Kingdom. She represents the dignitary Kaaper, also known as the Great Priest. His features express calm dignity. The eyes are made of quartz, the eyelids are made of copper. The statue is made up of several pieces of painted fig wood.

Prince Rahotep with his wife Princess Nefert

4th Dynasty. Medum. (limestone, 120 cm high).

The statues of Prince Rahotep and his wife Nefert come from the mastaba at Medum. The princess wears a headband, a necklace, a linen dress and a wig. The prince is wearing a simple necklace with an amulet. Hieroglyphs are visible behind the figures - symbols that have evolved from a perfect pictorial font. Rahotep (with mustache) was probably the son of King Snefru. He occupied the highest positions and, according to ancient Egyptian custom, wore only a short apron.

Dwarf Seneb and his family (VI Dynasty)

This is a masterpiece of an ancient Egyptian sculptor who brilliantly depicted the dwarf Seneb - an important official - with his wife hugging him right hand, and with two children under the short legs of a dwarf.

This group of painted limestone was found in the mastaba of Seneb at Giza, north of the Pyramid of Khafre.

The statues and reliefs were painted: the bodies of men - red-brown, women - light yellow; white clothes, black wigs, and bright jewelry were indicated.

The Egyptians created two types of relief: very low, barely receding from the background plane, and embedded, recessed into the thickness of the stone.

An outstanding monument - stele Pharaoh Narmer (late 4th - early 3rd millennium BC), dedicated to the victory of Upper (Southern) Egypt over Lower Egypt.

Stele of Pharaoh Narmer. Around 3000 BC e. Egyptian Museum, Cairo.

According to legend, the first pharaoh of the 1st dynasty, Menes (around the 3rd millennium BC), who united Upper and Lower Egypt, founded the city of Memphis on the right bank of the Nile during the era of the Old Kingdom (XXVIII-XXIII centuries BC)

The stela of Pharaoh Narmer, whom some researchers identify with the mythical Menes, is a small vertical slab sixty-four centimeters high. Reliefs and inscriptions on both sides of the stele tell of the victory of Upper Egypt over Lower Egypt and their unification into one kingdom.

Memphis became the main religious and artistic center of the country, the kingdom - the era of the creation of writing, religious and secular basic principles artistic creativity- can be considered a truly golden age of Egyptian art.

Man and his activities are the main themes of tomb reliefs and paintings (the tombs of the nobles Ti, c. 2450 BC, and Ptahhotep, c. 2350 BC; both at Saqqara).

Ti was an influential and wealthy man, guard of several royal pyramids and sun temples, and lived during the V Dynasty (Old Kingdom). Ti's tomb is located in Saqqara. The walls of the interior of the tomb are decorated with beautifully executed reliefs and paintings depicting scenes from the life of Ti, as well as various household works carried out in his domain. The relief, made using the bas-relief technique, depicts Ti sailing in a boat through a swamp overgrown with papyrus. Ti's figure is several times larger than the servants in the boat. Ti pulls out two papyrus stalks from the swamp.

Relief of the tomb of Ti. XXV-XXIV centuries BC Fragment. Plaster on stone, burin, tempera. Saqqara, Egypt

The relief, made using the bas-relief technique, depicts a scene of boat construction.

