Egyptian Art.

Egyptian Art

Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

The Art of Egypt Nearly 2,500 years ago, the Greek historian Herodotus wrote, "Concerning Egypt itself I shall extend my remarks to a great length, because there is no country that possesses so many wonders, nor any that has such a number of works that defy description.”

Overview Left countess monuments of architecture, sculpture and painting across 3 millennia Backbone was the Nile river – annual flood supported life Forests of papyrus and rushes

Predynastic Art or Prehistoric Art
Remains of tombs, paintings and pottery indicate sophisticated culture Egypt divided into Upper Egypt – the southern part of the Nile valley Lower Egypt – the lower part of northern Egypt *Ancient Egyptians began history of kingdom by unifying two lands under first Pharaoh, Menes Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Predynastic, Early Dynasties, and the Old Kingdom
Evidence of a sophisticated civilization begins to appear on the banks of the Nile around 3500 BCE Painting and Sculpture: Among the earliest historical examples of Egyptian art are a wall painting that appears to record funerary practices a ceremonial stone palette carved on both sides, with scenes in relief commemorating the unification of Egypt – The Palette of King Narmer Architecture Mastaba Tombs Stepped Pyramid at Djoser

13. Palette of King Narmer Slate, 2’1” high c.3000-2920 BCE
One of the earliest historical artworks preserved – It is a transitional piece from pre-historical to historical. Used to prepare eye makeup Scenes in relief commemorating the unification of Egypt. Narmer's palette is exceptional among surviving Egyptian artworks because it is commemorative rather than funerary in nature. *Many scholars identify Menes as King Narmer

Eye makeup protected against sun and irritants
Earliest labelled artwork Records unification of Upper and Lower Egypt at end of Predynastic period Commemorates unification as a great event Unique because commemorative rather than funerary Early blueprint for characteristics of Egyptian art

Palette of King Narmer- front

Palette of King Narmer- back
Hathor

Details on Front Top two heads of goddess Hathor the divine mother of the Pharaoh, nourishes with milk as a cow with woman’s face Hieroglyphs of Narmer’s name Unification of story of Egypt

Details on Back King with bowling-pin shaped crown of Upper Egypt slaying enemies On right, falcon with human arms is Horus Horus is Egyptian god who protected pharaohs On upper register, Narmer wears crown of Lower Egypt by beheaded bodies of enemies Narmer towers above others with super human strength Shown as “divine ruler”

Architecture: The brick or stone Mastaba with sloping sides was a standard type of tomb in early Egypt. The first monumental royal tomb, built in stone by the architect Imhotep for King Djoser at Saqqara, comprised a stepped pyramid, temple, and other buildings within a large, rectangular enclosure surrounded by a high wall.

Afterlife Much concern for life and happiness in the next life
Originally built for single burials, then multiple Multiple chambers and storage rooms, with a shaft connected to outside so the ka could have access to the tomb Serdab was chapel decorated with reliefs and carving of daily life intended to provide deceased with food and entertainment

Mummification Birth of person accompanied by other self which was the ka or life force With the death of the body, ka could live on and inhabit the body so body needed to remain intact through mummification Process lasted 70 days –removed organs and placed in jars for burial, discarded brain, left the heart as “seat of intelligence” Used a salt called natron to dehydrate body and wrapped in resin-soaked linens

Video on Mummification

Horus’ Eye The embalming incision was closed and covered with a Horus’ eye amulet to ward off evil and promote rebirth Statuettes called ushabtis (answers) were placed in tomb to perform labor Images of deceased were sculpted so ka could have a place to go if mummy didn’t remain intact Wall paintings depicted daily activities to ensure immortality

Mastaba = Arabic for bench
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. Restored view of typical Egyptian mastaba tombs . Mastaba = Arabic for bench

3=Shaft into Burial Chamber
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. 1=chapel 2=false door 3=Shaft into Burial Chamber 4=Serdab, place for ka statue of the deceased 5=Burial Chamber 5 Plan of typical Egyptian mastaba tombs Often used for multiple family burials Chapel walls were decorated with colored reliefs & paintings

Section of typical Egyptian mastaba tomb.
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. Section of typical Egyptian mastaba tomb. Shafts provide the ka with access to the outside

Stepped Pyramid Complex of Djoser

Stepped Pyramid and mortuary precinct of Djoser
IMHOTEP – architect, c BCE The pyramid is one of the oldest stone structures in Egypt and the first monumental royal tomb.

