Canons of Egyptian sculptures. Features of the Egyptian sculpture

Art of ancient Egypt
"There is something, before the indifference of the constellations, and the eternal whisper of waves, - the act of man who takes her prey from death" ... (from ancient Egyptian papyrus)
Egypt is a country whose population lived in the Sahara area still from Neolith, that is, was autochon. The deep connection with the primitiveness that thormed it permeates the entire Egyptian culture. So, the idea of \u200b\u200bthe pyramid could be born from the idea of \u200b\u200bthe sacred grief. The idea of \u200b\u200bthe sacred value of a separate stone is implemented in the form of an obelisk. Egyptian culture slowly grown out of primary, while maintaining a connection with such primitive beliefs as animism, fetishism and totemism. Animism was manifested in the creation of statues-janitors, the mummification of the pharaoh bodies, in painting the pyramids and rock tomb, the topic of which was the journey of the soul of the deceased in the kingdom of Aida. The foundations of the iconography and stylistics of Egyptian art will continue for thousands of years.

Art in Egypt was as aimed at approving the idea of \u200b\u200bthe Vsevladia "Good God", such was the official title of Pharaoh. Another distinguishing feature of the art of ancient Egypt is a connection with a funeral cult caused by the desire to extend the life after death. To do this, it was necessary to keep the body of the deceased and to supply it to everyone necessary for the afterlife, not only mummifying the body, but also create a similarity - a statue. That is why the brewer in ancient Egypt was called "Santa" - "creative life."
The art of the ancient kingdom (XXVIII-XXIII century BC)
More than ten thousand years ago, nomadic tribes of hunters under the influence of the drainage of the Sahara switched to a settled agriculture in the Nile Valley. Initially, Egypt consisted of individual areas - nooms who were constantly hostile among themselves. Each of the Nomov had his own patron in the form of a crocodile, Ibisa or snake. After the conquest of the North, the country has occurred to South Egypt.
Sculpture

Hathor Goddess of the sky, depicted in the appearance of a cow, later with cow horns, between which a sun disc is placed.

According to the ideas of the Egyptians, each person had the sah - the body, the shunt - shadow, Ren - the name, Ah - Ghost, Ba - the manifestation of the essence and ka - the soul, which is an immortal twin. The underlying condition of the afterlife is the preservation of the body, for which mummifying has become used. Strict adherence to the front and symmetry in building a figure, solemn tranquility poses passed to stay in the other world. At first, noble people depicted either sitting with her knees or standing with the left foot standing forward. With the IV dynasty appear pins in the form of scribes. The heads are put straight, in the hands of mandatory attributes. The bodies of men were painted brick-red, women - yellow, hair - black, clothes - white. Bodies depicted extremely developed. The Lord has shown more than the remaining depicted figures. The Egyptians believed that the soul would be protected inside the pyramid. Figurines depicting a variety of servants of Pharaoh were placed in the tomb. Unlike the statues of the nobles, the poses of which are canonical, the statues of servants transferred different moments of their activities, which led to a wide variety of positions of their bodies.

The sculpture that had a cult value in Egypt was also subordinate to the canon. A significant part of the sculptural images of the pharaohs reached us shows the Lord of Egypt sitting on the throne, wrapped in the funeral veil. These sculptures were the objects of a special ritual, which was based on a well-known since antiquity and now practiced by some African tribes rite ritual killing of the leader. Another type of Egyptian sculpture is the cult statues of Pharaohs, standing near the pyramids. In these sculptures, Pharaoh appeared sitting or standing. On the body - a campaved bandage, on the head - a seat. Face impassively. Another kind of sculptural image received the name of the sculpture "in life" - it was put together with the mummified body of Pharaoh in the mortgage chamber, she portrayed the guards, scribes, water lines - all those who continue to serve Pharaoh after their death.

The walls of the clock temples were decorated not only reliefs, but also picturesque compositions. The Egyptian artist showed not what he saw from a certain point of view, but what he knew about the figure, seeking to identify the most expressive - the eyes shown in the FAS on the face in the profile, deployed directly on the viewer's shoulders and the leg shown. Figures rely on the land of the whole feet. The artist does not know the laws of perspective, the magnitude of the shapes depends on their social status. Each scene is a complete integer and at the same time part of the overall composition. Each belief belt, as a new line, is linked to the following. The reliefs and paintings of the tombs are devoted to the idea of \u200b\u200bsupplying the deceased to everyone necessary for the afterlife.

For a long time, in front of the sculptors, the task of creating portrait images required to make the soul returned to the preserved body. The established type of statue of the ancient kingdom represents the statue of Pharaoh Snofer: the neck has the right proportions, the eyes are slightly deepened in orbits. In the statue of Pharaoh Micherina, full cheeks, straight, slightly rolled nose, perfectly delineated, peculiar mouth. Son's sculptures Snofer Rakhhotpa and his wife Nefert are among the most advanced monuments of ancient Egyptian art. Rakhhotep and Nefert are depicted by sitting on the cauldrow thrones. Rachotepa's hands are compressed in fists, the left lies on the knee, right pressed against the chest. Hair and mustache - black, eyes are inlaid. Nefert is dressed in a narrow fitting dress, on the head a lush wig, on top of which tape tied. The scribe of Kai is depicted sitting by prying his legs, deploying a papyrus scroll on his knees. He has tightly compressed lips, slightly flat nose and outstanding cheekbones.
Thus, in the tombs of the ancient and middle kingdom, both idealized images and realistic are found. On the statues of realistic, there are always free aprons, and on the heads tightly tight dressings, on the statues of idealized - lush wigs, tightly tight hips aprons, wide necklaces. The exact ritual functions of two different statues are not clarified.

In the era of the ancient kingdom, a large number of reliefs and paintings created a large number of reliefs and paintings was created in the era of the ancient kingdom for registration of royal clocks. Reliefs were low and embedded (i.e. counter reliefs). The silhouette of the figures is always clear and graphic. For the reliefs of the ancient kingdom, the frieze development of the plot is characteristic. Wall murals were also two species: Tever for dry plaster and the same technique in combination with tabs from color scenario. Mineral paints were used: a red and yellow ocher, green of grated malachite, blue of grated lazurite, white of limestone, black of soot. The entrance was drawn up by two figures of the owner of the tomb depicted in full growth, along the walls of the prayer and corridors, the march of gifts sent to the front niche was deployed, in the center of which was a false door. On the niche, the image of the sacrificial table was located on the niche. Relief compositions were located in such a way that they were more read than looked. The content of reliefs and paintings was determined by their name. The main position occupies the figure of the king or Velmazby, much more exceeding all the others, with a staff or a rod - the symbols of power.

The relief is one of the types of sculpture, unlike a round sculpture located on the plane and oriented on it.

The time of the reign of V-IV dynasties is the period of the highest flourishing of the sombrum reliefs and the paintings of the ancient kingdom.
The feature of the art of ancient Egypt is to develop stable forms of architectural structures. So there was the formation of the canon of the clock temple. Initially, the burial had the form of Mastaba. Mastaba is the modern name of the tomb of the ancient kingdom - a terrestrial rectangular structure with a slightly tilted to the center walls. Mastaba comes from the hill from the ground and sand arising from digging the grave. Mastaba included an underground burial chamber, a vertical well, leading to the ground part, as well as a rectangular construction of raw bricks or a stone, which in the context has a trapezoid form. The groundside of Mastaba had a false door carved out of stone, through which the deceased twin could go back and return back, the stone slab - stele placed over the false door, covered with inscriptions with sacrificial spells and reliefs depicting the deceased, and the stone altar, installations in front of the false door. Depending on the meaningfulness of the deceased Mastaba, there were such additional elements such as Hells, in which the steles were placed, the chapels and the upper cameras could be located in the above-ground part, where the relatives of the deceased were stored. The MastaB complex has been preserved to our time on the West Bank of the Nile in the Memphis area.

Mastaba is a terrestrial rectangular structure with slightly tilted to the center walls over the underground burial chamber

The next stage of the design of the clock temple is the creation of the architect imhehotep-stepped pyramid of Josra in the XXVIII century. BC. She was the six folded folded
From stone and decreasing in the sizes of MastaB. The burial premises were carved in a rocky base under the pyramid. The pyramid plan is rectangular, which indicates the consequences of the construction of MastaB. Joser's pyramid reached 62 m in height. Initially, the entrance to it was from the North side and conducted on the stairs down. The second entrance was in the floor of the Suffoon Temple, adjacent to the pyramid also from its northern side. The eastern wall was serrated from limestone blocks. Under the pyramid were underground galleries with two alabastra sarcophagi and 30 thousand stone vessels. The entire funeral complex of Josher's pyramid occupied an area of \u200b\u200b550 to 280 m and was surrounded by a wall-dismembered by protrusions. South of the pyramid of Josrara found the construction with the same layout of the burial cameras, her outer walls walked frieze with the image of Cobre, here also there was a complex of prayer dedicated to the royal anniversary. The buildings of the ensemble in the stone reproduced the shape of wooden and brick buildings: the ceilings are cut down in the form of log floors. In the ensemble for the first time there are half-colonge capitals in the form of a stylized revealed meteller papyrus, capitals in the form of a stylized lotus flower, as well as protodoric - with flutes, actually repeating in the stone of cane ligaments.

