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By Melinda K. Hartwig

A spouse to old Egyptian artwork offers a complete choice of unique essays exploring key recommendations, severe discourses, and theories that form the self-discipline of historical Egyptian art.

* gains contributions from most sensible students of their respective fields of craftsmanship in terms of historical Egyptian paintings * presents overviews of previous and current scholarship and indicates new avenues to stimulate debate and make allowance for severe readings of person paintings works * Explores subject matters and issues similar to methodological methods, transmission of Egyptian paintings and its connections with different cultures, historic reception, know-how and interpretation, * presents a accomplished synthesis on a self-discipline that has various to the level that it now comprises topics starting from gender concept to 'X-ray fluorescence' and 'image-based interpretations platforms'

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1539–1077 BCE) Dynasty 18 (ca. 1539–1292) Where reign overlaps occur, they arise from coregencies Ahmose ca. 1539–1515 Amenhotep I ca. 1514–1494 Thutmose I ca. 1493–1483 Thutmose II ca. 1482–1480 Thutmose III ca. 1479–1425 xxxv xxxvi Chronology of Egyptian Kings Hatshepsut (Queen) ca. 1479–1458 Amenhotep II ca. 1425–1400 Thutmose IV ca. 1400–1390 Amenhotep III ca. 1390–1353 Akhenaten (Amenhotep IV) ca. 1353–1336 Smenkhkare/Neferneferuaten ca. 1336–1334 Neferneferuaten ca. 1334–? Tutankhaten/Tutankhamun ca.

The captions include strong religious elements and praise the statue’s quality. The goldsmiths shown in the lower register are said to be making vessels for offering stands, with representational works being made side by side with objects of other types. This is a broad, religiously charged, aesthetic environment in which works in various genres are produced, not a context of craftwork. The integration of magical power, special knowledge, and skill is evident in the Dynasty 11 stela of the artist Irtisen, which uses florid, often obscure language to describe his accomplishments in pictorial representation, as well as some technical processes, stating that his whole expertise is a matter of initiation and will be passed on exclusively to his eldest son (Barta 1970; Delange 2000).

Prestigious specialist areas of production, such as jewelry-making, are mentioned in titularies, belonging in some cases to quite high-ranking people, who could have supervised jewelers or possibly been executants. The Old Kingdom leatherworker, Weta, possessed a fine stone sarcophagus (Donadoni Roveri (1969), 132–133, pl. 1). From the Amarna period, when change in artistic forms was intense and rapid, names of several sculptors are known. An ivory horse blinker found in the house compound of the sculptor Thutmose, from which came the painted bust of Nefertiti, shows that he possessed a chariot, a status marker that had no direct utility for his occupation (Krauss and Newesely 1983).

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