Personification of Spring

by ArchaeologyArtByzantine ArtByzantiumEarly Christian ArtEgyptEgyptian ArtStudent ActivitiesWorksheets
Tunic Decoration: Tabula (Square) with the Head of Spring, 5th – 7th centuryAD, Tapestry in multicolored Wool and Linen, 23.5 x 25 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/444327

Christos Laskaris captures the essence of Spring in his evocative poem: ‘Διάβαζα ένα ποίημα για την άνοιξη / όταν την είδα / να έρχεται από μακριά: / μισή γυναίκα, / μισή όνειρο. / Κατέβαινε το μονοπάτι κάτω / στεφανωμένη / με άνθη κερασιάς. / Τότε κατάλαβα τι δύναμη έχουν τα ποιήματα. (I was reading a poem about Spring / when I saw her from afar: / half woman, / half dream. / She was going down the path / wreathed / with cherry blossoms. / That was when I understood the power poems hold.). These lines illustrate the transformative power of poetry, where words bloom into vivid imagery, evoking the ephemeral beauty and vitality of the season. As I reflected on Laskaris’s portrayal of Spring as ‘half woman, half dream,’ I was reminded of a small textile piece in the MET collection, a decorative artwork depicting the Personification of Spring. This intricate piece, adorned with motifs of blossoming flowers and a graceful figure, parallels the poem’s vision, embodying renewal and beauty in a tangible form. Together, the poem and the artwork highlight, I humbly believe, Spring’s timeless allure and its ability to inspire across art forms, reminding us of the season’s power to awaken imagination and connect us to the essence of life. https://e-keimena.gr/index.php?option=com_content&view=article&id=510:poihmata-gia-thn-anoiksh&catid=149:poihmata-anoiksh&Itemid=54

Searching for information on Early Christian Textiles, I came across two booklets  I would like to share… and acting more like a Curator rather than a Teacher, I present you Textiles of Late Antiquity, a 1995 Metropolitan Museum of Art Publication, and Woven Interiors: Furnishing Early Medieval Egypt, an Exhibition Catalogue of 2020, organized by the George Washington University Museum, The Textile Museum, and Dumbarton Oaks Research Library and Collection.  https://www.metmuseum.org/art/metpublications/Textiles_of_Late_Antiquity and https://museum.gwu.edu/woven-interiors-furnishing-early-medieval-egypt

This small tapestry panel from Egypt in the Metropolitan Museum in New York City, identified as: Tabula (Square) with the Head of Spring. is a remarkable example of Coptic textile art from the Early Christian period. It was originally an appliqué on a larger textile, likely part of a set adorning a garment. Woven from linen and wool, the piece measures just a few centimeters across but is rich in detail and vibrant in colour. The central figure is a personification of Spring, adorned with a wreath of pink blossoms that symbolize the season’s renewal and fertility. The figure is depicted in a frontal pose, dressed in flowing robes with intricate floral patterns that demonstrate Spring’s association with nature’s abundance, and the skill of the weaver. The panel’s relatively well-preserved state is a testament to Egypt’s hot, dry climate, which has safeguarded textiles that would have otherwise been lost to time.

Aesthetically, the panel is a harmonious blend of naturalistic detail and stylized design, characteristic of Coptic art. The vibrant colour palette, dominated by earthy tones and soft pinks, reflects the organic materials used in its creation and emphasizes the figure’s connection to nature. The composition is balanced, with the central figure drawing the viewer’s eye while the centrally placed floral elements create a sense of movement and vitality. The weaving technique, combining fine detail with bold forms, showcases the artistic and technical sophistication of the Coptic weavers. Symbolically, the personification of Spring embodies themes of renewal, prosperity, and the cycle of life, which held deep significance in both pagan and early Christian contexts. This small yet exquisite piece thus serves as both a functional decorative element and a meaningful cultural artifact, bridging artistic tradition and symbolic expression.

For a Student Activity inspired by the MET textile with the Personification of Spring, please… Check HERE!

Amarna Canopic Jar

by ArchaeologyArtEgyptEgyptian ArtSocial StudiesStudent ActivitiesWorksheets
Canopic Jar with a Lid Depicting a Queen, New Kingdom, Amarna Period, Dynasty 18, reign of Akhenaten, ca. 1349–1330 BC, from Upper Egypt, Valley of the Kings, Tomb KV 55, Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone, Height of Jar and Lid: 53.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/544689

The Amarna Canopic Jar presented here, created for a funerary purpose, bears a lid adorned with a face so exquisitely detailed that it showcases the skill of a master artist, as if it were a public portrait. The youthful features—marked by a long, slender nose, almond-shaped eyes, and a delicately sculpted mouth—reflect an idealized image intended to endure in the eternal afterlife, regardless of the owner’s true age at death. Stylistically, the jar aligns with the artistic innovations of Akhenaten’s later reign, a period defined by the relocation of the royal court to Amarna. Yet, the mystery lingers: alterations made to the jar and lid in antiquity obscure the identity of the original owner. Who is she? The question haunts this artifact, a silent testament to both artistic mastery and the enigmatic nature of its history.

