Art

Egyptian Art

Roman Period, 1st Century B.C.

The sculptor has combined line elements, to create an impressive sculpture. From the top of the papier-mch-like helmet we can observe thick dotted vertical lines that spread gracefully as it passes meeting a different contour down and ended there. The rest of the similar lines within the helmet go thinner as it emphasizes the form of the subjects face. Hieroglyphs written at the bottom of the chin of this image is sculpted horizontally to look more stable, and probably diverting the viewers eyes from the active vertical lines of the helmet from the face onto the writings. The hieroglyphs written on the bottom of the chin was transcribed by the author by using transparent lines and just enough weight on it to occupy the space, and not overlap the line edges of the entire helmet.

Mass
We could notice the combination of using cross-contour lines, and defining each by gradually increasing Line widths throughout the subject. The face of the subject if we will view this sideways we can see that it seems embossed as it protrudes from the helmet itself, this is done by the sculptor by using curvilinear lines that outlines the entire face and is separated by the edge of the contour of the helmet and the contour of the face. We can also observe that strands of hair appears to be in a mixture of red and black, in which the sculptor used cross-hatching lines to create areas of a darker value. The visual effect of dimensionality from the hem of the helmet was caused by using dynamic lines of different techniques of shading, which created an embossed circular shape that hangs beautifully at the base of the image.

Linear Perspective
Using the one point perspective looking from the top view, we can see the orthogonals receding from the vanishing point which is the centre piece on top. Looking at the front on the face of the subject the artist might have used the three point perspective as we can see that the figure has a combination of both vertical and horizontal lines that rarely if ever overlap one another, to provide a perfectly proportioned ensemble. The vanishing points up front could possibly be at the opposite edges of the whole structure.

Shape
The majority type of shapes used by the artist here is Geometric and objective shapes, the individual shapes of the face and the helmet by using different colours and value. There are a couple of implied shapes as well, the hieroglyphs on the base of the chin, and from the body as well, these shapes have their own similar and formal properties,the ones below the chin, are transparent figures transcribed through a horizontal plane, whilst the ones outside which can also be called volumes due to the amount of space taken are placed n both a vertical and horizontal plane, which explains the balance of the whole image. We can also notice an almost rectangular form of closure from the images shoulders to the base of the sculpture. Another remarkable detail in terms of shape here is the creation of the flower objects at the hem of the headdress, this we can signify that probably the face on this piece is a female, due to the feminine attributes of a flower.

FigureGround
The image is defined on a two dimensional surface as we can see the collection of shapes throughout the piece. The sculptor use of deep lines like the facevase concept here to give emphasis on the face of the mummy. We can see that the face per se is the negative space and the artist added curving contours to create the eyes and used extra width for the outline of both the eyes and eyebrows as it explains the style of how does ancient Egyptians look.

Composition
The artist in this piece created a lot of points of interest for viewers like us, but the first that I have noticed, is the mummys helmets intricate design. From the way the vertical lines are grouped together forming the contour leads all eyes first on the focal point of the mummys helmet, from there you can notice other points of interest like the udjat eye which symbolized the eye of Horus, which also is a symbol of protection and rejuvenation. We can also notice from this piece that moving from one point of interest to another creates a pause from our eyes natural movement, the artist may have deliberately created this for us to pay attention to each minute detail of  the whole figure.

Actual Texture
It is difficult to analyze the actual texture of this piece, if you cannot touch it or feel it surface, we can only assume that definitely the actual texture have been changed through time and other factors that may have left an indelible mark on its texture. Material composition or better yet its physical properties can be best described if it has been felt.From a distant vantage point though we could see it surface have probably abundant tactile qualities especially from all the carving of this material done by the artist.

Visual Texture
Since we cannot touch the artifact, it is hard to describe its actual texture, what we can however is to analyze its visual texture. I can imagine the artist painstakingly by hand carved every important detail of this piece. From the hieroglyphs, the images hair, the necklace worn and the ornate headdress communicates the message on how the artist is somewhat a perfectionist as he used simulation to have the feel of the works texture.

Pattern
The most significant pattern we could see here is from the mummy head cover itself, which is the vertical stripe pattern that sis placed side by side starting from the top until it reaches the hem, it has created a sense of glamour on the ornate piece. There is also the minor patter used on the hair which is the repeated us of the spiral patter to create it.

