Egyptian Scribes and Art Study Notes

Egyptian Scribes

Scribes were vital in ancient Egypt, documenting nearly everything. They recorded items in shops, court proceedings, legal contracts, prayers, genealogical records, medical procedures, historical events, accounting, and magical spells.
Their title, "sesh," meant "to draw or create," indicating a role beyond simple writing.
Scribes were highly respected, seen as protectors of their culture, and crucial for the functioning of the government and society.
Mastering hieroglyphics was complex, leading to high regard for skilled scribes.
Scribes copied, edited, and created original texts, and were considered members of the royal court, exempt from taxes.
Training to become a scribe was labor-intensive, taking up to ten years, with students starting temple schools around five years old.
Formal training began after about four to five years, focusing on hieroglyphics, math, and specific writing for professions like tax collectors and architects.
Egyptian scribes used reed pens, brushes, and papyrus rolls, unlike Sumerian scribes who used reeds and tablets.
Scribes were in demand across all levels of Egyptian society. While mostly from middle and upper classes, lower-class individuals and girls were eventually admitted to schools due to rising demand.

The Narmer Palette dates to around 3100 BCE and represents Pharaoh Narmer, marking the unification of Upper and Lower Egypt; it also coincides with the invention of hieroglyphics and the emergence of a writing system.
Egyptian art aimed to represent things in a specific, established style over approximately 3000 years, differing from modern art's emphasis on self-expression and experimentation.
Pharaoh Narmer is depicted much larger than other figures to denote his importance, reflecting a symbolic rather than realistic representation.
Egyptian art focused on using art to give symbolic meaning, rather than accurately recording how the eyes saw the world.
Human figures are stylized. Heads are shown in profile, torsos from the front, and feet from the side, following a visual logic: faces are recognizable from the profile while shoulders are better viewed from the front, and feet are clearly identifiable from the side.
Symbolic and real elements coexist in the same picture space, such as a large bird representing an aspect of the pharaoh's power.

A painting from the tomb of Nebamun, a middle-ranking official during the New Kingdom (around 1350 BCE), shows consistency in artistic style over 1500 years, with Nebamun depicted larger than others, head in profile, torso from the front, and feet from the sides.
Birds are accurately drawn, but the overall scene lacks perspective, with symbolic representation dominating.
Nebamun is shown dominating the landscape around him, similar to Pharaoh Narmer.
By 1350 BCE, non-pharaohs like Nebamun could be represented in ways previously reserved for pharaohs, reflecting the opening up of the New Kingdom.

A painting of Nefertari, wife of Ramesses II, demonstrates the consistent use of profile presentation and hieroglyphics within the artwork.
The gold mask of Tutankhamun idealizes the pharaoh, representing him with pharaonic symbols of power, though it may not be a true portrait.
The bust of Nefertiti is a unique artifact from the reign of Akhenaten, offering a more realistic representation. While still idealized, it includes subtle details like wrinkle lines, suggesting a human likeness and contributing to its acclaimed beauty.