Ancient Egyptian Drawings and Paintings in tombs
Ancient Egyptian civilization is considered the most conservative and never rigid. The basic models of Egyptian institutions, beliefs and artistic ideas were formed during the first centuries and has not changed, do not occur until the very end. Knowledge of Egyptian civilization depends majorly on the graves and their contents.
The Egyptian concept is that each person must have and a happy life after death, which leads to the vast repertoire of funerary paintings and countless graves in the pyramids. Early development of the art ( Ancient
Egyptian Art
) falls can be seen in a fragment of the mural Heirakonpolis with human and animal figures normalized and big white ships.
The Old Kingdom developed much further in this area trying to create a replica of the daily life of a man who lives for his soul (ka). Hunting the hippopotamus at the tomb of Ti at Saqqara is a perfect example because of its landscape setting. Representation of all the deceased tomb paintings of the ancient kingdom was passive and static, as a spectator of the action around him.
It could be a subtle way of transporting the death of the body, but the continuation of the living soul. Middle Empire relaxation of standards can be seen in the paintings of the tombs of the princes of Beni Hasan, carved into the rock. A good example is the fresco "Feeding oryx" the rock-cut tomb of Khnum-hotep, where the painter has experienced the effects of shortening and space.
Best of all tomb paintings are derived from the New Kingdom. The formulas of projecting an image on a continuous flat surface, but there are more naturalistic in the figures. The figure of the deceased is not static, but more involved in the whole action, and it is also brought to scale. There relaxation of the rigid rules of representation and issues fixed once thought suitable for tomb paintings.
King Akhenaten, with the start of a new faith-based Aton, gave a new direction to the artistic activity. There was a temporary easing of concern Egyptian life in the beyond, and a greater concern for life on earth. He grew up in a different way, more naturalistic representation of the human figure. Survival Amarna style (like this art has been called) is seen in the tomb of Tutankhamen. The paintings on the panels of a gold chest portray the king's mission to define themselves as the imperial conqueror. The chest represents the king as a hunter and a warrior, a proclamation double his royal power.
While at times of Tutankhamun, the Amarna style had almost disappeared, some features were still persistent practiced, but after the Pharaoh Akhenaton restored the worship of Amun, and returned to the old way of art. Illustrated papyrus rolls have become essential equipment to do everything right graves. The roll of Hu-Nefer in the Theban necropolis is an excellent example that represents the final judgment of the deceased.