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Egyptian and Mesopotamian Artifact Activity

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Title: Egyptian and Mesopotamian Artifact Activity


1
Egyptian and Mesopotamian Artifact Activity
  • Go to Slide Show on the Task Bar on the top and
    click on View Show.
  • As you view the slides of the Power Point, choose
    which feature or features of civilization the
    artifact is an example of and write it in the box
    next to it. (In other words, you can use one
    artifact as an example of more than one feature
    of civilization.)
  • Complete this process for the Egyptians AND the
    Mesopotamians. When youre done, hand in your
    paper and go to the website link on the last
    slide to explore the Metropolitan Museum of Art
    Website.

2
Egyptian Artifacts
3
Egyptian Pyramids
4
  • Finely carved ivory combs and knife handles
    produced toward the end of Egypt's prehistory
    demonstrate the high standards Egyptian artists
    had achieved, even before the Old Kingdom.
  • This comb may have been part of the funeral
    equipment of an elite person who lived about
    5,200 years ago. Parts of the comb's teeth, now
    missing, can be seen along the bottom edge. The
    detailed decoration suggests that it was a
    ceremonial object, not just an instrument for
    arranging the hair.
  • On both sides are figures of animals in
    horizontal rows, a spatial organization familiar
    from later Egyptian art. The animals include
    elephants and snakes wading birds and a giraffe
    hyenas cattle and perhaps boars. Similar
    arrangements of these creatures on other carved
    ivory implements suggest that the arrangement and
    choice of animals were not just random. Elephants
    walking on snakes suggest that this part of the
    scene was symbolic. The mythology of many African
    peoples associate elephants and serpents with the
    creation of the universe. The uppermost row of
    this comb may symbolize a creative deity (god) to
    whom the rest of the animals owe their existence.

Ivory Comb
5
Wall from Mentuhoptep IIs Tomb
  • King Nebhepetre Mentuhotep, often referred to as
    Mentuhotep II, was revered (honored) by the
    Egyptians as the ruler who reunited Egypt after
    an era of disunity known as the First
    Intermediate period. Mentuhotep II was the
    founder of the Middle Kingdom.
  • He built his mortuary temple at Deir el-Bahri in
    western Thebes, where this relief was uncovered.
    The delicately modeled low relief and the finely
    painted details demonstrate the high artistic
    standards that prevailed (was favored) in the
    royal Theban workshops during this dynamic period
    in Egyptian history. Especially fine is the
    goddess at the right of the block, destroyed at
    the end of Dynasty 18 during the Amarna period.
    She was repaired in plaster in early Dynasty 19,
    indicating that the temple was still in use seven
    centuries after it was built.

6
  • The estate manager Wah was buried in a small tomb
    near that of his employer, Meketre. First seen in
    an X-ray of Wah's mummy, this magnificent scarab
    bracelet is extraordinary not only for its superb
    craftsmanship but for its material as well.
    Silver was not abundant (plentiful) in Egypt and
    because of the silver is fragile, most silver
    objects have completely disintegrated.
  • This scarab is made of several sections soldered
    (welded) together and has a gold suspension tube
    running horizontally between the base and back.
    On its back, inlaid hieroglyphs of pale gold give
    the names and titles of Wah and Meketre. The tomb
    of Wah was uncovered in 1920.

See the hieroglyphics?
Scarab Bracelet
7
  • Hippo Statuette
  • This statuette(small statue) of a hippopotamus
    demonstrates the Egyptian artist's appreciation
    for the natural world. It was molded in faience,
    a ceramic material made of ground quartz. Beneath
    the blue-green glaze, the body was painted with
    the outlines of river plants, symbolizing the
    marshes in which the animal lived.  
  • To the ancient Egyptians, the hippopotamus was
    one of the most dangerous animals in their world.
    The huge creatures were a hazard for small
    fishing boats. The beast might also be
    encountered on the waterways in the journey to
    the afterlife. Therefore, the hippopotamus was a
    force of nature that needed to be controlled,
    both in this life and the next. This was one of a
    pair found in a tomb chapel. Three of its legs
    have been restored because they were purposely
    broken to prevent the creature from harming the
    deceased (dead body).

