What Kind of Art Did the Kush People Do
Late Egyptian Art
The Tardily Catamenia of Ancient Arab republic of egypt (664–332 BCE) marked a maintenance of artistic tradition with subtle changes in the representation of the homo class.
Learning Objectives
Describe art in the Belatedly Period of Ancient Egypt
Primal Takeaways
Key Points
- Though foreigners ruled Ancient Egypt during the Late Period , Egyptian culture was more prevalent than ever.
- Some sculptures of the Belatedly Menstruation maintain traditional techniques, while others feature more naturalistic attributes.
- One major contribution from the Late Period of ancient Egypt was the Brooklyn Papyrus . This was a medical papyrus with a drove of medical and magical remedies for victims of snakebites based on snake type or symptoms.
- The Thirtieth Dynasty took its artistic style from the Twenty-Sixth Dynasty.
Primal Terms
- Tardily Period:The time of Ancient Egypt between the 3rd Intermediate Menses until the conquest by Alexander the Keen, from 664 BCE until 332 BCE; often regarded as the last gasp of the Egyptian culture.
The Late Period of ancient Egypt refers to the last flowering of native Egyptian rulers after the Tertiary Intermediate Period from the 20-6th Saite Dynasty into Persian conquests, and concluded with the conquest by Alexander the Great and institution of the Ptolemaic Kingdom. It ran from 664 BC until 332 BCE. Though foreigners ruled the country at this time, Egyptian culture was more prevalent than ever. Libyans and Persians alternated rule with native Egyptians. Despite continued conventions in art, some notable changes in the human form did arise. The sculpture (pictured below) of the god Horus every bit a kid (664–332 BCE) represents a combination of the typical stylized opinion of Egyptian statuary with a fleshier trunk and pensive gesture of the right hand and arm.
Horus equally a Child (664–332 BCE)
The Tardily Period is often regarded as the terminal gasp of a in one case bully culture, during which the power of Egypt steadily macerated.
20-Sixth Dynasty
The Xx-Sixth Dynasty, also known equally the Saite Dynasty, reigned from 672–525 BCE. Canal construction from the Nile to the Red Sea began. According to Jeremiah, during this fourth dimension many Jews came to Egypt, fleeing after the destruction of the First Temple in Jerusalem past the Babylonians (586 BCE). Jeremiah and other Jewish refugees arrived in Lower Egypt, notably in Migdol, Tahpanhes, and Memphis. Some refugees also settled at Elephantine and other settlements in Upper Arab republic of egypt (Jeremiah 43 and 44). Jeremiah mentions pharaoh Apries (every bit Hophra, Jeremiah 44:thirty) whose reign came to a violent end in 570 BCE. This and other migrations during the Tardily Period likely contributed to some notable changes in art.
One major contribution from the Late Period of aboriginal Egypt was the Brooklyn Papyrus. This was a medical papyrus with a collection of medical and magical remedies for victims of snakebites based on snake blazon or symptoms.
Brooklyn Papyrus (c. 450 BCE): This papyrus provides the nigh hit evidence for the closely parallel roles of the md swnw and the diverse priests concerned with healing.
Artwork during this time was representative of animal cults and brute mummies . The faience sculpture below shows the god Pataikos wearing a scarab protrude on his head, supporting two homo-headed birds on his shoulders, holding a serpent in each hand, and standing atop crocodiles. The mode of this sculpture marks a departure from its predecessors in its fleshiness, positioning of its artillery and hands, and slight smile.
Effigy of Pataikos (664–630 BCE): This glazed faience sculpture of the god Pataikos shows a somewhat naturalistic departure from traditional depictions of Egyptian deities.
Despite the changes that took identify in the sculpture of Pataikos, artists connected to use the traditional canon of proportions. A sunken relief from a chapel at Karnak depicting Psamtik III, the final pharaoh of this dynasty, displays the maintenance of traditional conventions in representing the torso.
Relief of Psamtik III at a chapel in Karnak: Despite changes in the sculptures of Horus and Pataikos, this prototype of the last pharaoh of the Twenty-Sixth Dynasty appears in the more than traditional stylized grade.
