APAH unit 2 notes

The Palette of King Narmer

The Palette of King Narmer is a significant archaeological find from the Predynastic period, predating the Old and New Kingdoms. It originally functioned as a palette for mixing paint or makeup, specifically the dark eyeliner used in Egyptian culture. Beyond its utilitarian purpose, the object serves as a ceremonial representation of the power of King Narmer. The visual composition utilizes hierarchical scale, where the most important figure—the King—is depicted as a physically larger "big guy" compared to others. The palette depicts Narmer in the act of conquest, signaling the unification of Egypt. In Egyptian geography, the river flows from North to South, leading to the designation of Upper and Lower Egypt; Narmer is credited with untying or joining these two regions. Historically, Narmer is considered more significant than King Tutankhamun because his legacy remained firmly rooted in Egypt. The structure of the palette is similar to the Standard of Ur, utilizing horizontal lines known as registers to organize the narrative. The artistic style established here remained consistent for a long duration in Egyptian history, symbolizing a unified kingdom established through warfare.

King Menkaure and Queen

This sculpture depicts King Menkaure and an unnamed queen, carved from a material called greywacke. Greywacke is exceptionally strong, choosing this medium was intentional to project the strength and endurance of the leaders. Dating to the Old Kingdom, a period the transcript notes is sometimes "forgotten" but significant for its unification, the statue features the Pharaonic rulers of Egypt after the initial unification by Narmer. The queen is depicted without a specific name and is presented almost as an accessory to the king, positioned slightly behind him and clutching him. The speaker notes there is no visible affection or "love" in the depiction. Menkaure is shown with his feet slightly forward, suggesting a small sense of movement, yet the sculpture remains predominantly static and frontal. The figures are part of a dyad, a sculpture of two people connected. The use of stone was intended to eternalize the rulers, essentially stopping time and movement to preserve their presence for eternity.

The Seated Scribe

The Seated Scribe is a highly preserved painted sculpture dating back approximately $4500$ years. It was found in Egypt but was later taken and placed in the Louvre. The preservation of the paint is attributed to the fact that it was buried underground. Unlike the idealized, fit bodies of pharaohs, the scribe is depicted as overweight. This physical trait signifies wealth and status, as his role as a scribe meant he was well-fed and did not perform manual labor. Working for the pharaoh provided him with significant income ($$) and food. He is shown in a moment of writing, with subtle movement in his hands. This is considered a portrait of an actual person, intended to honor and equalize his status. The sculpture is frontal and reflects the Egyptian creation story, wherein God created heaven on earth. His name was originally inscribed on the block supporting the figure.

The Great Pyramids and the Great Sphinx of Giza

The Great Sphinx is positioned as a guardian for the pyramids, protecting the tomb complexes at Giza. There are three major pyramids corresponding to three different emperors who are buried in large stone caskets known as sarcophagi. These structures were built with complex rules for the afterlife, including underground tunnels and booby traps to deter intruders. The layout of the pyramids was meticulously planned according to the cardinal directions, following the path of the sun. The Sphinx specifically faces the sun god, Ra. The area is described as a necropolis, which translates to a "city of the dead." Surrounding the pyramids are mastabas, which are tombs for high-ranking officials who wished to remain close to the king in death. Today, the sprawl of the Cairo metropolitan area has expanded right up to the edge of this ancient site.

Temple of Amun-Re and the Hypostyle Hall

Unlike many other structures, the Temple of Amun-Re does not strictly follow the cardinal directions; its North orientation is shifted to follow the flow of the Nile River. The Nile is central to the Egyptian creation story, symbolizing the earth emerging from the isle. The temple features papyrus-shaped columns, reflecting the plants that grow along the river. This iconography connects religion to civilization and the necessity of food, as the sun promotes growth through photosynthesis. The temple is dedicated to the sun god Amun-Re. Artistic motifs within the temple include the ankh, the Egyptian symbol of life. Egyptian religion was polytheistic, but access to the inner sanctums of the temple was restricted to priests and pharaohs. The architecture utilizes clerestory lighting, which involves high windows designed to let light enter from the top. This creates a "halo" effect from God that illuminates the space.

Mortuary Temple of Hatshepsut

Queen Hatshepsut, the first female leader of such stature, built this mortuary temple for the god Amun-Re. Portraits of Hatshepsut do not conform to female biological traits; she is depicted with a beard, broad shoulders, and a male body. This was done to establish authority and project the strength traditionally associated with male rulers. The site contains multiple sculptures, including depictions of her kneeling—an act of prayer and offering that was reserved exclusively for the god Amun-Re. This kneeling posture was intended to eternalize her as always being attentive to God. The temple architecture is meant to blend into the surrounding cliffs, though the speaker notes the effect can be jarring. After her reign, the succeeding emperor attempted to destroy her sculptures, many of which have since been glued back together. The temple also featured terraces at the top which were used for farming gardens.

Akhenaton, Nefertiti, and Three Daughters

This period marks a shift to monotheism under Amenhotep IV, who changed his name to Akhenaton (meaning "Aton is pleased"). He invented a new religion centered on the sun god disc, Aton. In the artwork, the rays of the sun are depicted reaching down toward the royal family, often featuring small ankhs at the ends of the rays. This era, known as the Amarna period, broke traditional artistic conventions. Akhenaton moved the capital to a new site called Amarna to consolidate his power. The transcript highlights Nefertiti, his wife, who was considered the most beautiful pharaoh. The artistic style of this period is more emotional and intimate, showing the pharaoh and his wife touching and interacting with their daughters, making them