The enigmatic Canopic Jar, discovered in 1907, offers a fascinating glimpse into the royal intrigues of Akhenaten’s court, its ownership shrouded in layers of mystery and historical debate. Was it created for Queen Tiye, the formidable matriarch of the Amarna dynasty? Or perhaps Queen Nefertiti, renowned for her beauty and influence? Some have speculated it belonged to Queen Kiya, Akhenaten’s favored secondary wife, whose identity is subtly suggested by faint traces of hieroglyphs and the distinctive Nubian wig. Others propose Princess Merytaten, Akhenaten’s eldest daughter and later consort. For a time, even Akhenaten himself was considered a possibility. This confusion underscores the complex dynamics of the royal family, whose intertwined stories continue to captivate and confound modern scholars.

Canopic Jar with a Lid Depicting a Queen, New Kingdom, Amarna Period, Dynasty 18, reign of Akhenaten, ca. 1349–1330 BC, from Upper Egypt, Valley of the Kings, Tomb KV 55, Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone, Height of Jar and Lid: 53.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/544689

Whoever the original owner portrayed on the lid of the Canopic Jar in the MET was, she is undoubtedly a striking representation of one of the royal women of Amarna, embodying the elegance and refinement characteristic of this unique artistic period. Her features, including a long, slender nose, almond-shaped eyes, and a sensuous mouth, reflect the naturalistic yet idealized aesthetic that defined Amarna art. She wears the Nubian wig, a hairstyle of overlapping curls reserved for adults and favored by Akhenaten’s female relatives, emphasizing her status and maturity. At the center of her forehead, a hole marks the original placement of a separately carved rearing cobra, or uraeus, whose tail elegantly curves across the top of the wig. This royal insignia, exclusively worn by kings and queens, reinforces her elevated position within the court. The fusion of idealized beauty with symbolic details like the uraeus and the wig encapsulates the distinctive style and symbolic language of the Amarna period.

The Metropolitan Museum of Art Canopic Jar was discovered in 1907 within Tomb KV55 in the Valley of the Kings, one of Egypt’s most enigmatic burial sites. This tomb contained a mixture of funerary artifacts, including items inscribed for Queen Tiye, magical bricks bearing Akhenaten’s name, and four canopic jars, among them, the one in question, alongside a wooden coffin likely crafted for Kiya. It is believed that, to protect these items, Tutankhamun ordered their transfer from Akhenaten’s plundered Amarna tomb to Thebes. Subsequently, Kiya’s jars, and coffin may have been repurposed for another royal family member’s burial.

Canopic Jar with a Lid Depicting a Queen, New Kingdom, Amarna Period, Dynasty 18, reign of Akhenaten, ca. 1349–1330 BC, from Upper Egypt, Valley of the Kings, Tomb KV 55, Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone, Height of Jar and Lid: 53.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/544689

Tomb KV55’s entrance is cut into the floor of the main valley between the resthouse and the tomb of Rameses IX (KV 6). The tomb comprises an entryway followed by a single corridor leading directly into the burial chamber and its side chamber. Marks on the walls indicate that, after the entrance and stairs were cut, the entrance was enlarged, the ceiling raised, and the number of stairs increased.

The tomb’s discovery and the subsequent analysis of its contents have provided significant insights into the complex burial practices and political dynamics of the late 18th Dynasty, particularly concerning the Amarna period and its aftermath. The relocation and reuse of funerary equipment highlight the period’s turbulent transitions and the efforts to preserve royal legacies amid shifting religious and political landscapes.

For a Student Activity, titled ‘Guardians of the Afterlife – Understanding the Role and Use of Egyptian Canopic Jars’ inspired by the Amarna period Canopic Jar in the MET, please… Check HERE!

Bibliography: https://www.metmuseum.org/art/collection/search/544689 and https://thebanmappingproject.com/tombs/kv-55-tiye-or-akhenaten

Bust of Prince Ankhhaf

by Ancient EgyptArchaeologyArtEgyptEgyptian ArtSculptureStudent ActivitiesWorksheets
Bust of Prince Ankhhaf, reign of Khafra 2520–2494 BC, Egyptian Old Kingdom, Dynasty 4, Findspot: Egypt, Giza, tomb G 7510, Painted Limestone, Height: 50.48 cm, Museum Fine Arts, Boston, USA https://www.ancient-egypt.co.uk/boston/ankhhaf/pages/boston_03_2006%20444%201.htm

In the world of ancient Egyptian art, true portraits were a rarity, making the Bust of Prince Ankhhaf a remarkable exception. Housed in the Museum of Fine Arts, in Boston, this limestone bust, coated with a delicate layer of plaster, showcases the masterful hand that sculpted its intricate details. Unlike the stylized depictions typical of the era, Ankhhaf’s visage is that of a real individual, imbued with personality and character. Historical inscriptions from his tomb reveal Ankhhaf’s royal lineage as the son of King Sneferu, brother to Pharaoh Khufu, and a high-ranking official who served as vizier and overseer of works for his nephew, Pharaoh Khafre. In these roles, Ankhhaf may have played a pivotal part in overseeing the construction of the second pyramid and the carving of the iconic Sphinx, cementing his legacy in the annals of ancient Egypt. https://collections.mfa.org/objects/45982

Prince Ankhhaf, a distinguished figure of Egypt’s Old Kingdom during the Fourth Dynasty (circa 2600 BCE), is believed to have been the son of Sneferu, though his mother’s identity remains unknown. Despite holding the prestigious title of “eldest king’s son of his body,” it was his half-brother Khufu who ascended to the throne after Sneferu. Alternatively, there is a possibility that Ankhhaf was the son of Huni, which would make him Sneferu’s half-brother.