Twenty-7th Dynasty
The First Achaemenid Period (525–404 BCE) marked the conquest of Arab republic of egypt past the Persian Empire nether Cambyses Two. In May 525 BCE, Cambyses defeated Psamtik Iii in the Battle of Pelusium in the eastern Nile Delta. This basalt portrait bust (pictured beneath) of an unknown Egyptian dignitary from the flow shows little alter from convention in the representation of the human form. His necklace is typical of those fabricated in the Achaemenid Period.
Statue of an Egyptian dignitary from the Twenty-Seventh Dynasty: The necklace on this dignitary has been identified as typical of the era of Western farsi occupation.
Xx-Eighth through Thirtieth Dynasties
The Twenty-Eighth Dynasty consisted of a unmarried rex, Amyrtaeus, prince of Sais, who rebelled confronting the Persians and briefly re-established ethnic Egyptian rule. He left no monuments with his name. This dynasty reigned for six years, from 404–398 BCE. The Twenty-Ninth Dynasty ruled from Mendes, from 398–380 BCE.
The Thirtieth Dynasty took the fine art style from the Twenty-6th Dynasty. A series of three pharaohs ruled from 380 BCE until their final defeat in 343 BCE led to the reoccupation by the Persians. Art featuring Nectanebo II, the final ruler of this dynasty, appears largely in the traditional Egyptian way. Except for the small-scale-scale greywacke (sandstone) statue in the Metropolitan Museum, which shows him standing before the paradigm of Horus as a falcon, no other annotated portraits of the pharaoh are known.
Horus and Nectanebo 2 (360–343 BCE): This is believed to exist the only surviving annotated sculpture of the last pharaoh of the Thirtieth Dynasty.
A fragment of Nectanebo II'southward portrait, with its partial smile and sagging chin, in the Museum of Fine Arts in Lyon, is slightly more naturalistic than previous representations of pharaohs.
Head of Nectanebo Two: This portrait features a combination of traditional and naturalistic features.
Fine art and Compages in the Kingdom of Kush
The Kingdom of Kush was an aboriginal African country whose art and compages were inspired past Egyptian design, but were distinctly African.
Learning Objectives
Evaluate the influence of both Egyptian and African fine art on the art produced past the Kingdom of Kush
Key Takeaways
Key Points
- Kushite pharaohs built and restored many temples and monuments throughout the Nile Valley, and the construction of Kushite pyramids became widespread.
- The Kushites used relief sculpture to decorate the walls of palaces and pyramids. The cuts used were deeper and more than strategic than Egyptian hieroglyphics . The reliefs mostly draw scenes from African daily life, animals, battle scenes, and kings.
- Kushite portrait sculpture adopts some Egyptian attributes but emphasizes distinctly ethnic features, such equally wide faces and unique regalia, hairstyles, and symbolism.
- Pottery was an of import Kushite arts and crafts and consisted mostly of pots and bowls that were shaped from clay and then painted in many unlike colors. Common decorative motifs included animals and geometric and plant-based patterns.
- The kings of Kush adopted the Egyptian architectural idea of building stone pyramids as funerary monuments. However, Kushite pyramids were built above the secret graves, whereas the Egyptian graves were within the pyramid.
Fundamental Terms
- relief:A type of artwork in which shapes or figures protrude from a flat groundwork.
- pyramid:An ancient massive construction with a square or rectangular base of operations and four triangular sides meeting in an apex, such as those built as tombs in Egypt or as bases for temples in Mesoamerica.
The Kingdom of Kush was an ancient African state situated on the confluences of the Blue Nile, White Nile, and River Atbara in what is at present the Republic of Sudan.
Africa in 400 BCE: Map of kingdoms, states, and tribes in 400 BCE Africa.