A typical example is the paintings of the very famous tomb of nobleman Ti (mid-3rd millennium BC). Upon closer inspection, the “carpet” breaks down into huge amount individual episodes fused by a common rhythm and spatial laws - the tomb of Khnumhotep. Here it is already difficult to talk about stiffness and the like. The liveliness and spontaneity in the images of people and their activities are beyond any criticism. Perhaps these qualities of genre scenes, in comparison with the predetermined fixity and solemn representativeness of ceremonial portraits, can be explained by the difference in what sacred function the various images performed: they represented the Pharaoh himself before the gods, or told about the life of his subjects. In the latter case, it was important to vividly and realistically display the functions of the characters, so that they would continue to serve the master so vividly. Nor should we be surprised at the numerous depictions of animals in the tombs. Many animals in Ancient Egypt were deified and their images were images of gods. "Geese." Fresco from the tomb of the architect Nefermaat in Medum. 27th century BC e. Cairo. Egyptian Museum. Fragment The gradation of sizes and scales of figures within one composition, giving decorative liveliness and light melodious variability of rhythm, was for the Egyptians primarily a gradation of values. Main character of the murals was depicted as the largest. His close relatives and associates were depicted slightly smaller than himself, and minor characters were depicted even several times smaller than him, examples of this are the reliefs in the tomb of Ti and in the mastaba in Saqqara.. Such a scale was the most universal table of ranks, which did not require the display of special , different for each rank of luxury accessories and social status. Even the greatness of the power of the pharaoh himself, who was revered as a god, was not even indicated by any expensive clothes, almost nothing except the exceptional size of his figure and a spectacular pose, predetermined by the canon. It is also impossible to say unequivocally that some figures in paintings or reliefs are designed more carefully than others. Both paintings and reliefs give a picture of current life, equally measured and inevitable for everyone. The composition, as a rule, is line-by-line, maintaining symmetry and balanced. Images on reliefs and paintings were made as in round sculpture, observing strict subordination to architectural forms, focusing on their proportions and rhythms, on their scale. Relief of the tomb of Mereruka. XXIV-XXIII centuries BC Fragment. Plaster on stone, burin, tempera. Saqqara, Egypt Mereruka was the son-in-law of Pharaoh Teti, the first pharaoh of the 6th Dynasty (Old Kingdom). Mereruk's tomb is located in Saqqara. One of the largest tombs in the necropolis, it contains over thirty different rooms, including burial chambers intended for Mereruk's wife and son. The walls of the tomb's interior are decorated with reliefs and paintings depicting scenes of everyday life. The relief, made using the bas-relief technique, depicts a boat sailing through a swamp infested with crocodiles and hippos. Relief of the tomb of Mereruka. XXIV-XXIII centuries BC Fragment. Plaster on stone, burin, tempera. Saqqara, Egypt The relief, made using the bas-relief technique, depicts scenes of feeding wild animals - antelopes and hyenas. In the burials of the Old Kingdom era there were no images of gods, the sun and the moon. The world depicted on the walls was not a mirror image of earthly existence; it was an artificially created environment that provided all the needs of the owner of the tomb. Reliefs and paintings are divided into stripes and “read” like text; they convey the daily life of the Egyptians so accurately and in detail that they serve as a reliable source for its study. However, in comparison with reality, certain changes were made to the image of the afterlife “double world”. There were no scenes of public service, indicating a subordinate position. Wall paintings are distinguished by flatness and bright colors. Egyptian craftsmen worked with glue paints, usually without mixing them; halftones appeared only in late period. The expressiveness of painting was based on the clarity of silhouettes, the contours of which were filled with bright colors. The person was depicted not as he was seen, but in such a way as to give the most complete picture of him: the shoulders, torso and eye on the person’s face were depicted from the front, the face and legs - in profile.

Sculpture in culture ancient civilization plays a vital role on Earth. According to the ideas of the Egyptians, one of the human souls - ka - has the ability to reside in two worlds at once: the earthly and the afterlife. Hence the desire to preserve the body of a deceased person by any means (embalming and mummification), as well as the creation of a large number of sculptures that can serve as a shell for the soul “ka”.

Another feature of Egyptian sculpture is the strict canons (rules) by which all images were created. On the one hand, the sculpture had to be realistic enough for the soul to “recognize” its shell; on the other hand, the canon required complete symmetry in the depiction of a person, and the physique was also subject to strict rules. That is why numerous images of pharaohs, priests and gods seem to be of the same type, and the differences exist only in facial features. Departures from the rules were allowed only when depicting low-class people: officials, military personnel, etc.

The vast majority of ancient Egyptian sculptures are static. Most often, kings and gods are depicted sitting on a throne, or standing, the hands of the figures resting on their knees, or crossed on their chests, their gaze directed straight ahead. This angle created an amazing effect; it seems to the viewer that the statue is looking directly at him, no matter from what angle he looks at the sculpture. The huge eyes of the sculptures also have cult significance. The Egyptians were sure that a person's soul was in his eyes. Therefore, all sculptures were painted very carefully.