The Prince served as Vizier to his half-brother Pharaoh Khufu and possibly his nephew Pharaoh Khafre. Renowned for his architectural prowess, Ankhhaf played a crucial role in the later stages of the construction of the Great Pyramid at Giza, overseeing the delivery of Tura White Limestone from quarry to port and ensuring its placement atop the pyramid’s limestone base. Egyptologists speculate that he also contributed architecturally to the Great Sphinx, another iconic structure in Giza. Ankhhaf’s familial ties were equally noteworthy; he married his half-sister Princess Hetepheres, with whom he had a daughter, also named Princess Hetepheres. His own tomb, Mastaba G7510 in the Eastern Cemetery of Giza, is one of the largest discovered at the site, reflecting his high status and enduring legacy in ancient Egyptian history.

Maps of the Giza Necropolis where Prince Ankhhaf’s Mastaba Tomb G7510, the largest in the East Field Cemetery, was discovered https://historyofegypt.net/?page_id=4760

Ankhhaf’s mastaba had a mudbrick chapel attached to its east side, oriented in such a way that it faced the chapel’s entryway. The chapel walls were covered in exquisitely modelled low relief sculptures, exemplary representations of Old Kingdom artistry, and characterized by their detailed and realistic depictions. These reliefs primarily adorn the walls of the chapel within the mastaba and depict various scenes that illustrate both daily life and ceremonial activities. The scenes feature intricate details, such as the rendering of human figures, animals, and hieroglyphic inscriptions, providing a fragmentary narrative of Ankhhaf’s life and his contributions. These reliefs also serve a symbolic function, intended to ensure the deceased’s safe passage to the afterlife and to perpetuate his memory and legacy. The craftsmanship of these sculptures demonstrates the high level of skill possessed by the artisans of the time and offers valuable insights into the aesthetic and cultural values of ancient Egypt during the 4th Dynasty.

The Bust of Prince Ankhhaf was discovered in 1925 during an excavation by the Harvard University–Museum of Fine Arts Expedition in the eastern cemetery at Giza. The excavation revealed the bust in the tomb’s chapel, an area rich with artefacts and inscriptions that shed light on the life and status of Ankhhaf. This significant find was awarded to Boston by the Egyptian Antiquities Service in gratitude for the Harvard-Boston Expedition’s painstaking work to excavate and restore objects from the tomb of Queen Hetepheres. It was transported to the Museum of Fine Arts in Boston, where it remains one of the museum’s prized pieces, offering a tangible connection to Egypt’s ancient past. https://collections.mfa.org/objects/45982

Bust of Prince Ankhhaf, reign of Khafra 2520–2494 BC, Egyptian Old Kingdom, Dynasty 4, Findspot: Egypt, Giza, tomb G 7510, Painted Limestone, Height: 50.48 cm, Museum Fine Arts, Boston, USA https://www.ancient-egypt.co.uk/boston/ankhhaf/pages/boston_03_2006%20444%201.htm

The bust of the Egyptian Prince Ankhhaf is renowned for its striking realism, a characteristic that sets it apart from other contemporary Egyptian art. Carved from limestone and originally coated with a thin layer of plaster, the bust portrays Ankhhaf with a remarkable level of detail and individuality. His features, those of a mature man, are solemn and introspective, with a prominent nose, fleshy lips, and slight furrows on his forehead and the sides of his lips, suggesting a thoughtful and possibly authoritative demeanour. The eyes, which were once painted white with brown pupils and carried puffy pouches underneath, add to the lifelike quality of the sculpture. This bust not only exemplifies the artistic skills of the time but also provides a rare glimpse into the personal appearance of an individual from ancient Egypt’s elite class.

For a Student Activity inspired by the Bust of Prince Ankhhaf, please… Check HERE!

Two Early Christian Tunics in Thessaloniki

by Byzantine ArtByzantiumEarly Christian ArtEducationEgyptMedieval ArtSocial StudiesStudent ActivitiesTextilesWorksheets
Early Christian Tunic, 5th-7th cent., Wool, 117×100 cm, from Egypt (permanent loan of the Benaki Museum), Museum of Byzantine Culture, Thessaloniki, Greece
https://vizantinaistorika.blogspot.com/2016/06/blog-post_30.html

The Early Christian Tunic refers to a garment style worn during the Late Roman/Early Christian period which generally spans from the 4th to the 7th century AD. This era is characterized by the transition from the classical Roman Empire to the Μedieval period, and it includes the later part of the Roman Empire and the Εarly Byzantine Empire. Tunics of that era evolved from the earlier Roman Τunics but had distinct features that reflected the changing cultural, social, and political landscape. My BLOG intends to present information on Two Early Christian Tunics in Thessaloniki, exhibited in the city’s amazing Museum of Byzantine Culture.

