Ancient Egyptian sculpture - distinctive features. The development of painting in ancient Egypt What type of sculptural image of the pharaoh did not exist

Ancient Egypt sculpture

Ancient Egypt sculpture- one of the most original and strictly canonically developed areas of art of Ancient Egypt. Sculpture was created and developed to represent the ancient Egyptian gods, pharaohs, kings and queens in physical form. There were also many images of ka in the graves of ordinary Egyptians, mostly made of wood, some of which have survived. Statues of gods and pharaohs were placed on public display, usually in open spaces and outside temples. The Great Sphinx in Giza was never replicated in life-size anywhere else, but alleys made from smaller copies of the Sphinx and other animals became an indispensable attribute of many temple complexes. The most sacred image of God was located in the temple, in the altar, usually in a boat or barque, usually made of precious metals, although not a single such image has survived. A huge number of carved figurines have been preserved - from figures of gods to toys and dishes. Such figurines were made not only from wood, but also from alabaster, a more expensive material. Wooden images of slaves, animals and property were placed in tombs to accompany the dead in the afterlife.

Statues, as a rule, retain the original shape of the block of stone or piece of wood from which it was carved. In traditional statues of seated scribes, similarities to the shape of a pyramid (cubic statue) are also often found.

There was a very strict canon for creating ancient Egyptian sculpture: the color of a man’s body had to be darker than the color of a woman’s body, the hands of a seated person had to be exclusively on his knees. There were certain rules for depicting Egyptian gods: for example, the god Horus should be depicted with the head of a falcon, the god of the dead Anubis with the head of a jackal. All sculptures were created according to this canon and adherence was so strict that during the almost three-thousand-year history of Ancient Egypt it did not undergo changes.

Early Kingdom Sculpture

The sculpture of the Early Dynastic period comes mainly from three major centers where temples were located - Ona, Abydos and Koptos. The statues served as objects of worship, rituals and had a dedicatory purpose. A large group of monuments was associated with the “heb-sed” ritual - a ritual of renewing the physical power of the pharaoh. This type includes the types of sitting and walking figures of the king, executed in round sculpture and relief, as well as the image of his ritual running - characteristic exclusively for compositions in relief.

The list of Kheb-sed monuments includes a statue of Pharaoh Khasekhem, represented seated on a throne in ritual attire. This sculpture indicates an improvement in technical techniques: the figure has correct proportions and is volumetrically modeled. The main features of the style have already been identified here - monumental form, frontal composition. The pose of the statue is motionless, fitting into the rectangular block of the throne; straight lines predominate in the outlines of the figure. Khasekhem's face is portrait-like, although his features are largely idealized. The placement of the eyes in the orbit with a convex eyeball is noteworthy. A similar technique of execution extended to the entire group of monuments of that time, being a characteristic stylistic feature of portraits of the Early Kingdom. By the same period, the canonicity of the predynastic period (Ancient Egypt)|predynastic period]] standing at full height was established and gave way in the plastic arts of the Early Kingdom to the correct rendering of the proportions of the human body.

Old Kingdom Sculpture

Statue of Kaaper ("Village Chief"). Cairo Museum. Egypt.

Middle Kingdom sculpture

Significant changes in sculpture occur precisely in the Middle Kingdom, which is largely explained by the presence and creative competition of many local schools that gained independence during the period of collapse. Since the time of the XII Dynasty, ritual statues have become more widely used (and, accordingly, produced in large quantities): they are now installed not only in tombs, but also in temples. Among them, images associated with the rite of heb-sed (ritual revival of the pharaoh's life force) still dominate. The first stage of the ritual was associated with the symbolic murder of the elderly ruler and was performed over his statue, which in composition resembled canonical images and sculptures of sarcophagi. This type includes the gray-haired statue of Mentuhotep-Nebkhepetra, depicting the pharaoh in a pointedly frozen pose with his arms crossed on his chest. The style is distinguished by a large share of conventionality and generality, generally typical for sculptural monuments of the early era. Subsequently, the sculpture comes to a more subtle modeling of faces and greater plastic dismemberment: first of all, this is manifested in female portraits and images of private individuals.