The most famous Egyptian sculpture is the Great Sphinx. A mythical creature with the head of Pharaoh Khafre and the body of a lioness. A monumental sculpture, the guardian of the pyramids served as a guardian of the peace of the kings in the valley of the pyramids. A majestic pose, a look full of peace and detachment, power and inner strength still make an indelible impression on tourists.

Temple sculptures of pharaohs and gods deserve special attention. Executed in strict accordance with the canon, the Egyptian kings are presented as majestic, well-built and aloof. It was possible to depict a pharaoh, a living god, only outside of time and everyday life. All standing sculptures depict the king taking a step forward (the so-called “step into eternity”), symbolically this signifies the ruler’s transition from earthly life to eternal life.

The sculptural masks of the pharaohs, which covered the faces of the pharaohs in sarcophagi, are extremely interesting. Craftsmen used precious metals and multi-colored enamels to create masks. The most famous mask is that of Pharaoh Tutankhamun.

Sculptural portraits of Egyptian masters left us brilliant examples of realism and plasticity. Portraits of Nefertiti, Teye, Mikerin, Amenhotep III and others are undoubted masterpieces ancient art. More often sculptural portraits- preserved parts of statues lost over the centuries.

The art of the Amarna period deserves a separate discussion. At this time, when Pharaoh Akhenaten banned the worship of the numerous gods of the Egyptians and proclaimed monotheism. At the same time, artists were allowed to deviate from the canon and depict people as they really are. Therefore, the statues and images of the rebellious pharaoh himself are radically different from the images of other rulers. In front of the viewer ugly person, with crooked legs and a protruding belly. But the value of these images lies precisely in their historical accuracy and truthfulness.

For their sculptures, the masters of Ancient Egypt used a variety of materials: wood, alabaster, basalt, quartzite, limestone. The characteristics of each material were taken into account, helping to create unique, special, accurate and reliable images within the framework of strict canons.

The best examples of ancient Egyptian sculpture are kept in museums

From the very beginning of Egyptian culture, painting played the role of the main decorative arts. The painting of Ancient Egypt slowly developed over thousands of years. What did the Egyptians achieve during this time?

Walls with bas-reliefs most often served as the basis for painting. Paints were applied to plastered walls. The placement of paintings was subject to strict norms dictated by the priests. Principles such as the correctness of geometric shapes and contemplation of nature were strictly observed. The paintings of Ancient Egypt were always accompanied by hieroglyphs explaining the meaning of what was depicted.

Space and composition. In Egyptian painting, all elements of the composition look flat. When it is necessary to represent figures in depth, artists superimpose them on top of each other. The drawings are distributed in horizontal stripes, which are separated by lines. The most important scenes are always located in the center.

Image of a human figure. Egyptian drawings of people include features in front and profile equally. To maintain proportions, the artists drew a grid on the wall. Older examples consist of 18 squares (4 cubits), while newer ones have 21 squares. Women were depicted with pale yellow or pink skin. To create a masculine image, brown or dark red was used. It was customary to depict people in the prime of life.

to maintain proportions, the artists used a grid

Egyptian painting is characterized by a so-called “hierarchical” view. For example, the higher the social status of the person depicted, the larger the size of the figure. Therefore, in battle scenes, the pharaoh often looks like a giant. Images of people can be divided into archetypes: pharaoh, scribe, artisan, etc. Figures of lower social strata are always more realistic and dynamic.

Application of color. The artists followed a pre-established program, which means each color had a specific symbolism. It is believed that the origins of the meaning of colors in Egyptian painting were in the contemplation of the color tints of the Nile. Let us highlight the meaning of the main colors used by artists:

• blue - promise of new life;
• green - an expression of life's hopes, rebirth and youth;
• red is a symbol of evil and barren land;
• white is a sign of victory and joy;
• black is a symbol of death and return to life in the other world;
• yellow is an expression of eternity and incorruptible divine flesh.

The tone of the background depends on the era. The Old Kingdom has a gray background, while the New Kingdom has a pale yellow background.

