Egypt Study Questions art 200 art history I quiz # 3- egyptian Art
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begun 1390- Amenhotep III Completed by Rameses II Gateway (pylon)- Court-pillared hall-2nd court-pillared hall-temple w halls/chapels shielding Holy of Holies (sq. room with 4 columns) All enclosed by high wall that shut off the outside world Designed to be experienced from within Ordinary worshipper confined to court/ could but marvel at forest of columns that screen dark recesses of sanctuary. central axis parallel to Nile Post and Lintel 4 major features of a typical pylon temple= 1) simple massive pylon facade- Pylon = Greek for gateway 2) bilaterally symmetrical along a single axis, that runs from an approaching avenue through a colonnaded court 3) and hypostyle hall--- little open space 4) into a dimly lighted sanctuary- Holy of Holies- Square room with 4 columns JSGI2-8
62. How is the art of Akhenaton both typical and atypical of Egyptian art?
What influence did Akhenaten's art exert on the art of later dynasties? 63. Select an Egyptian building from the Old Kingdom, one from the Middle Kingdom, and one from the New Kingdom. Describe them, and tell why you think they are important. Mention the patron of each.
NAME: ART 200 - ART HISTORY I Exam # 1 Egypt- Slide Masters and Matching/ Extra Questions GG- ?? JG __ GG-SQ __ JG-SR __ JTQ __ Gardner 3- 2 3- 3 3- 4 3- 7 3- 14 3- 16 3- 17 3-18 3- 19 3- 33 Janson 71 72 73 77 80 83 84 85 89 90 91 93 95 96 98 99 100 101 102 103 104
Egyptian / Predynastic Egyptian/ Old Kingdom Egyptian/ Middle Kingdom Egyptian/ New Kingdom/ Akhenaten (Amarna) Egyptian/ New Kingdom
1. Title: Stepped Pyramid of King Zoser Location: Saqqara Artist: Imhotep Culture/Period: Egypt/ Old Kingdom Apx Dates: c 2600 BC 3rd dynasty 2. Title: Palette of Narmer Culture/Period: Egypt- Old Kingdom / Predynastic Apx Dates: c 3000 BC 3 What does the depicting figures and events in the Palette of King Narmer tell us about Old Kingdom concepts of (1) the Pharaoh 3 points
gesture _ repres a real fight but a symbolic fight Standing figure does not have a single main profile but 2 competing profiles - combined view eyes shoulders frontal head legs = profile frozen quality = divine quality of pharaoh - ordinary mortals act , he simply is style of repres human figure - created specifically for purpose of convey in visual form the majesty of divine king (2) the gods 2 points
(3) "style" 2 points
strong sense of order (div. into registers) each figure stand s on line, strip denoting ground immobile
Apx date: c 1360 BC J114. How is the Bust of Nofretete characteristic of the art of its time? unfreeze traditional immobility of Egyptian art Contours & plastic shapes = more pliable, relaxed anti geometric informal
defy rules of pharaonic dignity dignity, elongated neck, elegance, relaxed pose With what other works may it be best compared? Workmen Carrying a Beam Tomb of Horemheb at Saqqara Gold coffin of Tutankhamen 6. Title: Temple of Hatshepsut Location: Deir el - Bahari Culture/Period: Egypt / New Kingdom Apx Dates: c 1480 BC Left 10. Title: Khafre (Chefren) Culture/Period: Old Kingdom - Egypt Apx Dates: c 2500 BC Right
11. Title: Sesostris Culture/Period: Egypt, Middle Kingdom Apx Dates: c 1850 BC (c 1878-1843) 12. How do these figures reflect the political and religious climates of their times? Who does the hawk represent in the slide on the left? What is its significance here? Khafre = Old Kingdom-, represents enduring power of pharaoh idealized, no individual motion or emotion, timeless. Abiding place of soul Hawk = Horus , sun god, protector of the Pharaoh Sesostris = Middle Kingdom- more like a man than a god, head of sphinx, pessimistic expression, intimate 11. Title: sim to 3--40 actual = Relief of Akhenaten and his family, Tell el-Amarna, 18th dyn, c 1360 BC Culture/Period: Egypt, NEW Kingdom/ Amarna Apx Dates: c 1360 BC GG-SQ100. Attribute the above relief to a culture, period, and approximate date. Give the reasons for your attributions. What do you think this relief symbolizes? The hieroglyphics and the unique shape of the tall crown identify the work as Egyptian. The relief can be precisely placed in the Amarna period, for it clearly demonstrates the new sense of life and movement introduced by the artists who worked for Akhenaton. Although the Egyptian figural conventions of head and legs shown in profile with shoulders seen from the front is still observed, the bodies seem to be much more relaxed and lively than those found in traditional figural representations. In this relief one also sees the predilection for fluid curved lines and attenuated bodies that was typical of the Amarna style, as well as the strange combination of naturalism and stylization favored by artists of the period. All the members of the family, even the tiny children, show the wide hips, sinuous bodies, long graceful necks, and elongated heads that ere seen n representations of Akhenaten himself. The intimacy and the informality of the family grouping, in which the children gesticulate freely and