Semi-colonels have not yet separated from the masonry of the walls. The walls of the halls were decorated with alabastral plates, in some - a panel of green faience tiles that reproduce a braid from the cane. The creation of Joster has been crucial in the sense that the buildings began to grow up and the stone was defined as the main material of monumental architecture. Near the pyramid of Josher, scientists found the wreckage of his statue and pedestal with the name of Imhato.
In the period IV of the dynasty in the XXVIII century BC. There was a further development of the form of monumental tombstones - from the stepped pyramid to the classical one. The transition period is marked by the construction of the pyramid of the Snofer, the first pharaoh of the IV dynasty in Dakhshire, which had more than 100 m in the height. In the snowflap, the geometric shape of the pyramid was completely developed, the slope of its walls is just over 46 degrees, evenly roughened compared to classical. The formation of the canon ended with the creation of a classic type pyramid. The pyramid of Heops, Son Snofer, is the most famous of them. About 10 years old 4 thousand people aligned the platform for the future pyramid and led preparatory work. Only the road on which the stone blocks weighing up to 7.5 tons moved on special salazzas, was built about 10 years. According to an inclined entry of 20 m wide, built of bricks from Nielsky Ila, builders have dragged the polish with stone blocks. The upper block - "Pyramidon" with a height of 9 m completed the construction, which was carried out for 20 years. Then the steps of the pyramids were laid by stones and at the end of the face of the pyramids were lined with plates of white limestone. Polished sarcophagus of red granite was placed in a small room, which was at an altitude of 4.5 m from the base of the pyramid. Below was another chamber, perhaps for the spouse of the king. It is surprising and has no explanation that the burial chamber does not have jewelry, the sarcophagus is only rudely, does not have a lid and wider passage to the camera, i.e. Could not be listed in it after building the pyramid. In the thickness of the pyramid, there are several narrow long moves leading in the chambers, and a large gallery with a length of 50 m. To protect the burial room from the colossal pressure located above the rows of stones, 5 deaf unloading cameras were located above the ceiling of the tomb. The pyramid is part of a grandiose funeral ensemble. From the lower clock temple, the indoor corridor was led by which the participants in the procession took place to the upper temple consisting of the main corridor and the central courtyard. In the depths, the chapel was placed with a false gate and an altar. Four sides in the recesses of the rocks were placed 4 Wooden rooks designed to travel Pharaoh on the otherworldly world. Near the pyramid there was a huge burial ground with a scale of nobility and higher dignitaries. In the height relations and base of the pyramid, contained the number "PI", with an altitude of 318 elbows and the base of 500 elbows, the attitude of a double base to height responded to a sacred for the Egyptian. On the ground square, the five largest cathedrals of the world could accommodate: St. Cathedral Peter in Rome, Cathedral of St. Paul and Westminster Abbey in London, Florentine and Milan Cathedrals. From the construction stone, which went to her construction, one could build all the German churches created in our millennium.

Another pyramid of the classic type, the pyramid of Heffren - the current form of the clock temple of the ancient kingdom, consisting of two parts - the first, affordable for believers, and the second, which only chosen was allowed. The Lower Temple of Hefren had the shape of the square and was built out of large granite blocks. Before the temple was a pier, two temple entrances erased two sphinxes. In the middle of the temple, a statue of Pharaoh may have been, narrow corridors were opened from both entrances, which were in a hypostille with monolithic granite colums. In this e-shaped room there were 23 statues of the sitting pharaoh. The Pyramid of Mikherina, as the two previous ones, had a square base, each side of which is 108.4 m. Reached 66.5 m in height, and the angle of its walls was 51 degrees. South of the pyramid were three small pyramids associated with her common wall. In the pyramids, Giza for the first time there are free standing columns with round trunks and tetrahedral.

Pharaoh's Pyramids of the IV dynasty have never been surpassed. It is in the classic pyramids of the column separated from the wall. There is a type of palm-shaped, papyrus and lotus capitals of columns. The basis of the Sphynx from Giza was the limestone rock, the missing parts were extrined from limestone plates.
A royal handkerchief will be put on the head of the sphinx, the urea is carved on his forehead - the sacred snake, an artificial beard is visible under the chin. The face of the sphinx was painted in brick-red, the scarf strips were blue and red, the face passed the features of Pharaoh Hefren.

Another canon of the Egyptian temple is "Sunny Temple".
Huge the cost of building the pyramids weakened the country. The troubles began, war with neighbors. After the decay of Egypt near the XXIII century. BC. The long struggle begins for his reunification. The FVAN governments of the South completed the association of the country, but they failed to subordinate to Narovkhov Middle Egypt. At this time, local art centers arose.

Art of the Middle Kingdom (XXI-XVIII century BC)
The heyday of the Middle Kingdom is associated with the rule of the XII dynasty. At this time, the Egyptians were war with neighboring peoples and built fortresses on the borders with Nubia. In the era of the Middle Kingdom for prominent places in the public administration
Meaning people begin to advance. Bronze production develops, glass production occurs. Significant changes occurred in the field of architecture.
There is a revaluation of values. In the funeral cult, felt morally harder! aspect. The world who joins the world should appear before Osiris.

During the middle kingdom, the entrance is appeared in the form of two pylons - towers with a passage between them. A new type of capitals is being created - with the head of the goddess Hathor. In the construction practice of the first half of the Middle Kingdom, a new type of requisitioned temple is produced, an example of which is the tomb of Mentukotep I in Deir-El Bahry. The temple was erected by the cliffs of Libyan Highlands. By the facade and the sides of the temple, towering the two terraces, the portists were held, the ramps were laughed on the terraces - ramps. The columns were tetrahedral. The wall of the portico lined with limestone was covered with color reliefs. The second terrace stood the second portico, surrounding a column hall from three sides. Pharaoh's tomb was cut under the hypostyl hall. For the main part of the temple, an open courtyard was cut into the rock, surrounded by colonnade, and the indoor second hypostyle hall. From the funeral to the lower temple, the road was carried, fenced by the walls, along which the painted statues of the king were installed.

Before the facade of the clock temple, a huge front courtyard was located, and on the side of the ramp, which was on the roof of the lower terrace - two reservoirs. The construction of the pyramids was reborn again, but not so huge as before. Building material now served as brick-raw. The basis of the pyramid was eight capital stone walls, diverged by radius from the center of the pyramid to its corners and by the middle of each side. From these walls at an angle of 45 degrees, other eight walls were left, the gaps between which were filled with stone wreckage, brick and sand. Pyramids were faced with limestone plates. In contrast to the pyramids of the ancient kingdom, these pyramids were short-lived.
At Amenhemhet III, an irrigation system in the Fayum was completed and a funeral complex was built, which included a brick pyramid, lined with limestone plates, and a gradation in size for a surprised church of 72 thousand square meters. m, consisting of a variety of halls and pile, decorated with sculptures and reliefs. Colonnades performed a leading role in the design and were his characteristic feature. Architects also used a new type of columns with flutes and rectangular abackers. This church of the Greeks later called the "labyrinth" (along the throne name of the alieneemchta III - the Nimatra, in Greek - Laby).

Since the XII dynasty of the sculpture of Pharaohs began to be installed in the temples along with the deities. In this regard, the volume modeling of the face of the rulers intensified, more attention began to be given to the transfer of age. Sculptural images of pharaohs acquire realistic features. Thus, the sculptural images of the pharaoh of SENUSERT III and Amememethet III are realistic: the eyes are already put obliquely and deeply sit in orbit, the faces are worked out. There were changes in the construction of reliefs. Their themes became more diverse, so, in the reliefs of the Nararch of the middle kingdom of Senbi in Meir in the scenes of hunting, the beasts are depicted among the hilly desert spaces. The reliefs pass the scenes of everyday life - the collection of papyrus, the work of artisans, etc.
Art of the new kingdom (XVI-XI centuries. BC)

After the expulsion of Gixos, the capital of Egypt again became the cuts where colossal construction unfolded. The architecture of this pore is characterized by pomp and decorative sophistication. The main temple construction was devoted to the clock cult and God Amon, whose reverence united and worship the solar deity of the Republic of Armenia. The highest distribution gets a type of church with a clear rectangular plan, which includes an open courtyard,
The column hall and the sanctuary. The facade of the temples turned to the Nile, from which the road was framed by stone sphinxes or rams. The entrance focused stone pylons - narrowing up the walls in the form of a wall trapezoid separated by a narrow passage in the middle. Obelisks and colossal statues of Pharaohs rose to the pilons. The pylon opened a rectangular outdoor courtyard, discovered by columns. The stone colonnade in the center of the courtyard on the main axis was outlined the direct line of the path to the column halls, to the chambers and storage room. Walls of churches are covered with monumental reliefs.
Architecture

By the beginning of the new kingdom, the temple is separated from the tomb. The temples of the new kingdom are built at the soles of rocky arrays. The sanctuary of the Chief God of Amon-ra, called Greeks Karnak and Luxor, acquire. Karnak was the official Egyptian sanctuary. Her walls were placed on the chronicles, descriptions of hiking and victories. Luxor was a sample of the church of the new kingdom: the entrance in the form of a pilon, the courtyard, surrounded by portica, the abundance of columns with the capitals in the form of blossomed papyrus flowers.
Of all the temples of the pharaohs of the XVIII dynasty, a funeral temple of Women-Pharaoh Hatcheprad is distinguished. The temple stood on three terraces and hit the abundance of columns. The reliefs of the temple depicted a trip to the Punt, from where the Egyptians were exported by exotic animals.