8
  • Faience Sphinx
  • The inscription (carved symbols) and the facial
    features of this faience sphinx identify it as
    Amenhotep III, pharaoh of Egypt. The graceful
    body of the lion transforms quite naturally into
    human forearms and hands, an innovation (new
    technique) of Dynasty 18. In this form, the
    sphinx combines the protective power of the lion
    with the royal function of offering to the gods.
    The even tone of the fine blue glaze and the
    almost flawless condition of this sculpture make
    it unique among ancient Egyptian faience
    statuettes.

9
  • Shawabti
  • As the parents of Queen Tiye, wife of Amenhotep
    III, Yuya and Tchuya were granted burial in the
    Valley of the Kings. They were provided with
    funerary equipment from the finest royal
    workshops, as demonstrated by this superbly
    carved shawabti on which even the knees are
    subtly indicated. The text on these mummiform
    figurines states that the shawabti will
    substitute for the spirit in any obligatory tasks
    it is called upon to perform in the afterlife.

10
  • Whip Handle
  • The horse was a relative latecomer to Egypt. It
    was introduced in the Second Intermediate period
    during the Hyksos (people from Mesopotamia)
    domination of northern Egypt (ca. 16671570
    B.C.E.), when new elements of warfare, notably
    the horse and chariot, were brought from the Near
    East. During the New Kingdom, this animal became
    a familiar sight, and there were many depictions
    of horses in art.
  • This small ivory handle of a light whip is carved
    in the form of a prancing or running horse
    stained reddish brown with a black mane. The
    eyes, one of which has fallen out, were inlaid
    with garnet. The lively carving of this piece,
    especially the gracefully arched back, is typical
    of the ability of Egyptian artists to bring out
    the essential qualities of animals. It also
    exemplifies (is an example of) the fine quality
    attained (achieved) in the decorative arts during
    the reign of Amenhotep III.

11
  • Coffin
  • The brilliantly painted exterior of the coffin of
    Khnumnakht, an individual unknown except for his
    name, displays the use of multiple texts and
    decorative panels characteristic of coffin
    decoration in the late Middle Kingdom. It has at
    least one featurethe figure of the goddess on
    the head endthat is rare before the late Middle
    Kingdom. The figures and hieroglyphs have been
    drawn by the confident hand of a skilled artist
    and each hieroglyph has been carefully painted in
    the prescribed manner of the time and place in
    which the coffin was made.  
  • On the left side of the coffin box there is a
    small doorway in the center at the bottom. This
    is basically a false door, which allowed the
    spirit of the deceased (dead person) to move
    between the land of the dead and the land of the
    living. Above the door are two eyes that look
    forth into the land of the living. The face of
    the mummy would have been directly behind this
    panel. The rest of the exterior is inscribed with
    prayers to various gods, particularly those
    associated with death and rebirth, such as
    Osiris, foremost god of the dead, and Anubis, god
    of embalming.

12
Egyptian hieroglyphics
13
The boat and more than twenty other models of
boats, gardens, and workshops were found in a
small chamber in the tomb of Meketre, a Theban
official. Boat Model
14
Book of the Dead This scene from the Book of the
Dead shows the journey to the afterlife. Nany, a
woman stands the Hall of Judgment to the left of
a scale. Her heart is being weighed against Maat,
the goddess of justice and truth, wearing a
single large feather. On the right is Osiris, god
of the underworld and rebirth. He wears the white
crown of Upper Egypt and the curving beard of a
god. On the table before him is an offering of a
joint of beef. Jackal-headed Anubis, overseer of
mummification, adjusts the scales, while a
baboonsymbolizing Thoth, the god of wisdom and
writingsits on the balance beam and prepares to
write down the result. Behind Nany stands the
goddess Isis, both wife and sister of Osiris.
15
Mesopotamian Artifacts
Roar
Hi
Euphrates R.
Tigris R.
Peoples who lived here Assyrians, Babylonians,
Sumerians, Akkadians and many others
Mediterranean Sea
Nile R.
Also Called Mesopotamia
AFRICA
Red Sea
16
Babylonian Cuneiform
17
Mesopotamian Ziggurat or Stepped Temple
18
Sphinx Furniture Decoration
This sphinx was carved as furniture decoration.
It is from a karum, or "merchant colony around
the northern Mesopotamian (Assyrian) city of
Ashur from around 1900 B.C. These decorations
were carved to represent the creatures important
in the mythology of the ancient Near East. This
small female sphinx is an idea borrowed from the
Egyptians. Her large almond-shaped eyes and
spiral locks are similar to the Egyptian goddess
Hathor.