Over time, the iconography of the kings also changes. By the time of the 12th Dynasty, the idea of the divine power of the pharaoh gives way in images to persistent attempts to convey human individuality. The heyday of sculpture with official themes occurred during the reign of Senwosret III, who was depicted at all ages - from childhood to adulthood. The best of these images are considered to be the obsidian head of Senusret III and sculpted portraits of his son Amenemhat III. The type of cubic statue - an image of a figure enclosed in a monolithic stone block - can be considered an original find by masters of local schools.

The art of the Middle Kingdom is the era of the heyday of the plastic arts of small forms, mostly still associated with the funeral cult and its rituals (sailing on a boat, bringing sacrificial gifts, etc.). The figurines were carved from wood, covered with primer and painted. Entire multi-figure compositions were often created in round sculpture (similar to how it was customary in the reliefs of the Old Kingdom).

New Kingdom Sculpture

In the art of the New Kingdom, sculptural group portraits appear, especially images of a married couple.

The art of relief acquires new qualities. This artistic field is noticeably influenced by certain genres of literature that became widespread during the New Kingdom: hymns, war chronicles, love lyrics. Often texts in these genres are combined with relief compositions in temples and tombs. In the reliefs of Theban temples there is an increase in decorativeness, free variation of bas-relief and high-relief techniques in combination with colorful paintings. This is the portrait of Amehotep III from the tomb of Khaemkhet, which combines different heights of relief and in this respect is an innovative work. The reliefs are still arranged in registers, allowing the creation of narrative cycles of enormous spatial extent.

Amarna period

The art of the Amarna period is distinguished by its remarkable originality, which stems primarily from the nature of the new worldview. The most unusual fact is the rejection of a strictly idealized, sacred understanding of the image of the pharaoh. The new style was even reflected in the colossi of Amenhotep IV, installed in the Temple of Aten at Karnak. These statues contain not only the typical canonical techniques of monumental art, but also a new understanding of portraiture, which now required a reliable representation of the pharaoh’s appearance, down to the characteristic features of the body structure. The criterion of verisimilitude was a kind of protest against the previous official art, therefore the word “maat” - truth - is filled with a special meaning. Images of Akhenaten are an interesting example of a combination of authenticity with the requirement for extreme generalization and normativity characteristic of Egyptian art. The shape of the pharaoh's head, the unusually elongated oval of the face, thin hands and a narrow chin - all these features were carefully preserved and reflected in the new tradition, but at the same time all the artistic techniques were fixed on special samples - sculptural models.

The characteristic techniques of depicting the pharaoh were extended to members of his family. A frank innovation was the depiction of figures entirely in profile, which was previously not allowed by the Egyptian canon. What was also new was the fact that ethnic features were preserved in the portrait: such is the head of the pharaoh’s mother, Queen Tia, inlaid with gold and glassy paste. The intimate lyrical principle is manifested in the Amarna reliefs, full of natural plasticity and not containing canonical frontal images.

The works of the workshop's sculptors are rightly considered the culmination of the development of fine art. These include the well-known polychrome head of Queen Nefertiti in a blue tiara. Along with the completed works, many plaster masks that served as models were also found in the excavations of sculpture workshops.

Late Kingdom sculpture

Notes

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Scientists still have not determined when exactly the oldest statue in the world, the sculpture of the Sphinx, was erected: some believe that the world saw this grandiose structure back in the thirtieth century BC. But most researchers are still more cautious in their assumptions and claim that the Sphinx is no more than fifteen thousand years old.

This means that already at the time of the creation of the most grandiose monument of mankind (the height of the Sphinx exceeded twenty meters and the length - more than seventy), art, in particular sculpture, was already well developed in Egypt. It turns out that the Sphinx statue is actually much older than the Egyptian culture, which appeared in the 4th millennium BC.

Most researchers question this version and so far agree that the face of the Sphinx is the face of Pharaoh Hebren, who lived around 2575 - 2465. BC e. - which means it indicates that this grandiose structure from monolithic limestone rock was carved by the Egyptians. And he guards the pyramids of the pharaohs in Giza.

Almost all researchers agree that the funeral cult of the inhabitants of ancient Egypt played an important role in the development of sculpture - if only because they were convinced: the human soul could well return to earth to its body, a mummy (it was for this purpose that huge tombs were created, structures in which the deceased bodies of pharaohs and nobles were supposed to be located). If the mummy could not be preserved, it could well move into its likeness - a statue (which is why the ancient Egyptians called the sculptor “creator of life”).

