I dones gots myself some tickets to Tony Bennett in Concert this December 7th. I'm jumping over the moon.

Meanwhile, more homework.

1. Egyptian art uses conception and realism in relation to rank in society. This is seen throughout the history of art for as the subject’s importance and rank decreases, formality is relaxed and realism in increased. Portraiture, and especially sculpture were supposed to be the resting places of the ka should the remnants of the leaders (Mummies. Not the Boris Karloff type, mind you) be destroyed or desecrated. Therefore, the Pharaohs were depicted as brimming with youth and given strong features, lacking flaws, regardless of their real age or true physicality. As rank fell, you can see that those who were rich enough to afford mastabas for themselves and could decorate them, were depicted in a more realistic way with their bodies being depicted with more flab in a manner that is ultimately more true to life. Even if these depictions were much more realistic than their pharaonic counterparts they still retained some measure of conventionalism. Conventional views also included hunting scenes in the tombs of both pharaohs and rich officials of the court. Hierarchy of scale finds itself in depictions of Pharaohs and they were always shown beating their enemies; a symbol of good conquering over evil.

2. Statues in Egyptian art were very important. Between the statues of Senusret with Princess Nefrua and that of Khafre there are undeniable similarities including that both were block statues, meaning that the type of sculpture used was subtractive. This is queer, considering that they are from two different periods. A big block of stone would be brought in and a figure would be chiseled out of it. The master would draw the front, back and two profile views in the four faces of the stone, chisel away the excess stone and then would bring to it form, shape, and finally polish it. Both statues were also similar in its function; they were supposed to harbor the ka should the remains be destroyed or desecrated. Both were covered in inscriptions; possibly incantations and spells to ensure the passage to the after-life by its inhabitant.

3. The difference between the portraits of Senusret III and the one made later on in honor of Queen Nefertiti are several. Note the contrast between the idealized conception of Nefertiti over the startling realism of Senusret III. In the statue for Senusret III, you can see his frustration and pessimism. Take into account that this was a time of military uncertainty for Egypt after his attempt to conquer the Nubians which resulted in four brutal military campaigns, with their armies were not yet extinguished; thus departing from Old Kingdom idealism to a more brutal realism. Even though there are elements of conceptual views in it, the main realism of Senurset III’s disappointment depicts the mod of the time accurately. In the statue of Nefertiti we see the Egyptians harkening back to the idealization of pharaohs. Though Nefertiti was believed to be quite stunning, her features are enhanced in this bust so as to underscore her beauty even more. Her time may not have been one of military upheaval, but rather it was a time of religious revolution. Her husband, Akhenaton, had done away with the traditional Egyptian deities and had centered religion around the worship of the sun god, Ra. (Smart Idea…)

4. The White Temple and Ziggurat at Uruk and the Egyptian Pyramid of Djoser at Saqqara share one similarity: both buildings were constructed for religious and ceremonial purposes, but it seems their purposes over differ substantially. The Pyramid was a series of mastabas, or tombs, located on top of the other, each smaller than the preceding one with no temple sitting atop of it. The building was not a center for worship or praying but a place for the celebration of the dead. The White Ziggurat was a religious temple, where the stairs led to a temple on the top where votive statues were placed to remain in constant prayer until the coming of the God. The Pyramid was built in order to establish the power of the Pharaoh and his god-like qualities. Beneath the pyramid was a network of underground galleries resembling a palace that were to be Djoser’s new home in the afterlife. The Ziggurat, though, was not meant to be a palace for the dead, but rather a temple where the living went to pray.

5. Both Persepolis and the Great Pyramids at Gizeh undeniably represent their commissioner’s wish to perpetuate his legacy. The building of Persepolis was leave its visitors in awe of the power of the conquering Persian Empire.. The Pyramids were also constructed to symbolize such majesty, by its gigantic presence, flaunting the Pharaoh’s absolute and godlike power. Even if both structures did not serve the same function at all, they still reflect the idea that the people who commissioned them were seeking to assert their power over all and were searching for methods to leave behind a mark in history.

6. What all three temples share in common is that all three are “Mountain Temples.” ; carved out of the mountain, fronted by a shallow columnar vestibule, which led into a columned hall and then into the burial chamber. At the Temple of Hatshepsut, the Temples were built one over the other; each new pharaoh’s on top of the former one’s. The structures were the same. They all had columned halls. Ramses II’s Temple, so it seems, stands the most; its columns resembling humans. Reliefs and portraits were carved into the walls depicting the life-story of the person, decorated and were looked at by all as recreational places for prayer. Artists also placed statues of the deceased in niches. From Hatshepsut’s Temple on, the buildings belonged to the New Kingdom, even if they still share the same features as those before them. Both Hatshepsut’s and Ramses II’s Temples are impressive constructions that never fail to leave everyone who sees them with a sensation of awe. The Queen’s temple rises from the valley floor in three colonnaded terraces connected by ramps. This structure was incredibly well-suited to its natural settings. The colonnade pillars are, which are either simply rectangular or chamfered into 16 sides, are well proportioned and rhythmically spaced. The colossal temple of Ramses II is a marvel in itself. Huge statues guard the gates, and the interior of the hallway. The second two temples differ from the first primarily in their size: the first one is tiny compared to the other two. All these temples, however, as well as that of Amer-Re at Karnak are similar in the way that they were all designed as mortuary temples, sharing the same features and construction.
7. Though the paintings of animals were quite primitive during all three stages of art until this point, there is a certain reality in the portrayal of animals by the Egyptians. Egyptian animals were still being portrayed in strict profile like their predecessors and give a little bit more life through the use of expression in their faces and more colors. Of course, you could make the argument that the paintings in the Chauvet Cave in France and the bison clay sculptures depict animals more realistically. But in their use of technique and color, the Egyptians surpass everything that came before.
8. Culture and art were deeply interrelated in Egyptian society so that one could not co-exist without the other one. Death was a central theme in Egyptian society as they focus more on the after life than their present state. They believed existence was only a preparation for what was to come. Thus, art came in as support for this ideal, helping them achieve immortality. Art was intended to secure life after death. Pyramids and mastabas were built as the final palaces for the soul of the departed; sculptures and portraits were made to serve as harbor for the ka should the mummies be destroyed, and paintings were commissioned to depict scenes of hunting and towering over enemies as to ensure the pharaoh’s power in the afterlife. It was due to the desire of achieving immortality that portraiture was born. Pharaohs needed to secure not only their passing to the other world, but the state in which they would live for eternity; pharaohs wanted to be immortalized as youthful and nearly flawless regardless of their age or condition so in the after life they would really be so.