Art of Egyptian Civilization, Essay Example

Egyptian civilization was one of the greatest civilizations. Its history lasted for about thirty centuries, thus giving opportunity for arts to be developed and honed. Unparalleled Egyptian manner to paint and to sculpt is known worldwide. We know well that Egyptian sculptors and painters worked in the same or nearly the same manner within many centuries – they painted people with the head in profile, shoulders – full-view, and legs – in profile, again. Many features make Egyptian wall paintings perfectly recognizable but at the same time indistinguishable from each other for amateurs.

I chose the wall painting from lost tomb-chapel of Nebamun for the discussion in this paper. There Nebamun is shown when he is hunting the fowl in the marshes. This wall painting was found in Thebes, in Egypt. Experts claim that it belongs to the late 18^th dynasty, around 1350 BC. This painted plaster is a part of the most bright and fascinating paintings that people have ever found in Egypt. I found this picture especially appealing because it is bright and not as symbolic and pale as vast majority of others. There are many inscriptions, sculptures, and wall paintings that represent daily life or life after death, but this one is full of life and energy. Such expressiveness is rare for Egyptian art, so I decided to research into this painting’s history and meaning.

There are several special things about this wall painting. First of all, it was not created to decorate the sealed tomb. Instead, it could have served for decoration of chapel. Later, it was turned into tomb. But when Nebamun was alive, visitors had access to this chamber and could see the life as Nebamun wished it to look like. We have every reason to think that Nebamun could not have had such leisure.

Another appealing thing about this painting is its exclusiveness. Scenes like this (fowling in the marshes) were quite typical of the period of 18^th dynasty. Other paintings from the lost tomb of Nebamun show musicians, market scene, cattle – all these motives are quite classical and they come in all shapes and sizes with countless variations. Nebamun’s hunting stands out against the whole body of classical work. It is lively and bright, with many details never previously seen in other paintings.

So, let’s explore this picture in the context of artist’s work. As specified above, its motives were classical, but performance was really extraordinary. Unfortunately, we don’t know the name of the author of this magnificent work of art. The proficiency and artistry of the painting is unmatched, but author is unknown. It is largely claimed that the master worked with several apprentices or other artists, and their work could have lasted up to three months. They were carried out by a team of at least six unidentified painters, who belonged to the workshop supervised by a master. Whatever the quantity of helpers, the major merit belongs to master. Experts call him Egyptian Michelangelo, artist of Renaissance level. His work is different from other works even of that time, though may be he had better paintings that we don’t know of.

Richard Parkinson, the leading expert on Nebamun’s paintings, spent many years researching on their history. He states rather obvious thing that Nebamun – an accountant, rather low official – should not have been depicted by such a great artist. We know pretty little about Nebamun – he was an accountant; his work was named bean counter – he counted grains in order to ensure that the wheat provision in Amun’s was appropriately controlled; he had a daughter and a son, whose name was Netjermose; he also had wife, Hatshepsut. There was nothing special about his figure. This is one of the most conspicuous things about this fresco – there are no deities, pharos or pharaoh family, and it makes this work of art special given the artistic context. But what accounted for the great artist painting mere accountant?

Parkinson gives an explanation that is rather satisfactory, but at the same time provoking. The “Michelangelo of the Nile”, as Parkinson calls the unknown artist, was working on absolutely different project. (McKie, 2009, par. 9) Supposedly, it was situated somewhere near the tomb of Nebamun. Certainly, this project (building or another tomb) was devoted to some important person. In Parkinson’s opinion, Nebamun “slipped the artist and his team some extra cash and they stole off to paint his panels (McKie, 2009, par. 9)”. Put simply, Nebamun bribed the greatest Egyptian artist we ever known in order to have his own tomb decorated. Rather plausible idea, indeed.

There are some other points of view. Minor clerk Nebamun made many scientists rack their brains in search of solution of this mystery. They made a start from the fact that Nebamun’s boss was the high priest of Amun. Accountant’s connection with artist could have been through bills of priest, or through friendship, or even through family relationship with one of the artists. This theory can explain standard motives of painting, but fails to explain thorough and outstanding work of artists. If the idea about friendship (family relations, neighborhood) is to be assumed, the best addition to it can be affection of artist to Nebamun.

The fowling in the marshes is a part of wall-painting, and examination of these frescos allows us to suppose that all of them are created to show an imaginary life, and not real. Nebamun is painted with great mastery, his figure drawing attention even on bright and vivid background. His wife and daughter may also be depicted as a part of imaged world. As the whole painting was a part of the chapel-tomb decoration, it is highly likely that its intention was to show the dignity of the Nebamun to visitors when he was alive. And afterlife of this accountant should have been just like these paintings – bright and joyful. He may have been a fat and ugly man, but in after his death he wanted to be slim and mighty.

In the chamber of Nebamun’s chapel-tomb this fresco could have been on the upper level of the tomb. Lower level, below ground, contained his body. Apparently, upper tomb chamber was supposed to accommodate relatives and friends should they want to mourn the dead. They could imagine him in the after-world as strong and happy man whose life is full of pleasures. Also, they reminded them of his activities and work. By the way, hunting was also supposed to be a kind of leisure. These paintings were supposed to be of sentimental value for family, hence their classical patterns. So when perceived in context of other tomb paintings, this one is classical in terms of context.