They created this life according to once and for all established canons, from which they did not deviate for several millennia (special instructions and guidelines were even provided and developed specifically for this purpose). Ancient masters used special templates, stencils and grids with canonically established proportions and contours of people and animals.

The sculptor’s work consisted of several stages:

Before starting to work on the statue, the master chose a suitable stone, usually rectangular in shape;
After that, using a stencil, I applied the desired design to it;
Then, using the carving method, I removed the excess stone, after which I processed the details, grinded and polished the sculpture.

Characteristics of Egyptian sculptures

Mostly ancient Egyptian statues depicted rulers and nobles. The figure of a working scribe was also popular (he was usually depicted with a roll of papyrus on his lap). Sculptures of gods and rulers were usually displayed for public viewing in open spaces.

The statue of the Sphinx was especially popular - despite the fact that structures of the same size as in Giza had never been made anywhere else, there were many smaller duplicates of it. Alleys with its copies and other mystical beasts could be seen in almost all the temples of ancient Egypt.

Considering that the Egyptians considered the pharaoh to be the incarnation of god on earth, the sculptors emphasized the greatness and indestructibility of their rulers with special techniques - the arrangement of figures and scenes, their sizes, poses and gestures (poses intended to convey any moment or mood were not allowed).

The ancient Egyptians depicted gods only according to strictly defined rules (for example, Horus had the head of a falcon, while the god of the dead, Anubis, had a jackal). The poses of the human statues (both sitting and standing) were quite monotonous and the same. All seated figures were characterized by the pose of Pharaoh Khafre sitting on the throne. The figure is majestic and static, the ruler looks at the world without any emotions and it is obvious to anyone who sees him that nothing can shake his power, and the character of the pharaoh is imperious and unyielding.

If the sculpture depicting a man is standing, his left leg always takes a step forward, his arms are either lowered down, or he is leaning on the staff he is holding. After some time, another pose was added for men - the “scribe”, a man in the lotus position.

At first, only the sons of the pharaohs were depicted this way. The woman stands straight, legs are closed, right hand is lowered, left hand is on the waist. Interestingly, she does not have a neck; her head is simply connected to her shoulders. Also, the craftsmen almost never drilled out the spaces between her arms, body and legs - they usually marked them in black or white.

The masters usually made the bodies of the statues powerful and well-developed, giving the sculpture solemnity and grandeur. As for faces, portrait features are, of course, present here. When working on the statue, the sculptors discarded minor details and gave their faces an impassive expression.

The coloring of ancient Egyptian statues also did not differ in particular variety:

male figures were painted red-brown,
women's - yellow,
hair – black;
clothes - white;

The Egyptians had a special relationship with the eyes of sculptures - they believed that the dead could observe earthly life through them. Therefore, masters usually inserted precious, semi-precious stones or other materials into the eyes of statues. This technique allowed them to achieve greater expressiveness and even liven them up a little.

Egyptian statues (this does not mean fundamental structures, but smaller products) were not designed to be viewed from all sides - they were completely frontal, many of them seemed to lean back against a stone block, which served as a background for them.

Egyptian sculptures are characterized by complete symmetry - the right and left halves of the body are absolutely identical. Almost all the statues of ancient Egypt have a sense of geometricity - this is most likely explained by the fact that they were made from rectangular stone.

The evolution of Egyptian sculptures

Since creativity cannot help but respond to changes that occur in the life of society, Egyptian art did not stand still and over time changed somewhat - and began to be intended not only for funeral rites, but also for other buildings - temples, palaces, etc.

If at first they depicted only gods (a large statue of one or another deity made of precious metals was located in the temple dedicated to him, in the altar), sphinxes, rulers and nobles, then later they began to depict ordinary Egyptians. Such figurines were mostly wooden.

Many small figurines made of wood and alabaster have survived to this day - and among them there were figurines of animals, sphinxes, slaves, and even property (many of them subsequently accompanied the dead to the other world).

Early Kingdom statues (IV millennium BC)

Sculpture during this period developed mainly in the three largest cities of Egypt - Ona, Kyptos and Abydos: it was here that there were temples with statues of gods, sphinxes, and mystical animals that the Egyptians worshiped. Most of the sculptures were associated with the ritual of renewing the physical power of the ruler (“heb-sed”) - these are, first of all, figures of sitting or walking pharaohs carved into the wall or presented in a round sculpture.

