What Was the Primary Purpose of Most Egyptian Funerary Art
Jessica Honeycutt
Throughout time many civilizations have incorporated the belief of the afterlife and funerary traditions into their everyday life and rituals. Death and funerary practices are often some of the best-preserved and widely bachelor resources for exploring entire civilizations! The graves give scholars and archeologists a glimpse of the culture, but the items found near or placed around the trunk provide the wealth of information of the culture interconnecting beliefs, rituals, socio-economic status, and civilization. Looking at primarily iii civilizations (Egyptian, Greek, and Etruscans) we will explore the obvious and minute similarities and differences between the cultures. Along with looking at the afterlife and funerary practices we will dig into the grave goods left with the body, or effectually the trunk, during preservation. Ultimately nosotros volition be exploring the differences and similarities between these civilizations and their funerary practices and the preparation that goes along with preparing the body for an afterlife.
Egyptian
Looking at our first culture, Aboriginal Egypt, there is a heavy importance on the preservation of the human body and soul. Going dorsum in history, this culture lasted from about 3500 B.C. until 2000 A.D. During this time many different rulers and periods occurred leaving lots of incredible cultural artwork and funerary trends. The most popular of these trends includes mummification.
The first example of a grave good in Egyptian funerary practices occurred before m B.C. in piffling jars called "Canoptic jars". We will be looking at the Canoptic jars from Deir el-Bahari (Upper Arab republic of egypt) from the 21st Dynasty dating back to 1069-945 BCE. In the specific Canoptic jars that we are looking at, the jars contained the organs of a woman called 'Neskhons'. These jars were notably special in the mummification process. The ritual of mummification is conspicuously expansive and intricate. Mummification includes the removal of internal organs from the deceased body and placed in these jars for preservation. The jars stand for the 'four sons of Horus' and each jar protected a specific organ. Imsety (homo-headed jar) protected the liver and is protected by Isis the goddess of creation, destruction, motherhood, magic, and fertility. Hapy (baboon- headed jar) protected the lungs and was protected by Nephthys the Goddess of households, death, service, and night. Finally, Qebehsenuef (falcon-headed jar) protected the intestines and Duametuf (jackal-headed jar) protected the tummy. Simply the organs were not but taken from the body and put into these jars; they went through a procedure called embalming. This process consists of drying the body with a common salt called natron and after they would rub oils onto the skin and then wrap it in linen strips. But the organs were merely washed, dried with natron and then wrapped in linen, skipping the oil role of the ritual. The whole mummification and embalming process did not just occur to the common or lower class at the fourth dimension in Egyptian society. During the 21st Dynasty, simply the upper class was able to have their bodies preserved and mummified in this style due to the express amount of skilled embalmers and the economical weight it held. So through these funerary practices we are able to tell the socio-economical status of the body without knowing who the body really is. But as we discussed earlier, we know that the Canoptic jars nosotros are examining are those of 'Neskons'. Neskons had been born into the upper course where her father, Smendes Ii, who was the preist rex of Amun on the Thebes wed her to blood uncle Penodjem II, who was also a high priest of Amun on the Thebes during the 21st Dynasty. In the Egyptian civilization, priests were seen equally part of the upper class, and hence Neskhons was also. But these jars do not merely provide true evidence of socio-economic status but they provide a look at the Egyptian culture as a whole and what they deem as important. Decease was not seen equally the terminate of their life or soul, but more as a transitional state of waiting for revivification. The afterlife for the Egyptians was very hard and often included jumping over many hurdles to become to the "concluding judgment" before entering the vast and everlasting afterlife. The Egyptians placed such importance on the mummification process because while the spirit of the deceased moved onto the afterlife, the body had to be preserved into society to venture into the afterlife as well. The reason the vital organs are taken out of the body and placed in these Canoptic jars is because the Egyptians did non believe they were needed during the journey into the afterlife, but were needed once they reached the afterlife. Later almost 1000 B.C. the mummification procedure somewhen underwent a slight alter and the organs were removed, dried and so placed back inside the body. But the Canoptic jars were nevertheless placed with the body whether they were imitation or solid. The reason is to still nowadays the protection of the 4 sons of Horus.
