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Egyptian Art:

The earliest Egyptian art is very different from that of the pyramids and temples of the Pharaonic period. As early as the eighth millennium BC, the first inhabitants of the Nile Valley began to make engraved drawings on the cliffs, particularly in Upper Egypt and Nubia. They depicted the fundamentals of their lives, from wild game and hunting scenes in the earlier times to river boats and herds of cattle in the early Neolithic period. The art of the Predynastic period has survived mainly in the form of small carved stone and ivory grave goods, together with pottery vessels, placed alongside the deceased in simple pit burials. The small votive figures of people and animals include many female statuettes made of pottery and ivory, whose exaggerated sexual characteristics suggest that they probably related to early fertility cults. 

Some of the painted scenes on pottery vessels continue, during the Predynastic period, to reflect the prehistoric rock-carvings, while others begin to display the styles and preoccupations of the Dynastic period. In the final stages of the Predynastic period, a range of unusual ceremonial artifacts, including maces, palettes and ivory handled flint knives, began to play an important role in the emerging religious ritual and social hierarchy. Many of the more elaborate mace heads and palettes, such as those of the kings named Scorpion and Narmer, were discovered in a deposit of the temple at Hierakonpolis, and though the archaeological circumstances of their discovery are poorly documented, they were apparently meant as votive offerings. Their carved decoration appears to summarize the important events of the year in which they were offered to the god. However, it is unclear whether any of the scenes depicting historical events are real, or simply generalized representations of myth and ritual. In fact, this would be a problem with Egyptian art throughout the ages.

A number of references on ancient Egypt insinuate that the Egyptians had no concept of the term, art. Indeed, we know of no word from the ancient Egyptian language that exactly conforms to our abstract use of the word. They did have words for their creations that we today regard as examples of Egyptian art, such as statues, stelas and tombs, but we have no reason to believe that these words necessarily included an aesthetic dimension in their meaning. 

Though the ancient Egyptians built and decorated their monuments, and cut their statues first and foremost for religious functionality, this does not mean that the Egyptians were not aware of and did not aim for an aesthetic content. To represent was, in a way, to create, and Egyptian representation in both two and three dimensions was meant to create images that would function as a meaningful part of the cult of the gods and the dead. 

Statues were objects in which deities could manifest themselves, while images of the dead ensured their survival in the next world and formed a point of contact between this and the next domains, where the deceased could receive the offerings of the living. Depictions of temple cult ceremonies ensured their enactment for all time, and portrayals of offering goods meant that these items would be available in the next world. Furthermore, images of protective deities found in houses, on furniture and made into amulets created a powerful shield against the malign forces of the universe. 

Most of what we see of ancient Egyptian art, at museums or in books, are pieces that appeal to modern aesthetic tastes. Yet they represent only a selection of surviving Egyptian material and are usually pieces produced under royal patronage. For each of these pieces, there are many, many others collecting dust in museum reserve collections that are not so finely made. These latter items may demonstrate poor workmanship, unbalanced compositions, awkward proportions or clumsy execution, but they were came from the more common Egyptians. Though these items lack the artistic quality of the more accomplished works, they must have still been thought to have functioned for the benefit of their owners. 

Hence, we must ask ourselves why those of power sought out the best artists, if not for their superior artistic abilities. And we must also question Egyptologists who tell us that art completely surrounded Egyptian religion, for it did not, nor may it have always served a specific function. We find, in tombs of common Egyptians, sometimes intricate scenes of daily life that seemingly have really very little mortuary functionality, but we also find designs on pottery and other items that today we would call art, and appear to have no further function than to adorn the pottery, making it more appealing. Indeed, while the ancient Egyptians may not have had an abstract word to denote art in general, they did appreciate fine designs and well decorated objects.

However, it should also be pointed out that artists in ancient Egypt were very different than their modern counterparts. In ancient Egyptian society, conformity and not individualism was encouraged, and there was hardly a place for an artist with a personal vision that broke the accepted norms. In fact, Egyptian artists usually worked in teams and according to strict guidelines, even though their works might be highly regarded. This does not mean that artists could not experiment and innovate within certain limits. 

Many of the fundamentals of Egyptian art were established at the very beginning of Egyptian history and changed little over time. Subject matter also remained relatively unchanged over long periods of time. However, Egyptian art did not remain completely static over the three thousand years of pharaonic history. Despite the limited repertory of subject matter, Egyptian artists valued variation and avoided producing exact copies of the same forms. 

To understand most of the Egyptian artwork that we see in museums and books, we must understand that it was produced by elite Egyptians, mostly for specific functions, and that it was an integral part of their world view. It is important that we understand the purpose of the artwork, or the concepts that shaped it, because a lack of such information has often led people to unfavorably compare it to the art of other cultures. For example, while the ancient Egyptians produced sculptures that were intricately detailed and lifelike in many ways, they never turned the body and twisted it through space as we find in classical Greek statuary. Egyptian artists sometimes got left and right "muddled, and never seem to have discovered the rules of geometric perspective as European artists did in the Renaissance. In fact, such shortcomings had little if anything to do with the ability of the artists, and everything to do with the purpose for which they were producing their art. Egyptian art was not intended to merely imitate or reflect reality, but to replace and perpetuate it. Hence, for example, the religious ritual known as "the opening of the mouth" was not just performed by Egyptian funerary priest on the mummy of the deceased, but also on his or her statuary.

Old Kingdom Arts

Middle Kingdom Arts

New Kingdom Arts

Egypt Statues

Egypt Sculpture

Egypt Wood Arts

Egypt Metal Arts

Colors of Egypt Art and Hieroglyphics