Attentive observer may notice that Nebamun, his wife, and his daughter wore beautiful clothes, as if they were celebrating something. Actually, even ancient Egyptians did not wear their best clothes to go hunting. Another detail, a cat sitting on two birds, is unrealistic, too. To say the truth, cat cannot help his owner in hunting. What is this cat for? How did this cat manage to sit on birds so easily? This is a bright detail that allows us to assume that this picture is full of symbolism.

It was mentioned that the idea of fowling is rather casual. So, let’s explore how this work’s details can reveal Nebamun’s wishes. There are things that have symbolic meanings such as cat and birds, and it is a normal and widespread thing. Many objects and animals had symbolic or sacrilegious importance. For example, the birds and cat that are present on this picture are symbols of fertility and female sexuality. Thus, the picture of fowling in the marshes can mean something like “taking possession of the cycle of creations and rebirth” (McKie, 2009, par. 15). This picture is bright and colorful, and unparalleled in its mastery, but it possesses certain degree of symbolism that cannot be denied, so it does not stand out of the whole Egyptian body of artworks.

One of the most notable features of this painting is its detailed depiction of animals. Classical Egyptian painter could just draw several birds, schematically showing their species. But here we can recognize vividly all butterflies, fish, birds, and flowers. What we see is not a symbolized hunting with static and impersonal hunter and indefinable birds. It is an ingenious depiction of life, even though all people are done in traditional manner. Here are many different birds which are frightened away from their nests in clump of papyrus; all of them can be classified and identified, as well as butterflies. Geese, ducks, wagtails, herons can be easily recognized. Each bird is handled with accuracy and attention, and each detail is thoroughly drafted. Among other fish in blue water one can spot a poisonous puffer fish and a mullet, both intricately drawn with all details. Such refinement is unprecedented and even unnecessary in context of decoration and craft. It is more than decoration; it is a work of art.

In context of traditional expressiveness it is rather casual – or at least easily interpretable. Nebamun is shown fowling in the marshes from a skiff and his figure is much bigger than figures of his daughter and wife. This means that he is higher in social hierarchy than them. For all Egyptian artists it would have been enough; but author of this fresco painted the Nebamun’s flesh so brightly that for visitors of the chapel-tomb it would have seen to glow. So author of this artwork exceeds traditional means of expressiveness and benefits from it.

As a rule, we do not think of Egyptians as of artists who could perform arts for art’s sake. In fact, there was no need for the paintings to be beautiful or conspicuous. Artists copied their predecessors and their art was traditionally expressive and symbolistic; their style was severe and absolutely predictable. But fragments of Nebamun’s lost tomb give an impression of life brimming over, and it seems like artists were enjoying themselves while painting this fresco. May be, that is why they experimented with color, details, and innovations. In some other works that belong to 18^th dynasty full-view faces and other deviations from traditional canons can be found. This work is special in context of traditional and usually impersonal painting.

In context of epoch of 18^th dynasty Nebamun’s hunting is controversial. On the one hand, it was the time of bright colors and experiments, as artists could allow some liberties. On the other hand, it has no experiments like full-view faces or toes. Remarkably, musicians on the other fragment of Nebamun’s tomb are shown full-face. But fowling in the marshes represents avant-garde in Egyptian art. I think that it is rather representative of Egyptian art of 18^th dynasty that was liberated in some ways.

Nebamun’s hunting in the marshes is a conspicuous work of art. It can be characterized as typical of the traditional human depiction; it is representative of the historical period; supposedly, it is typical of this unknown artist; when it comes to expressiveness, refinement of details, and choice of objects, it is absolutely special. It represents afterlife as Egyptians imagined it, thus reflecting ideas of the nation. Their values are shown in rich jewelry and fascinating scene of fowling, as it was an entertainment of elite. For tomb decoration it is very rich and extremely well done, so it could be a mark of respect from the artist. It is unusual, and circumstances of its creation could not have been casual. I think that it is a great work of art, as it stands out of the Egyptian art as we think about it.

Works Cited

Corbin, Nancy. “Avant Garde in 18th Dynasty Egyptian Art.” American Research Center in Egypt. Northern California. Aug. 15, 2009. < http://home.comcast.net/~hebsed/russman.htm>

Dorment, Richard. “The tomb-chapel of Nebamun at the British Museum, review.” Telegraph Jan. 19, 2009. Aug. 15, 2009. < http://www.telegraph.co.uk/culture/culturecritics/richarddorment/4290640/The-tomb-chapel-of-Nebamun-at-the-British-Museum-review.html>
McKie, Robin. “Raiders of the lost art.” The Observer. Jan. 4, 2009. Aug 15, 2009. < http://www.guardian.co.uk/artanddesign/2009/jan/04/british-museum-egyptian-nebamun-tomb>

Parkinson, Richard. “Nebamun’s Painted Burial Chamber.”  The Guardian Weekly. Global Network. Jan. 6, 2009. Aug. 15, 2009. < http://www.guardianweekly.co.uk/?page=editorial&id=879&catID=10>