This Period of Ancient Egypt Is Characterized by Radical Changes in Art and Religion

Tardily Egyptian Fine art

The Late Period of Ancient Egypt (664–332 BCE) marked a maintenance of artistic tradition with subtle changes in the representation of the human form.

Learning Objectives

Describe art in the Belatedly Period of Ancient Arab republic of egypt

Key Takeaways

Key Points

• Though foreigners ruled Ancient Egypt during the Late Period , Egyptian culture was more prevalent than ever.
• Some sculptures of the Late Flow maintain traditional techniques, while others feature more naturalistic attributes.
• One major contribution from the Late Menses of ancient Arab republic of 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 type or symptoms.
• The Thirtieth Dynasty took its artistic style from the Twenty-Sixth Dynasty.

Key Terms

• Late Period:The time of Aboriginal Egypt between the Third Intermediate Catamenia until the conquest by Alexander the Great, from 664 BCE until 332 BCE; often regarded as the concluding gasp of the Egyptian culture.

The Belatedly Period of ancient Egypt refers to the concluding flowering of native Egyptian rulers after the 3rd Intermediate Period from the Twenty-6th Saite Dynasty into Persian conquests, and ended with the conquest by Alexander the Great and institution of the Ptolemaic Kingdom. Information technology ran from 664 BC until 332 BCE. Though foreigners ruled the country at this time, Egyptian culture was more prevalent than e'er. Libyans and Persians alternated dominion with native Egyptians. Despite connected conventions in art, some notable changes in the man 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 stance of Egyptian statuary with a fleshier trunk and pensive gesture of the correct hand and arm.

Horus equally a Kid (664–332 BCE)

The Tardily Period is oftentimes regarded every bit the last gasp of a in one case swell culture, during which the power of Egypt steadily diminished.

Twenty-Sixth Dynasty

The Twenty-Sixth Dynasty, also known every bit the Saite Dynasty, reigned from 672–525 BCE. Canal construction from the Nile to the Cerise Bounding main began. Co-ordinate to Jeremiah, during this time many Jews came to Egypt, fleeing after the devastation of the First Temple in Jerusalem by the Babylonians (586 BCE). Jeremiah and other Jewish refugees arrived in Lower Arab republic of egypt, notably in Migdol, Tahpanhes, and Memphis. Some refugees also settled at Elephantine and other settlements in Upper Egypt (Jeremiah 43 and 44). Jeremiah mentions pharaoh Apries (as Hophra, Jeremiah 44:30) whose reign came to a violent end in 570 BCE. This and other migrations during the Belatedly 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 most striking show for the closely parallel roles of the physician swnw and the various priests concerned with healing.

Artwork during this time was representative of animal cults and creature mummies . The faience sculpture below shows the god Pataikos wearing a scarab beetle on his head, supporting ii man-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 arms and hands, and slight smile.

Figure of Pataikos (664–630 BCE): This glazed faience sculpture of the god Pataikos shows a somewhat naturalistic deviation from traditional depictions of Egyptian deities.

Despite the changes that took place in the sculpture of Pataikos, artists continued to employ 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 body.

Relief of Psamtik Three at a chapel in Karnak: Despite changes in the sculptures of Horus and Pataikos, this image of the last pharaoh of the 20-6th Dynasty appears in the more traditional stylized grade.

Twenty-Seventh Dynasty

The First Achaemenid Period (525–404 BCE) marked the conquest of Egypt by the Western farsi Empire nether Cambyses 2. In May 525 BCE, Cambyses defeated Psamtik III in the Battle of Pelusium in the eastern Nile Delta. This basalt portrait bust (pictured below) of an unknown Egyptian dignitary from the period shows niggling change from convention in the representation of the man grade. His necklace is typical of those made in the Achaemenid Period.

Statue of an Egyptian dignitary from the Xx-Seventh Dynasty: The necklace on this dignitary has been identified equally typical of the era of Persian occupation.

Twenty-Eighth through Thirtieth Dynasties

The 20-Eighth Dynasty consisted of a single king, Amyrtaeus, prince of Sais, who rebelled against the Persians and briefly re-established indigenous Egyptian rule. He left no monuments with his name. This dynasty reigned for vi years, from 404–398 BCE. The 20-9th Dynasty ruled from Mendes, from 398–380 BCE.

The Thirtieth Dynasty took the art style from the Twenty-Sixth Dynasty. A series of three pharaohs ruled from 380 BCE until their terminal 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 style. Except for the minor-calibration greywacke (sandstone) statue in the Metropolitan Museum, which shows him standing before the prototype of Horus equally a falcon, no other annotated portraits of the pharaoh are known.

