Art in Egypt |
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Abu Simbel Abydos ägyptische Amenophis Amenophis III Amon Annales du Service architecture artist bas-reliefs Beato Borchardt brick bronze Brugsch building bust Cairo Museum carved centuries chambers chapel colossal colour columns court Dahshur dead decoration Denderah divine door Edfû Egypt Egyptian égyptien eyes façade face feet figures funerary Gizeh gods granite Hathor head Horus hypogea hypogeum hypostyle hall Isis Karnak Khonsu king l'Art Legrain legs less limestone London Louvre Luxor Mariette Maspero mastaba master Medinet-Habû Mémoires Memphite Memphite age ment modelling monuments mummy Musée Osiris painted Paris period Petrie Pharaohs Philæ Phot pillars portico priests pronaos Ptah Ptolemies pylon pyramid quarto Queen Rameses Rameses II Ramesseum Ramessids relief rooms round royal Saïte Sakkarah sanctuary scenes sculpture second Theban Sesostris Seti Sixth Dynasty sphinxes statues statuettes stele stone temple Theban Theban age Theban School Thebes Thinite Thothmes tomb Twelfth Dynasty vault wall workshops
Popular passages
Page 188 - ... the royal sword, the crook, and the scourge. Undoubtedly the gem of the whole temple is the relief of Osiris and the goddesses. Maspero's praise of this exquisite work is not in the least exaggerated. ' The relief ', he says, ' is at once flexible and precise, a surface over which the chisel lingered lovingly, giving a kind of colour to the epidermis by a multitude of almost imperceptible strokes. The gods and goddesses have the features of the sovereign, and this oft-repeated profile is differentiated...
Page 211 - A propos d'un buste egyptien recemment acquis par le Musee du Louvre, in the Monuments et Memoires de la Fondation Piot, 1905, vol.
Page 126 - Beato.) are chiefly sculpture, but thenceforward architecture predominates. Many of the temples built under the second Theban Empire still exist , more or less complete, and reveal to us its conceptions, plans, and methods of execution. It is very possible that the architecture of this period counted several schools, but we do not yet know how to define them. Nearly all of its...
Page 52 - ... move in the opposite direction to the rest: the oblationist, priest or king, always advances in the normal direction. Occasionally, but infrequently, a single scene occupies the entire wall; more often, it is divided into panels. Thus the ritual of divine worship was resolved into a definite number of ceremonies, which were at will isolated from their neighbours, or grouped in...
Page 52 - E. the sanctuary, in the tomb to the stele which had replaced -the door of the vault. It is true that every room, and in every room each wall , and on every wall each picture constitutes a whole where the various persons mingle and confront each other in such a manner, that if some are advancing to this kiblah ', others seem either to be going.
Page 207 - Seeing things on a great scale, they sought to create greatness, no longer, after the manner of their ancestors the Pyramid-builders, by the exaggerated bulk of their material, but by the reasoned immensity of their conceptions; thus architects had arrived at the gigantic colonnades of Luxor and Karnak , and sculptors at the colossi of the Theban plain and Abu Simbel.
Page 297 - ... age. By substituting for the sickly or decrepit reality the figure of the individual as he was in his youth or in the vigour of his maturity, the artist conferred on him more certainly the full enjoyment of his strength and faculties. This is why there are so few statues of old men before the SaYte period; even when a centenarian was represented, Amenophis, son of Hapu, or Rameses II, their portraits are not very different to what they must have been in their youth.
Page 43 - The richness and the cutting of the materials, the perfection of the joints and sections, the incomparable finish of the basin, the boldness of the lines and the height of the walls all combine to make up a unique creation.
Page 127 - Bcato.) supposed to have but one ; at Thebes, however, and also, no doubt, at Memphis and other important cities, the kings, anxious to enlarge the divine house, constructed other pylons in front of the principal one, and these were made gradually wider and wider, and higher and higher; as the number was not limited by any law, it increased almost indefinitely, till it was checked only by the poverty or insignificance of the sovereign.
Page 160 - Thus, during these centuries of prosperity, all their natural talents and all their faculties of invention seem to have been concentrated on a single object, the perpetual aggrandisement and embellishment of the temple, whether as the lodging of the gods, or the refuge of dead 160 FIG.