fondle their royal parents, is similar to the informality seen in the Amarna relief of King Smenkhare and his wife Meritaten (3-40) 13. Title: Funerary Tomb/ Temple of Rameses II Location: Abu Simbel Culture/Period: New Kingdom Apx Dates: c 1260 BC 14. Who is represented here? What is the function of this building, and how does the style reflect the patron's political ambitions? Rameses II, last great warrior pharaoh, New Kingdom, Amen-re, tomb with places of worship MATCHING. (1 point each) Match the names listed below with the following identifications. Entries in the right column are only used once. GT3-11 15. Z Amarna GT3-7 16. G Necropolis GT3-4 17. F Sesostris III GT3-9 18. V Imhotep GT3-10 19. J Nefertiti GT3-17 20. Q Tutankhamen GT3-18 21. K Caryatid GT3-15 22. C Karnak GT3-2 23. H Ramses II GT3-5 24. M Ka GT3-3 25. S Isis GT3-12 26. L Chefren (Khafre) GT3-6 27. N Horus GT3-20 28. Y Mastaba 29. U Stele GT3-13 30. R Clerestory GT3-1 31. A Osiris GT3-16 32. E Atlantid GT3-8 33. O Pylon GT3-14 32. I Aton (Aten) 32. B Re or Amen-re, Aton (Aten) A. goddess who appeared in shape of a cow B. Egyptian sun god worshipped at Karnak C. site of large temple complex D. a bench shaped Egyptian tomb E. column in the shape of a man F. Middle Kingdom Pharaoh G. large burial area: city of the dead H. powerful New Kingdom pharaoh I. single god worshipped by Akhenaten J. New Kingdom Queen, wife of Akhenaton K. column in the shape of a woman L. Old Kingdom pharaoh N. hawk god, protector of pharaoh O. monumental entrance of an Egyptian temple P.
Q. king whose tomb was discovered with contents of grave intact R. a section of a building that rises above the aisles and allows light to enter S. Egyptian goddess, wife of Osiris T. Egyptian god of wisdom, shaped like a baboon U. stone monument with relief carving V. architect of pyramid of King Zoser MATCHING. (1 point each) Choose the culture or period in the right column that best corresponds to the monument or site in the left column. You may use entries in the right column more than once. 12. C Tell el- Amarna 16. A Pyramid of Khafre 14. C Mortuary Temple of Hatshepsut 22. C Karnak 24. A Sphinx 26. C Bust of Nefertiti 27. A Statue of Khafre 23. B Rock cut tombs of Beni Hasan 19. A Stepped Pyramid of King Zoser A. Egyptian, Old Kingdom B. Egyptian, Middle Kingdom C. Egyptian, New Kingdom
MATCHING. (1 point each) Choose the name in the right column that best corresponds to the art work in the left column (artist matched to work, etc.) and enter the appropriate letter in the space provided. GG-SQ 32. A Stepped pyramid of King Zoser GG-SQ 40. B Amarna style A. Imhotep B. Akhenaten C. Rameses II D. Zoser E. Chefren F. Mycerinus G. Hatshepsut A GG-SQ61. Ka figures were important in the art of: a. Egypt b. Paleolithic Europe c. Archaic Greece d. Sumer e. Crete
D 7. Which factor was not a part of traditional Egyptian figural relief conventions a. b. c. d JT80. 49. The papyrus columns of Egyptian architecture have a special symbolic function. JT26 C 5. The most primitive aspect of the design of the Narmer palette is: a. the head and papyrus motif b. the vertical columns of decapitated prisoners c. the long necked beasts d. the use of hieroglyphics
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How does this approach define a formula for depicting the figure in Egyptian art? JSGI2-2. What is the purpose of this painting in a tomb and how is that purpose associated with the Egyptian concept of the ka? xxxx
JSGI2-3. The following terms and persons are important to our understanding of Egyptian art. Define each of the terms and briefly examine the importance of the individuals named: King Zoser XXXXXXXXXXXX column XXXXXXXXXXXX pyramid XXXXXXXXXXXX scribe XXXXXXXXXXXX portrait bust XXXXXXXXXXXX Amun-Ra XXXXXXXXXXXX Queen Hatshepsut XXXXXXXXXXXX brick architecture XXXXXXXXXXXX Nofretete XXXXXXXXXXXX Tutankhamen XXXXXXXXXXXX JSGI2-6. How does the Middle Kingdom portraiture and painting differ from that of the Old Kingdom? What historical circumstances might account for these changes? SHORT ESSAY- (10 points) JT109. Why is it fair to say that "the Egyptian tomb was a kind of life insurance"? Is the concept of a privte tomb appropriate? Be specific. XXX. JT110. Describe the composite view favored by Egyptian artists and explain its advantages XXX. JT112. What would we know of Egyptian art if none of the works done for the pharaohs had survived? XXX. JT114. How is the bust of Nofretete characteristic of the art of its time? With what other works may it best be compared? XXX. JSGI2-5. How does the freestanding sculpted human figure relate to this mode of representation? 2. Compare the portrait of Sesostris III with those of Chefren (Khafre) and of Queen Nofretete (Nefertiti). What differences do you see, and how might these differences reflect changed social conditions? REV 8/29/95 Directory: ArtHistorySurvey -> 03-egypt 03-egypt -> Chp. 3: Ancient Egypt 03-egypt -> Chp. 3: Ancient Egypt Download 254.52 Kb. Share with your friends:
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