Another pop funerary practise common to Egyptian culture was the funerary mask. One of the most pop funerary masks is the "Mask of Tutankhamun" from the eighteenth dynasty around 1327 BCE, who we volition be looking at in this exhibition. In order to understand the funerary mask nosotros must dig into Pharaoh Tutankhamun biography (besides known as king Tut). In relevance to other Egyptian kings, King Tut was a relatively minor male monarch is the large scheme of things. His birth name, Sa Ra pregnant "son of the lord's day" was after changed to Tutankhaen meaning "the living image of Aten". Aten represents the god or spirit of the dominicus and is depicted as the actual solar disk. Tut belonged to the 18th Dynasty of Egyptian Kings, which existed during the period of the New Kingdom. In 1334 B.C. Tut was fabricated Pharaoh at the historic period of 9 and that same year he married his half sister, Anhensenpaaten. But Tut'southward rule just lasted a total of 9 years earlier his mysterious expiry at the age of 18/19. So why is King Tutankhamun so popular in todays society? In 1922, an archaeologist named Howard Carter (with sponsor Lord Carnarvon) happened upon it and in its celebrity and wealth became an immediate fascination. Now that you know the background of Tutankhamun we tin can fully understand the funerary mask and the cardinal elements that were put into producing this masterpiece. Funerary masks of this fourth dimension were merely produced for royalty, and it was not until later on that they were manufactured for the elite classes of both male person and female person. The function of presenting the mask in solid gold not only represents the socio-economic status, that King Tut of grade had, only it more than chiefly represents the immortal flesh of the pharaoh shining like the sun of a god. The lapis lazuli (blueish part of mask) and glittering flesh represent the sunday god, Horus. An important aspect of all mummification processes is due to the keen book called "The Book of the Dead". The Book of the Expressionless in short constitutes the spells and formulas for the use of the deceased in the afterlife and is contributed with the basic ideas of Egyptian mythology. Spell 151 is a visual compilation describing the mummification process and more closely the embalming ritual. This relates to funerary masks because the Book of the Expressionless explains how the special features of the mask such every bit the eyebrows, forehead, eyes, and other features delineate dorsum to special divinities such equally the iv children of Horus (Imsety, Hapy, Qebehsenuef, and Duametuf). The Egyptians paid such close attention to detail to the masks because the masks were the concrete representation of the dead and they too served equally reassurance that the dead would arrive safely in the afterlife. The closer the mask looked to a true divinity, the ameliorate chances it has of afterlife. Upon arriving in the afterlife, they must gain acceptance amongst all other divinities in a council like construction and predominately Osiris, the not bad god of the expressionless. The role of covering the confront of the mummy with a funerary mask in Egyptian civilization demonstrates the journey and transition of the concrete and spiritual state from this world and into the divine transformation afterlife. While Male monarch Tutankhamun might accept gained popularity today through the sheer aesthetic beauty of his funerary mask, funerary masks are not just made to look pretty, but to more importantly serve as protection for the head during the mummification procedure. Equally we discussed with the Canoptic jars, this provides another example of how Egyptians placed great importance in preserving the deceased for afterlife.
