Ancient Egyptian Paintings Research Articles

Color analysis of ancient Egyptian paintings and its applications in modern digital visualization

Color analysis of ancient Egyptian paintings and its applications in modern digital visualization

Hidden mysteries in ancient Egyptian paintings from the Theban Necropolis observed by in-situ XRF mapping.

The material study of ancient Egyptian paintings began with the advent of Egyptology during the 19th century. By the 1930s, a lot had already been sampled and described. The limited palette for example has been analysed from actual painted surfaces but also from pigments and painting tools retrieved on site. However, most of these studies took place in museums while the painted surfaces, preserved in funerary chapels and temples, remained somewhat estranged from this primary physical understanding. The artistic process has been also reconstructed, mainly from the information presented by unfinished monuments, showing surfaces at different stages of completion. A lot of this modern and theoretical reconstruction is, however, based on the usual archaeological guessing game that aims at filling the remaining blanks. Our interdisciplinary project has decided to experiment on-site with state-of-the-art portable analysis tools, avoiding any physical sampling, to see if our knowledge of the work of the ancient Egyptian painters and draughtsmen could be taken at a further stage, while based on physical quantification that could be seen as a stronger and more reliable foundation for a redefined scientific hypothesis. The use of XRF mapping has, for instance, been applied to a known case of correction by surface repaint, something that is supposedly rare in the ancient Egyptian formal artistic process, while another fully unexpected one was discovered during the analytic exploration of a royal representation. In both cases, the precise and readable imaging of the physical composition of the painted surface offers a renewed visual approach based of chemistry, that can be shared through a multi- and interdisciplinary approach. However, this also leads to a more complex description of pigment mixtures that could have multiple meanings, where the practical often leads towards the symbolic, and from there hopefully to a renewed definition of the use of colours in complex sets of ancient Egyptian representations. At this stage, though the progress in this on-site material assessment of ancient works of art definitely means astonishing progress, one humbly has to face the fact that these ancient treasures shall still retain part of their defining mysteries.

Coloring Ancient Egyptian Paintings with Conditional Generative Adversarial Networks

The aim of colorizing gray-scale images is to turn a gray-scale image into a real-looking color image, which is still a difficult task. In this paper, we present a new fully automated colorization technique to assign realistic color images with high levels of textured details, with fewer time and storage requirements than the most recent techniques. Our presented model is designed as a Conditional Generative Adversarial Network with a generator and discriminator to colorize Ancient Egyptian Paintings. Our model is trained using a novel dataset that is aggregated from Ancient Egyptian Paintings and contains more than 1000 images. Our model and traditional deep neural networks are assessed using Peak Signal-to-Noise Ratio (PSNR), Structural Similarity (SSIM), and Mean Square Error (MSE). The outcomes demonstrate the presented technique's ability to colorize images realistically and naturally while attaining state-of-the-art results.

A Multi-Analytical Study of Egyptian Funerary Artifacts from Three Portuguese Museum Collections

A diachronic, multi-analytical approach combining EDXRF, µFTIR, µRaman, SEM-EDS, and Py-GC/MS has been adopted with the aim to study for the first time the painting materials used to decorate Egyptian funerary masks and sarcophagi ranging from the Late Period to the Roman Period and stored in the Archaeological National Museum (MNA) and the Carmo Archaeological Museum (MAC) of Lisbon and the Natural History Museum of the University in Oporto (MNH-FCUP). Results indicate that yellow and red ochres, realgar, cinnabar, Egyptian blue, and Egyptian green were used as pigments while chalk served as the preparatory layer. Over the 1000-year timeline of the studied artifacts, the palette remained remarkably consistent with previous findings as exemplified by cinnabar being used for red pigments in samples only dated after the Ptolemaic period. The presence of Sn in Egyptian blue and Egyptian green pigments used in one sample suggests the use of recycled bronze scraps during pigment production. Black pigments in two Late Period masks were found to be produced by mixing Egyptian blue with red ochre suggesting either a hitherto unknown method for production of purple pigments in the Egyptian palette or, alternatively, an attempt to create a specific hue or shade of dark brown or black. The results of this study contribute to further expand the database of Ancient Egyptian painting materials while at the same time helping to valorize three important Egyptian collections in Portugal.