A striking example of this type of statue is the sculpture of Pharaoh Khasekhem, sitting on a pedestal, dressed in ritual clothing. Already here you can see the main features of ancient Egyptian culture - correct proportions, in which straight lines and monumental form predominate. Despite the fact that his face has individual facial features, they are overly idealized, and his eyes have the convex eyeball traditional for all sculptures of that era.

At this time, canonicity and conciseness are established in the form of expression - secondary signs are discarded and attention is focused on the majesty in the image.

Statues of the Ancient Kingdom (XXX – XXIII centuries BC)

All statues of this period continue to be made according to previously established canons. It cannot be said that preference is given to any particular pose (this is especially true for male figures) - both full-length statues with the left leg extended forward, as well as those seated on a throne, sitting with legs crossed in the shape of a lotus, or kneeling, are popular.

At the same time, precious or semi-precious stones began to be inserted into the eyes, and raised eyeliner was applied. Moreover, the statues began to be decorated with jewelry, thanks to which they began to acquire individual features (examples of such works are the sculptural portraits of the architect Rahotep and his wife Nofret).

At this time, wooden sculpture was significantly improved (for example, the figure known as the “Village Headman”), and in the tombs of those times you can often see figurines that depict working people.

Statues of the Middle Kingdom (XXI–XVII centuries BC)

During the Middle Kingdom in Egypt, there were a huge number of different schools - accordingly, the development of sculpture underwent significant changes. They are beginning to be made not only for tombs, but also for temples. At this time, the so-called cubic statue appeared, which is a figure enclosed in a monolithic stone. Wooden statues are still popular, which the craftsmen, after carving from wood, covered with primer and painted.

Sculptors are increasingly paying attention to the individual characteristics of a person - with the help of perfectly crafted elements, in their works they show the character of a person, his age and even his mood (for example, just by looking at the head of Pharaoh Senusret III, it becomes clear that he was once a strong-willed , imperious, ironic ruler).

Statues of the New Kingdom (XVI–XIV centuries BC)

During the New Kingdom period, monumental sculpture received special development. Not only does it increasingly go beyond the boundaries of the funerary cult, but it also begins to show individual features that are not typical not only of official, but even of secular sculpture.

And secular sculpture, especially when it comes to the female figure, acquires softness, plasticity, and becomes more intimate. If earlier, according to the canons, female pharaohs were often depicted in full royal garb and even with a beard, now they get rid of these features and become elegant, graceful, and refined.

Amarna period (beginning of the 14th century BC)

At this time, sculptors began to abandon the highly idealized, sacred image of the pharaoh. For example, using the example of the huge statues of Amenhotep IV, you can see not only traditional techniques, but also an attempt to convey as accurately as possible the appearance of the pharaoh (both his face and figure).

Another innovation was the depiction of figures in profile (previously the canon did not allow this). During this period, the world-famous head of Nefertiti in a blue tiara, created by sculptors from the Thutmes workshop, also appeared.

Late Kingdom Statues (XI – 332 BC)

At this time, masters begin to adhere less and less to the canons, and they gradually fade away and become conditionally idealized. Instead, They began to improve their technical skills, especially in the decorative part (for example, one of the best sculptures of that time is the head of the statue of Mentuemhet, made in a realistic style).

When Sais was in power, the masters again returned to monumentality, staticity and canonical poses, but they interpreted this in their own way and their statues became more stylized.

After in 332 BC. Alexander the Great conquered Egypt, this country lost its independence, and the cultural heritage of ancient Egypt finally and irrevocably merged with ancient culture.

Ancient Egypt sculpture

Early Kingdom Sculpture

Statue of Pharaoh Khasekhemui.

The list of Kheb-sed monuments includes a statue of Pharaoh Khasekhem, represented sitting on a throne in ritual attire. This sculpture indicates an improvement in technical techniques: the figure has correct proportions and is volumetrically modeled. The main features of the style have already been identified here - monumental form, frontal composition. The pose of the statue is motionless, fitting into the rectangular block of the throne; straight lines predominate in the outlines of the figure. Khasekhem's face is portrait-like, although his features are largely idealized. The placement of the eyes in the orbit with a convex eyeball is noteworthy. A similar technique of execution extended to the entire group of monuments of that time, being a characteristic stylistic feature of portraits of the Early Kingdom. By this same period, the canonicity of the pre-dynastic period standing at full height was established, giving way in the plastic arts of the Early Kingdom to the correct rendering of the proportions of the human body.