Our final piece of Egyptian art that we volition exist looking at in this exhibition is the Ushabti. The Ushabtis are piddling mummified figurines that were usually betwixt ten and xxx centimeters alpine and were fabricated out of various materials. The role of these little figurines has changed throughout fourth dimension. The case presented above is from the 26th Dynasty (663-525 B.C.E) and functions as a worker in the afterworld in place of the deceased, this is represented by on the back of these figurines where you volition see a seed pouch wrapped beyond his body and tools to work in the afterworld, usually tools to sow and reap fields or depending on what action they will perform in the afterlife. Only to really sympathise the reason for why the function of these little figurines have changed, we have to go back and look at the entire Egyptian culture. The thought of the Ushabati dates back to the Predynastic (prior to 3100 B.C.), and Early on Dynastic Period (3100-2686 B.C.), where actual man servants were to be sacrificed and buried with their deceased ruler. Luckily for the servants of later generations, this practice was accounted unnecessary and wasteful and that'southward when the idea of a symbolic image of servants was invented. The commencement representation of a servant in Egyptian funerary practices is seen painted inside tombs and to function equally aid for the deceased in the afterworld. This funerary trend eventually led to the idea of a tangible, small statue of a slave that was called "Shabti". The Shabti is a small figure humanized to perform tasks for the deceased in the afterlife. In Egyptian afterlife, the sun god "Ra" provides each deceased person with a parcel of country so that the blessed dead could receive food in the afterlife.Like in Egyptian order, the wealthy and royalty did non perform manual labor during their life and they were not well-nigh to offset now in the afterlife. Hence the function of the Shabti; they were given tools to complete the various agronomical tasks. After the Shabti figure developed into either "Shawabti" or "Ushabti" depending on the time period and location. These figurines became more than advanced in their overall appearance and their function, which was at present inscribed on the tangible statue that clearly stated their job in the afterlife. The Shawabti figurines existed along the west bank of and Thebes during the 17thursday Dynasty(1580-1550 B.C.) and 18thursday Dynasty (1543-1292 B.C.). The Ushabati models existed from the 21st Dynasty and afterwards on. Which brings u.s.a. dorsum to our instance of the Ushabti figurine from the 26th Dynasty. Since our Ushabti figure is from after the Pre Dynastic period, there is an inscription on the modest figurine that reads:
"The shining forth of the Osiris, General Ankh-wah-ib-Ra-sa-Neit. Child of (proper name unclear). Ushabti, if it is decreed that Osiris is to practice piece of work any there is in the afterlife, cast downward the obstacles in forepart of this human being. Behold me (whenever) you (the Ushabti) are called. Be watchfull at whatsoever moment to work there. To plow the fields, to water and (carry) the sand to the east, to the west. Behold me whenever called
Ultimately the inscription is stating that the Ushbati must plough the fields, water and or deport the sand to the east and w whenever Osiris calls upon on it. Like the Egyptian funerary practices that we discussed earlier, nosotros know that the depictions of the deceased were highly stylized. The Ushabtis are another instance of how the Egyptian civilization placed great importance on the preservation of the deceased and their transcending appearance into the afterlife. These tiny stylized figures depict the traditional Egyptian mummification body stance with the deceased arms crossed holding an Egyptian antiquity.
Greeks
Moving onto our adjacent civilization, The Greeks ruled from 8000 BCE to 30 BCE. During this period there were many minor periods that characterized the electric current club and traditions. The Greeks viewed funerary rituals as a way to help the soul of the expressionless transcends into the next earth. While they are transcending, the funerary rituals are in that location to help protect the deceased from bad luck and misfortune. The Greeks believed that when the person died, at that moment the psyche, or spirit of the expressionless, left the trunk like a little puff of wind. At this time is when the body was prepared for burial (whatever the ritual was for the fourth dimension period). Ancient Greeks introduced the idea of related sleep and death; they accept a saying "Sleep and expiry are brothers". This thought of sleep and expiry interrelated is prevalent in ancient Greek funerary artwork which we will look at in this exhibition. Only similar the Egyptians, the Greeks also placed grave appurtenances in the honorable dead tombs consisting of weapons, jewelry, and other precious goods.