What exactly is an Early Christian Tunic? It is a simple, loose-fitting garment, worn by both women and men and often made from linen or wool. Tunics were generally loose-fitting garments, providing comfort and ease of movement. They had no sewing and were worn with the help of belts, buckles, and pins. Cutting and sewing are practices that experienced wider spread in the Mediterranean area after the 7th century. They had a T-shape or a tubular design, with a hole for the head and sometimes sleeves. The shape could vary, and some tunics were more form-fitting than others. The length of the Τunic could also vary. Some reached the knees, while others were longer, extending to the ankles. https://www.mbp.gr/exhibit/chitonas-2/

While some Τunics were plain, others were embellished with plain coloured bands or ‘ornaments’ of textile bands, roundels, or square panels. These bands (called clavi) were of different lengths and adorned the front and back parts of the garment at shoulder level, but sometimes the lower edge was also trimmed with a horizontal band that turned vertically upwards at right angles at each side. Tunics were also adorned with square panels or roundels (called orbiculi) on the shoulders and near their lower edge. Many times, clavi and orbiculi were garment ornaments, tapestry-woven separately, and then applied to the linen or woolen Tunic. https://www.jstor.org/stable/1522750?read-now=1#page_scan_tab_contents page 239

The clothing of the Early Christian period is often studied through archaeological findings, artistic representations, and references in historical texts. For the history of Early Christian garments and their decoration, Egypt is a treasure trove, due to its hot and dry climate. Egyptian textiles that have survived from this period are referred to as Coptic Textiles, an Arabic corruption of the Greek word ‘Aigyptos’, used to describe the Christianised Egyptians.

In the Museum of Byzantine Culture, in Thessaloniki, Greece, there are two Coptic Tunics (on permanent loan from the Benaki Museum) beautifully decorated with clavi and orbiculi.

One of the two Tunics has the natural color of linen and is adorned with purple-colored woven bands (clavi). Wide bands, for instance, embellish the upper part of the chest on both the front and back of the garment. These bands feature depictions of soldiers carrying shields under colonnades. A narrower band extends across the shoulders, displaying roundels with depictions of hares inside woven squares. Prominent features of the Tunic include two long vertical bands that start from the chest and extend to the hem. These bands are adorned alternately with running lions and hares, creating the impression of a hunt.

The second Tunic, multicoloured, and lively, is equally impressive. Made of linen, coloured a vibrant red, it is adorned with woven vertical white bands, thinner than usually fashionable, down to the waist. The rest of the Tunic’s ornamentation consists of bands for the neck area and the hem of each wrist, adorned with white geometric shapes against a black background for the neck, and white lozenge motifs against a black background for the cuffs. Finally, two discs (orbiculi) with stylized plant motifs in the same colour palette, are placed in the lower part of the Tunic. Noteworthy is the fact that at the height of the waist, there is a seam that covers a belt.

Both Tunics are displayed in the Museum’s 2nd Gallery, where aspects of Early Christian period city life are presented. This Exhibition, inaugurated on July 10th, 1998, is organized around the triclinium, that is the reception hall of a rich house in Thessaloniki. It presents issues that emphasize the role of the city as a fortified residential complex, its private and public life, professional activities, economic life, commerce, workshops, houses and their equipment (pottery and glass vessels), domestic activities (weaving, cooking) and objects for personal adornment. https://www.mbp.gr/en/permanentexhibitions/room-2-early-christian-city-and-dwelling/

For a Student Activity, inspired by the Coptic Tunics in Thessaloniki, please… Check HERE!

The Bersha Procession

by ArtEducationEgyptEgyptian ArtPowerpointsStudent ActivitiesWorksheets
The Bersha Procession, Middle Kingdom, late 11th Dynasty–early 12th Dynasty, 122010–1961 BC, Egypt, Deir el-Bersha, Tomb 10, shaft A (Djehutynakht), Painted Wood, 66.4 x 8.6 x 42.5 cm, MFA, Boston, MA, USA
https://gr.pinterest.com/pin/670473463254087082/?nic_v3=1a7FXhvpJ

In a 1915 excavation, archaeologists from the Harvard University-Boston Museum of Fine Arts Expedition discovered, explain the MFA experts, the entrance to a tomb at the picturesque site of Deir el-Bersha in Egypt. Inside, the MFA team found, in jumbled array, the largest burial assemblage of the Middle Kingdom (2040-1640 BC) ever discovered. The tomb, designated Tomb 10A, was filled with the funerary equipment of a local governor by the name of Djehutynakht and his wife, also named Djehutynakht. Robbers had stolen the finest jewels but left everything else, including the severed (but nicely wrapped and painted) head of one of the Djehutynakhts. The tomb contained four beautifully painted coffins, one of which, the famous “Bersha coffin” (the outer coffin of the governor), is arguably the finest painted coffin Egypt produced and a masterpiece of panel painting. The tomb also included Djehutynakht’s walking sticks, pottery, canopic jar, and miniature wooden models that were made for the burial but reflect life on Djehutynakht’s estate, including some 58 model boats and nearly three dozen models of daily life such as individual shops for carpenters, weavers, brick-makers, bakers, and brewers. Of these, the best known is the exquisitely carved Bersha procession of a male priest leading female offering bearers.  https://www.mfa.org/exhibitions/secrets-tomb-10a

During the Middle Kingdom, and for reasons we do not know, a new trend occurred in Egyptian burial customs. Miniature models made of wood, a less costly material, were manufactured in large numbers and placed in the burial chamber to furnish provisions for the deceased in the afterlife. In symbolically providing for the tomb owner’s needs, the models functioned in much the same way as painted scenes of these activities did on the walls of tomb chapels. https://collections.mfa.org/objects/143887