New features also appeared in the reliefs. If in the previous era masters usually preferred multi-figure compositions, now they strived for a laconic form of expression. The more secondary, private features are discarded in the images, the more the main and essential appears in the image, acquiring a multi-valued meaning, elevating it to the category of symbol. A clear example of this is given by the famous stele from Abydos of the king of the 1st dynasty Jet. Here the artist found simple and meaningful visual means. The hieroglyph of the snake, meaning the name Jet, fits into a rectangular field above the conventional reproduction of the palace facade “serekh”, which symbolized the earthly abode of the pharaoh and served as the home of the deity, embodied in the guise of the reigning ruler.

The strict vertical division of the facade, similar to architectural structures, contrasts in the Jeta stele with the flexible body of the snake. The image of the falcon Horus, which was part of the name of the pharaohs of the zero dynasty and the Early Kingdom, was an example of calligraphic writing of the corresponding hieroglyphic sign.

In the composition, you can notice a shift of the images to the left relative to the frame of the stele and the central vertical axis. This technique is based on the rhythmic balance of the proportions of the “golden section”.

Old Kingdom Sculpture

Statue of Kaaper ("Village Chief"). Cairo Museum. Egypt.

Many sculptural monuments have been preserved from the era of the Old Kingdom, most of which had a ritual purpose. Burials and temples abound with portrait images of doubles of the dead - ka, in which the portrait art of Egypt took shape. The art of the Ancient Kingdom is especially rich in this kind of monuments. These include not only full-length sculptural images, but also “Gizech heads” - casts and sculptures of heads that did not have traditional coloring and probably served as working models for portrait images.

Statuary compositions in the Old Kingdom strictly followed a certain number of canonized types. Particularly widespread are standing figures with their left leg extended forward, sitting on a throne or kneeling. The canonical type of scribe statue was widely used. In connection with ritual purposes, the technique of complex inlay of eyes or a relief outline along the contour of the eyelids, as well as careful decorative design of statues, which, despite the canonical composition, received an individual pictorial interpretation, have long been introduced into use. These are the sculptural portraits of the architect Rahotep (son of Pharaoh Snefru) and his wife Nofret - the archaeologists themselves who carried out the excavations were shocked by the liveliness and expressiveness of these sculptures; royal scribes, nephew of Pharaoh Cheops, architect Hemiun. Ancient Egyptian artists achieved high skill in wooden sculpture (the statue of Kaaper, known as the “Village Chief”). Small figurines depicting working people are ubiquitous in tombs. Here the canon is observed less strictly, although the masters do their best to avoid imbalance in the position of the figure.

Reliefs in this era are not limited to the sphere of small forms. A narrative narrative appears in them, especially characteristic of ritual images in tombs. Gradually, a strict system of their placement develops: full-length figures of two deities or the owner of the tomb are placed at the entrance to the temple or tomb. Further along the walls of the corridors follow images of gift bearers, directed towards the middle niche with a false entrance. Above the niche of the doorway there was usually an image of the deceased in front of the altar. Such ensembles were carried out by a group of craftsmen according to a single plan, strictly corresponding to the nature of the architectural solution. The reliefs (bas-relief and relief with a deep contour) differed in the plane of execution and were usually painted. Relief compositions were complemented by painting.

Middle Kingdom sculpture

Three granite statues of Pharaoh Senusret III. British museum. London

Significant changes in sculpture occurred precisely in the Middle Kingdom, which is largely explained by the presence and creative competition of many local schools that gained independence during the period of collapse. Since the time of the XII Dynasty, ritual statues have become more widely used (and, accordingly, produced in large quantities): they are now installed not only in tombs, but also in temples. Among them, images associated with the rite of heb-sed (ritual revival of the pharaoh's life force) still dominate. The first stage of the ritual was associated with the symbolic murder of the elderly ruler and was performed over his statue, which in composition resembled canonical images and sculptures of sarcophagi. This type includes the gray-haired statue of Mentuhotep-Nebkhepetra, depicting the pharaoh in a pointedly frozen pose with his arms crossed on his chest. The style is distinguished by a large share of conventionality and generality, generally typical for sculptural monuments of the early era. Subsequently, the sculpture comes to a more subtle modeling of faces and greater plastic dismemberment: first of all, this is manifested in female portraits and images of private individuals.