The study of the symbolic significance of colors in Egyptian Painting art and the origins of colors in the World

Humans have utilized a variety of methods, including the arts, to communicate their emotions and ideas throughout history. Painting has served a variety of functions. It has been used as a medium for depicting sacred objects or investing relaxing energy. Genuine and representative meanings may be conveyed via works of art. They depict the reality in the climate in certain instances, and they sometimes show absurd situations or have symbolic meaning. The primary component of the components, shading, is used in a variety of ways to present a variety of concepts, such as passing and eternality. Old Egypt is one of humanity's finest and earliest developments, with many archeological achievements and beautiful arts remaining. Reason: In light of semantics, the preceding investigation deconstructed the representational significance of shadings in archaic Egyptian pieces of art. So yet, no study has dissected the representational implications of tones and traced their origins in the real world. This article aims to deconstruct the symbolic meanings of shadings in ancient Egyptian paintings.

Painting the Palace of Apries II: ancient pigments of the reliefs from the Palace of Apries, Lower Egypt

Fragments of painted limestone reliefs from the Palace of Apries in Upper Egypt excavated by Flinders Petrie in 1908–1910 have been investigated using visible-induced luminescence imaging, micro X-ray fluorescence, laser ablation inductively coupled plasma mass spectrometry, micro X-ray powder diffraction, and Fourier transform infrared spectrometry. The pigments have been mapped, and the use and previous reports of use of pigments are discussed. Mainly lead–antimonate yellow, lead–tin yellow, orpiment, atacamite, gypsum/anhydrite, and Egyptian blue have been detected. It is the first time that lead–antimonate yellow and lead–tin yellow have been identified in ancient Egyptian painting. In fact, this is the earliest examples known of both of these yellow pigments in the world.

Do You See What I See? Aspects of Color Choice and Perception in Ancient Egyptian Painting

AbstractColor in ancient Egypt has been examined through linguistics, anthropological theory and archaeological science. In recent years, attention has focused on the application of art historical theories of reception and perception to ancient Egyptian art, but seldom on color itself. This article will examine aspects of color choice and visual perception, particularly focusing on use of the pigments yellow ochre and orpiment. Building on a growing body of art historical and archaeometric scholarship, it will demonstrate the contributions that experimental archaeology can make to the analysis and understanding of ancient Egyptian painting. Specifically, this study will examine why the Egyptian artist chose specific color combinations by taking into account the original space and lighting conditions of these paintings.

Scale and Pictoriality in Ancient Egyptian Painting and Sculpture

Art HistoryVolume 38, Issue 2 p. 268-285 Original Article Scale and Pictoriality in Ancient Egyptian Painting and Sculpture Whitney Davis, Whitney DavisSearch for more papers by this author Whitney Davis, Whitney DavisSearch for more papers by this author First published: 22 March 2015 https://doi.org/10.1111/1467-8365.12149Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Volume38, Issue2Special Issue: To Scale. Edited by Joan Kee and Emanuele LugliApril 2015Pages 268-285 RelatedInformation

Poliomyelitis: historical facts, epidemiology, and current challenges in eradication.