                                                    
What is that an example of? HINT! What term
means the spread and blending of culture?
19
Carved Cylinder Stamp Carved stones had been
used to stamp impressions on clay from as early
as the seventh millennium B.C. In the fourth
millennium B.C. carved cylinders were invented.
They could be rolled over clay and had complex
designs. Seals were either pressed on clay masses
that were used to close jars, doors, and baskets,
or they were rolled onto inscribed clay tablets
that recorded information about commercial or
legal transactions. (Late Akkadian)
20
Iron Age Cup On the body of the cup from the Iron
Age, four gazelles, framed horizontally by
guilloche bands, walk in procession to the left.
Their bodies are detailed with finely chased
lines to indicate hair and muscles. The
projecting heads were made separately and were
fastened invisibly in place by soldering, a
process much practiced in Iran involving glue and
copper salt.
21
These earrings come from the so-called Great
Death Pit, which was probably part of a royal
tomb with an almost totally destroyed stone
chamber. Laid out in the pit were the bodies of
six armed men and sixty-eight people thought to
be women or young girls, all adorned with the
most splendid jewelry made of gold, lapis lazuli
(a blue gem stone), and carnelian.
Earrings
22
Assyrian King Assurbanipal said, "I built thereon
a palace with halls of cedar, cypress, juniper,
boxwood, teak, terebinth, and tamarisk as my
royal dwelling and for the enduring leisure life
of my lordship. Beasts of the mountains and the
seas, which I had fashioned out of white
limestone and alabaster, I had set up in its
gates. I made the palace fittingly imposing. In
other words, he had a pair of these limestone
beasts, called lamassu, protect and support
important doorways in Assyrian palaces. They are
the human-headed, winged bull and lion creatures.
The horned cap shows to their divinity, and the
belt signifies their power. The sculptor gave
these guardian figures five legs so that they
appear to be standing firmly when viewed from the
front but striding forward when seen from the
side. Assyrian Lamassu
23
This 8th century Neo-Assyrian ivory carving would
have been one of a group of similar panels used
in the back of a chair. It depicts (shows) a
bearded man, perhaps a warrior, holding the stem
of a lotus plant. Above him, a winged disc
provides protection.
Assyrian Ivory Carving
24
The Hanging Gardens of Babylon
25
Man carrying a box, possibly for offerings, Early
Dynastic III 29002600 B.C.Mesopotamia
26
Ax head This ax head was found along the Oxus
and Murghab rivers in modern Uzbekistan,
Tajikistan, and Afghanistan. While these areas
were barely inhabited during much of the third
millennium B.C., by about 2200 B.C. permanent
settlements with distinctive forms of
architecture, burial practices, and material
culture had been established, supported in part
by active trade with parts of Iran, Mesopotamia,
and the Indus Valley.   This silver-gilt ax is a
masterpiece of three-dimensional sculpture.
Expertly cast and gilded with foil, it represents
a bird-headed hero grappling (fighting) with a
wild boar and a winged dragon. The idea of the
heroic bird-headed creature probably came from
western Iran, where it is first documented on a
cylinder seal impression. The hero's muscular
body is human except for the bird talons that
replace the hands and feet. He is represented
twice, once on each side of the axe, so he
appears to have two heads. On one side, he grasps
the boar by the belly and on the other, by the
tusks. On the other side, the bird-headed hero
grasps the winged dragon by the neck.
27
This figure strides with one arm raised and the
other held out, each having held a weapon such as
a spear and mace or thunderbolt. His pierced ears
had earrings, perhaps of gold, and he is clad in
an Egyptian-style kilt. The crown is the
distinctive Egyptian crown of Osiris, god of the
dead. Here the figure represented is not the
Egyptian king but rather an ancient Near Eastern
depiction of a local deity (god) of the Levant
area.     In the Late Bronze Age, a time of
intense international economic, political, and
cultural connections, artistic elements of a
variety of cultures were incorporated (brought
into) into local styles. Egyptian art especially
influenced the art of the Levant at this time,
resulting in an "Egyptianizing" style.
Excavations in Syria unearthed numerous examples
of small statues of local gods. While the designs
used may be similar to Egyptian ones, the meaning
was probably different and adapted to a local
gods likeness. Much is known about the local
religions through the text sources.
AGAIN! What is that an example of? HINT! What
term means the spread and blending of culture?
Levant God
28
  • This tiny pendant was probably intended to be
    worn round the neck as an amulet (charm). Small
    gold figures with loops survive from Iran,
    Mesopotamia, the Levant, and Egypt, so there was
    widespread use of such objects. Similar objects
    from Hittite culture suggest that these small
    figures were portable representations of Hittite
    gods. The figure shown here, cast in gold using
    the lost-wax process, is of a seated goddess in a
    long gown, with large oval eyes and a thin mouth
    with creases at the sides. She is wearing simple,
    looped earrings and a necklace. Her disk-like
    headdress probably represents the sun, which
    would lead to the conclusion that this may be the
    sun goddess, Arinna, a major Hittite
    divinity(god). A loop for suspension protrudes
    (comes out) from the back of the headdress. On
    her lap the goddess holds a naked child, cast
    separately of solid gold and then attached. The
    chair on which they are seated is backless and
    has lion paws.
  • Hittite Sun Goddess