Light
As light projected on this image we can see the variety of dominant colors,  Starting from Gold as the base color, red and Green throughout the headdress and body.The entire piece probably doesnt have an additive or subtractive color due to its natural components.

Color
The pattern use of colors here are pretty much basic, as we can see that hue is the dominant trait , the variations of colors from light to dark could be incidental due to the length of time this piece have endured. But definitely the colors Gold, green and red are much significant and can be clearly seen.

Expressive Qualities
With the abundance of primary colors such as red and somehow yellowish or orange-like Gold, I consider my piece as warm.All the natural colors can just be observed as it advance in the picture plane.The natural colors even as we can observe some discoloration, has still retained a sense of regalia in it.

Optical Effects
The combination of colors here is just simply remarkable, especially a piece like this which is created centuries ago, each elemental part of this piece has its own designated color by the artist, mixed together equates to a vibrant masterpiece even unto this day.Perhaps theres no optical iilusion here, but the way the colors are perfectly mixed, keeps true to the message of the artist on indentifying exact details and appreciating its effect. Besides the complex headdress we can also notice the intricate nuances of the hieroglyphs at the base part of the image. The detail on it is quite truly remarkable. Including the hem of the headdress in which the center of each flower has its own yellow color to signify its liveliness.

Brief History about our piece
Our work of art is called the Mummy head cover, it was estimated to be as old as the Roman Period on 1st century BC.Early Egyptian Art was used exclusively from tombs and graves, which definitely has no purpose of decoration ( Fiero, n.d.)  However as time  passes the Egyptians have  created numerous tools for calculation  which leads to creation of a certain piece.  An example of that is a Module  in which is a standard of measurement of the Egyptians and used to determine proportions of the Human body ( same as Fiero, n.d.). From this they created hieroglyphs which immortalize ideas, examples of such is the conjunction of images and words ( same as Fiero n.d.).

The use of face coverings for the dead continued in Egypt for as long as mummification was practiced in Egypt. Regional preferences included cartonnage and plaster masks, both of equal popularity during the Ptolemaic (Greek) period. The cartonnage masks became actually only one part of a complete set of separate cartonnage pieces that covered the wrapped body. This set included a separate cartonnage breastplate and foot case. During the Roman period, plaster masks exhibit Greco-Roman influence only in their coiffures, which were patterned from styles current at the imperial court. This included both beards and mustaches for males, and elaborate coiffures on women, all highly molded in relief (Anon n.d.)

However, during the Roman period there were alternatives to the cartonnage or plaster mask. Introduced during this period were the so-called Fayoum portraits, which were initially unearthed from cemeteries in the Fayoum and first archaeologically excavated in 1888 and between 1910 and 1911 by Flinders Petrie at Hawara (same as Anon n.d.)

From the artifact we have noticed the hieroglyphs, the symbol flowers, the necklace, the ornate headdress and probably the most controversial of all the Eye of Horus, all of these elements are combined by the artists to depict possibly the identification of the mummy, by  first defining its gender through symbols ( flowers), defining its class, hieroglyphs and necklace and finally its own culture and belief, with the Eye of Horus.

The layer of covering for the head of a mummy portrays a highly idealized portrait of a lady donning a heavy wig. The front sections of her hair are braided and ornamented with golden beads and rosettes. The fringe of the womans own hair appears as curls along her forehead. She wears a locket like ornament in the form of the hieroglyph for heart. Her chest is covered with the representation of a wide collar made of rows of floral and geometric ornaments. This lower margin is decorated with a scene of Osiris seated on his throne, flanked by a pair of protective deities, and an image of the deceased (shown kneeling) followed by the so-called four sons of Horus, who were associated with the protection of the vital organs of the mummy. Isis and Nephthys, the divine sisters of Osiris who act as mourners for the deceased, appear on the shoulders. These head coverings provide a substitute for the vital facilities of the head, but the gilt-covered surface of the mask also served to identify the deceased with the sun god Re, whom the Egyptians described as having skin of gold (The Art institute of Chicago 1998.)

Egyptian funerary Art has an inseparable connection to the belief that life continues after Death. Hence , to make the voyage between the previous life to the next, portraits and other record of things should be preserved (same as Fiero n.d.)