Restored view of the mortuary precinct of Djoser.
This Pyramid is approx 200’high, it is similar to ziggurats but it is a tomb NOT a platform. The Pyramid was believed to protect the mummified King and it symbolized his absolute god-like power. The precinct was 37 acres surrounded by a 34’ tall 5,004’ long wall of white limestone.

IMHOTEP, restored plan of the mortuary precinct of Djoser,
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. 1=stepped pyramid 2=temple 5=entrance portico IMHOTEP, restored plan of the mortuary precinct of Djoser,

Columnar Entrance Corridor to the mortuary precinct of Djoser
The columns are a translation into stone of structural forms previously made out of plants (bundles of reeds). These posts influenced the later building & design of Greek columns.

Functioned to protect mummified king and possessions
Symbolized absolute god-like power with size Series of network of underground rooms like a palace Home in afterlife

Old Kingdom Art Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

17. Great Pyramids of Giza and Great Sphinx
Built in the course of about seventy-five years, they are the oldest of the Seven Wonders of the ancient world. Slanted walls symbolized the rays of the sun that the deceased Pharaohs would climb up to join Ra. Built BCE for Menkaure, Khafre & Khufu from Granite & Limestone.

Great Pyramids The largest pyramid is Khufu ,The Great Pyramid. It measures 755 feet square at its base, 13 acres, and its present height is 449 feet. Over the years it has lost 33 feet of its original height. The Egyptians always buried their dead on the west side of the Nile, where the sun sets. The pyramids are on the west side of the Nile because that is where the sun sets and this is iconographic of the connection between the Kings of the fourth dynasty and the sun god Ra.

Symbolism New tomb shape reflects influence of Heliopolis – seat of powerful cult of Re Great pyramids symbols of the sun Sun’s rays thought to be ramps the pharaoh would used to ascend to heaven Kings reborn in afterlife as sun is reborn each day

Great Pyramid of Khufu

Section of the Pyramid of Khufu, Gizeh, Egypt
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. Section of the Pyramid of Khufu, Gizeh, Egypt

Reconstruction drawing of the Dynasty IV Pyramids of Khafre.
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. Reconstruction drawing of the Dynasty IV Pyramids of Khafre.

Great Sphinx ca. 2520-2494 BCE. Sandstone, approx. 65' high, 240' long
The Pyramid of Khafre is in the background.

Great Sphinx Great Sphinx, carved from a spur of rock, it commemorated the pharaoh and served as an immovable, eternal silent guardian of his tomb. The face of the Sphinx is thought to represent the Pharaoh Khafre.

Khafre, the king is permeated with serenity,
reflecting the enduring power of the pharaoh.

Khafre c. 2500 BCE 5’ 6 1/8 ” diorite
Originally placed in the Pharaoh’s tomb, the statue was created as a place for the ka to go if the mummy was destroyed.

Khafre He has a Nemes (headdress) and a false beard.
The kings body is idealized but is still a portrait. The perfection of Khafre’s body is iconographic of the body of a god.

Khafre Icons and symbols
Horus – the protective falcon behind Khafre’s head Horus' wings, spreading over the kings head, are an icon of protection. The lions on the throne are symbols of a king and power. The lotus and papyrus plants are symbols of a united Egypt. His Nemes (headdress) and false beard are icons of a king.

Egyptian Canon Egyptians developed a strict system of proportion for the body This canon lasted thousands of years

Realism versus Idealism
Seated Scribe 15. Seated Scribe, from mastaba at Saqqara. Painted Limestone inlaid with rock crystal, c BCE Realism versus Idealism Extremely naturalistic. He is sitting cross legged holding a partially unrolled papyrus. His face appears knowledgeable and alert. The folds of flesh on his chest tell of his sedentary lifestyle and suggest old age. Age signifies wisdom. The reason that this figure is so naturalistic in comparison to the portraits of the kings is because he is a servant. Kings were thought to be god-like, so they were depicted idealistically.