Painting of the Old Kingdom

The Old Kingdom covers the period from the 27th to the 22nd centuries BC. It was then that the construction of the Great Pyramids took place. At this time, bas-relief and painting were not yet distinguished from each other. Both means of expression were used to decorate the tombs of pharaohs, members of the royal family and officials. During the Old Kingdom, a uniform style of painting was formed throughout the country.

Peculiarities

The first wall paintings are distinguished by a rather narrow range of colors, mainly black, brown, white, red and green shades. The depiction of people is subject to a strict canon, the stricter of which is the higher, the higher the status of the person depicted. Dynamism and expression are characteristic of the figures depicting minor characters.

Mostly scenes from the life of gods and pharaohs were depicted. Colorful frescoes and reliefs recreate the environment that should surround the deceased, no matter what world he is in. The painting reaches high filigree, both in the images of characters and in the silhouettes of hieroglyphs.

Example

Sculptures of Prince Rahotep and his wife Nofret (27th century BC) are considered one of the most significant monuments of the Old Kingdom. The male figure is painted brick red, while the female figure is painted yellow. The figures' hair is black and their clothes are white. There are no halftones.

Painting of the Middle Kingdom

We will talk about the period that lasted from the 22nd to the 18th century BC. During this era, wall paintings exhibit structure and orderliness that was absent during the Old Kingdom. A special place is occupied by the painted multi-colored relief.

Peculiarities

In cave tombs one can see complex scenes that are more dynamic than in previous eras. Additional attention is paid to contemplation of nature. Paintings are increasingly decorated with floral patterns. Attention is paid not only to the ruling class, but also to ordinary Egyptians, for example, you can see farmers at work. At the same time, the integral features of painting are perfect order and clarity of what is depicted.

Example

Most of all, the paintings of the tomb of the nomarch Khnumhotep II stand out against the background of other monuments. Particularly noteworthy are the hunting scenes, where animal figures are rendered using halftones. The paintings of the tombs in Thebes are no less impressive.

New Kingdom Painting

Scientists call the period from the 16th to the 11th centuries BC the New Kingdom. This era is distinguished by the best examples of Egyptian art. At this time, painting reached its greatest flowering. The proliferation of tombs encourages the development of painting on walls covered with plaster. Freedom of expression is most evident in the tombs of private individuals.

Peculiarities

The era of the New Kingdom was characterized by a hitherto unknown color gradation and light transmission. Contact with the peoples of Asia brought a fascination with detail and ornamented forms. The impression of movement is enhanced. Dyes are no longer applied in an even matte layer; artists try to show soft tonal tints.

Through painting, the pharaohs demonstrated their strength to the border peoples. Therefore, depictions of scenes reproducing military episodes were common. Separately, it is worth mentioning the theme of the pharaoh in a drawn war chariot, the latter was introduced by the Hyksos. Images of a historical nature appear. Art increasingly resonates with national pride. Rulers transform temple walls into "canvases" that focus on the pharaoh's role as protector.

Example

Tomb of Nefertari. This is a perfect ensemble of painting and architecture. IN present moment This is the most beautiful tomb in the Valley of the Queens. The paintings cover an area of ​​520 m². On the walls you can see some chapters from Books of the Dead, as well as the queen’s path to the afterlife.

• The first surviving ancient Egyptian monumental painting was discovered in a 4000 BC funerary crypt located at Hierakonpolis. She depicts people and animals.
• The ancient Egyptians painted with mineral paints. Black paint was extracted from soot, white from limestone, green from malachite, red from ocher, blue from cobalt.
• In ancient Egyptian culture, the image played the role of a double of reality. The painting of the tombs guaranteed the deceased that the same benefits awaited them in the afterlife as in the human world.
• In Ancient Egypt it was believed that images had magical properties. Moreover, their strength directly depended on the quality of the painting, which explains the special care with which the Egyptians treated painting.

Despite numerous studies devoted to the painting of Ancient Egypt, not all the secrets of this art have yet been solved. To understand the true meaning of each drawing and each sculpture, scientists will have to work for centuries.

October 6, 2017