Another rocky temple of the new kingdom is a clock temple of Ramses II in Abu Simbel, created in the first half of the XIII century. In Nubia, on the West Bank Nile. The facade of the temple was facing the east, from the shore of the Nile, the staircase led on the terrace of the temple. On both sides of the entrance housed four twenty-meter portrait statues of Ramses II from sandstone. Above the entrance - the cut-out six-meter image of the bird of the Sun of the RA. The total length of the imflaws of underground rooms (two halls and sanctuations) was 55 m. The ceiling of the first hall relied on 8 pillars set in 2 rows, two ten meter sculptures of Ramses II were led to the ceiling - the sky with the stars.

Sculpture has undergone a number of changes. Women's statues have become softer and plastic.
The special period of the ancient Egyptian art is the time of the Pharaoh-reformer of Amenhotep IV (1368-1351 BC). This period was called Tella Al Amarna.
Pharaoh Amenhotep IV made a religious reform and introduced the worship of God Aton. Priest property was confiscated, the royal yard was moved to a new capital - Akhetaton with a single plan, with a clearly organized center, which included palaces, halls, pavilions with columns (papyrovoid, lotus and palm-shaped), statues of Pharaoh, Temple - ATON House.

Pylon - in the architecture of an ancient Egyptamolithic trapezoidal structure with SivololicIlogic compositions and a rectangular vertical entrance.

For the style of Amarna characteristic: expressive manner of the image of Pharaoh and his family members, lyrical coloring, reversible to natural human feelings. The best works of the Amarn period are characterized by humanity and penetration, heated with genuine breathing of life, full of inner charm. For the first time in the history of Egyptian art, an image of the king was appeared in a family circle. The best that was created during this period is the sculptural portraits of Ehnaton and his wife Nefertiti. Nefertiti is shown in a high crown of painted limestone, with a slightly elongated chin, tightly closed, slightly smiling lips, high eyebrow arcs. Another portrait of Nefertiti, made of crystalline sandstone, remained unfinished.
At the end of the era, there is a return to canonism.

The art of late period (1085-332 to I.E.)
By the end of 1 thousand BC. Egypt begins a decline in economic and cultural life, which leads to a reduction in temple construction and a decrease in the number of decorative reliefs.
During this period, the power of the FVAN DEPARTMENT increases, centralized management is weakened. The authorities first establish the representatives of the Libyan nobility, then the dynasties of the Kush, Ethiopia and Assyria. The struggle against the Assyrians led the rulers of the Western Delta. He drove the invaders, they formed the XXVI dynasty with the capital in the city of Sais.
In all areas of culture of this period, turning to antiquity. Statues reproduce ancient samples, but at the same time, leaving the canons, the masters create wonderful sculptural portraits. The construction of the late period is oriented towards the canon of antiquity. Sculpture becomes conditional.
The conquest of Alexander Macedonsky marked the beginning of the Hellenistic Development Period of the Art of Egypt.

For the sculpture of ancient Egypt, the geometric generalization of the form, the strict frontality of the figures, symmetry and the static are characteristic. In a round sculpture, there is a higher degree of realism with a maximum refusal of everything random and secondary. Images are designed for eternity and are associated with a funeral cult. According to Egyptians, portrait statues played the role of the dead and served the console shirts. Solemnly static portrait statues were distinguished by clarity and accuracy of transmitting the most significant characteristic features and social positions portrayed. The volumes are summarized. Folding clothes wigs, hats, jewelry carefully worked out. Sculptures were painted, the eyes were performed in the technique of inlay. In the art of the ancient Egypt of large development reached an animalistic sculpture, because Many gods of the Egyptians had animal heads. Ancient Egyptian relief was very widespread and had its own canons similar to painting. Canon (from Greek. Sl. Kanon - the norm, rule) - firmly established rules defining in the work of the art of the norm of proportions, compositions, flavor or in general iconography of any image:

1. Image of a man: shoulders, eyes, torso depicted in the FAS. Face, chest, legs depicted in profile. Left leg always advanced.
2. The image was combined with hieroglyphic text.
3. The relief plane was understood as a "book", where the information with the images was located stripes.
4. It used the variety of figures, reflecting the hierarchy of the power of the social structure.

In the era of the middle kingdom in the sculptural portrait, more individual features were manifested while maintaining the canons of the composition. Age characteristics were recorded, elements of character disclosure appeared. Motorously overcoming the resistance of the material, the sculptors revealed a clear structure of the face, emphasizing its severity, attached to the image of dramaticness, expression. In the period of the reign of Ehnaton (Ahetaton) in the sculpture, painting images, grotesquence, imitation and typing painful-ugly feathers of Pharaoh and his family appear in the sculpture. The ideal of beauty appears and an image of a family in the relief appears for the first time.

Types of round sculptures:

Walking man

with put forward with crossed legs.

left foot

Examples of works of art of ancient Egypt:

1. Plate of Narre (relief, slate, h - 64cm, 1 dinai)
2. Statue of Jossera (Limestone, 2 Dinaios, 28 V. BC.)
3. Statue of Hefrena (Diorit, H -1, 68m, 4 Dinai, 27 V. BC.)
4. Statue of scribe KAI (painted limestone, eyes are inlaid, 5 dynamos, 3 thousand before. AD)
5. Caeaper Statue (Tree, Eyes are inlaid, H - 1,1m, 4 Dinaios, 3 thousand BC. E.)
6. Putting Pathhotep in front of the sacrificial table (relief, 5 dinai, middle 3 thousand BC. E.)
7. Potcharges (relief, limestone, H - o, 29m, beginning 12 dynasty, 14 century BC.)
8. Ehnaton Family (relief, limestone, 18 Dinai, 14 V. BC. E.)
9. Head of Nefertiti (painted limestone, eyes are injured, H - 0.50m, 14 V. BC.)

The art of the ancient kingdom (3200 - 2400 Gg BC)

Egypt of the ancient kingdom was a primitive slave-ownership society, in which, along with the exploitation of slaves, the operation of the free agricultural population, united in the community, existed. With the development of productive forces and the use of slave labor. The head of state stood Pharaoh, despotically ruled the country and relying on the top of a slave-owned nobility. The unification of Egypt, who dictated by the needs of the development of irrigation farming, was nevertheless rather unstable due to the contradictions in the interests of the local nobility, which led to the struggle between the nomes (regions) and between NOMOVE, and Pharaohs. Therefore, throughout the history of the ancient kingdom (as well as the entire history of Egypt), the degree of centralization of the state was unequal.

The period of the ancient kingdom was the time of addition of all major forms of Egyptian culture.

From early days in Egyptian art, the leading position was engaged in architecture, and since ancient times the main structures were the monumental tombs of the kings and nobility. This is explained by the special meaning in Egypt, the requiem cults are closely related to widely developed (as in any ancient agricultural country) cults of the dying and resurrecting deities of nature. Naturally, the king and the slave to know who played the main role in these cults, paid special attention to ensuring their posthumous "eternal life", and therefore - the construction of durable tombs; Already very early for their structure, the most durable material from the ancient architects was applied - stone. And while for housing intended for living, the brick and the tree continued to use the tomb - "houses of eternity" - were the first stone buildings. Secular buildings were almost not survived; On the appearance of the palaces, we can only judge the images of their facades on steles and sarcophagas, the presentation of the houses are given in the tomb clay "houses for the soul".

According to the ideas of a primitive man inhabited in the valley, the afterlife was a similarity of earthly, and the deceased man also needed a dwelling and food, like alive; The tomb was thinking by the house of the deceased, which determined her initial shape. From this, the desire to preserve the body of the deceased or at least a head was born. Egypt's climate with its exceptional dryness, especially contributed to the development of such aspirations. It was no longer limited to the preservation of skulls or embalming the heads of the deceased ancestors, and gradually, as a result, the long-term searches developed complex mummification techniques. Since first, the smelters of embarrassment were still imperfect, in the tomb set the statues of the deceased as a replacement of the body in the case of its damage. It was believed that the soul for the abnormal body could enter the statue and revive it, so that the posthumous life of a person will continue. Consequently, the tomb - the house of the deceased was to serve as such a place where the mummy would be in complete preservation, where the statue of the deceased would be placed and where his relatives could bring everything they needed for its nutrition. These requirements have identified the structure of the tomb of the ancient kingdom.