29
By the middle of the first millennium B.C.,
kingdoms had emerged in southern Arabia based on
a monopoly of two of the most prized materials of
ancient times, frankincense and myrrh, which are
native to the region. Every temple and wealthy
home in the Mediterranean and Near East burnt
these incense resins on altars. Saba was
initially the most important kingdom but others,
such as Qataban and Macin, grew to rival it in
power.   Bronze castings of large sculptures, as
well as smaller objects, were made through most
of the first millennium B.C. and the early
centuries A.D. in southwestern Arabia. Among the
types of animal images, bullsa symbol of
strength and potencyare the most common and can
be found on funeral sites, seals, and sculptures
of the period.
Part of a Urartian throne with a god on a bull,
Arabian Bull Sculpture
  • Urartu was a powerful kingdom that rivaled the
    Assyrian Empire in the first millennium B.C. It
    extended from northeastern Turkey into
    northwestern Iran. Its settlements were
    palace-fortresses that protected agricultural
    production and supported many crafts, especially
    an extensive metalworking industry. In the late
    seventh century B.C., Urartian centers were
    destroyed by an enemy whose identity remains
    unknown.
  •  
  • This object, with the lower part of a figure
    standing along the flanks of a bull, was most
    likely part of a throne. From better-preserved
    examples, we know that the figure wore the horned
    crown of a deity. The whole would have been
    gilded (covered in gold). A throne and footstool
    supported by four deities (like this one) and
    their animal companions would have been a potent
    symbol of the Urartian king's power.

30
  • Babylonian Panel with Striding Lion
  • The Assyrian Empire fell when attacked by the
    Babylonians and Medes in 614 and 612 B.C. A new
    dynasty was established with its capital in
    Babylon. The new empire thrived under King
    Nebuchadnezzar II. He maintained friendly
    relations with the Medes and successfully dealing
    with Egypt for the control of trade on the
    eastern Mediterranean coast. Babylon became the
    city of splendor. Because stone is rare in
    southern Mesopotamia, molded glazed bricks were
    used for building and Babylon became a city of
    brilliant color.
  •  
  • The most important street in Babylon was the
    Processional Way, leading from the inner city
    through the Ishtar Gate to the Bit Akitu, or
    "House of the New Year's Festival." The Ishtar
    Gate, built by Nebuchadnezzar II, was a
    glazed-brick structure decorated with figures of
    bulls and dragons, symbols of the weather god
    Adad and of Marduk. North of the gate the roadway
    was lined with glazed figures of striding lions.
    This relief of a lion, the animal associated with
    Ishtar, goddess of love and war, served to
    protect the street its repeated design served as
    a guide for the ritual processions from the city
    to the temple.

31
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