Over time, the iconography of the kings also changes. By the time of the 12th Dynasty, the idea of the divine power of the pharaoh gives way in images to persistent attempts to convey human individuality. The heyday of sculpture with official themes occurred during the reign of Senusret III, who was depicted at all ages - from childhood to adulthood. The best of these images are considered to be the obsidian head of Senusret III and sculptural portraits of his son Amenemhet III. The type of cubic statue - an image of a figure enclosed in a monolithic stone block - can be considered an original find by masters of local schools.

New Kingdom Sculpture

Relief from the tomb of Khaemkhet

The art of the New Kingdom is distinguished by the significant development of monumental sculpture, the purpose of which now often extends beyond the sphere of funerary cult. In Theban sculpture of the New Kingdom, features appear that were not previously characteristic of not only official, but also secular art. Individuality distinguishes portrait images of Hatshepsut.

In the art of the New Kingdom, sculptural group portraits appear, especially images of a married couple.

The art of relief acquires new qualities. This artistic field is noticeably influenced by certain genres of literature that became widespread during the New Kingdom: hymns, war chronicles, love lyrics. Often texts in these genres are combined with relief compositions in temples and tombs. In the reliefs of Theban temples there is an increase in decorativeness, free variation of bas-relief and high-relief techniques in combination with colorful paintings. This is the portrait of Amenhotep III from the tomb of Khaemkhet, which combines different heights of relief and in this regard is an innovative work. The reliefs are still arranged according to registers, allowing the creation of narrative cycles of enormous spatial extent.

Amarna period

Bust of Nefertiti

The art of the Amarna period is distinguished by its remarkable originality, which stems primarily from the nature of the new worldview. The most unusual fact is the rejection of a strictly idealized, sacred understanding of the image of the pharaoh. The new style was reflected even in the colossi of Amenhotep IV, installed in the Temple of Aten at Karnak. These statues contain not only the typical canonical techniques of monumental art, but also a new understanding of portraiture, which now required a reliable representation of the pharaoh’s appearance, down to the characteristic features of the body structure. The criterion of verisimilitude was a kind of protest against the previous official art, therefore the word “maat” - truth - is filled with a special meaning. Images of Akhenaten are an interesting example of a combination of authenticity with the requirement for extreme generalization and normativity characteristic of Egyptian art. The shape of the pharaoh's head, the unusually elongated oval of the face, thin hands and a narrow chin - all these features were carefully preserved and reflected in the new tradition, but at the same time all the artistic techniques were fixed on special samples - sculptural models.

The works of the sculptors of Thutmes’ workshop are rightly considered the culmination of the development of fine art. These include the well-known polychrome head of Queen Nefertiti in a blue tiara. Along with the completed works, many plaster masks that served as models were also found in the excavations of sculpture workshops.

Sculpture plays a vital role in the culture of the most ancient civilization on Earth. According to the ideas of the Egyptians, one of the human souls - ka - has the ability to reside in two worlds at once: the earthly and the afterlife. Hence the desire to preserve the body of a deceased person by any means (embalming and mummification), as well as the creation of a large number of sculptures that can serve as a shell for the soul “ka”.

Another feature of Egyptian sculpture is the strict canons (rules) by which all images were created. On the one hand, the sculpture had to be realistic enough for the soul to “recognize” its shell; on the other hand, the canon required complete symmetry in the depiction of a person, and the physique was also subject to strict rules. That is why numerous images of pharaohs, priests and gods seem to be of the same type, and the differences exist only in facial features. Departures from the rules were allowed only when depicting low-class people: officials, military personnel, etc.

The vast majority of ancient Egyptian sculptures are static. Most often, kings and gods are depicted sitting on a throne, or standing, the hands of the figures resting on their knees, or crossed on their chests, their gaze directed straight ahead. This angle created an amazing effect; it seems to the viewer that the statue is looking directly at him, no matter from what angle he looks at the sculpture. The huge eyes of the sculptures also have cult significance. The Egyptians were sure that a person's soul was in his eyes. Therefore, all sculptures were painted very carefully.