Tombs know the so-called "Mastaba" ( "Mastaba" in Arabic means "bench". So called the tomb of kneading the ancient kingdom of modern Egyptians. This name was held in science.), consisted of an underground part, where they put the coffin with a mummy, and a massive above-ground building. Similar buildings of time I dynasty had a view of the house with two false doors and the courtyard, where the victims were brought. This "house" was lined with a brick hill of sand and fragments of stones. To such a building, then began to add the brick chapel with the altar. For the tomb of the highest nobility, the limestone was used for the I dynasty. Gradually Mastaba became more complicated; The chapels and premises for the statue were arranged inside the above-ground part, completely folded from the stone. As the dwelling develops, the number of rooms in Mastaba increased, where the corridors, halls and storage rooms appear by the end of the ancient kingdom.

For the history of the Egyptian architecture, the construction of the royal tombs, the construction of which was devoted to huge funds, technical inventions, new ideas of architecture. The construction of the royal tombs was attached great importance and because they were the place of cult of the deceased Pharaoh, this cult played a prominent role in the Egyptian religion, replacing the cult of the leader of the tribal period. At the same time, the religs of ideas were transferred to the cult of Pharaoh that the leader of the tribe is the magical focus of the welfare of the tribe, and the spirit of the deceased leader under respect for adequate rites will continue to protect their flames. It is characteristic, for example, that the Pyramid of Senuserti I was called "Senusert, looking at Egypt," and on the tops of some pyramids, eyes were depicted.

In the increasing grandinality of the royal assfilms, the desire to approve the despotic monarchy was clearly affected and at the same time manifested the unlimited possibility of exploitation of this monarchy of labor of the masses.

For the construction of such structures, tremendous efforts were required, since the stone had to bring from afar and batte with embankments to a large height. Only by the extreme voltage of the forces of slaves and free community farmers could build so gigantic structures.

The idea of \u200b\u200bthe architects and the improvement of technical techniques was walking along the incidence of overhead mass of the building, however, the horizontal increase in the latter eventually could not already produce the required impression of overwhelming monumentality. The most important stage in the development of the royal tombs was therefore an idea of \u200b\u200bincreasing the building vertically. Emphamed, this idea first arose with the construction of the famous Tomb of Pharaoh III Dynasty of Josher (about 3000 years BC), the so-called "stepped pyramid". The name of its builder, the architect imhatop, preserved until the end of the history of Egypt, as the name of one of the most famous wise men, the first builder of stone buildings, a scientist Astronomer and a doctor. Subsequently, Imhotep was even deified as the son of God Ptah, and the Greeks compared him with his god of healer asklepiy.

Josher's pyramid was the center of a complex ensemble from prayer and courtyards. The ensemble that has not yet been still slimming overall planning was located on the artificial terrace and held an area of \u200b\u200b544.9 x 277.6 m. The terrace surrounded the lined with a stone wall of 14.8 m thick and 9.6 m height. The pyramid itself reached in the height of over 60 liters and consisted of some of the seven Mastaba put on one to another. Josher's tomb is not only not only the form of the pyramid, but also the fact that in its chapels was widely used as the main building material stone. True, the stone has not yet everywhere here is a constructive value. We will not see still free columns, they are connected to the walls from which the architect is not solved to separate them. The stone repeats forms peculiar to wooden and brick buildings: the ceilings are cut down in the form of log floors, columns and pilasters are designed in proportions developed for wooden buildings. Josher's tomb is very important in its decoration, rich and diverse. Interesting shapes of columns and pilasters: clear, magnificent in its simplicity canneliro-bath trunks with flat stoves aback instead of capitals or first pilastrals made in stone in the form of papyrus and lotus colors. The walls of the halls were lined with alabaste plates, and in a number of underground chambers - brilliant green faience testers, reproducing reed weaving. Thus, Josher's tomb as a whole was extremely important for his time a monument, a monument that combined the idea of \u200b\u200bhuge novelty and the importance is not yet mature for the equivalent execution of this idea by technical and artistic possibilities.

There were no form inherent in the stone construction, the layout of the entire ensemble was not yet properly organized, but the main - the building began to grow upwardly, and the stone was defined as the main material of Egyptian architecture.

Joser's pyramid opened the way to creating a perfect and complete type of pyramid. The first such pyramid was the tomb of the king of the IV Dynasty of the Snofer (about 2900 BC) in Dashure, which had over 100 m in the height and which was the predecessor of the famous pyramids in Giza 29-22-28. BC, found in antiquity to seven wonders of light. They were built by Pharaohs. IV Houf Dynasty (whose Greeks called Heops), Hafra (Hefren) and Mencar (Micherin).

The most grandiose of the three - pyramid of huof, built, probably, the architect chemisuine, is the largest stone structure of the world. Its height is 146.6 m, and the length of the side of its base is 233 m. The hollow pyramid was composed of precisely withdrawn and tightly fitted limestone blocks weight mainly about 2.5 tons each; It is estimated that over 2300,000 such blocks went to the construction of the pyramid. Separate blocks weighed 30 tons. From the north side was the entrance, which was connected by long corridors with a sarcophage of the king located in the center of the pyramid, where the sarcophagus was standing. The camera and part of the corridor were lined with granite, the rest of the corridors - the limestone of the best quality. Outside the pyramid was also lined with plates of good limestone. Her array was clearly distinguished on the blue sky, being truly the monumental embodiment of the idea of \u200b\u200bunrealistic perpetual peace and at the same time an eloquent expression of that of the huge social distance that Pharaoh separated from the people of his country.

Each of the pyramids in Gise, as well as the Joster pyramid, was surrounded by an architectural ensemble; However, the location of buildings in Giza shows the significantly increased ability to give a clear plan of the entire complex and balance it. The pyramid is now one in the center of the courtyard, the wall of which emphasizes the special position of the pyramid and separates it from the surrounding buildings. Do not disturb this impression and sometimes within the same courtyard small pyramids of the queen; The difference in their scale compared to the pyramid of the king only strengthens the impression of the exorbitant magnitude of the latter. To the eastern side of the pyramid adjacent the royal clock temple connected by the indoor stone passage with the monumental gate in the valley. These gates were built there, where the water was reached by the Nile spill, and, since they were green, irrigated in the Nil Fields, and to the West, the lifeless sands of the desert were spread, the gates stood as if on the verge of life and death. Around the pyramid in a clearly planned manner, Mastaba of the court Pharaoh, who were simultaneously his rations were located. The most distinct idea of \u200b\u200bthe requiem temples in pyramids in Gise is given to the remains of the temple at the pyramid of Hafra, which was a rectangular building with a flat roof, folded from massive lime blocks. In the center of it was a hall with four-grained monolithic granite columns, on the sides of which there were two narrow premises for the funeral royal statues. Behind the hall was an open courtyard surrounded by pilasters and statues of the king in the form of God Osiris. Next were the chapels. The entrance to the entire complex of the pyramid was the facade of the gate in the valley, which reached 12 m in height and had two doors that the sphinxes delivered on their parties ( Sphinx-fiction creature, lion with a man's head, personification of the power of Pharaoh.). Inside, these gates also had a room with quadrangular granite pillars, along the walls of which were placed the statues of Pharaoh made from various rocks.

A distinctive feature of the architecture of the Pyramid Gise is the knowledge of the structural role of the stone and its decorative possibilities. In the temples in the pyramids of Gise, for the first time in Egypt, there are free standing pillars. All decoration of buildings is built on a combination of polished planes of various stones. The brilliant verge of the columns of the clock temple perfectly harmonized with the plates of pink granite with the plates of pink granite and with alabastral floors, as well as a similar design of the gate hall in the valley was a wonderful colorfulness with statues from a green diorite, butter-white alabaster and yellow slate.

Another character is the design of the tomb of the pharaohs V and VI of the dynasties (about 2700 - 2400 Gg. BC). Although these tips and retain all the main elements of the tomb of the kings of the IV dynasty, but their pyramids differ sharply from the grand monuments of their predecessors. They are much inferior to them with dimensions, not exceeding 70 m in height, and are folded from small blocks, and partially even from the boot. The structure of the colossal pyramids of the IV dynasty fell too heavy burden on the country's economy, taking the mass of the population from agricultural work, and caused the discontent of the nomo. It is possible that the result of this discontent came about 2700 BC. Change dynasty. New Pharaohs were forced to be considered a nomovoi and could not strain all the forces of the country for the construction of their tombs. The greater attention was paid to the design of temples, which now had to express the basic idea of \u200b\u200bPharaoh's tomb - the glorification of the royal power. The walls of these clock temples and halls at the gate began to be covered with color reliefs glorifying Pharaoh as the son of God and the mighty winner of all enemies of Egypt. The goddesses feed his breasts, in the image of the sphinx he is a batch of enemies, his fleet arrives from a victorious hike. The dimensions of the temples in pyramids increase, their architectural decoration is complicated. It is here for the first time that the palm columns and columns in the form of unacceptable papyruses appear are then so characteristic of the Egyptian architecture.

Special attention, which the architects of the ancient kingdom paid the design of temples, fruitfully affected the overall development of the architecture of that time. In particular, the third, the main type of the Egyptian column - in the form of a ligament of lotus buds. A new type of buildings appears - the so-called solar temples. The most element of such a temple was a colossal stone obelisk, the top of which was thickened with copper and brightly glittered in the sun; He stood on the elevation, before which a huge altar was arranged. Like the pyramid, the solar temple was connected to the indoor passage with the gate in the valley.

