Egyptian Art Research Articles

Young Marx’s Treatise on Christian Art and the Bonn Notebooks

Abstract There are episodes in Marx’s life that go unnoticed or that are considered insignificant in Marxian scholarship. A case in point is that Marx wrote a treatise on Christian art between 1841 and 1842 and a group of excerpts (the Bonn Notebooks) on the history of religious art that resulted from it. The treatise and the accompanying notebooks are either completely absent from Marx biographies and studies on young Marx or they are mentioned only in passing; if the notebooks are considered at all, one portion is usually singled out while the rest is effectively ignored. The present piece traces Marx’s motives for occupying himself with religious art as well as his interests, shifting from Christian, Greek and Egyptian arts to fetishism and idolatry. This study intends to highlight that young Marx was more involved in questions concerning the political culture of aesthetics than we usually think. The Bonn Notebooks provide access to a more vivid image of Marx in this regard than previous scholarship has suggested.

Egyptian Art in Colonized Nubia: Representing Power and Social Structure in the New Kingdom Tombs of Djehutyhotep, Hekanefer and Pennut

Monumental rock-cut tombs decorated with wall paintings or reliefs were rare in New Kingdom colonial Nubia. Exceptions include the 18th Dynasty tombs of Djehutyhotep (Debeira) and Hekanefer (Miam), and the 20th Dynasty tomb of Pennut (Aniba). The three tombs present typical Egyptian artistic representations and inscriptions, which include tomb owners and their families, but also those living under their direct control. This paper compares the artistic and architectural features of these decorated, monumental rock-cut tombs in light of the archaeological record of the regions in which they were located in order to contextualize art within its social setting in colonized Nubia. More than expressing cultural and religious affiliations in the colony, art seems to have been essentially used as a tool to enforce hierarchization and power, and to define the borders of the uppermost elite social spaces in New Kingdom colonial Nubia.

A Report on a Mid-Ptolemaic Graveyard with Gable-roof Coffins from Ancient Philadelphia

The burial ground in ancient Philadelphia necropolis is thought to be the only source for the ancient population that lived during the Ptolemaic and Roman periods at this village. During the Egyptian mission’s excavation work at the ancient Philadelphia necropolis, a set of exceptionally preserved burials dating back to the mid Ptolemaic period were revealed. Individual burials were discovered in the graves, with some of them placed within rare instances of gabled roof shaped coffin lids, some of which were also painted and decorated with Hellenistic themes. Various findings in this well-secured context show various burial rituals and funeral art in Egypt at this period.

“Egyptian Statue”, Revealed in the South-Eastern Region of Azerbaijan, in the system of Ancient Cultural and Trade Relations

Ancient Egypt, being one of the developed centers of the East, had close ties with Western Asia and the South Caucasus, both from a political and commercial point of view. This country, which had not been conquered until the VII century BC, was in the forefront as a political and military power of the period. It was from this viewpoint that many countries sought to establish political union with it, as well as the trade relations. As a result of this relationship, various works of art related to Ancient Egypt also spread to the South Caucasus through the Western Asia. No doubt that Egyptian art items found in Egypt itself are more than samples from other countries where similar finds are common. The paper deals with the archaeological finding – an Egyptian figurine. This artifact, which is so far the only example, found in Azerbaijan, testifies to the existence of ties between the South Caucasus and Egypt. The discovery also contributes to the creation of certain ideas about the small plastic art of that period. It is possible that complex archaeological studies in the region will reveal new artifacts of such art

A Proposed Curriculum Framework for A Bachelor’s Degree in Culinary Arts in Egypt

A Proposed Curriculum Framework for A Bachelor’s Degree in Culinary Arts in Egypt

Egyptian Art Style in Packaging-Take Rebirth as an Example

The Egyptian art style is mysterious and unique, among which the art of afterlife and positive rate are particularly prominent artistic features. From ancient times to the present, the pursuit of beauty has never stopped, and skin care products are almost an indispensable part of women's lives, through which women hope to make their skin glow and slow down the aging process. Therefore, this design sought to create a skincare product packaging, applying Egyptian art style to the packaging to directly and clearly present women's needs for skincare products, while achieving the effect of promoting skin care products and attracting consumers.