Established later on the Bronze Age collapse and the disintegration of the New Kingdom of Egypt, Kush was centered at Napata in modern day northern Sudan in its early phase, and and so moved further south to Meroë in 591 BCE. Later on king Kashta invaded Arab republic of egypt in the eighth century BCE, the Kushite kings ruled as Pharaohs of the Twenty-Fifth Dynasty of Egypt for a century, until they were expelled past Psamtik I in 656 BCE. The reign of the Twenty-Fifth Dynasty ushered in a renaissance period for ancient Egypt, and fine art and architecture emulating the styles of the Old, Middle, and New Kingdoms flourished. Kushite pharaohs built and restored many temples and monuments throughout the Nile Valley, and the construction of Kushite pyramids became widespread. Some of these are yet standing in modern Sudan.
Kushite Arts
The Kushite arts were inspired by the Egyptians, but were drastically African. Most remarkable amongst these was Kushite relief sculpture, which adorned the walls of palaces or pyramids. The cuts that are on the walls are deeper and more strategic than Egyptian hieroglyphics. There are many reliefs scattered across the country of Africa. They mostly draw scenes from African daily life and animals. Reliefs depicting battle scenes or kings are somewhat less common.
Statues of rulers and other royal individuals emphasize the foreign, not-Egyptian origin of their subjects. The Head of a Kushite Ruler (c. 716-702 BCE), identified past some scholars every bit King Shabaqa, depicts a man with a typically round Kushite face up. Although his optics bear resemblance to those of Egyptian individuals in art, his hairstyle and regalia are distinctly not-Egyptian. The forepart of his headband once featured two cobras. While Egyptian pharaohs normally wore a single cobra on their headgear, the double-cobra motif was unique to the Kushite culture .
Head of a Kushite Ruler (c. 716–702 BCE): This sculpture combines Egyptian and unique Kushite attributes.
Pottery was another important Kushite craft and consisted mostly of pots and bowls that were shaped from clay and so painted in many different colors. Most pottery was initially made for the wealthy, but later on, many commoners besides began using pottery in their households. While decoration usually took the form of painted designs, some types of pottery as well had stamped designs. Common motifs included geometric and plant-based patterns. The finest pottery was decorated with paintings of animals, such as giraffes, antelopes, frogs, crocodiles, snakes, and a variety of birds.
Kushite Architecture
The kings of Kush adopted the Egyptian architectural idea of building pyramids as funerary monuments. All the same, Kushite pyramids were built higher up the underground graves, whereas the Egyptian graves were within the pyramid. The kings' tombs were lodged under big pyramids made of rock. For a short time, the Kushite kings were mummified. Ordinary citizens were buried in much smaller pyramids. The most famous examples of Kushite pyramids are located in their capital Meroë. There are three cemeteries in Meroë; the n and southward cemeteries are royal cemeteries and house the pyramids of kings and queens, whereas the west cemetery is a purely non-royal site.
Sudan Meroë pyramids: Sudan Meroë pyramids — UNESCO World Heritage.
Egyptian Fine art After Alexander the Great
Hellenistic fine art, richly various in subject thing and in stylistic development, characterized culture afterward Alexander the Great.
Learning Objectives
Depict the major events of the Ptolemaic Kingdom and the central characteristics of Hellenistic art
Key Takeaways
Primal Points
- The Ptolemaic Kingdom (332–30 BCE) in and effectually Egypt began post-obit Alexander the Nifty 's conquest in 332 BCE and ended with the decease of Cleopatra Seven and the Roman conquest in 30 BCE.
- Hellenistic fine art is richly diverse in subject matter and in stylistic evolution. It was created during an age characterized by a strong sense of history. For the first time, at that place were museums and keen libraries, such as those at Alexandria and Pergamon.
- Prominent in Hellenistic art are representations of Dionysos, the god of vino and legendary conqueror of the Due east, every bit well every bit those of Hermes, the god of commerce. In strikingly tender depictions, Eros, the Greek personification of beloved, is portrayed as a young child.
- Hellenistic civilization connected to thrive fifty-fifty after Rome annexed Egypt later on the boxing of Actium and did non reject until the Islamic conquests.
- Portraits of male rulers grew increasingly naturalistic, while those of female rulers and non-elites remained stylized .
Key Terms
- Hellenic:Referring to the aboriginal Greek world.