Seated Scribe (Kay?) from a mastaba at Saqqara.
In the history of art, especially portraiture, it is almost a rule that as a human subject’s importance decreases, formality is relaxed and realism is increased.

from his mastaba at Saqqara, Egypt ca. 2,450-2,350 B.C.E.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Ka-Aper from his mastaba at Saqqara, Egypt ca. 2,450-2,350 B.C.E. wood, approximately 43 in. high

Notice the hierarchy of scale.
Ti’s stiffness contrasts with the naturalistically rendered servants & wildlife. Ti watching hippopotamus hunt from Saqqara, Egypt ca. 2,450-2,350 B.C.E. painted limestone approximately 48 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

18. Menkaure & Khamerernebty
c BCE 54 ½” high, Graywacke limestone frontally oriented statue that depicts Menkaure with his left foot out but with out the shift of weight at the hips. His wife also assumes this stance in an exquisitely rendered see through dress. He wears a kilt, Nemes headdress, and a false beard. His hands are in fists with his thumbs facing forward. His wife has one hand upon his arm and the other arm around his waist. The polish on this piece was not finished and it was originally painted,- traces of the paint are still on the statue.

Menkaure & Khamerernebty
This statue was originally in Menkaure's pyramid. This statue may have been created in this pose so that pieces would not break off. This statue was meant to house the ka's of the king and his wife if their mummies were destroyed.

“Completeness” mattered much more than prettiness.
All the “important” parts of the picture stand out clearly. The Garden of Nebamun ca BCE. 25 x 29” wall painting from a tomb in Thebes

Middle Kingdom Art Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Rock-cut tombs Beni Hasan, Egypt ca. 1,950-1,900 B.C.E.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rock-cut tombs Beni Hasan, Egypt ca. 1,950-1,900 B.C.E.

Beni Hasan, Egypt, Dynasty XII, ca. 1950-1900 B.C.E.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rock cut Tombs BH 3-5 Beni Hasan, Egypt, Dynasty XII, ca B.C.E.

Statuette of an offering bearer from tomb of Meketre, Thebes, Egypt
ca. 1,985 B.C.E. gessoed and painted wood 44 1/8 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Hippopotamus from Thebes, Egypt 1991-1783 B.C.E. faience and ceramic
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Hippopotamus from Thebes, Egypt B.C.E. faience and ceramic 7 7/8 in. long

New Kingdom Art Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

New Kingdom: Architecture
New Kingdom architecture is dominated by grandiose temple complexes. Some were mortuary temples, the grandest of which were built against and tunneled into a cliff. At Abu Simbel, colossal portraits of the pharaoh were carved at the entry. Other temples, called pylon temples, were built to honor one or more gods. Pylon temples were often enlarged by successive pharaohs and grew to gigantic size. If the most impressive monuments of the Old Kingdom are its pyramids, those of the New Kingdom are its grandiose temples. They were built to honor pharaohs and queens as well as gods.

Temple of Ramses II ca BCE Colossi approx. 65' high. – The pharaoh, proclaimed his greatness by placing four colossal images of himself on the temple facade. Small statues of his family are sculptured between the legs of each colossus

Temple of Ramses II ca. 1290-1224 BCE
The temple of Ramses II at Abu Simbel was dismantled and reconstructed because of the construction of the new Dam of Aswan. From 1963 to 1968, the temple was cut into blocks and recomposed on ground 64m higher than it’s original location.

Interior of the Temple of Ramses II
32’ figures of the king carved into the pillars, face each other across a narrow corridor.

Interior of the Temple of Ramses II
The *pronaos is a vast rectangular hall, 18m long and 16.70m wide. Engaged columns: carved out of the cliff, each pillar is 10m high. Paintings of the battle of Kadesh, the war against the Hittites are on the north wall of the pronaos. *Pronaos: an open vestibule before the cella. Cella: the principle enclosed chamber of a temple. Vestibule: a passage between the outer door and the interior parts of a building.

20. Temple of Amen-Re Karnak, Egypt ca. 15th century B.C.E.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. 20. Temple of Amen-Re Karnak, Egypt ca. 15th century B.C.E.