The earliest Greek example of funerary practice is seen during the Geometric period from 900 to 700 B.C. This period is characterized past urban renewal of Greek city-states and a revival of historical by such as literature and art. During the Geometric menstruum of Greek civilization large vases served as monumental grave markers inscribed with funerary representations. The Geometric period is easy to differentiate compared to other periods due to the visible artistic distinctions. The bodies on the vase are presented with having triangle shaped breasts, elongated legs and circular heads. The top and bottom of the vase are busy with geometric lines and shapes, prevalent to this fourth dimension flow. This large vase is credited equally the "Krater" from the 2nd half of the viiith century B.C. from Attica, Greece. This item vase probably represents the death of a military warrior. This is deducted from the multiple bands of stories wrapped horizontally around the vase itself. The widest ring of the vase (top band) shows the ritual in ancient Greek funerary practices called 'Prothesis", in this practice the adult female of the family unit bath and soap the body with anointed oil then dressed the body with linen. After this the trunk is laid out in their house on a loftier bed. At this time of the funerary do friends and family may come up and mourn the deceased and pay their respects. This part of the funerary process is especially important because in the Greek funerary practice the dead were believed to exist in the underworld in the same exact form as which they leave the world of the living. So special training of the deceased trunk was one of the well-nigh, if not the most important, part of the funerary practice. Failure to do so would cause an outrage and was believed that they did not make it to the afterlife. In the lower ring (bottom ring) chariots with horses attached carry warriors with spears and shields; this probably refers to the deceased armed forces background. The funerary practice, even though not depicted on the vase, ended with the deceased being brought to the cemetery around dawn through a procession chosen the 'Ekphora'. Very few bodies of the time were placed in the physical ground, but rather a rectangular tomb, monumental earth mound, and an elaborate stelai or statue to testify where the grave was erected and to ensure that the dead will not be forgotten. The bodies were ordinarily cremated and placed within vases that were and then buried alongside the grave along with other grave goods such as jewelry, weapons, and other gifts from family and friends. . Kraters, like the ane depicted above served as a grave mark where family members could pour oil, wine, water, and other liquid offerings to the deceased through a hole in the lesser. Relating back to common ancient Greek beliefs, sleep and death were associated with one another equally being "brothers". We today well-nigh view sleep as a temporary state, whereas death is more along the lines as more than permanent state. Decease is seen as a longer depiction of slumber as the trunk transcends into the later through the steps every bit we talked about earlier (refer dorsum to Prothesis and Ekphora). The Krater helps to depict this prominent ancient Greek belief by representing the deceased in a sleeping position during the Prothesis ritual. In the cease, this Krater serves to represent the funerary traditions during the aboriginal Greek Geometric menstruum. Through this Krater we are able to deduct that the aboriginal Greeks placed heavy emphasis on the concrete afterlife practices and rituals more than the objects placed in the grave. Different Egyptian rituals, the deceased body remained intact until the end of the funerary ritual, which usually involved the trunk being cremated.
Moving past the Geometric period and onto a after period of the ancient Greek civilization called the Primitive period. Which is where we volition discuss our adjacent case of a funerary artwork called the "Kouros figure". Dating from 590-580 B.C in Attica, this effigy is one of the earliest known freestanding marble statues. The term Kouros means male youth, and it usually depicted with the same, rigid stance throughout the Archaic flow. The opinion normally represented a male standing frontal with their left leg slightly farther forward than the right and arms tucked close to their bodies with their hands clasps on their upper thighs. This strict symmetry and design highlighted the dissimilar parts of the anatomy. Only it likewise represents the cultural identity of Greece at this time. The Greeks love for harmony and symmetry is present when yous empathize "Kalokagathea". Kalokagathea is the belief that the ideas of harmony and order are importantly related to the development of the city. During this time, Greece was an emerging ascendant forcefulness and through the use of symmetry, it would attain that and this conventionalities is present in the Kouros effigy. The Egyptians had a huge affect on the Archaic period forth with the Kouros figure. Before this time period, the Greeks had carved their statues out of wood. Through the influence of the Egyptians, the Greeks wanted to start carving from a more preminent medium introduced in Egypt to make sure the soul of the deceased lived on within the statue. The Greeks incorporated the use of a more permanent medium to stand for the everlasting afterlife, and not to behold the soul. Comparison the effigy to other civilizations, the male is presented as a young boy because youths were admired in Greek society, like the Egyptians who idealized a youthful individual. The aspects of the statue are also stylized like the Egyptians from the hair that depict beads to the geometric like aspects of the boy'southward stance. The effigy also represented the cultures changing view of the human being torso. Looking back at the Krater vase we discussed before, the Kouros figures were becoming more popular meaning vases diminishing, which eventually led to their extinction in Greek funerary practices. This proves that the Greeks were becoming more than interested in human being bodies and how the man body would eventually lead to a huge culture revelation for the ideal. Analyzing Ancient Greek funerary practices, wealthy Greeks spent lots of money for funerary practices and rituals. A popular funerary ritual that lasted from most 700 to 480 BC was the idea of cemeteries outside of the cities walls. The Kouros figure was nowadays in Athenian cemeteries, where wealthy and prominent Athenians would construct these statues as grave markers or funerary monument. The effigy we are looking at today is believed to be accept marked the grave of a young Athenian blueblood. The actual statue does non represent a deity or political figure, merely rather the perfections of mortal humans who were prominent enough to be commemorated. Below the grave markers there was ordinarily an epitaph at the base and verses that highlighted the deceased interests. The ancient Greeks placed a loftier importance on the afterlife, simply were not obsessed during the archaic period. They were more concerned with their existence and comfort on globe. This is seen in the Kouros figure through the movement toward an idealized lifelike representation of a mortal. In the end, the statue may look unnatural and potent, but it represents the role of Greek art of this time period, which was to have an interest in lifelike vitality and a concern with harmony and order
Etruscans
An example of the changing views of funerary practices is during the Etruscan period dating from about 750 BCE- 250 BCE. Like the other civilizations during this time there was a heavy emphasis on the afterlife. Talking about the Etruscan civilization, the Etruscans occupied the Northern territory of Italy while the Romans and Greeks were father s and we volition examine how those civilizations intermingle with each other.
