Content Area 2: Ancient Mediterranean Chapter 3: Egypt 3500 B. C. E. 30 B. C. E. (9 Works)
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- List of Required Works (AP Students): Cue Cards
- List of Required Vocabulary: alluvial deposits canon/ canon of proportion
- courses valley temple mortuary temple living rock
- capitals: bell and bud) shaft drum base (
- fresco secco technique of wall painting twisted perspective hierarchal ordering Ideas/Concepts
- Egyptian Sculpture
- Egyptian Painting
- Canon of proportion
- Little of no depth within composition
Valencia High School AP/IB Art History Mrs. Schultz Content Area 2: Ancient Mediterranean Chapter 3: Egypt 3500 B.C.E. - 30 B.C.E. (9 WORKS) Context: Geographical Isolation Economic Security Deeply Held Religious Beliefs Hierarchical Society Geological Substructure Belief in the Afterlife List of Required Works (AP Students): Cue Cards Palette of King Namer. Predynastic Egypt. c. 3000 – 2920 B.C.E. Greywacke. (p.54-55, 57-58, 66) Seated scribe. Saqqara, Egypt. Old Kingdom, Fourth Dynasty. c. 2620- 2500 B.C.E. Painted limestone. (p. 65-66) Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx. Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550- 2490 B.C.E. Cut Limestone. (p. 60-63) King Menkaura and queen. Old Kingdom, Fourth Dynasty. c. 2490- 2472 B.C.E. Greywacke. (p. 64-65) Temple of Amun-Re and Hypostyle Hall. Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: c. 1550 B.C.E.; hall c. 1250 B.C.E. Cut sandstone and mud brick. (p. 72-73) Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473- 1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite. (p. 69-70) Akhenaton, Nefertiti, and three daughters. New kingdom (Amarna), 18th Dynasty. c. 1353- 1335 B.C.E. Limestone. (p. 78) Tutankhamun’s tomb, innermost coffin. New Kingdom, 18th Dynasty. c. 1323 B.C.E. Gold with inlay of enamel and semiprecious stones. (p. 78) Last judgment of Hu- Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. c. 1275 B.C.E. Painted papyrus scroll. (p.80) List of Required Vocabulary: alluvial deposits canon/ canon of proportion Amarna period ben-ben/ fetish stone Inundation of the Nile convention (versus innovation) ka hierarchal imhotep pyramidal monotheism iconoclast Akhenaton Architecture: mortuary temple causeway sphinx engaged columns fluting necropolis pyramid precinct clerestory hypostyle hall colonnade pylon axis bi symmetrical sanctuary sacred lake atlantids cardinal points of the compass mastaba pyramids stone courses valley temple mortuary temple living rock corbeled arch/ corbeling post: column (types of capitals: bell and bud) shaft drum base (of column) lintel: entablature limestone tensile strength of stone obelisk Sculpture: negative relief/positive relief types of stone: diorite, granite, slate atlantids Painting: fresco secco technique of wall painting twisted perspective hierarchal ordering Ideas/Concepts: 1: How is the concept of hierarchy expressed in the design of New Kingdom temples? 2: Why is there very little change (of style) in Egyptian art and architecture (except Amarna period)? 3: Why did Egyptian craftsmen adhere to a “canon of proportion” and strict conventions of representing the human figure in Egyptian painting, relief and sculpture? 4: Understand how contextual issues relate to the function of Egyptian painting, sculpture and architecture? 5: Understand how the function of Egyptian painting and tomb sculpture determines style. 6: Why did Egyptian painters concentrate on conceptual reality rather than presenting an optical reality? Egyptian Sculpture: Conventions of representing the human figure 1: Idealized flawless body (youth), perfect facial feature (prime of life), no emotion, serenity 2: Timelessness figure compact, without gesture, with no protruding breakable parts, carved in diorite (hardest stone available), to last for all time 3: Power and Authority iconography reflects kingship and religious power and the divinity of pharaoh. 4: Stereotypical Poses figures carved according to a canon of proportion and gestures following established conventions Egyptian Painting: Conventions of representing the human figure in Egyptian Art (wall painting, relief sculpture) 1: Twisted Perspective used- two points of view combined into the representation of a single figure. 2: Canon of proportion: always used in representing figures 3: Formalization of anatomy and stance = rigidity, lack of sense of movement 4: Hierarchical organization of figures within a composition (relief and painting, but also sculpture groups) 5: Little of no depth within composition registers used to organize figures 6: Literal presentation of information conceptual ordering of symbols, motifs, hieroglyphics, patterns Download 27.98 Kb. Share with your friends:
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