A Design System to benefit from the impact of ancient Egyptian art on modern painters for innovating printed designs to enrich the Egyptian visual identity

A Design System to benefit from the impact of ancient Egyptian art on modern painters for innovating printed designs to enrich the Egyptian visual identity

이집트 ‘아랍의 봄’에 나타난 저항 예술의 소통적 함의 : 푸코의 헤테로토피아적 분석 관점으로

이집트 ‘아랍의 봄’에 나타난 저항 예술의 소통적 함의 : 푸코의 헤테로토피아적 분석 관점으로

Realism as a Representational Strategy in Depictions of Horses in Ancient Greek and Egyptian Art: How Purpose Influences Appearance

When modern (Western) viewers look at ancient art, the first feature of the image that is often assessed is its relationship to ‘reality’. How ‘real’ the image looks is inextricably linked to its evaluation and therefore the viewer’s estimation of its quality. The more ‘realistic’ an image is deemed, the more it is appreciated for its historic and aesthetic value. This fixation on reality has often affected the assessment of ancient imagery. It can create a bias that limits the researcher’s ability to analyse and interpret the image(s) to their full potential. When studying ancient images, the viewer should always keep in mind its original purpose. Rather than looking for reality through the notion of resemblance, the degree of reality should instead be assessed through the way the subject is being conveyed as the image’s purpose dictates its appearance. This article will use depictions of the horse in ancient Egyptian and Greek art to highlight some of the challenges one encounters when studying ancient images’ relationship with reality. It will show why it is important for scholars to focus on the image/object’s purpose, their resemblance to their subject, and their meaning in terms of the message(s) they are meant to convey.

The African Origin of Civilization curated by Alisa LaGamma and Diana Craig Patch; Before Yesterday We Could Fly: An Afrofuturist Period Room curated by Hannah Beachler, Michelle Commander, Ian Alteveer, and Sarah E. Lawrence

The African Origin of Civilization curated by Alisa LaGamma and Diana Craig Patch; Before Yesterday We Could Fly: An Afrofuturist Period Room curated by Hannah Beachler, Michelle Commander, Ian Alteveer, and Sarah E. Lawrence

A Contemporary Design Philosophical Vision Inspired by Ancient Egyptian Art

Man began to learn drawing thousands of years ago, before he knew how to read and write on the walls of the caves, and on the slopes of the surrounding mountains, which continued to remain throughout the ages to be evidence of his progress and development through the era of the Pharaohs, the golden age of mural art and wonderful artistic designs, as Egypt has a great history of Arts, heritage and ancient civilization that are unparalleled in any other civilization in the world. Where ancient Egyptian art is considered the largest example of design works and wall painting, which will remain one of the most expressive artistic means of successive historical eras, which in turn greatly influenced plastic art, which is one of the most important areas to reach works of art that blend the aesthetic and innovative sides.

Pigeons and papyrus at Amarna: the birds of the Green Room revisited

Ancient Egyptian art features many carefully observed depictions of wild animals and birds. A famous example is the late Eighteenth Dynasty (fourteenth-century BC) wall paintings of the Green Room in the North Palace at Amarna, where naturalistic depictions of birds feature prominently. Their taxonomic identity, however, is not resolved in all cases. Here, the authors revisit the facsimiles produced in the 1920s by Nina de Garis Davies. Mindful of previous works, taphonomy and the interplay between naturalistic observation and artistic licence, they employ ornithological resources to conduct a qualitative assessment and propose a parsimonious scheme of identifications, relating the results to long-standing questions concerning ecological and stylistic aspects in the artwork.

More Human Than Human: The Exile in Blade Runner

More Human Than Human: The Exile in <i>Blade Runner</i>

What is heritage and pioneers of modern and contemporary Egyptian art

What is heritage and pioneers of modern and contemporary Egyptian art

Scena triumfa Tutmosa III na VII pilone v Karnake: monumental'noe iskusstvo na sluzhbe u gosudarstvennoj ideologii

In a temple of Karnak, on the VII pylon, a scene of triumph of Thutmose III has been preserved. Despite apparent canonicity at first glance, it differs significantly from battle compositions of previous eras. Its iconographic analysis allows us to draw important conclusions about changes in Egyptian art during the 18th dynasty. In addition, this monument indirectly points to specific features of the state ideology of Egypt during the New Kingdom era, which are reflected in art.

Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art

Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.

Visions of Disrupted Chronologies: Sergei Eisenstein and Hedwig Fechheimer’s Cubist Egypt

By juxtaposing two ostensibly divergent characters, the Jewish art historian and Egyptologist Hedwig Fechheimer (1871–1942) and Soviet filmmaker and theorist Sergei Eisenstein (1898–1948), this paper investigates how both approaches folded time, creating Cubist chronologies. Fechheimer adapted the philological focus of her Berlin School contemporaries to create an ahistorical, anti-teleological grammar of ancient Egyptian art which espoused an artistic affinity between the Egyptians and the Cubist movement. Eisenstein, who held a copy of one of Fechheimer’s books in his personal library, took a similar approach in the development of his critiques of historical allegory. This paper looks specifically at two shots of a sphinx during the bridge sequence in the 1927 film October to demonstrate how they correspond to Fechheimer’s views on Egyptian art and also function peculiarly within the film. Ultimately, I aim to demonstrate how the interpellations of the sphinx demonstrate a particular critique of historicity that Eisenstein later expands upon in his Ivan the Terrible films.

Microgeophysics and geomatics data integration reveals the internal fracturing conditions of the statue of Ramses II (Museo Egizio, Torino, Italy)

The combined acquisition of 3D ultrasonic tomography and radar scans is growing for cultural heritage diagnostics. Both methods proved to be efficient in the detection and location of fractures and weaknesses within the investigated artefacts. Although the two techniques are widely applied together, an integrated approach for data interpretation is still missing. We present the results of radar and ultrasonic prospections carried out on the statue of the young Ramses II, an absolute masterpiece of the Egyptian art preserved in the collection of the Museo Egizio of Torino (Italy). Geophysical results are incorporated within the 3D model of the statue retrieved from total station measurements, ground-based and handheld laser scanning. A data integration approach is then proposed for the joint interpretation of the geophysical results, exploiting the final ultrasonic velocity model and radar attribute analysis (i.e. local dissimilarity computation) to define a combined damage index. The proposed methodology is efficient in fracture detection and location and improves the readability of the final results also for non-expert geophysical interpreters, offering guidance to the museum for preservation and restoration of the masterpiece.

Curated Desertscapes in Ancient Egyptian Tombs and Investigating Iconographies of the Wild

Because of a long-standing bias toward examining human representation in Egyptian art, scholars have overlooked many details of how wild animals are rendered, at least until recently. Usually, the stylistic differences between animals and humans in ancient Egyptian art are emphasized to support the argument that animals and their environs encapsulate ancient Egyptian ideas of “chaos”, while humans and their cultivated world encapsulate “order”. A closer look at animal representations shows that the same artistic restraints were placed on both human and animal representation, such as with the use of the canon of proportions, strict register lines, and iconicity. This article examines predynastic and early dynastic material and surveys representations of desert animals from Egyptian tombs from the Old Kingdom to the New Kingdom to demonstrate that their artistic treatment is still rule-bound and conforms to a sense of visual order. This paper challenges some of the scholarly interpretations, which assert that dichotomous ideas of chaos and order were represented stylistically and iconographically.

Batal'nye sceny v nubijskom hrame Bejt-el'-Vali i drevne­ egipetskij obraz mira

The Beit el-Wali temple was constructed under Ramesses II on the southern border of Ancient Egypt, in Lower Nubia. Obviously, it is of great interest within the framework of exploring the development of battle scenes in the New Kingdom epoch. Its walls keep the extant reliefs illustrating the military campaigns waged by the young king. These images differ both from those of the Seti I epoch and those that became canonical in the later period of Ramesses’ reign. The analysis of the surviving scenes showed that the assertion of conservatism and immutability of the Egyptian art principles, as found in the specialised literature, including in reputable general-profile works, was not quite true.