Compared to what we discussed earlier about the Greek civilization, the Etruscans were a completely different civilisation, which we will be looking at today. Unlike the Greeks, a unmarried leader or large city did not dominate the Etruscan civilization. One attribute of Etruscan civilisation that did ascendant civilization and everyday life was religion. In the Etruscan religion, their gods spoke to them (the mortals) through nature and natural events or disasters. With an obsession with religion in that location is a correlation that they would be extremely interested in the afterlife aspect of religion as well. The Etruscans believed that death was but the beginning and was the journey to the afterlife. Through the use of fine art and funerary practices, the Etruscans believed that the dead would not haunt mortals if they were pleased with their offerings to the afterlife. The example we will exist looking at today is the Tomb of the Triclinium. From Tarquinia, Italia effectually 480-470 BCE. To fully understand the importance of the tomb, lets review how the city of Tarquinia impacts the Etruscan culture. Tarquinia is located on the west declension of the Italian peninsula and is all-time known as being one of the most authoritative and prominent centers in Italy of that time. The frescos upon the walls have scenes of dancers and people enjoying a classical political party of the society. Hence why the frescos upon the walls are commonly referred to as "Dancers and Diners" and represent a celebratory funerary process. The partygoers represented in the frescoes are seen as reclining on "Trinclinium", which are formal dining room couches in which you lot lounge in when you eat or relax. Servants are besides waiting on the people while live music is beingness performed. The frescoes could stand for either the daily life of the Etruscan culture or the style they desire to live their afterlife. The people presented in the frescos are seen as either in pairs or alone simply anybody is having a feast and viewed every bit having a adept time at this commemoration. The way they are celebrating, through the drinks and mural, it is very extravagant and stylized. Breaking down the significant of this tomb, we are first going to await at the well-nigh basic function of the tomb. The tomb is an ancient Etruscan funerary practice that involves a rock-cutting tomb that contains the deceased and grave goods for the afterlife. The frescoes on the wall, unlike any civilization nosotros have looked at in this exhibition, are not seen every bit somber only rather as a festival or a feast. The feast aspect represents the transitional period from the living world to the afterlife in Etruscan funerary rituals. The deceased spirit is represented as the meal and the utensils and dishes are included in part of the grave goods. But it also serves to correspond the social norms of the gild. Every bit nosotros were talking about earlier, the Etruscans believed that in guild to successfully pass into the afterlife, the deceased must be pleased with how their tomb is decorated; otherwise the expressionless volition haunt the mortals. That is why the Etruscan spent then much time building and perfecting their tomb and rituals for the deceased. But the tomb likewise held grave appurtenances or offerings for the dead to take into the afterlife. The frescoes on the wall also represent a stylistic similarity with the Greeks. By the similarities, we are able to deduct that the Greeks and Etruscans participated in merchandise that reveals history of the civilisation. This example presents the style the Etruscan civilization viewed the death (or deaths) of a person of great importance or of high society and how the funerary norms are incorporated.