A variety of boats, food products, craftsmen and workshops, soldiers, servants, house models, and agricultural activities, are among the most popular representations. They are three-dimensional, and small in size, made out of wood, and colorfully painted. The fact is that the artistic quality of these models varies. However, the Middle Kingdom funerary models are precious as they convey a liveliness and energy that give us a sense of the bustling activities of Egyptian daily life. They also demonstrate innovative poses and subjects that would never have been attempted in the more formal sculptures that represented the tomb owner and his family. https://collections.mfa.org/objects/143702/model-of-a-granary;jsessionid=2E377953D2424D2AFEA2C5AB2332B8C7?ctx=bc58e347-f685-466f-8431-dabc79fda065&idx=32

The Deir el-Bersha region https://cool.culturalheritage.org/jaic/articles/jaic42-02-003.html and https://www.arts.kuleuven.be/dayr-al-barsha/project-sites

The Tomb of Djehutynakht put on view the largest collection of wooden models ever discovered in Egypt. The archaeologists, excavating the site in May 1915, discovered the ransacked Tomb of a local governor, stripped of all precious artifacts except humble items of clay, wood, and paint. They discovered 58 model boats and nearly three dozen models of daily life such as individual shops for carpenters, weavers, brick-makers, bakers, and brewers. Of these, the best known is the exquisitely carved Bersha Procession of a male priest leading female offering bearers. https://www.mfa.org/exhibitions/secrets-tomb-10a

The Bersha Procession, 2010–1961 BC, Egyptian Middle Kingdom, late Dynasty 11 – early Dynasty, Findspot: Egypt, Deir el-Bersha, Tomb 10, shaft A (Djehutynakht), Painted Wood,  66.4 x 8.6 x 42.5 cm, MFA, Boston, USA
https://gr.pinterest.com/pin/405886985159696252/ and https://www.reddit.com/r/AgeofBronze/comments/qhkhq8/procession_of_offering_bearers_egypt_deir/

The MFA experts believe that the Bersha Procession stands out in every aspect. The skill and delicacy with which it was carved, and painted, they state, rank it among the finest wooden models ever found in Egypt. https://collections.mfa.org/objects/143592/model-of-a-procession-of-offering-bearers-the-bersha-proce?ctx=913074da-57e1-4b97-86d5-d4064c9e2c0e&idx=26

The Bersha Procession, 2010–1961 BC, Egyptian Middle Kingdom, late Dynasty 11 – early Dynasty, Findspot: Egypt, Deir el-Bersha, Tomb 10, shaft A (Djehutynakht), Painted Wood,  66.4 x 8.6 x 42.5 cm, MFA, Boston, SA
https://www.facebook.com/photo?fbid=1926909784017802&set=pcb.1926910000684447

The composition is simple, yet elegant, finely carved and subtly painted. Four figures, a man and three women ‘march’ towards the deceased Djehutynakht bringing offerings to sustain his Ka in the afterlife. They bring him food, drink, items of personal adornment, and the incense used to attract and appease divinities and the blessed dead. https://collections.mfa.org/objects/143592/model-of-a-procession-of-offering-bearers-the-bersha-proce?ctx=913074da-57e1-4b97-86d5-d4064c9e2c0e&idx=26

Simply put, I am completely awestruck by the high quality of craftsmanship and anecdotal details of the Bersha Procession model. So much so, that I dream of visiting the MFA once more!

For a PowerPoint on the contents of the Djehutynakht’s Tomb (Tomb 10A), please… Check HERE!

For a Student Activity inspired by the Bersha Procession, please… Check HERE!

The Boston Museum of Fine Arts received the contents of Djehutynakht’s tomb (Tomb 10A) as a gift from the Egyptian government for their assistance in the 1915 excavation. Since 1920 the Bersha finds are in Boston. https://www.mfa.org/exhibitions/secrets-tomb-10a

The Tomb of Tutankhamun

by ArtEgyptEgyptian ArtLesson PlansPowerpoints

Howard Carter with Innermost Coffin of Tutankhamun photographed by Harry Burton, 1922 (Tutankhamun Archive, Griffith Institute, University of Oxford) https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/a/tutankhamuns-tomb

“It was sometime before one could see, the hot air escaping caused the candle to flicker, but as soon as one’s eyes became accustomed to the glimmer of light the interior of the chamber gradually loomed before one, with its strange and wonderful medley of extraordinary and beautiful objects heaped upon one another.” This is how Howard Carter, the archaeologist who discovered The Tomb of Tutankhamun describes the moments he first set eyes on the Pharaoh’s place of rest… At first, Carter continues, I thought I was looking at wall paintings; it was a moment before I realized I was seeing actual three-dimensional objects. Carnarvon, my patron, couldn’t bear it any longer. “Can you see anything?” he demanded… Yes, wonderful things… was all I could say! https://www.smithsonianmag.com/history/how-howard-carter-discovered-king-tuts-golden-tomb-180981052/

There is so much to explore… A PowerPoint (…please Click HERE!) presenting over one hundred artifacts will help us understand the ‘secrets’ of Tutankhamun’s Tomb, the story of its incredible discovery, and the beauty of the artifacts found inside. The Golden Mask of the Pharaoh, his Aton Throne, the Golden figure of Tutankhamun, the Harpooner, and the actual mummy, are just four of the over five thousand items discovered inside the Tomb… clues to our exploration and a path for exciting discoveries! Four answers to four questions… and our 4-Steps to Success Lesson Plan will keep us… on track!