Horus and Nectanebo II (360–343 BCE): This is believed to exist the only surviving annotated sculpture of the terminal pharaoh of the Thirtieth Dynasty.

A fragment of Nectanebo II's 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 II: This portrait features a combination of traditional and naturalistic features.

Art and Architecture in the Kingdom of Kush

The Kingdom of Kush was an aboriginal African state whose art and architecture were inspired by Egyptian design, but were distinctly African.

Learning Objectives

Evaluate the influence of both Egyptian and African fine art on the fine art produced by 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 generally describe scenes from African daily life, animals, boxing scenes, and kings.
• Kushite portrait sculpture adopts some Egyptian attributes but emphasizes distinctly indigenous features, such equally wide faces and unique regalia, hairstyles, and symbolism.
• Pottery was an important Kushite craft and consisted more often than not of pots and bowls that were shaped from clay and so painted in many different colors. Common decorative motifs included animals and geometric and institute-based patterns.
• The kings of Kush adopted the Egyptian architectural idea of building stone pyramids equally funerary monuments. All the same, Kushite pyramids were congenital above the underground graves, whereas the Egyptian graves were within the pyramid.

Key Terms

• relief:A type of artwork in which shapes or figures protrude from a flat background.
• pyramid:An aboriginal massive construction with a square or rectangular base and four triangular sides meeting in an apex, such as those built equally tombs in Egypt or as bases for temples in Mesoamerica.

The Kingdom of Kush was an ancient African land situated on the confluences of the Blue Nile, White Nile, and River Atbara in what is now the Republic of Sudan.

Africa in 400 BCE: Map of kingdoms, states, and tribes in 400 BCE Africa.

Established after the Statuary Age collapse and the disintegration of the New Kingdom of Egypt, Kush was centered at Napata in modern day northern Sudan in its early on phase, and then moved further southward to Meroë in 591 BCE. After king Kashta invaded Egypt in the eighth century BCE, the Kushite kings ruled as Pharaohs of the Twenty-Fifth Dynasty of Arab republic of egypt for a century, until they were expelled by Psamtik I in 656 BCE. The reign of the Twenty-5th Dynasty ushered in a renaissance menstruum for ancient Egypt, and art and architecture emulating the styles of the Old, Heart, and New Kingdoms flourished. Kushite pharaohs congenital and restored many temples and monuments throughout the Nile Valley, and the construction of Kushite pyramids became widespread. Some of these are still standing in modern Sudan.

Kushite Arts

The Kushite arts were inspired by the Egyptians, but were drastically African. Most remarkable among 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 land of Africa. They by and large depict scenes from African daily life and animals. Reliefs depicting boxing scenes or kings are somewhat less mutual.

Statues of rulers and other royal individuals emphasize the foreign, non-Egyptian origin of their subjects. The Head of a Kushite Ruler (c. 716-702 BCE), identified past some scholars as King Shabaqa, depicts a homo with a typically round Kushite face. Although his eyes deport resemblance to those of Egyptian individuals in art, his hairstyle and regalia are distinctly not-Egyptian. The front of his headband once featured two cobras. While Egyptian pharaohs commonly 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 generally of pots and bowls that were shaped from clay so painted in many dissimilar colors. Most pottery was initially made for the wealthy, but later on, many commoners also began using pottery in their households. While decoration usually took the form of painted designs, some types of pottery also had stamped designs. Common motifs included geometric and found-based patterns. The finest pottery was busy with paintings of animals, such as giraffes, antelopes, frogs, crocodiles, snakes, and a multifariousness of birds.

Kushite Compages

The kings of Kush adopted the Egyptian architectural idea of building pyramids equally funerary monuments. However, Kushite pyramids were built above the hugger-mugger graves, whereas the Egyptian graves were within the pyramid. The kings' tombs were lodged under large pyramids made of stone. For a short time, the Kushite kings were mummified. Ordinary citizens were cached in much smaller pyramids. The virtually famous examples of Kushite pyramids are located in their capital Meroë. There are 3 cemeteries in Meroë; the northward and south cemeteries are purple cemeteries and business firm the pyramids of kings and queens, whereas the westward cemetery is a purely non-royal site.

Sudan Meroë pyramids: Sudan Meroë pyramids — UNESCO World Heritage.

Egyptian Fine art Subsequently Alexander the Great

Hellenistic fine art, richly various in discipline matter and in stylistic development, characterized culture later on Alexander the Great.