Poliomyelitis is a highly infectious disease caused by a virus belonging to the Picornaviridae family. It finds a mention even in ancient Egyptian paintings and carvings. The clinical features are varied ranging from mild cases of respiratory illness, gastroenteritis, and malaise to severe forms of paralysis. These have been categorized into inapparent infection without symptoms, mild illness (abortive poliomyelitis), aseptic meningitis (nonparalytic poliomyelitis), and paralytic poliomyelitis. This disease has been associated with crippling deformities affecting thousands of lives throughout the world. Only due to the perseverance and determination of great scientists in 1900s, the genomic structure of the virus and its pathogenesis could be elucidated. Contribution of Salk and Sabin in the form of vaccines-oral polio vaccine (OPV) and the inactivated polio vaccine-heralded a scientific revolution. In 1994, the World Health Organization (WHO) Region of The Americas was certified polio free followed by the WHO Western Pacific Region in 2000 and the WHO European Region in June 2002 of the 3 types of wild poliovirus (types 1, 2, and 3). In 2013, only 3 countries remained polio endemic-Nigeria, Pakistan, and Afghanistan. Global eradication of polio is imperative else the threat of an outbreak will hover forever. Today, all the governments of the world in collaboration with WHO stand unified in their fight against poliomyelitis and the task when achieved will pave the way for eliminating other infections in future.

Biodeterioration of binding media in tempera paintings by Streptomyces isolated from some ancient Egyptian paintings

Eight out of 46 Streptomyces isolates representing highest deterioration symptoms of disfiguration and scaling were isolated from mural paintings within tombs at Tell Basta and Tanis, Lower Egypt. These isolates were identified using traditional and 16S rDNA sequencing methods as Streptomyces albidofuscus, Streptomyces ambofaciens,Streptomyces canarius, Streptomyces chibaensis, Streptomyces coelicolor,Streptomyces corchorusii, Streptomyces nigrifaciens and Streptomyces parvullus. These identified Streptomyces isolates decomposed animal glue into amino acids with a high percentage of L-glutamic acid and ammonia as end product, depolymerized arabic gum into free mono-sugars, decomposed egg yolk into amino acids with low percentage of L-glutamic acid and ammonia and decomposed bees wax enzymatically into short chains of stearic acid. Finally, these isolates caused flaking of paintings layers due to penetration of filamentous mycelium within painting layers with the assistance of enzymatic hydrolysis. Key words: Animal glue, arabic gum, bees wax, biodeterioration, egg yolk,Streptomyces, Tell Basta, Tanis, Egyptian tombs.

Characterisation of the pigments in a Ptolemaic Egyptian Book of the Dead papyrus

A relevant subject of study in the sphere of ancient Egyptian painting technology is given by the evolution of the palette across New Kingdom, Ptolemaic and Roman periods. Functionally to secondary factors such as geographic occurrence of minerals and type of associated surface, the employment of certain painting materials provides relevant insights into particular issues such as relative dating of the object and social rank of the owner. The Book of the Dead of Amenemhet (ROM 978 × 43.1, middle Ptolemaic Period) has been analysed at the Department of Restoration and Conservation of Archivals, Graphics and Book Illumination of the Cologne Institute of Conservation Sciences (Germany). Together with visible reflectance spectroscopy, digital and optical microscopy, devices such as XRD, SEM-EDX and FT-IR have been successfully employed for the characterization of the pigments from the polychrome funerary papyrus displayed at the Royal Ontario Museum, Toronto (Canada). The present research took place within a series of investigations performed at the CICS, devoted to the interdisciplinary study of funerary Egyptian papyri dating from the early 18th Dynasty onwards.

