An analysis of the sculpture group of king menkaure and his queen an egyptian sculpture

How to cite this page Choose cite format: The back slab goes up to the shoulders of the figures without revealing their backs.

The side view of the group offers a great contrast between the rough texture of the stone and its polished one. Yet, the length is quite modest, with a hem visible just above the ankles.

As is so often the case in art history, this sort of extrapolation overlooks or ignores the fact that such sculptures were produced only for a very small elite, in this case the Egyptian royal family. The face of the pharaoh takes on a squarish shape, his eyes are not deeply set in within their sockets, the nose is short and turned up, the lips are full, the cheeks are protruding, his ears are rather prominent.

In examples where the artist used color, the nemes is striped blue and gold.

Art Images for College Teaching AICT The forms of the sculpture - the measured grid of strong verticals and counterbalancing horizontals, the stiff, artificial postures, the overall idealized anatomical shapes of the bodies combined with naturalistic details - are read not simply as indicative of Egyptian taste, but as representative of the fundamental character of Egyptian culture.

Second of all, she has both of her arms around him and not the other way around. The king strides forward on his left leg, a pose typical for all standing, male Egyptian statues.

In pair statues that show men who were dependent upon their wives for their status, the men embrace the women. Museum of Fine Arts, Boston In art history books, the pair have come to represent a prime example of Old Kingdom royal tomb sculpture. The statue of Queen Kha-merer-nebu II also exhibits the conventions for presenting women in Egyptian sculpture.

Although the tripartite wig was also worn by women in subordinate positions, it may have been more an indicator of maturity than of class.

King Menkaure (Mycerinus) and queen

The dress was probably sleeveless, with the upper edge coming just above, or just below, the breasts and held up by wide straps. Perhaps, this is due to the fact that she stands a step behind him, is being overlapped by his figure and she is the one embracing the pharaoh.

The back of the cloth was twisted around a braid of hair. However, perhaps beginning with the Egyptians and prevailing through most of history, it has been the case that the tastes of the elite, and the art produced in conformity with that taste, are regarded as representing the most refined and advanced in that culture.

This beard, worn only by the king, contrasts with the longer beard that ended in an upward twist and was worn only by the god Osiris. Although her appearance conveys the message of majesty and serenity, to me she also appears to be a subordinate figure to that of King Menkaure.

Egyptian Sculpture Analysis Essay

Menkaure wears the nemes, a headdress worn only by the king. Conventions for Female Sculpture. Her knees, like those of Menkaure, are also exaggerated and outlined unnaturally through her dress. Carved circa b. The wig is parted in the middle, tucked in behind the ears and falls down her shoulders.

But neither the edges of the straps at her shoulders, nor what would have appeared as a plunging neckline, are indicated, thereby making the dress seem invisible and her to seem nude even while clothed. This could be indicative of two things: The king also wears a rectangular false beard, which was made of leather and was attached by straps that would have tied under the nemes.

There is a central part.

Standing Sculpture: King Menkaure and Queen Kha-Merer-Nebu II

Moreover, the flat area next to their feet where inscriptions identifying each figure would have been carved is blank. It carries a supportive structure for the statues and is not touched up by the artist. The statue group is left unfinished. This statue also shows some conventions of representing the male figure used for both nobles and kings.

The kilt features a belt and a flap that was placed centrally between his legs. The calm and confidence reflecting the royal dignity of this group statue is achieved through compactness and solidity of the composition.The statue of King Menkaure and his Queen exhibits with clarity the Egyptian devotion of art to cannon of proportions.

Its strictly frontal view point, the rigid poses of the figures, and Its strictly frontal view point, the rigid poses of the figures, and. If the sculpture were finished the artist would have ensured that the names of the Menkaure and Khamerernebty were seen somewhere on the base so that if observed, the audience would immediately have known whom the.

Menkaure and His Queen essays The sculpture group of King Menkaure and His Queen is positioned in one of the basic types of Egyptian sculpture – the Standing/Striding pose. The figure of Menkaure is rigidly frontal, although his head is slightly turned to the right.

analysis of the sculpture Essay Examples

His left foot is slig. The sculpture group of King Menkaure and His Queen is positioned in one of the basic types of Egyptian sculpture Essay Travel Update - Egyptian Art Essay Comparison of two Egyptian Sculpture Relief Depicting Essay. The statue of the Pharaoh Menkaure (Mycerinus) and his Queen in the Museum of Fine Arts, Boston, carved out of slate and dating to BCE, is an example of Old Kingdom 4th Dynasty royal sculpture.

The statue, which stands about 4 feet 8 inches high, was found in a hole dug earlier by treasure-hunters below the floor of a room in the. King Menkaura (Mycerinus) and queen. Egyptian Old Kingdom, Dynasty 4, reign of Menkaura Sculpture. At twilight on January 10,a young boy beckoned George Reisner to the Menkaura Valley Temple.

As is standard for sculptures of Egyptian men, his left foot is advanced, although all his weight remains on the right foot. Typically.

An analysis of the sculpture group of king menkaure and his queen an egyptian sculpture
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