Who was Tutankhamun? Tutankhamun was an Egyptian pharaoh who ruled during the 18th dynasty of ancient Egypt. He was born around 1341 BC, during the reign of his father, the pharaoh Akhenaten. He became pharaoh around the age of 9 or 10, reigned for around 10 years, and he died at the age of 18 or 19. The exact details of Tutankhamun’s life and reign are not well-known, as he was not a particularly powerful pharaoh during his lifetime. However, his tomb and its contents have provided valuable insights into the art, culture, and society of ancient Egypt during the New Kingdom period.

Was the reign of Tutankhamun important? If so, explain why or why not. Tutankhamun came to the throne at a young age, and his rule was short, lasting around ten years. He was the son of Akhenaton, the pharaoh who introduced a new religious system in which the god Aton was worshipped as the main deity, and the traditional Egyptian gods were largely eliminated. This significant departure from the established religious practices of ancient Egypt caused upheaval and destabilization during Akhenaten’s reign. While on the throne of Egypt, Tutankhamun chose to abandon the religious reforms introduced by his father and take steps toward the restoration of the traditional gods and religious practices of ancient Egypt. This religious decision was a key factor in bringing back stability to the country, and an important accomplishment of his reign.

Why was the discovery of the Tomb of Tutankhamun important? The discovery of the Tomb of Tutankhamun in 1922 by Howard Carter is considered important for several reasons. Firstly, the tomb was found almost completely intact, providing an unprecedented glimpse into the burial practices and beliefs of the ancient Egyptians. Additionally, the tomb contained a wealth of valuable artifacts, including a solid gold coffin, jewelry, and other grave goods. Finally, the discovery of the tomb helped to reignite global interest in Egyptology and continues to be an important cultural and historical discovery.

What do Tutankhamun’s funerary possessions reveal about Egyptian Art? The artifacts found in the tomb, such as the jewelry, statues, and furniture, provide insight into the materials and techniques used by ancient Egyptian artists and artisans. They also reflect the religious beliefs and practices of the time, as well as the status and wealth of the pharaoh buried in the tomb. Furthermore, the tomb provided a glimpse into the daily life of the Egyptian elite… their fashion, beauty products, and the importance of the afterlife in their culture. The artifacts from Tutankhamun’s tomb are also considered masterpieces of ancient Egyptian art, their quality, and preservation are considered unmatched.

For the New Kingdom, the Amarna Period, Timeline, please… Check HERE!

Enjoy Tutankhamun: The Truth Uncovered This documentary was produced by the Discovery Channel and aired in 2020. It presents new evidence and theories about the life and death of Tutankhamun, as well as the discovery of his tomb. https://www.youtube.com/watch?v=pI-1eZ2SiRs

Another Video about Tutankhamun’s Treasures by National Geographic… https://www.youtube.com/watch?v=-obKX-mqjXQ

A Khan Academy Presentation on Tutankhamun’s Tomb… https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/a/tutankhamuns-tomb

The Art of the Amarna Period

by ArtEgyptEgyptian ArtLesson PlansPowerpoints
The Bust of Nefertiti by Thutmose, 1340 BC, Limestone, and stucco, Height 48 cm, Egyptian Museum, Berlin, Germany
https://www.dw.com/en/egypt-vows-to-step-up-hunt-for-nefertiti/a-18753507

“With the move to Amarna the art becomes less exaggerated, but while it is often described as ‘naturalistic’ it remains highly stylized in its portrayal of the human figure. The royal family is shown with elongated skulls and pear-shaped bodies with skinny torsos and arms but fuller hips, stomachs, and thighs. The subject matter of royal art also changes. Although formal scenes of the king worshipping remain important there is an increasing emphasis on ordinary, day-to-day activities which include intimate portrayals of Akhenaten and Nefertiti playing with their daughters beneath the rays of the Aten… While traditional Egyptian art tends to emphasize the eternal, Amarna art focuses on the minutiae of life which only occur because of the light – and life-giving power of the sun.” writes Dr Kate Spence for BBC History and I use this quote as an introduction to The Art of the Amarna Period, my new BLOG POST on Egyptian Art.     http://www.bbc.co.uk/history/ancient/egyptians/akhenaten_01.shtml

I would like to continue with another short quote by Dr Kate Spence “Akhenaten is a source of endless fascination and speculation – this often masks the fact that we actually know very little about him.” This quote can actually mark the beginning of any Unit on the Art of the Amarna Period. I have been teaching this Unit for years and I can only testify to the fact that the Amarna Period allure, attracts my student’s attention and captivates their imagination. They like to read and listen to their teacher describe the genesis of an almost “monotheistic” religion, the dynamics within a powerful royal family, the building of a new capital city, and how Egyptian Art of the period moved towards naturalism and informality.

The Amarna Idiom is an artistic style that captivates human reaction. My students are “hypnotized” by the unique Amarna pictorial beauty of deformation. They are charmed, yet question how in the depiction of faces, thin, long necks, hold greatly elongated skulls… facial folds are the norm, narrow, slitted eyes are prominent, and jaws seem to be “hanging” low. The Amarna style body rendering amazes my students as well, particularly the discrepancy between the upper, lower, and middle parts of the human body… the dropped, thin shoulders, heavy potbelly, large hips, and thighs, and the rather thin almost frail, legs.