The above mentioned the statues that made up the integral part of the tomb of the kings and nobility, as well as about religious ideas that caused the appearance of sculptures in tombs. The same views identified the requirements for sculpture. Recessed to us in a significant number of clock statues have monotonous fixed postures and conditional coloring. The Mastaba Mastaba prayer niches or in special small indoors behind the prayer, these statues depict the dead in strictly frontal poses, or standing, or sitting on the cauldrow thrones or on Earth, pouring crossed legs. All statues are equally straightforwarded by the head, almost the same arms and legs, the same attributes. The body of men's shapes, when they are made of light stone limestone or from wood, painted in a reddish brown, female - in yellow, all black hair, white clothes. The statues seem inextricably linked with the wall of the chapel, and behind the backs of many of them are preserved as a background part of the block from which they were carved. And, despite the fact that their temporable origin clearly seen, the qualitative difference and pronounced their individual portrait, nevertheless, all these sculptures produce the overall impression of solemn monumentality and strict peace of mind.

The unity of fine funds of the sculpture of the ancient kingdom was caused by both its appointment and the conditions for its development. The need to transmit similarity with a dead person, the body of which the statue should have replaced, was the cause of the early emergence of the Egyptian sculptural portrait. The solemn elevation of the image was caused by the desire to emphasize the high social position of the deceased. On the other hand, the monotony of positive statues, partially due to their dependence on the architecture of the tomb, was the result of a long-term reproduction of the same samples, asked to the oldest stone images and became canonically binding. The inhibitory role of the canon prevented artists to overcome the established approach to the transmission of a person's image, forcing invariably to keep stiffness of poses, impassive peace of mind, emphasized the strong and strong muscles of powerful tel. This can be clearly seen, for example, on the statue of Velmazby, it is depicted with hands and raised heads lowered along the body; Everything in this sculpture is sustained within the canon - the posture, robe, coloring, excessively developed muscles of fixed (despite walking) of the body, directed away the indifferent look.

However, life was stronger than the requirements of religion that could not fully delay the creative growth of Egyptian art. The best sculptors managed even in the framework of consecrated traditions of traditions to create a number of truly wonderful works. Among them, it should be especially allocated to the statue of the architect Chemius, the bust of the royal son of Anchhaf, the statues of the scribe Kai and the royal son of Kaaper, the head of a male statue from the collection of the Salt in Louvre, the head of a female statue from the Karnarvon collection.

In each of these sculptures, an unforgettable bright image is embodied, a complete unique individual originality and genuine artistic power. In the portrait of Hemius, one of the most highly standing in the modern society of people - the royal relative, the head of the construction of such a wonderful monument, as a pyramid of Heops. Obviously, portrait face is interpreted generally and boldly. The sharp lines are outlined by a big nose with a characteristic hubble, eyelids perfectly supplied in the orbits of the eyes, a small line, but energetic mouth. The outlines are slightly protruding chin, despite the excessive completeness of the already noise body, still continues to maintain solid power, expressively ending the overall characteristics of this welfre, perhaps even a cruel person. The body of Hemius is very well shown and the body of muscles, truthfully transmitted skin folds on the chest, on the stomach, especially on the fingers and hands.

No less bright individuality is the portrait of the royal scribe of Kai. Before us is a confidently defined face with characteristic thin, tightly compressed lips of a large mouth, protruding cheekbones, slightly flat nose, this face revitalizes eyes made from various materials: in a bronze sheath, corresponding to the form of an orbit and forming a century at the same time, Slices of alabastra are inserted for the eye protein and rock crystal - for the pupil, and a small piece of polished ebony tree is put under a crystal, thanks to which the shiny point is obtained, which gives a special stupid ability, and at the same time. Such an eye image of the eye, in general, inherent in the sculptures of the ancient kingdom, gives an amazing vitality to face the statue. The eyes of the scribe KAI, as if neatly follow the viewer, in any place of the hall he was Interestingly, Fellahi, who have risen under the leadership of the French Orheologist Mariett at the end of 19th century. The tombs of the ancient kingdom in Meguma, going to the tomb of Rakhhoten, disassembled her kirk and shovels and rushed away in horror, seeing the eyes of two statues that stood in it penetrated into the tomb of the sunshine.). Like the Hemius statue, and the statue of the scribe KAI strikes the truthfulness of the study not only the face, but also the entire body of the clavicle, fatty, chest muscles and the abdomen, so inherent to the person who is a leading sedentary lifestyle. Gorgeous and modeling of hands with long fingers, knees, backs.

No less remarkable than the statues of Hemius and scribe KAI, and the famous wooden statue of the royal son of Kaeper. We see here again an individual face with soft, imperceptibly overgoing one into another lines, with a round chin, a relatively small nose, a chubby mouth and small, masterfully depicted eyes. Again, as in the previous two monuments, and here also carefully worked out the body with a big belly, full shoulders and hands. The vital truthfulness of this statue is such that not accidentally worked on excavations from Marietta Fellahi, finding the statue of Kaeper in his tomb, shouted "what is our rural elder!" ( From here there is a nickname "Rural Older", under which this statue is known in science.). In this wonderful statue, with all the solemn importance, the posture speaking about the high social situation of the person depicted, strikes the realism with which the image of a ugly, elderly complete person is embodied here.

The bust of the royal son of Anchhaf is, maybe the most remarkable sculptural portrait of all the most mentioned masterpieces of the ancient kingdom. This is a striking face marked not only for the sculptures of the period under consideration, but perhaps for all Egyptian plastics; It is attracting attention to the amazing mastery of the transfer of musculature of the face, the skills of the skin, hanging age, unhealthy "bags" under the eyes. All the faceter of the person is made not in limestone, from which the bust is carved, and on the plaster, the dense layer of the stone covering. The realism of the face corresponds to the interpretation of the shoulders, chest, a nape, similar to that body transfer, which we have seen in the Hemius statue.

The same acuteness of the individual characteristics of the Louvro head from the Salt collection and other best works of the ancient kingdom period. In the female head from the Carnarvon collection, the image of a young woman in the flourishing of forces and beauty was perfectly transmitted from the Carnarvon collection.

The above sculptures belong to the best examples of an ancient Egyptian realistic portrait. These are monuments that the artists of the ancient kingdom are most fully implemented. In each of them, the sculptor managed to convey the appearance of a certain person, with all the originality of his face, shapes and shapes inherent in it. At the same time, these statues are by no means a simple repetition of the appearance of a person. Before us, images created by selection of the most characteristic features, with a certain generalization, are certainly distant from passive transmission of reality.

The path that led the sculptors of the ancient kingdom to creating such masterpieces was long and difficult. For the first time, the artist was to overcome the technical difficulties, to immortally master the material and at the same time creating a significant artistic image. Monuments that have come down from previous centuries show us how these difficulties gradually overcome. An important stage on the creative path of sculptors of the ancient kingdom was the manufacture of masks with persons of dead people. However, sculptors could not limit themselves to the simply repetition of these masks in the faces of the clock statues, because the statue should have depicted a living person. Hence the need to process the cast, in which the sculptor and produced the necessary changes.

Successes that were achieved as a result of the use of such a method were so obvious that he secured and received further development. In particular, it was used in the manufacture of heads or busts of the dead, which existed at the beginning along with statues. Such portrait heads were found in a number of Gizekh Mastaba IV dynasty; They were placed in the underground part of the tomb before entering the chamber with the sarcophagus. These Gizekh's heads are important as evidence of the intensive work of human thought and an inexperienced growth of artistic quest. Each of them is characterized by its individuality, expressed in a thoughtful and clear form, imbued with a strict rhythmic feeling. The whole group of monuments is valuable and because it helps to trace the ways to create such outstanding works as a statue of Hemius. Only after comparing the Hemius statue with Gizekh's heads, it becomes clear that this statue is a natural stage of long creative searches, a monument, which is embodied in the greatest possible art of the ancient kingdom extent realistic And at the same time an outstanding architect at the courtyard of the powerful pharaoh. Social definiteness of the image, so vividly pronounced in the Hemius statue, in which the cold appeal of the appearance and solemn immobility of the posture with an accurate and sober transmission of the cargo, bold body is generally one of the most important elements of the style of sculptures of the ancient kingdom. After all, they had to reproduce not just the images of the deceased ancestors, but the images of people belonged to the top of the society, which held all the management of the state in their hands.

The underscore of the high social position of the depicted person was even greater importance for royal statues, where the main task was to create the image of Pharaoh as an unlimited rulery and the son of God. Pharaohs were usually depicted with superhumanly powerful bodies and impassive persons who retain some undoubtedly portrait features, but at the same time clearly idealized. Sometimes the idea of \u200b\u200bthe divinity of Pharaoh was transferred to a purely external means: the king was depicted with the gods as equal to them, or the sacred falcon dated him with his wings, sitting on the back of his throne. A special type of incarnation of the idea of \u200b\u200bthe superhuman essence of Pharaoh was the image of the Sphinx - a fantastic creature with a torso lion and the portrait head of the king. It was the sphinxes that were the first royal statues outside the temples and, therefore, accessible to the Farrement of the Folk Mass, to which they had to impress the supernatural and therefore in an irritable force.