Learning Objectives

Describe the major events of the Ptolemaic Kingdom and the key characteristics of Hellenistic fine art

Key Takeaways

Key Points

• The Ptolemaic Kingdom (332–30 BCE) in and around Arab republic of 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.
• Hellenistic art is richly various in bailiwick affair and in stylistic development. It was created during an age characterized by a stiff sense of history. For the offset fourth dimension, there were museums and great libraries, such as those at Alexandria and Pergamon.
• Prominent in Hellenistic art are representations of Dionysos, the god of wine and legendary conquistador of the Eastward, every bit well as those of Hermes, the god of commerce. In strikingly tender depictions, Eros, the Greek personification of love, is portrayed every bit a young kid.
• Hellenistic civilization continued to thrive even after Rome annexed Egypt subsequently the boxing of Actium and did not turn down until the Islamic conquests.
• Portraits of male rulers grew increasingly naturalistic, while those of female rulers and non-elites remained stylized .

Cardinal Terms

• Hellenic:Referring to the ancient Greek world.
• Alexander the Bully:Alexander the Great was a rex of Macedon, a state in northern ancient Greece. Born in Pella in 356 BCE, Alexander was tutored by Aristotle until the age of sixteen. By the age of 30, he had created one of the largest empires of the ancient world, stretching from the Ionian Sea to the Himalayas. He was undefeated in battle and is considered i of history's most successful commanders.

The Ptolemaic Kingdom (332–30 BCE) in and effectually Arab republic of egypt began following Alexander the Great's conquest in 332 BCE and ended with the death of Cleopatra 7 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 south to Nubia. Alexandria became the capital city and a heart of Greek culture and trade.

Alexander the Bang-up bust: Portrait of Alexander the Great, said to be from Alexandria, Egypt. Marble, second to first century BC.

Hellenistic Art

Hellenistic fine art is richly diverse in subject matter and in stylistic development. It was created during an age characterized by a potent sense of history. For the starting time time, at that place were museums and cracking libraries, such as those at Alexandria and Pergamon. Hellenistic artists copied and adapted earlier styles , and also fabricated swell innovations. Representations of Greek gods took on new forms . The popular image of a nude Aphrodite, for example, 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 Due east, as well every bit those of Hermes, the god of commerce. In strikingly tender depictions, Eros, the Greek personification of dear, is portrayed equally a young 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 past the many pharaohs, Greek colonists set the trading post of Naucratis, which became an important link between the Greek world and Arab republic of egypt'due south grain. As Egypt came under strange domination and decline, the pharaohs depended on the Greeks as mercenaries and even advisers. When the Persians took over Arab republic of egypt, Naucratis remained an important Greek port, and the colonists were used equally mercenaries past both the rebel Egyptian princes and the Persian kings, who later gave them land grants, spreading the Greek civilisation into the valley of the Nile . When Alexander the Peachy arrived, he established Alexandria on the site of the Persian fort of Rhakortis. Following Alexander's decease, control passed into the hands of the Lagid (Ptolemaic) dynasty ; they built Greek cities across their empire and gave country grants across Egypt to the veterans of their many military conflicts. Hellenistic culture continued to thrive fifty-fifty after Rome annexed Egypt subsequently 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-minded since most the 20-Sixth Dynasty. This miracle was probable due, in function, to the increasing importance of women as rulers and co-regents, as in the case of the serial of Cleopatras. Although women were present in artwork, they were shown less realistically than men in the this era, as is evident in a portrait of a Ptolemaic queen (peradventure Cleopatra Seven) from the first century BCE. Unlike its Classical and Hellenistic counterparts elsewhere in the Hellenic globe, this sculpture bears a more stylized appearance.

Sculpture of a Ptolemaic Queen, perchance Cleopatra VII (c. 50–30 BCE): Despite a growing naturalism amidst portraits of male person elites, those of women remained stylized.

Amid male person rulers, portraiture assumed a more naturalistic appearance, even when the sitter was pictured in traditional Egyptian regalia, as in a relief of Ptolemy 4 Philopator (r. 221–204 BCE), who wears the traditional pharaonic crown of Upper and Lower Arab republic of egypt. However, fifty-fifty with this Greek influence on art, the notion of the individual portrait still had not supplanted Egyptian creative norms among non-elites during the Ptolemaic Dynasty.

Ptolemy Vi Philometor (c. 186–145 BCE): In this relief from a ring, Ptolemy Six wears the traditional white and ruby-red dual crown of Upper and Lower Egypt while displaying the naturalistic and individualized facial features typical of Classical and Hellenistic portraiture.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/late-egyptian-art/

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