Known especially for Akhenaton’s radical religious reforms, the Amarna period leads to endless speculation about the Pharaoh’s background and motivation, the role played by Nefertiti and the Royal women, and the new artistic quest for naturalism and informality. From ca. 1353 to 1336 BC, Egypt stood still… went through changes, the country never experienced before… and then, radically, once more, moved back to its familiar norms!

There is so much to explore… A PowerPoint, presentation of over fifty artifacts will assist us in further understanding the ‘secrets’ of Art during the Amarna Period, and our 4-Steps to Success Lesson Plan will keep us… on track!

For the PowerPoint ‘The Art of the Amarna Period’, please… Check HERE!

For the New Kingdom/Amarna Period Timeline, please… Check HERE!

For a Teacher Curator BLOG POST on The Formidable Queen Tiye, mother of Pharaoh Akhenaton, please check… https://www.teachercurator.com/ancient-egypt/the-formidable-queen-tiye/?fbclid=IwAR2eC69pTXFUqA3Yg2fR4SoWp_3dmiezQ-hLeNt83piI-sRSLLfGTl0twv0

Enjoy a BBC Documentary titled Amarna, Egypt’s Lost City… https://www.youtube.com/watch?v=1ucVQj9eNBA

Two more Videos about Akhenaten, Nefertiti, and Three Daughters and the Portrait head of Queen Tiye with a crown of two feathers by Khan Academy… https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/x7e914f5b:new-kingdom-third-intermediate-period/v/house-altar-depicting-akhenaten-nefertiti-and-three-daughters and https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/x7e914f5b:new-kingdom-third-intermediate-period/v/portrait-head-of-queen-tiye-with-a-crown-of-two-feathers

A National Geographic Video on The Mystery of Queen Nefertiti | Lost Treasures of Egypt… https://www.youtube.com/watch?v=Eex2Vu6iGy8

New Kingdom Rock Cut Tombs

by ArtEgyptEgyptian ArchitectureEgyptian ArtLesson PlansPowerpoints
Tomb of Ramose, 18th Dynasty, c. 1350 BC, Vizier of  Amenhotep III, Western Thebes, Egypt – Two male guests… the man in front is “the overseer of the hunters of [Amun], Keshy”. The one in the back is unknown. In front of them is Werel, the “Mistress of Goddess Mut.”https://www.flickr.com/photos/manna4u/11288833674

Digital Egypt for Universities site experts ( https://www.ucl.ac.uk/museums-static/digitalegypt/thebes/tombs/index.html ) discussing their Unit on Thebes, some tombs of the New Kingdom (about 1550-1069 BC) write… The typical (elite) Theban tomb type is the rock-cut tomb. Several hundred were cut into the rock on the west of the city. These tombs consist of two main parts. There is the underground burial chamber, most often undecorated and there is the decorated chapel accessible for the living. The chapel was the place for the cult of the dead. The quality of stone is not very good at Thebes, and therefore most of the tomb chapels were plastered and painted rather than decorated with reliefs. My new Lesson Plan on the same subject is titled… The New  Kingdom Rock Cut Tombs and, may I add, their amazing interior decoration.

Two PowerPoints, one dedicated to the Tomb of Nebamun, and the other to six incredible New Kingdom Tombs of importance and beauty, will assist us in further understanding the ‘secrets’ of Egyptian art. To access the two PowerPoints, please… Click HERE! and HERE!

I use the 4-Steps to Success ‘grid’ to organize my presentation… and focus on what the Enduring Understanding of this presentation will be… New Kingdom Tomb Paintings/Reliefs tell the history of people & events, recording not only facts but the spirit and emotions of the time of ancient Egypt.

The New Kingdom was Egypt’s Golden Age, as years of stability within its boundaries, on one hand, diplomacy, trade, and war, on the other, brought immense prosperity and political power. Money poured into Egypt from its foreign lands, particularly Nubia, home to the richest gold mines in the ancient world. Much of this money was used by the pharaohs and their administrators to give thanks to the gods who had helped them in their success. The New Kingdom became one of the most creative periods in Egyptian history and the wall paintings or relief carvings in the Theban Rock Cut Tombs, are an example of their extraordinary artistic achievements. https://www.pbs.org/empires/egypt/newkingdom/architecture.html

During the New Kingdom period (ca. 1539 – 1075 BC) the Pharaohs established the new funerary trend of building Rock Cut Tombs in the area across Thebes, the capital of Egypt, on the Western bank, of the river Nile. Building their tombs in what became known as the Theban Valley of the Kings, the Pharaohs were followed, as the tradition was, by their queens, members of their families, and members of their administration. These Tombs were exquisitely decorated with fine paintings or carved reliefs of religious texts that would help the dead successfully navigate their way to the afterlife. Not only so… Tombs of New Kingdom administrators contained idealized images of everyday life that represented the life of the tomb’s occupant and his or her hopes for paradise in the afterlife. https://www.pbs.org/empires/egypt/newkingdom/architecture.html

For the New Kingdom Timeline, please… Check HERE!