The exceptional place is not only among such sculptures, but in general, in Egyptian art, it is occupied by the famous large Sphinx, which is at the monumental gate and the covered passage of the Pyramid Hafra in Gise. It is the basis of a natural limestone rock, which in all form resembled the figure of the lying lion and was processed in the form of a colossal Sphinx, and the uncommon parts were added from respectively seized limestone plates. Sphinx sizes are huge: its height is 20 m, length 57 m, the face has 5 m in height, the nose - 1.70 m. On the head of the Sphynx, the royal striped handkerchief will be held on the forehead ( The sacred snake, which, according to the beliefs of the Egyptians, protects the pharaohs and gods.), under the chin, an artificial beard, which the Egyptian kings wore and know. The face was painted in brick-red, the strip of the scarf was blue and red. Despite the gigat sizes, the face of the Sphinx still conveys the main portrait features of Pharaoh Hafra, as can be seen, comparing the Gizeh Sphinx with other statues of this king. In ancient times, this is a tremendous monster with the face of Pharaoh should have leaving an unforgettable impression, inspiring, as well as the pyramids, an idea of \u200b\u200bthe incomprehensibility and the power of the rulers of Egypt.

The statues of kings and the nobles of the statues of the kings and the venels of the statues of the kings and the chalks, which were placed in the tombs for servicing the dead in afterlife, are sharply opposite to their characters. Made of stone, and sometimes a tree and brightly painted, they depict people engaged in various works: we will find here and the farmers with the hoe, and weavers, and porters, and rowers, and chefs. Different expressiveness, these figurines are performed by the simplest means outside the canonical norms.

A large place in the art of the ancient kingdom was held by reliefs and paintings, which covered the walls of tombs and temples, and the basic principles of all further development of these arts were developed here. Thus, both types of equipment of the Egyptian relief have already been used in the ancient kingdom: and ordinary bas-relief and inherent in the Egyptian art embedded, an in-depth relief, in which the surface of the stone that served as the background remained untouched, and the contours of the images turned out to be quite flat were embedded. Two types of wall painting techniques were also known: the majority of the paintings were performed in the usual and subsequently for Egypt Tech Temple on a dry surface, in some medum tombs this method was combined with the Color Paste tab in advance prepared recesses. Paints were mineral: white paint was mined from limestone, red - from a red ocher, black - from soot, green - from a grated malachite, blue - from cobalt, copper, grated Lazurita, yellow - from the yellow ocher.

The art of the ancient kingdom was the main features of the reliefs and paintings and the main rules for the location of scenes on the walls, as well as in the traditional compositions of whole scenes, individual episodes, groups and figures later.

The content of images in reliefs and painting was determined by their appointment. Reliefs that covered the walls of the funeral royal temples and indoor passes that fed to them included, as mentioned above, the scenes that glorified the king in the image of a mighty lord (battle, capture of prisoners and mining, successful hunting) and as a son of God (the king among the gods), As well as images whose goal to deliver the king of illuminated bliss. Reliefs in the tombs of the nobility also consisted of scenes glorified by the activities of Velmazby, and scenes intended to provide him with posthumous prosperity. Therefore, the images of the tomb owner in such reliefs were portrait for the same reason as the clock statues. In the best samples, the mastery of the portrait reaches a very large height. So depicted, for example, the architect Hesyra, who lived during the time of the III of the dynasty: Eagle's nose, thick eyebrows, the energetic mouth perfectly express the image of a strong, volitional man in all its unique personality.

Reliefs and paintings of the tombs are the most valuable source for the history of the culture of ancient Egypt. They have an image of rural works and work of artisans, fishing and hunting in the Nile thickets and in the desert. We have bright paintings of social inequality - the unbearable gravity of labor of the majority of the people and the secured, idle life of the ruling top. The beating of non-detectors of the filings is replaced by sweatings of the nobility, sowing and harvest under the scorching sun - dancers dancers on the feast of Velmazby. At the heart of all these images lies the same aspiration: to exalt the owner of the tomb, emphasize its knowledge and wealth, the meaning of the situation and the mercies in the life of the position and the mercies with which he used by Pharaoh.

This desire was reflected in the construction of scenes, in the ratio of figures between themselves and in the approach to their image. The main place everywhere occupies the figure of the king or Velmazby: it is much higher than the size of all others and in contrast to the diverse and in motion to groups of working people are completely calm and fixed. Whether the king and noble are sitting, or go, they still keep the staff and the rod - the symbols of their high title - and equally dominate the whole stage, without mixing with the actions of the rest of its participants, even in cases where such a situation is completely incredible as, For example, in some scene of hippos hippos. Characteristically distinction in the construction of figures of people occupying a different social position on the plane. As a rule, the image of the human figure in the reliefs and paintings of the ancient kingdom is firmly legible, that canon, the addition of which dates back to the times of the Plate of Narre. The deviations from these norms are most often found in images of farmers, artisans and other ordinary ordinary people.

In these devices from the canon, they were reflected in the art of the changes in life and in the worldview, which occurred during the development of culture and growth of knowledge and technical discoveries. Naturally, the artists have already seen a lot and could convey otherwise and could convey other means; The tasks of creating new, increasingly complex compositions were the task of creating new, increasingly complex compositions for the growth of their skill and overcoming fixed canon rules. Acute observation and desire to reproduce genuine life give a special attractiveness to similar creations of Egyptian masters. Feeling less composed canon in the image of the work of the people and good knowing this work, they managed to show the life of the people and convey to us his inexhaustible artistic creativity, especially in frequent images of folk singers, dancers, musicians; They also retains us even the words of labor folk songs.

However, some deviations from the canon could not change the overall conditional nature of the relief style and the paintings of the ancient kingdom. The conditional remains the belt location of scenes and their strictly defined sequence, as well as the total planar character of images; The schematic capacity of many compositions in which the monotony of figures is sometimes violated only by changing attributes or turns of heads and hands is preserved. The conventionity of many techniques was also maintained and preserved faith in the magic efficiency of the depicted: so, the enemies of Egypt were invariably shown by defeated, and the animals were pierced by arrows, since the conviction did not disappear in the fact that all the depicted has the same degree of reality as. And the actual life.

In the period of the ancient kingdom, artistic craft received great importance and development. Vessels from various breeds of stone - alabastra, steatitis, porphyra, granite, jasper; Jewelry made of gold, malachite, turquoise, carnelian and other semi-precious stones, as well as from the faience pastes; Art furniture from valuable breeds of derey - armchairs, stretcher, tents, then with gold inlays, then upholstered with sheet gold, wooden bed with artistically treated bone legs; Products from copper, bronze, clay is just a brief list of those diverse items that have already been developed in the era of the ancient kingdom. As in other art types, the art craft of this period also developed the main forms and technical techniques that existed in the future for a very long time. The artistic crafts of the ancient kingdom are characterized by the same strict and simple, complete and clear forms, which differ all the art of this period. In the decorative details of these things, a lot of direct reflection of real life phenomena: so, the shape of the body is given a form of powerful bull legs, beads and suspensions reproduce flowers, etc. The artistic craft was of great importance for the development of the entire art of the ancient kingdom. On the one hand, the processing of a number of materials was first for the first time and was improved precisely when creating an artistic craft, discovering paths for the decorative use of these materials in other areas of art; So, the beauty of polished stone surfaces and color faience was first found and understood in the craft, and then used in the sculpture of architecture. On the other hand, artisans, closely related to the folk medium, were constant conductors of its life-friendly influence on the work of professional artists.

From the very beginning of the Egyptian culture, painting played the role of chief decorative art. The painting of ancient Egypt slowly developed for millennia. What did the Egyptians reached during this time?

The basis for painting most often served walls with bas-reliefs. Paints were applied to plastered walls. The placement of the painting was subordinate to the strict standards that the priests dictated. Such principles as the correctness of geometric forms and contemplation of nature were strictly respected. The painting of ancient Egypt was always accompanied by hieroglyphs explaining the meaning of the depicted.

Space and composition.In Egyptian painting, all the elements of the composition look flat. When you need to imagine the figures deep into, artists impose them on each other. Figures are distributed horizontal stripes that are separated by lines. The most important scenes are always located in the center.

An image of a human figure. Egyptian people's drawings in the same extent include features in the FAS and in the profile. To comply with the proportion, artists dragged the grid on the wall. More ancient samples consist of 18 squares (4 elbows), while newer numbers are numb 21 squares. Women were depicted with pale yellow or pink skin. To create a male image, brown or dark red color was used. People were made to portray in the heyday.

to comply with the proportions, artists used the grid

Egyptian painting is peculiar to the so-called "hierarchical" look. For example, the higher the social status of the person depicted, the greater the size of the figure. Therefore, in the scenes of the battle, Pharaoh often looks a giant. Images of people can be divided by archetypes: Pharaoh, scribe, artisan, etc. The figures of the lower social layers are always more realistic and dynamic.