20. Temple of Amen-Re, Karnak, Egypt
The temple of Karnak which is located 4km north of Luxor is the largest and the most complicated architecture in Egypt. The complex of Karnak was a center for the cult of Amen-Re. It has two axis which define the composition of the world of Karnak. The axis of the east to the west correspond with the orbit of the sun The axis from south to the north correspond with the Nile river, and signifies absolute power of the gods and pharaoh.

Plan of the temple of Amen-Re, Karnak, Egypt
©2003 Wadsworth, a division of Thomson Learning, Inc. Thomson Learning™ is a trademark used herein under license. Plan of the temple of Amen-Re, Karnak, Egypt

Model of Hypostyle Hall, Temple of Amen-Re, Karnak, ca. 1290-1224 B. C
Model of Hypostyle Hall, Temple of Amen-Re, Karnak, ca B.C.E

Temple of Amen-Re, Karnak, Egypt
The hypostyle hall is 102m by 53m and features 134 columns. It is the largest in Egypt. (A hypostyle hall is where columns support the roof. Lintels rest of cubical blocks which rest on capitals. Egyptians use no cement.) The columns are 23m high and have open papyrus-shaped capitals. It is a “forest” of columns, whose dimensions play dramatically on light and shade. The clerestory openings between the roof of the aisle and higher roof of the central area allowed sufficient light into the room. Cleristory played key role in Roman basilica and medieval church design.

The central rows of columns are higher than those at the sides.
Raising the roof’s central section created a clerestory. Clerestory openings permit light to filter into the interior. Covering an area of 7,200 square yards, it is large enough to contain Notre Dame Cathedral! Hypostyle Hall

21. Mortuary Temple of Queen Hatshepsut
The most majestic of royal mortuary temples, at Deir el-Bahri BC. SENMUT architect

Hatshepsut – First Female Pharaoh
She was queen and principal wife, her husband died and son of a minor wife was chosen to rule. She proclaimed herself Pharaoh after a few years. Said to be the daughter of the son god Re Temple is the first tribute to a female ruler

Mortuary Temple of Queen Hatshepsut
The complex of the mortuary temple of Hatshepsut is a remarkable example of the aesthetic adaptation of a building to its natural setting. The temple, which faces eastwards, has a series of vast terraces continuing the pattern set by the ochre-colored mountain. The first terrace is enclosed on the far side by a portico consisting of 22 pillars and flanked by two Osiris pillars. The broad court was planted with palm trees and grapevines. In front of the main structure ponds fringed with papyrus were laid out on either side of the center axis

A woman portrayed as a man
As many as 200 statues in the round depicting Hatshepsut in various guises complemented the extensive relief decorations. Shown: Hatshepsut with offering jars, from the upper court of her mortuary temple at Deir el-Bahri, c BCE. Red Granite, approx. 8'6" high.

Semnut with Princess Nefrua from Thebes, Egypt c. 1470-1460 B.C.E.
This is a much more “radical” Ka statue than previous seen – attention is paid to the heads. The bodies are depicted as a block covered with inscriptions. Senmut is shown with Hatshepsut’s daughter, he was her tutor. The object reinforced his link to the pharaoh & his power within her court Semnut with Princess Nefrua from Thebes, Egypt c B.C.E. granite 36 1/2 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Fresco Secco painting on dry plaster
Contrast the action in this scene with “Hippopatamus hunt” Heirarchy of scale, realism of wildlife Ti watching hippopotamus hunt ca. 2,450-2,350 B.C.E. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Fowling Scene from the tomb of Nebamun, Thebes, Egypt c. 1,400-1,350 B.C.E. fresco secco, 32 in. high

22. Akhenaton with his wife Queen Nefertiti and their three daughters Painted Limestone relief, c BCE.

Amarna Period During the New Kingdom, a short but violent upheaval occurred in Egyptian society and in Egyptian art. It was the only major break in the continuity of their long traditions. A radical shift in religious focus to MONOTHEISM. The Sun disc god *ATON was imposed by the pharaoh Akhenaton. Profound but short-lived changes followed in Egyptian art. * AkhenATON (Capital moved from Thebes to Akhetaton now called Tell el-Amarna) In sculpture and painting, the traditional rules of proportion were abandoned and a more expressive intimacy replaced the earlier stiffness and formality. After Akhenaton's death, his new city, Tell el-Amarna, was largely abandoned. Traditional religious beliefs, and many of the older artistic conventions returned.