Enjoy a National Geographic Documentary titled Egypt Eternal: The Quest for Lost Tombs (2002)… https://www.youtube.com/watch?v=IgWbZvMSCGM  

Another Video about Egyptian Art History from Goodbye-Art Academy… https://www.youtube.com/watch?v=ibp_i7bekQU

A Khan Academy Video on the Ancient Thebes with its Necropolis… https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/v/ancient-thebes-unescotbs

New Kingdom Temple Architecture

by ArtEgyptEgyptian ArchitectureEgyptian ArtLesson PlansPowerpointsSocial Studies
The Cult Temple of Amun-Ra, Hypostyle Hall, was begun by Ramesses I (19th Dynasty, 1292-1290), continued by his son, Seti I (19th Dynasty, 1306-1290 BC), and completed by Ramesses II (19th Dynasty, 1303-1213), Karnak, Egypt
https://www.worldhistory.org/image/12797/great-hypostyle-hall-columns-karnak/

Late in the Second Intermediate Period (ca. 1650–1550 B.C.), the Theban rulers (Dynasty 17) began to drive the Hyksos kings (Dynasty 15) from the Delta. This was finally accomplished by Ahmose I, who reunited Egypt, ushering in the New Kingdom—the third great era of Egyptian culture. Ahmose’s successors in Dynasty 18 conducted military campaigns that extended Egypt’s influence in the Near East and established Egyptian control of Nubia to the fourth cataract. As a result, the New Kingdom pharaohs commanded unimaginable wealth, much of which they lavished on their gods, especially Amun-Re of Thebes, whose cult temple at Karnak was augmented by succeeding generations of rulers and filled with votive statues commissioned by kings and courtiers alike. New Kingdom Temple Architecture is the next step in exploring the Art of Pharaonic Egypt!

Thebes became the cultural and religious capital of New Kingdom Egypt. The Pharaohs lavished their gods with luxurious Cult Temples and built their Mortuary Temples on Thebe’s west bank, where they were also buried in huge rock-cut tombs decorated with finely executed paintings or painted reliefs illustrating their everyday life, and religious texts concerned with the afterlife. For the talented artists working diligently for the Pharaohs, a town was established in western Thebes, where archaeologists discovered a wealth of information about life in an ancient Egyptian community of artisans and craftsmen. https://www.metmuseum.org/toah/hd/nking/hd_nking.htm

Known especially for monumental architecture, Cult and Mortuary Temples dedicated to Gods and Pharaohs, the New Kingdom, a period of nearly 500 years of political stability and economic prosperity, produced an abundance of architectural masterpieces we must explore… starting with our 4-Steps to Success… and an Essential Question… What did ancient Egyptian Temples represent?

Egyptian Temples were holy centers where priests served the gods (Cult Temples) and the memory of the diseased Pharaoh (Mortuary Temple). Cult Temples were the earthly houses of one or more deities. Egyptians believed that the worshiped God or Goddess lived within the statues kept in the Temple’s Sanctuary. Temples were also the centers where cultural knowledge was stored and curated in libraries and scriptoria.

Each Temple represents the universe as the ancient Egyptians understood it. To exemplify their point of view, Temple walls and Columns were divided into three zones. The lower zone, the closest to the ground, is decorated with “physical” images of the Egyptian land like plant motifs. The middle zone represents the world of the living. It is dedicated to the Pharaoh and presents scenes like the king conducting rituals and worshipping the gods. Finally, the third zone, the ceiling of the Temple, is covered in stars and constellations representing the world of their deities.

It is important to remember that ancient Egyptian Temples shared structural similarities, but they were also singular and distinctive. The beauty of their Architecture is that they evolved over Egyptian history like living organisms. They started as small edifices built of organic materials like river reeds, into large stone monuments. In places like Karnak, Luxor, and even Abu Simbel, they dazzle the viewer with their grandeur and splendor.

During a class period dedicated to New Kingdom Temple Architecture, we will discuss the specific characteristics each Cult Temple shared… the Pylon, the open Court, the Hypostyle Hall, and the Sanctuary. Two very unique Cult Temples, that of Amun-Ra at Karnak, and the Ramesside Temple of Abu Simbel will be presented and further investigated.

Mortuary Temples, equally important to Cult Temples, were places of worship dedicated to the Pharaoh and his cult under whom they were constructed. During the New Kingdom period (1539–1075 BC) the kings were buried in rock-cut tombs, in the Valley of the Kings in the area of western Thebes. Their Mortuary Temples, constructed in the vicinity of the royal tombs, served as depositories for gifts and food to the dead monarch. They were economically independent through endowments of estates and lands to ensure religious services and offerings in perpetuity and fully staffed with priests, to perform the necessary rituals. The finest example of a New Kingdom Mortuary Temple was commissioned by Hatshepsut (18th Dynasty, r. 1507-1458 BC) at Deir el-Bahri.

For the PowerPoint ‘The Art of the 2nd Intermediate Period’, please… Check HERE!

For the PowerPoint ‘New Kingdom Temple Architecture’, please… Check HERE!

For the New Kingdom Timeline, please… Check HERE!

Enjoy a Travel Video by Rick Steve titled Luxor, Egypt: The Karnak Temple Complex… https://www.youtube.com/watch?v=CqO4PE4uZhc  

Another Video about New Kingdom Architecture and the Karnak Cult Temple Complex by Manuel Bravo… https://www.youtube.com/watch?v=9_6inr3KLx0

A Khan Academy Video on the Mortuary Temple of Hatshepsut and Large Kneeling Statue, New Kingdom, Egypt, very informative and educational… https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/v/mortuary-temple-of-hatshepsut-and-large-kneeling-statue-new-kingdom-egypt