Ancient Egyptian Art and Architecture: A Very Short Introduction (Very Short Introductions)
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From Berlin to Boston, and St Petersburg to Sydney, ancient Egyptian art fills the galleries of some of the world's greatest museums, while the architecture of Egyptian temples and pyramids has attracted tourists to Egypt for centuries. But what did Egyptian art and architecture mean to the people who first made and used it - and why has it had such an enduring appeal?
In this Very Short Introduction, Christina Riggs explores the visual arts produced in Egypt over a span of some 4,000 years. The stories behind these objects and buildings have much to tell us about how people in ancient Egypt lived their lives in relation to each other, the natural environment, and the world of the gods. Demonstrating how ancient Egypt has fascinated Western audiences over the centuries with its impressive pyramids, eerie mummies, and distinctive visual style, Riggs considers the relationship between ancient Egypt and the modern world.
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and relativity—and continues to grow in every subject area. Very Short Introductions available now: ACCOUNTING Christopher Nobes ADVERTISING Winston Fletcher AFRICAN AMERICAN RELIGION Eddie S. Glaude Jr. AFRICAN HISTORY John Parker and Richard Rathbone AFRICAN RELIGIONS Jacob K. Olupona AGNOSTICISM Robin Le Poidevin ALEXANDER THE GREAT Hugh Bowden AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION David A. Gerber AMERICAN LEGAL HISTORY G. Edward White AMERICAN POLITICAL PARTIES AND
SPANISH LITERATURE Jo Labanyi SPINOZA Roger Scruton SPIRITUALITY Philip Sheldrake STARS Andrew King STATISTICS David J. Hand STEM CELLS Jonathan Slack STRUCTURAL ENGINEERING David Blockley STUART BRITAIN John Morrill SUPERCONDUCTIVITY Stephen Blundell SYMMETRY Ian Stewart TEETH Peter S. Ungar TERRORISM Charles Townshend THEATRE Marvin Carlson THEOLOGY David F. Ford THOMAS AQUINAS Fergus Kerr THOUGHT Tim Bayne TIBETAN BUDDHISM Matthew T. Kapstein TOCQUEVILLE Harvey C. Mansfield
barefoot, too, like the gods. Kings will have dressed in the finest clothing: the best quality linen was called ‘royal’ linen after all, and Tutankhamun’s burial included a wardrobe’s worth of matching underclothes, embroidered and sequinned tunics, and fine gloves. But what appears in art does not necessarily match what was worn in real life. Artists always had to consider cultural priorities about what an image should, or could, depict in any given context, and styles of both clothing and art
carefully tended in temples. The preservative quality of these materials, especially after the body’s organs had been removed, may have been a secondary effect which developed over time as part of an increasingly elaborate, specialized procedure used when certain people died. As a method of caring for and burying the dead, mummification also encouraged a host of other creative efforts, yielding art works, architectural structures, and performances that accompanied the wrapped mummy to the grave.
each other. A more complex society emerged, in which material goods like pottery, stone, basketry, and food stuffs enabled social cohesion as well as differentiation, for instance to determine status and hierarchy. By the end of this millennium, around 3200 BC, a site known as Coptos (Arabic Qift) was home to an enclosure, perhaps a temple, in which British archaeologist W. M. Flinders Petrie (1853–1942) found the remains of at least three colossal limestone statues (Figure 1). Each statue