The most famous Egyptian sculpture is the Great Sphinx. A mythical creature with the head of Pharaoh Khafre and the body of a lioness. A monumental sculpture, the guardian of the pyramids served as a guardian of the peace of the kings in the valley of the pyramids. The majestic pose, the look full of peace and detachment, power and inner strength still make an indelible impression on tourists.

Temple sculptures of pharaohs and gods deserve special attention. Executed in strict accordance with the canon, the Egyptian kings are presented as majestic, well-built and aloof. It was possible to depict a pharaoh, a living god, only outside of time and everyday life. All standing sculptures depict the king taking a step forward (the so-called “step into eternity”), symbolically this signifies the ruler’s transition from earthly life to eternal life.

The sculptural masks of the pharaohs, which covered the faces of the pharaohs in sarcophagi, are extremely interesting. Craftsmen used precious metals and multi-colored enamels to create masks. The most famous mask is that of Pharaoh Tutankhamun.

Sculptural portraits of Egyptian masters left us brilliant examples of realism and plasticity. Portraits of Nefertiti, Teye, Mikerin, Amenhotep III and others are undoubted masterpieces of ancient art. Most often, sculptural portraits are preserved parts of statues lost over the centuries.

The art of the Amarna period deserves a separate discussion. At this time, when Pharaoh Akhenaten banned the worship of the numerous gods of the Egyptians and proclaimed monotheism. At the same time, artists were allowed to deviate from the canon and depict people as they really are. Therefore, the statues and images of the rebellious pharaoh himself are radically different from the images of other rulers. Before the viewer is an ugly man, with crooked legs and a protruding belly. But the value of these images lies precisely in their historical accuracy and truthfulness.

For their sculptures, the masters of Ancient Egypt used a variety of materials: wood, alabaster, basalt, quartzite, limestone. The characteristics of each material were taken into account, helping to create unique, special, accurate and reliable images within the framework of strict canons.

The best examples of ancient Egyptian sculpture are kept in museums

The state of Ancient Egypt was rich and powerful. It was in Egypt that monumental architecture, realistically truthful sculptural portraits, and works of artistic crafts originated.

One of the achievements of the Egyptians was the creation of a human image together with other people. In the art of Ancient Egypt, interest in the personality and individual characteristics of man was established.

All ancient Egyptian art was subject to cult canons. Relief and sculpture were no exception here. The masters left outstanding sculptural monuments to their descendants: statues of gods and people, figures of animals.

The man was sculpted in a static but majestic pose, standing or sitting. In this case, the left leg was pushed forward, and the arms were either folded on the chest or pressed to the body.

Some sculptors were required to create figures of working people. At the same time, there was a strict canon for depicting a specific occupation - the choice of a moment characteristic of this particular type of work.

Religious purpose of statues

Among the ancient Egyptians, statues could not exist separately from religious buildings. They were first used to decorate the retinue of the deceased pharaoh and were placed in the tomb located in the pyramid. These were relatively small figures. When kings began to be buried near temples, the roads to these places were lined with many huge statues. They were so big that no one paid attention to the details of the image. The statues were placed near pylons, in courtyards and already had artistic significance.

In the minds of the Egyptians, man had several essences. Combining them into one gave him hope of gaining eternal life. Consequently, in relief and sculpture they created not the images that they saw with their own eyes, but what they wanted to see or found most suitable for happiness and eternal peace in the other world.

During the Old Kingdom, the round form was established in Egyptian sculpture, and the main types of composition emerged. For example, the statue of Mikerinus depicts a standing man with his left leg extended and his arms pressed to his body. Or the statue of Rahotep and his wife Nofret represents a seated figure with his hands placed on his knees.

In Egyptian sculpture you can see not only a single image of a person, but also group compositions, where human figures are located on the same line. The main figure is 2-3 times larger than the others. The general rule - to create an exaggerated statue of the king - was also observed in planar images.

What materials did sculptors make their sculptures from? Stone, wood, bronze, clay, ivory. Many huge statues were carved from granite, basalt or diorite. Statues of real human height were molded from sandstone and limestone and covered with paint.