One of the nigh important Etruscan funerary artwork found to engagement is what nosotros will be looking at today. The artwork is called the "sarcophagus of a married couple (or spouses)" effectually 520 BCE and is made out of terracotta. To fully understand the importance of this piece of art, lets await at the Etruscan civilizations history. The habitation of the Etruscans was located north of Rome. The Romans were not yet a total-fledged dominance in Italy and of the world nevertheless but rather opposite of what we know it to be today. Until 509 BCE, Rome was still ruled past Etruscan kings. The artwork that nosotros are looking at dates a footling before the Romans dismissed the terminal Etruscan king in Rome. The sarcophagus is rather revolutionary compared to artworks during this time period. Every bit we looked at before, the Kouros figure represents the differences in the two civilizations. Compared to the Greeks, the Kouros effigy is presented as strong looking and rigid. In this example, the couple is seen equally being dynamic and every bit if they are moving into your space. Another radicle difference between this funerary representation and the Greeks is the incorporation of including the wife and husband together on the sarcophagus in a very intimate pose. On the other paw, the kouros figure stands lonely and but represents the male. The incorporation of a female figure does more than just represent his wife. This proves that the Etruscan civilization viewed men and women as equals. Now lets look at the actual sarcophagus. The figures on the sarcophagus are of a husband and wife indulging at a banquet. Banquets were mutual scenes that were usually depicted in Etruscan tombs, like another before instance we examined called the "Tomb of Triclinium". But there are a few speculations about what the married woman would have been holding. Either she is holding a cup or a glass, which would stand for her function at a banquet. But on the other mitt, some scholars believe that she may accept been participating in an Etruscan funerary ritual. In this ritual, the married woman is depicted equally pouring perfume onto the husbands' mitt while he is holding a pomegranate (which was a symbol for immortality or the eternal) Similar the other two civilizations we take investigated today, the Etruscans as well idealized their deceased to an extent. Most aspects of the sarcophagus are stylized; from the cushions that they recline on to their hairstyles. The elongated proportions on the couples are typical of archaic stylized forms. Lets now examine the funerary aspects of this slice of art. The funerary role of the sarcophagus is rather misleading. Different ancient Egyptian sarcophagus'southward that held the mummified body of the deceased, this sarcophagus did not really agree the deceased physical bodies. Instead is held the cremated remains of the couple like an urn. In Etruscan funerary rituals, information technology was typical for the bodies of the dead to exist cremated. The couple is presented as enjoying themselves at a feast because the Etruscans believed that depicting the deceased how they want to exist remembered in the afterlife would hope them eternal happiness. In the fear that they did non like their tomb, the ancient Etruscan funerary conventionalities was that if the deceased was non pleased with their tomb they would haunt the mortals for eternity. That is why such great accent was put on the funerary aspects on the dead. This piece of fine art represents the Etruscan civilization and its funerary practices through the use of grave goods. The sarcophagus ultimately reveals the cultural norms of the elite and the funerary belief that death is a positive and celebratory occasion.
In the cease, we reviewed three civilizations that represent the changing funerary practices in ancient societies. While some of these aspects are even so prevalent in unlike cultures today, lets be grateful that most of these funerary practices and rituals are no longer prevalent!
Jessica Honeycutt
Work Cited
ane- British Museum. "Canoptic Jars." Mummification Explore. Accessed April 22, 2015.
2- "Bout Egypt :: Funerary and Other Masks of Ancient Egypt." Funerary and Other Masks of Ancient Arab republic of egypt. Accessed April 24, 2015. http://www.touregypt.cyberspace/featurestories/masks.htm.
3- "Heilbrunn Timeline of Art History." Attributed to the Hirschfeld Workshop: Krater [Greek, Attic] (14.130.fourteen). Accessed April 24, 2015. http://www.metmuseum.org/toah/works-of-art/14.130.14.
iv- "Interpretive Resource." Interpretive Resource. Accessed Apr 24, 2015. http://www.artic.edu/aic/resources/resources/2663.
five- "Fine art History Lab." Brian Wildeman's Art History Lab Etruscan. Accessed Apr 24, 2015. http://people.ucls.uchicago.edu/~bwildem/art_hist_laba/etruscan/sarcophagus.html
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Source: https://ancientart.as.ua.edu/funerary-practices-throughout-civilizations/
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