By Melinda K. Hartwig
A significant other to old Egyptian paintings provides a accomplished choice of unique essays exploring key strategies, serious discourses, and theories that form the self-discipline of old Egyptian art.
* gains contributions from most sensible students of their respective fields of workmanship with regards to historic Egyptian artwork * presents overviews of prior and current scholarship and indicates new avenues to stimulate debate and make allowance for severe readings of person paintings works * Explores topics and subject matters similar to methodological ways, transmission of Egyptian paintings and its connections with different cultures, historic reception, know-how and interpretation, * presents a accomplished synthesis on a self-discipline that has various to the level that it now accommodates matters starting from gender idea to 'X-ray fluorescence' and 'image-based interpretations platforms'
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Extra info for A Companion to Ancient Egyptian Art
6 Ku. 14 Ku. 11 (Ku. 9) ca. 885–835 BCE ca. 865–825 BCE ca. 845–815 BCE ca. 825–805 BCE ca. 805–795 BCE ca. 785–765 BCE Early Napatan Kings/Kings of Dynasty 25 Kashta (Ku. 8) Piankhi (Piye) Ku. 17 Shabako Ku. 15 Shebitqo Ku. 18 Taharqa Nu. 1 Tanwetamani Ku. 16 ca. 765–753 BCE ca. 753–722 BCE ca. 722–707 BCE ca. 707–690 BCE 690–664 BCE 664–655/53 BCE (in Egypt) Napatan Kings Atlanersa Senkamanisken Anlamani Aspelta Aramatelqo Malonaqen Analmakheye Amani-nataki-lebte second half of seventh century BCE second half of seventh century BCE late seventh century BCE early sixth century BCE second quarter of sixth century BCE ﬁrst half of sixth century BCE middle of sixth century BCE second half of sixth century BCE (Nu.
Individual pictorial images of the dynastic period—as opposed to whole scenes—were generally close to reality in outline and proportions; what they depicted could and can be easily identiﬁed. This focus on real things extended to composite forms, notably in decorative arts such as ceiling designs and textiles, most of which used abstract shapes less often than recognizable elements derived from prototypes in the natural or cultural world. The same is true of many architectural forms, with the notable exception of highly geometric structures such as pyramids.
Maps xlviii BLACK SEA MACEDONIA Pella Vergina Hattusha Yazilikaya Troy GREECE LY D I A AEGEAN SEA A N AT O L I A Kültepe Sardis Athens Mycenae PELOPONNESOS Paros Samos Ephesus Jebel Aruda Delos Adana Thera CYCLADIC ISLANDS Habuba Kabira Ebla Alalakh (Alalah) Ugarit Rhodes SYRIA CYPRUS Knossos Mallia Byblos ANT Agia Triada Qatna Kadesh LEV Phaistos CRETE MEDITERRANEAN SEA Jerusalem Dead Sea Alexandria Avaris (Tell el-Dab’a) Memphis SINAI EGYPT R. 3 Ancient Eastern Mediterranean (after V. Karageorghis (2000), Ancient Art from Cyprus: The Cesnola Collection in the Metropolitan Museum of Art, xiv.