Egyptian Art At Eton College And Durham University

The Middle Kingdom (ca. 2030–1650 B.C.) was a transformational period in ancient Egypt, during which older artistic conventions, cultural principles, religious beliefs, and political systems were revived and reimagined. Ancient Egypt Transformed presents a comprehensive picture of the art of the Middle Kingdom, arguably the least known of Egypt’s three kingdoms and yet one that saw the creation of powerful, compelling works rendered with great subtlety and sensitivity. The book brings together nearly 300 diverse works— including sculpture, relief decoration, stelae, jewelry, coffins, funerary objects, and personal possessions from the world’s leading collections of Egyptian art. Essays on architecture, statuary, tomb and temple relief decoration, and stele explore how Middle Kingdom artists adapted forms and iconography of the Old Kingdom, using existing conventions to create strikingly original works. Twelve lavishly illustrated chapters, each with a scholarly essay and entries on related objects, begin with discussions of the distinctive art that arose in the south during the early Middle Kingdom, the artistic developments that followed the return to Egypt’s traditional capital in the north, and the renewed construction of pyramid complexes. Thematic chapters devoted to the pharaoh, royal women, the court, and the vital role of family explore art created for different strata of Egyptian society, while others provide insight into Egypt’s expanding relations with foreign lands and the themes of Middle Kingdom literature. The era’s religious beliefs and practices, such as the pilgrimage to Abydos, are revealed through magnificent objects created for tombs, chapels, and temples. Finally, the book discusses Middle Kingdom archaeological sites, including excavations undertaken by the Metropolitan Museum over a number of decades. Written by an international team of respected Egyptologists and Middle Kingdom specialists, the text provides recent scholarship and fresh insights, making the book an authoritative resource.

This volume, published in honour of Egyptologist Professor Rosalie David OBE, presents the latest research on three of the most important aspects of ancient Egyptian civilisation: mummies, magic and medical practice. Drawing on recent archaeological fieldwork, new research on human remains, reassessments of ancient texts and modern experimental archaeology, it attempts to answer some of Egyptology's biggest questions: how did Tutankhamun die? How were the Pyramids built? How were mummies made? Leading experts in their fields combine traditional Egyptology and innovative scientific approaches to ancient material. The result is a cutting-edge overview of the discipline, showing how it has developed over the last forty years and yet how many of its big questions remain the same.

An international group of scholars have contributed to Joyful in Thebes, a Festschrift for the distinguished Egyptologist Betsy M. Bryan. The forty-two articles deal with topics of art history, archaeology, history, and philology representing virtually the entire span of ancient Egyptian civilization. These diverse studies, which often present unpublished material or new interpretations of specific issues in Egyptian history, literature, and art history, well reflect the broad research interests of the honoree. Abundantly illustrated with photographs and line drawings, the volume also includes a comprehensive bibliography of Bryan's publications through 2015.

An insightful volume delving into the enduringly compelling art of ancient Egypt, from a new historical perspective The art and architecture of Egypt during the age of the pharaohs continue to capture the imagination of the modern world. Among the great creative achievements of ancient Egypt are a set of constant forms: archetypes in art and architecture in which the origins of concepts such as authority, divinity, beauty, and meaning are readily discernible. Whether adapted to fine, delicate jewelry or colossal statues, these forms maintain a human face—with human ideas and emotions. These artistic templates, and the ideas they articulated, were refined and reinvented through dozens of centuries, until scenes first created for the earliest kings, around 3000 BCE, were eventually used to represent Roman emperors and the last officials of pre-Christian Egypt. Bill Manley’s account of the art of ancient Egypt draws on the finest works through more than 3,000 years and places celebrated masterpieces, from the Narmer palette to Tutankhamun’s gold mask, in their original contexts in the tombs, temples, and palaces of the pharaohs and their citizens.

This 1909 handbook samples Egyptian art from the prehistoric period to the Roman era, featuring 140 illustrations.

This Element offers a new approach to ancient Egyptian images informed by interdisciplinary work in archaeology, anthropology, and art history. Sidestepping traditional perspectives on Egyptian art, the Element focuses squarely on the ontological status of the image in ancient thought and experience. To accomplish this, section 2 takes up a number of central Egyptian terms for images, showing that a close examination of their etymology and usage can help resolve long-standing question on Egyptian imaging practices. Section 3 discusses ancient Egyptian experiences of materials and manufacturing processes, while section 4 categorizes and discusses the different purposes and functions for which images were created. The Element as a whole thus offers a concise introduction to ancient Egyptian imaging practices for an interdisciplinary readership, while at the same introducing new ways of thinking about familiar material for the Egyptological reader.

The artists of Ancient Egypt reached a level of sophistication and technical mastery unsurpassed by other early peoples. This book elucidates the principles of representation underlying Egyptian art, which differ fundamentally from western conventions rooted in perspective, and describes the materials and methods used by the artists.

Contains a fresh, lively discussion of Egyptian art in American collections, written by the curator of Egyptian, classical, and ancient Middle E astern art at the Brooklyn Museum of Art, New York. Includes an essay by John Olbrantz (Director, Hallie Ford Museum of Art, Willamette U., Salem, Oregon) on collectors, curators, and the rise of Egyptian collections in the US. Abundantly illustrated in color and b&w. Distributed by U. of Washington Press. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).