Application color. Artists followed a pre-installed program, which means each color had a certain symbolism. It is believed that the origins of the flower values \u200b\u200bof the Egyptian painting were in the contemplation of the Color Perelovy Nile. We highlight the value of the main colors used by artists:

• blue - promise of a new life;
• green - expression of vital hopes, rebirth and youth;
• red - the symbol of evil and fruitless land;
• white - a sign of victory and joy;
• black is a symbol of death and return to life in the otherworldly;
• yellow - the expression of eternity and the imperious Divine flesh.

The background tone depends on the era. For the ancient kingdom, a gray background is characterized, and for the new kingdom - pale yellow.

Painting an ancient kingdom

The ancient kingdom covers the period from 27 to 22th century BC. It was then that the construction of great pyramids took place. At this time, the bas-relief and painting still did not differ among themselves. Both means of expression were used to decorate the tomb of pharaohs, members of the royal family and officials. During the ancient kingdom, the style of painting is formed uniform for the whole country.

Features

The first wall murals differ quite narrow colors, mostly black, brown, white, red and green shades. The image of people is subordinate to the hard canon, the rigor of which is higher than the higher the status of the depicted. Dynamism and expression are characteristic of figures depicting secondary characters.

Mainly depicted scenes from the life of the gods and pharaohs. Colorful frescoes and reliefs recreate the situation, which should surround the dead man, in which world he was not. Painting reaches high filigree, both in the characteristics of characters and in the silhouettes of hieroglyphs.

Example

One of the most significant monuments of the ancient kingdom are the sculptures of Tsarevich Rakhhotpa and his wife Nofret (27 century BC). The male figure is painted in brick-red, and female - in yellow. Black hair figures, and white clothes. Halftone is absent.

Painting of the middle kingdom

It will be about the period that lasted from 22 to 18th to AD. Throughout this era in wall painting, the structure and orderliness that was absent in the era of the ancient kingdom were manifested. The painted multicolor relief occupies a special place.

Features

In cave tombs, you can see complex scenes that are highly dynamic than in previous era. Additional attention is paid to the contemplation of nature. Murals are increasingly decorated with vegetable ornaments. Attention is paid not only to the ruling class, but also by the usual Egyptians, for example, you can see farmers at work. In this case, the inalienable features of painting are the perfect order and clarity of the depicted.

Example

Most of all, against the background of other monuments, the murals of the tomb of the Narch Khnumhotep II are distinguished. Scenes of hunting, where animal figures are transmitted using halftone. No less impress the murals of tombs in the philas.

Painting of the new kingdom

The new kingdom scientists call the period from 16 to 11th century BC. This era is highlighted by the best samples of Egyptian art. At this time, painting reached his highest heyday. The spread of tombs contributes to the development of painting on the walls covered with plaster. Brighter than the freedom of expression manifests itself in the tombs of individuals.

Features

For the era of the new kingdom, an unknown color gradation and light-permeability is characteristic of that time. Contacts with the peoples of Asia bring fascination with details and ornamented forms. The impression of movement increases. Dyes cease to be applied with a smooth matte layer, artists try to show soft tonal overflows.

Through painting, Pharaohs demonstrated their strength to border peoples. Therefore, the image of scenes reproducing military episodes was common. Separately, it is worth mentioning the theme of Pharaoh in the harmful combat chariot, the latter was brought by gixos. Images of historical character appear. Art increasingly echoes national proud. The rulers turn the walls of the temples in the "canvas", which focus on the role of Pharaoh as a defender.

Example

Tomb Nefertari.This is a perfect ensemble of painting and architecture. At the moment it is the most beautiful tomb of the Tsaritsa Valley. Painting occupy an area of \u200b\u200b520 m². On the walls you can see some chapters from the book of the dead, as well as the path of the queen in the afterlife kingdom.

• The first preserved ancient Egyptian monumental painting was found in the funeral crypt of 4 thousand BC, located in Gyriconpol. She depicts people and animals.
• The ancient Egyptians painted with mineral paints. Black paint was mined from soot, white - from limestone, green - from Malachite, red - from the ocher, blue - from cobalt.
• In ancient Egyptian culture, the image played the role of a double reality. The painting of the tombs guaranteed the departed that in the afterlife they are waiting for the same benefits as in the world of people.
• In ancient Egypt, it was believed that images had magical properties. At the same time, their strength was directly depended on the quality of painting, which explains the special care with which the Egyptians belonged to painting.

Despite numerous studies dedicated to the painting of ancient Egypt, there are still not all the secrets of this art. To understand the true meaning of each drawing and each sculpture, scientists will have to work for a non-one century.

October 6, 2017.

The most important feature of the religious representations of the Egyptians was that the necessary prerequisite for the successful existence of the soul of the deceased in the afterlife was the preservation of its "material shell", his body. This led to the appearance of tombs and the emergence of mummification of corpses. Mummy Tsaritsa Khatsepsut

In that distant era, the custom arose to install the portrait statues of the deceased in the tombs: they had to become a kind of "duplicates" of the human body. Genuine masterpieces of the ancient Egyptian sculpture are the portrait statues of Tsarevich Rakhhotpa and his wife Nefert, found in the tomb of Rakhhotep in Medum. Portrait Found Statues of Tsarevich Rakhhotpa and His Spouse Nefert from their tomb in the medum. The beginning of the XXVI in. BC e.

The images of the characters that do not have divine san are much more natural and less formal than the image of the pharaohs. This manifests itself in more free poses and gestures; in more lively and natural expression of persons; In the reflection of individual identity features, such as age, appearance, hairstyle, clothes, decorations. Clothes Rakhhotpa Minimal: On it only a short White Schiente. It was the usual clothing of Egyptian men of that time. Nefert is dressed in a narrow, fitting figure dress made of fine tissue so-called Casal. A lightweight cloak will throw over the Casaliris.

Clothes of men and women of the Epoch of the Ancient Kingdom transmits the other sculptural group of a figurine, depicting instruments and his wife. Tenty is dressed in a ginger, decorated with pleated. On his wife, traditional Kazaliris, a tightly fitting body. Tenty and his wife. The statuette of the era of the ancient kingdom. OK G. BC. e.

Egyptian men's clothes amounted to a ginger. Simparishes and slaves were content with a simple bandage of coarse tissue, then Schista of high-ranking persons, and even more so Pharaoh had a very refined form. They were made from pleated fabric and supported by a leather belt. Statue of Amenhotpa III in the Luxor Temple (XIV century BC. er

Velject Ptakhchenui held the post of "head of palace servants" and was buried in the tomb, located in Giza near the Pyramid of Pharaoh. In this tomb, a pair sculptural group was found, capturing Ptachchenui and his spouse. Welject Ptashhenui and his spouse. Sculpture from the tomb in Giza. Time of Management of the 5th Dynasty

An excellent example of the Egyptian sculpture of the Middle Kingdom is found in the tomb of some kind of Gehutinakhta (he lived in the middle kingdom era) carved from the tree, depicting women maids serving the boxes with provisions and birds, all this was to provide food and drink the host of the tomb, which passed in another world. Wearer of gifts from the tomb of Gehutinet in Deir-El Bersh. On the right of the servant, carrying a box with sealed vessels with beer. The average kingdom, the end of the 11th or beginning of the 12th dynasty (the end of the XX century. BC.)

Carrier of gifts. The statuette of the era of the middle kingdom of the tomb in the philas. Start XX century. BC e. In addition, the period of the Middle Kingdom includes the statuette of the "carrier of gifts", which is kept in the Metropolitan Museum in New York. Dated a period of reign of the twelfth dynasty. It is assumed that this figurine depicts one of the ministers of the temple of Isis.

There are a large number of statues and bas-reliefs on which Pharaoh is depicted in a special ritual striped scarf, the ends of which are lowered on the shoulders. This handkerchief was called Nememe. The most famous image of Pharaoh in Nememe is the famous large Sphinx, the head of which repeats the features of the face of Pharaoh Fourth Heffer dynasty.

The huge statue of the Great Sphynx, Semi Lion - Receive, in Giza not far from modern Cairo on the West Bank of the Nile River. In the background of the Sphinx, the pyramid of Heffe (Hafra) is visible. The Great Sphynx is the largest monolithic statue on Earth carved, as it is considered, the ancient Egyptians in the III Millennium BC, somewhere between 2520 and 2494 BC.

There are also such statues in whom the head of Pharaoh is decorated with both Nememe, and a crown on top of it. It is these segments that are shoved on the heads of those granite sphinxes on the Embankment of the Neva in St. Petersburg, who depict Pharaoh of the eighteenth Amenhotep dynasty III, who lived in the XIV century BC. e.

Western Sphinx Amenhotep III from Kom El Hetan. Granite. St. Petersburg.