God was simply a sun disk emitting light
Akhenaton was first called Pharaoh Amenhotep. Akhenaton was depicted with wide hips, belly and more androgynous.

Akhenaton Sandstone 13’ high 1353-1335 BCE
toppled and buried after this death, retains the standard frontal pose of canonical pharaoh portraits. HOWEVER differences include: Androgynous features: narrow waist protruding belly curved hips heavy lidded eyes full lips “dreamy” expression.

Akhenaton and Nefertiti

Nefertiti c. 1353-1335 BCE Painted limestone, approx. 1'8" high
By the sculptor, THUTMOSE The famous painted limestone bust of Akhenaton's queen, Nefertiti, exhibits a similar expression of entranced musing and almost mannered sensitivity, and delicate curving contours. Serpentine Neck, with weighty crowned head (like a flower). Nefertiti – “The beautiful one is here” Akenaton’s most influential wife

from Tell el-Amarna, Egypt
Thutmose Nefertiti from Tell el-Amarna, Egypt c. 1,353-1,335 B.C.E. painted limestone 20 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Tiye Mother of Akhenaton the commoner wife of Amenhotep III
c BCE Wood, with gold, silver, alabaster, and lapis lazuli, approx. 3 3/4" high Notice the depiction of age, characteristic of the relaxed Amarna style

Smenkhkare and Meritaten
c B.C. painted limestone relief, approx. 9 1/2" high Notice the Crutch that the king is using. Notice also that the figures are rounded and the attitude of the pair is relaxed.

The Post-Amarna Period
Following the death of Akhenaton, the traditional cult and priesthood of Amen-Re was re-established and all traces of the worship of Aton were eradicated. Eventually, Egyptian art returned to its traditional conventions, but the changes introduced during the reign of Akhenaton lingered for a while and can be detected in the fluid, curvilinear forms seen in the art and artifacts found in the tomb of Tutankhamen. Tutankhamen was probably Akhenaton’s son by a minor wife. He ruled for 10 years from ages when he died. Temple of Ramses II Tutankhamen & Ramses II came AFTER the Amarna period.

Akhenaton sacrificing a duck ca. 1,353-1,335 B.C.E. limestone
9 5/8 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

wood with gold, silver, alabaster, & lapis 3 3/4 in. high
Tiye from Gurob, Egypt c. 1,353-1,335 B.C.E. wood with gold, silver, alabaster, & lapis 3 3/4 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Death Mask of Tutankhamen from Thebes, Egypt c. 1,323 B.C.E.
The mask and tomb treasures of Tutankhamen express grandeur and richness, and reflect Egypt’s power, pride and affluence. His tomb was plundered in 1922. Death Mask of Tutankhamen from Thebes, Egypt c. 1,323 B.C.E. gold with semiprecious stones 21 1/4 in. high From innermost coffin wears false beard Grandeur expressive of power Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Made of almost ¼ ton of gold!
23. Innermost coffin of Tutankhamen from Thebes, Egypt c B.C.E. gold with semiprecious stones 73 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Made of almost ¼ ton of gold! With inlays of enamel and semiprecious stones; lapis, turquoise & carnelian

Wedjat Eye of Tutankhamen from Thebes, Egypt c. 1,333-1,323 B.C.E.
gold and precious stones 2 in. wide Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Painted chest from the tomb of Tutankhamen
BCE wood, approx. 1' 8" long. Although Tutankhamen was probably considered too young to fight, his position as king required that he be represented as a conqueror.

24. Last judgment of Hu-Nefer from Thebes, Egypt ca. 1,290-1280 B.C.E.
painted papyrus scroll 18 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Book of the Dead from Thebes, Egypt c. 1,040-945 B.C.E.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Book of the Dead from Thebes, Egypt c. 1, B.C.E. painted and inscribed papyrus, 13 3/4 in. high

Roman-Egyptian Art Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Portrait of a boy from Faiyum, Egypt 2nd century CE. encaustic on wood
15 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Faiyum portraits 2nd century CE. encaustic on wood
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Faiyum portraits 2nd century CE. encaustic on wood

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