Multiverses of the past

AbstractMore than 2000 years ago, Epicurus taught that there are an infinite number of other worlds, both like and unlike ours, and Aristotle taught that there are none. Neither hypothesis can currently be falsified, and some versions of current multiverses perhaps never can be, which has contributed to occasional claims that “this isn't science!” (a common complaint about cosmology for centuries). Define “cosmos”, or “world”, or “universe” to mean the largest structure of which you and the majority of knowledgeable contemporaries will admit to being a part. This begins with the small, earth‐centered worlds of ancient Egyptian paintings, Greek mythology, and Genesis, which a god could circumnavigate in a day and humans in a generation. These tend to expand and become helio‐rather than geo‐centric (not quite monotonically in time) and are succeeded by various assemblages of sun‐like stars with planets of their own. Finite vs. infinite assemblages are debated and then the issue of whether the Milky Way is unique (so that “island universes” made sense, even if you were against the idea) for a couple of centuries. Today one thinks as a rule of the entire 4‐dimensional space‐time we might in principle communicate with and all its contents. Beyond are the modern multi‐verses, sequential (cyclic or oscillating), hierarchical, or non‐communicating entities in more than four dimensions. Each of these has older analogues, and, in every milieu where the ideas have been discussed, there have been firm supporters and firm opponents, some of whose ideas are explored here. Because astronomical observations have firmly settled some earlier disputes in favor of very many galaxies and very many stars with planets, “other worlds” can now refer only to other planets like Earth or to other universes. The focus is on the latter (© 2009 WILEY‐VCH Verlag GmbH & Co. KGaA, Weinheim)

Binders in Paintings

Many naturally occurring adhesive materials have been used throughout history to bind pigments in paintings. A number of synthetic materials have been added to these during the twentieth century.Availability and tradition can influence the choice of binders made by artists. Probably the most widely used medium throughout history, animal glue, is also the most easily obtained. Glues made from the connective tissues or skins of local animals were major media in ancient Egyptian painting and in Chinese and Japanese painting, as well as in many other cultures throughout world history. In many cases, a variety of natural binders were available, and additional factors influenced the choice of binder by a culture. Different media have highly variable properties that affect how they are used in painting. Among these properties are solubility, the transparency or depth of color that is obtainable with a given pigment, and handling properties–how the paint flows, how quickly it dries, whether it can be applied in very thick and very thin layers, etc. Knowledge of the media utilized in paintings can help us understand the intentions of artists. Medieval European painting can be used as an example.

Reading Egyptian Art: A Hieroglyphic Guide to Ancient Egyptian Painting and Sculpture. By Richard H. Wilkinson.

Previous articleNext article No AccessBook ReviewsReading Egyptian Art: A Hieroglyphic Guide to Ancient Egyptian Painting and Sculpture. By Richard H. Wilkinson.William H. PeckWilliam H. Peck Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Journal of Archaeology Volume 97, Number 2April 1993 The journal of the Archaeological Institute of America Views: 3Total views on this site Article DOIhttps://doi.org/10.2307/505665 Views: 3Total views on this site Copyright © 1993 by the Archaeological Institute of America. All rights reserved.PDF download Crossref reports no articles citing this article.

Reading Egyptian art: a hieroglyphic guide to ancient Egyptian painting and sculpture

Catalogue of hieroglyphs man woman anthropomorphic deities parts of the human body mammals parts of mammals birds parts of birds amphibians and reptiles fishes and parts of fishes invertebrates trees and plants sky, earth and water buildings and parts of buildings ships and parts of ships domestic and funerary furniture temple furniture and sacred emblems crowns, dress, staves warfare, hunting, butchery agriculture and crafts rope, fiber baskets vessels of stone and earthenware loaves and cakes writings, games, music gardiner's sign list locations of illustrated objects.

A Technical Examination of an Ancient Egyptian Painting on Canvas

A Technical Examination of an Ancient Egyptian Painting on Canvas

A technical examination of an ancient Egyptian painting on canvas

The technical examination of an Egyptian painting in an aqueous medium on linen fabric by means of optical and chemical microscopy, X-radiography and amino acid analysis revealed that it was painted in distemper, employing pigments consistent with those used in the ascribed period of the painting, namely the third–fourth century A.D.