Art canons of ancient Egypt The idea of \u200b\u200beternity, faith in the possibility of eternal existence in the past-lasting world, as mentioned above, formed one of the most important artistic qualities of the art of ancient Egypt, their monumentality. Monumental and relatively small statues, and sometimes the work of Egyptian sculptors like those stone statues of sculptures from the collection of the State Hermitage and the Moscow State Museum of Fine Arts with its size and sometimes with these quality. A. S. Pushkin, completely small in size. The statuette of the scribe Talco chlorite Slate gray color. The monitor of the mid kingdom, approx. XVIII century BC. Museum. A.S. Pushkin Hall of Ancient Egypt. Status of the scribe of the bills of grain Maa-Niñon.ser.xv century BC, Hermitage.

The huge stone statues of Amenhotep III are included in the composition of Pilon, built in his rule in the Amon Temple in Luxor. Pharaoh sends on the throne, and his main wife, the Tia, depicted in a completely different scale, stands nearby, gently touching the legs of his lord.

The ratio of the sizes of Pharaoh's figures and his spouse could be different depending on the location and the ritual function of the image. In the compositions of the colossal statues of the pharaohs, adorned pylons and colonanadic courtyards of temples, the queen was depicted in such a reduced scale that her head barely reached the knees of the statue of Pharaoh. Favorite wife Ramses II, beauty Nefertari, the statues of Pharaoh, who decorate the Goth portal of the Amona Temple in Luxore, which was erected by Ramses II, was depicted

Very traditional were pose of scribes. In the same sedentary poses sometimes portrayed the most famous architects, portrait statues of which were honored to be placed in the temples constructed by them. Architect Amenhotep Son Haku Builder of the Temple of Amon-ra in Karnak. XIV. BC e. Architect Saintmouth as a teacher of the royal daughter. The beginning of the XV century BC e.

In the amyric statues of the pharaohs installed along the walls of the temples, the legs are always parallel and the heels are shifted together. In the same poses there are funeral statues in niches and along the walls in the tomb of Venelmazby Irukapthah: they depict the deceased in the traditional clothing of Egyptian men of that era. Poses of sculptures are static and remind of soldiers facing the team "Smirno!". Asian Statues of the Pharaoh Ramses III in the Temple of Amon-ra in Karnak. XII century BC e.

The art of the early kingdom period. In ancient times in Egypt, there was an unpleasant ritual for the leaders: aged, but the king was still full of strength and energy, who was safely copier to a certain period (usually thirty years), to prove that it is still fully capable. And about the fact that the ruler, like anyone, still older, resembles a unique and very touching bone statuette of Pharaoh in the high crown of South Egypt. Figurine of aged pharaoh. Bone. Early kingdom

And in the ritual statues, Pharaoh was forever left for the young and strong, as evidenced by, for example, the well-preserved statue of the pharaoh of the second Dynasty of Hasekmema (XXIX century BC) carved from the dark stone-slate. This is hardly the most ancient example of a monumental portrait statue of this type. The statue of the Pharaoh of the second dynasty of Hasehem was found in the hieraconpole. It is considered one of the most ancient statues depicting the royal person of the Tunisian era.

Pharaoh Joser Pharaoh Joser Rules for almost two decades in the middle of the XXVII century BC. e. (according to the modern Egyptologist P. A. Clayton from 2668 to 2649 BC). In the famous list of pharaohs, compiled by the Manephon, Joser is indicated as a third dynasty. The statue of Gosher is already in deep antiquity was damaged by robbers: they broke the lazium made from mountain crystal and alabaster. Now this statue looks at visitors with their empty glasses, which gives the face of Pharaoh an even more severe expression. Portrait statue of Pharaoh Joser. XXVII century BC e.

Creator of the Memorial Complex of Josher Architect Imhotep. His name is written by hieroglyphs next to the name of Joster on the stone slab, which remained from the statue of Pharaoh. It was a great honor for the architect, and such a location of his name testifies to huge respect for him and his high social situation. Imhotep was not only an architect, but also Vizier Josher - his closest advisor. The architect imhotp the creator of the ensemble of the pyramid of Goser. Bronze statuette created two thousand years after his death.

Sculpture of Egypt of the ancient kingdom. One of the most beautiful samples of the wooden sculpture of the ancient kingdom, the figure of the Zheman Kaeper, the head over the readers or the ceremonial (height 109 cm), which is currently stored in the Egyptian Museum in Cairo. Detected in his own Mastaba in Sakkar, this sculpture, created at the end of IV or the beginning of V dynasty, is known under the common sheikh el-protest name, which means "rural elder".

Sitting scribes are sculptural images that embody great realism. Undoubtedly, the two of the most important scribes are dated by the time V dynasty. Eyeless - copper. Protein - Alabaster. Rainbow - Rhinestone. In the crystal, the cone is sharpened, filled with soot, which imitates the pupil and the look itself. "Sitting scribe" - ancient Egyptian (GG. BC) Statue of writing in Louvre.

In the figures of the pharaohs and noble persons emphasized physical power. Keeping some, undoubtedly portrait features, the authors discarded secondary parts, reported to persons an impassive expression, generalized the mighty, magnitude-monumental forms of the body. But the most talented sculptors even in the restraining framework of the canon managed to create a number of wonderful, bright portrait works. Bust of the royal son of Anchhaf (Boston, Museum of Fine Arts)

Sculpture of Egypt of the middle kingdom. Since the XII dynasty dynasties are widely used (and, accordingly, manufactured in large quantities) ritual statues. This type includes the Heb-Sedna Statue of the Mentukotep-Nebepetra, depicting Pharaoh in an emphasicated pose with arms crossed on his chest .. just a retreat from the deviation from the canon of the ancient kingdom is expressed in the more slender proportions of the human body.

In the work of Fivans, there is a completely different, more realistic direction. FVAN wizards perform a number of magnificent portrait heads of the pharaohs of the XII dynasty. Head of SENUSERT III, Pharaoh XII dynasty, from the former collection of Mac Gregor (now the Gulbenkian collection) sculptural portrait of Amenchet III. One of the most famous Pampesters from the assembly V.S. Glenchev. XII Dean.

Sculpture of Egypt of the new kingdom. In the days of the new kingdom, Egypt on the basis of military conquests is drawn into relations with the Asian world. These ratios led to the establishment of close cultural ties that enrich artwork. In sculpture, unprecedented figures are created, called colosses, which are installed outside the temples. The most famous colosses are in the philas and since the times of the Greeks are called "Memnon's colossos."

The facade of the Temple, built in Abu Simbe-le (Nubia) by order of Ramses II in honor of Queen Nefertari, his wife's main spouse, and in honor of the goddess Hathor. In this, the facade carved in the rock has seven counterphorts, the central of which provides access inside the temple, meanwhile, as the others are inscribed in six niches, in which four standing statues of this pharaoh and two Nefertari decorated with the attributes of the goddess Hathor.

Bust of one of 28 Colossus Pharaoh Ehnaton, erected in the Temple of Hematon in Karnaca (Cairo, Egyptian Museum). The religious reform of this pharaoh produced a real revolution in art, which was embodied in unique throughout the evolution of Egyptian art, a conscious desire to approve the gap with traditional visual standards. So, the elongated face and the special expression of the monarch's view seek to convey, like new symbols of Divinity, his inner spiritual power

Bust Tsaritsa Nefertiti (abstract limestone height 48 cm). This creation is kept in the Archaeological Museum of Florence (Italy) and is considered one of the most perfect artistic expressions in world art. Nefertiti shared with Ehna-tone, his spouse, deep worship before Aton. As in other pictures, the spouses of the monarch-heretic, in this sculpture emphasizes the length of the neck and other features to present it in accordance with the eastern ideal of solvents. The sculpture of the late period in the late period of Egypt is significantly more connected with other civilizations of the ancient world. Although stylistically sculpture of the first millennium BC. e. It does not constitute a single whole, the general approach to the transfer of the human body in the stone does not change, the statues of the late period retain all the main features and types of statues inherent in the canon of the sculpture of earlier eras. The statuette was first published and defined as a portrait of the Pharaoh Takharkka (GG. BC) N. D. Flittner, and then repeatedly brought in the literature. It is an excellent testimony of the high level of the art of the royal and private portrait during the XXV, the Ethiopian dynasty.

Statue of Osiris. Black granite. High. 0.52 m. The statue makes the impression of unfinished work; The jumper between the artificial beard and the neck is left as the same width as the beard, whereas it should already be. The circuits of a wicker, rod and hands are not clear. Figures of the goddesses and hieroglyphs are planned with relief, but not finished. The entire surface of the statue is left rough and not subjected to final processing.

Figurine Priests Irefo-En-Hapi. Brown quartz. High. 0.205 m. Statuette depicts a person sitting on Earth with knitted feet and folded on her knees. It is all shrouded with clothes that leaves open and foot and feet open open. Such statues transmitting the usual posture in which Egyptian Fellahi is like to sit, resembling a "package with head", according to Maspero, are characteristic only for Egypt. They appear in the middle kingdom, but then they are also manufactured throughout the new kingdom and late period

Part of the statue of a man. Basalt. High. 0.098 m. The features of the face are gently, even somewhat fuzzy, without sudden lines and excessively distinguished parts. The face is somewhat asymmetrically: the left eye is placed above the right and planted a little deeper. Small ears are adjacent to the skull denser than it usually happens in Egyptian statues.

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