- Alexander the Great:Alexander the Great was a rex of Macedon, a land in northern ancient Greece. Born in Pella in 356 BCE, Alexander was tutored past Aristotle until the age of sixteen. By the age of 30, he had created ane of the largest empires of the ancient globe, stretching from the Ionian Sea to the Himalayas. He was undefeated in battle and is considered one of history's nigh successful commanders.
The Ptolemaic Kingdom (332–30 BCE) in and around Egypt began following Alexander the Great's conquest in 332 BCE and ended with the death of Cleopatra Vii and the Roman conquest in 30 BCE. Information technology was founded when Ptolemy I Soter declared himself Pharaoh of Egypt, creating a powerful Hellenistic state stretching from southern Syria to Cyrene and southward to Nubia. Alexandria became the majuscule city and a centre of Greek culture and merchandise.
Alexander the Bang-up bust: Portrait of Alexander the Not bad, said to be from Alexandria, Egypt. Marble, second to commencement century BC.
Hellenistic Art
Hellenistic art is richly diverse in subject matter and in stylistic development. It was created during an age characterized by a strong sense of history. For the first time, there were museums and great libraries, such as those at Alexandria and Pergamon. Hellenistic artists copied and adjusted earlier styles , and as well made great innovations. Representations of Greek gods took on new forms . The popular paradigm of a nude Aphrodite, for case, reflects the increased secularization of traditional religion. As well prominent in Hellenistic art are representations of Dionysos, the god of vino and legendary conqueror of the East, likewise equally those of Hermes, the god of commerce. In strikingly tender depictions, Eros, the Greek personification of love, is portrayed equally a immature child.
Eros Sleeping (Hellenistic, specific date unknown): Nudity in sculptures of gods like Eros signified an increasing humanization of deities during the Hellenistic era.
Encouraged by the many pharaohs, Greek colonists set up the trading post of Naucratis, which became an important link between the Greek world and Egypt's grain. As Egypt came under foreign domination and refuse, the pharaohs depended on the Greeks as mercenaries and even advisers. When the Persians took over Egypt, Naucratis remained an important Greek port, and the colonists were used as mercenaries by both the insubordinate Egyptian princes and the Persian kings, who afterward gave them country grants, spreading the Greek culture into the valley of the Nile . When Alexander the Great arrived, he established Alexandria on the site of the Farsi fort of Rhakortis. Following Alexander's expiry, control passed into the easily of the Lagid (Ptolemaic) dynasty ; they built Greek cities beyond their empire and gave state grants across Egypt to the veterans of their many military conflicts. Hellenistic culture continued to thrive even after Rome annexed Egypt after the battle of Actium and did not decline until the Islamic conquests.
Nile Mosaic of Palestrina (c. 100 BCE)
One significant change in Ptolemaic art is the sudden re-appearance of women, who had been absent since about the Twenty-6th Dynasty. This miracle was probable due, in office, to the increasing importance of women equally rulers and co-regents, as in the case of the series of Cleopatras. Although women were present in artwork, they were shown less realistically than men in the this era, as is axiomatic in a portrait of a Ptolemaic queen (possibly Cleopatra VII) from the start century BCE. Unlike its Classical and Hellenistic counterparts elsewhere in the Hellenic world, this sculpture bears a more stylized appearance.
Sculpture of a Ptolemaic Queen, peradventure Cleopatra VII (c. l–thirty BCE): Despite a growing naturalism among portraits of male elites, those of women remained stylized.
Amongst male person rulers, portraiture assumed a more naturalistic appearance, fifty-fifty when the sitter was pictured in traditional Egyptian regalia, as in a relief of Ptolemy IV Philopator (r. 221–204 BCE), who wears the traditional pharaonic crown of Upper and Lower Egypt. However, even with this Greek influence on art, the notion of the individual portrait nonetheless had not supplanted Egyptian artistic norms among non-elites during the Ptolemaic Dynasty.
Ptolemy VI Philometor (c. 186–145 BCE): In this relief from a ring, Ptolemy 6 wears the traditional white and red dual crown of Upper and Lower Egypt while displaying the naturalistic and individualized facial features typical of Classical and Hellenistic portraiture.
Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/late-egyptian-art/