Two Representations of Black-skinned Statues in Ancient Egyptian Painting

In a study of yellow-skinned representations of men in the Old Kingdom which appeared in the second number of this journal, H. G. Fischer included a discussion of representations of statues whose skin had been painted yellow overlaid with black.1 To the group of such statues represented in series upon the walls of the serdab of Nhbw's mastaba (G 2381)2 may now be added a single representation of a statue which occurs among the fragmentary wall paintings from the tomb of MM, acquired by the Louvre in 1964.3 The statue represented in the MM painting stands upon a black base4 whose front edge is flush with a yellow vertical bar bordering the hieroglyphic inscription to the right.5 The tomb owner stands, barefoot, in the typical striding attitude, with left leg advanced. He wears a short kilt (i.e. above the knee) with triangular front panel. In his left hand (lost) he held a walking staff whose lower tip rests upon the base; the right hand (also lost) grasped the %-scepter. From the position of the scepter, it is clear that the right hand and arm were drawn to the left of the kilt ; the statue was therefore represented not in profile, but rather in that combination of characteristic views usually employed for the depiction of the human figure.6 A precise description cannot be given of the context in which the statue was originally to be understood. The orientation and placement of the statue at the end of the register, facing the same end of the register, exclude both transportation and cultic contexts.7 Adjoining fragments from the lower registers of the wall show retainers of the tomb owner at work. The statue may once have formed part of a workshop scene.8 However, a more plausible suggestion is that the statue is all that remains of a representation of funerary equipment arrayed for MM's inspection.9 Fischer has suggested that the coloring of the skin (black overpainting yellow, strips of which are left exposed) is to be interpreted as reproducing the grained surface of dark wood.10 The specific identification ebony is avoided.11 In only one Old Kingdom instance of a statue depicted in relief and painted is the material ebony named in the accompanying inscription. A standing statue erected within an open shrine is dragged upon a sledge to the tomb. Above the shrine is written twt n hbny.12 The traces of color still visible upon the skin of the statue are red-brown, as is also the case with the skin of a second statue in the same transportation series designated twt n snd.lz According to Cooney, the five statues of MM, today divided among the collections of the Brooklyn Museum, the Boston Museum of Fine Arts, and Kansas City, represent in all likelihood the complete series of statuary prepared for the noble's serdab.14 A comparison of the statue represented in the painting with MM's statues shows that the appearance of none of the sculptures is exactly reproduced in the painting: the iconographic combination of short triangular panel kilt, walking staff and scepter does not exist among the statues. All the statues possess at least traces of their original colors, and, although the skin color varies considerably among them, the range of color expresses shades of red.15 All the statues are made of wood, but none has been scientifically examined to provide an accurate description of the type of timber employed.16

ANCIENT EGYPTIAN PAINTINGS selected, copied and described, by Nina M. Davies with the editorial assistance of Alan H. Gardiner.1 104 coloured plates in 2 vols., folio, and descriptive text in 1 vol. (Special publication of the Oriental Institute of the University of Chicago) University of Chicago Press, 1936.

ANCIENT EGYPTIAN PAINTINGS selected, copied and described, by Nina M. Davies with the editorial assistance of Alan H. Gardiner.1 104 coloured plates in 2 vols., folio, and descriptive text in 1 vol. (Special publication of the Oriental Institute of the University of Chicago) University of Chicago Press, 1936. - Volume 12 Issue 45

Ancient Egyptian Paintings, selected, copied, and described by Nina M. Davies, with the editorial assistance of Alan H. Gardiner. Vols. i and ii. 23¼ × 18¼. Pp. vi and plates 1–52; pp. xi and plates 53–104. Vol. iii, descriptive text. 10 × 6½. Pp. xlviii + 210. Chicago: University Press; Cambridge: University Press, 1936. £10 10s.

Ancient Egyptian Paintings, selected, copied, and described by Nina M. Davies, with the editorial assistance of Alan H. Gardiner. Vols. i and ii. 23¼ × 18¼. Pp. vi and plates 1–52; pp. xi and plates 53–104. Vol. iii, descriptive text. 10 × 6½. Pp. xlviii + 210. Chicago: University Press; Cambridge: University Press, 1936. £10 10<i>s</i>.