physical examples of domestic architecture from this era
survive.
Little is known of the palaces or royal residences of
this period because they too were fashioned out of brick
and wood. It is clear that the palaces (PEROorper-a’a)
always contained two gateways, two main halls, and two
administrative sections to reflect the upper and lower
regions of the nation. FLAGSTAFFSwere used at the gates,
as they were placed before temples. The remains of the
Seventeenth Dynasty (1640–1550 B.C.E.) palace at DEIR
EL-BALLAS, on the western shore north of Thebes, indicate
somewhat luxurious surroundings and innovative deco-
ration, following the “double” scheme. In some instances
the walls and floors were designed to portray pools of fish
and vast tracts of flowering shrubs.
The Second Intermediate Period (1640–1532 B.C.E.)
and the domination of the north by the HYKSOScurtailed
artistic endeavors along the Nile, although the arts did
not vanish. A renaissance took place, however, with the
arrival of the New Kingdom after the Hyksos were driven
from the land.
NEW KINGDOM (1550–1070 B.C.E.)The New Kingdom is recognized as a period of great
artistic horizon, with art and architecture evolving in
three separate and quite distinct eras; the Tuthmossid
Period, from the start of the New Kingdom (1550 B.C.E.)
tothe end of the reign of AMENHOTEP III(1353 B.C.E.), the
’AMARNA Period (1353–1335 B.C.E.), and the Ramessid
Period (1307–1070 B.C.E.).
Art
Tuthmossid Period
With the expulsion of the Hyksos and the reunification of
Upper and Lower Egypt, the pharaohs of the Eighteenth
Dynasty, called the Tuthmossids, began elaborate rebuild-
ing programs in order to reflect the spirit of the new age.
Sculpture in the round and painting bore traces of Middle
Kingdom standards while exhibiting innovations such as
polychromatics and the application of a simplified cubic
form.
Osiride figures, depictions of OSIRIS or of royal
personages assuming the deity’s divine attire of this time,
were discovered at DEIR EL-BAHRI in THEBES and are
of painted limestone, with blue eyebrows and beards and
red or yellow skin tones. Such color was even used on
black granite statues in some instances. Cubic forms
popular in the era are evidenced by the statues of the
chief steward SENENMUT and Princess NEFERU-RÉ, his
charge, encased in granite cubes. These stark forms are
nonetheless touching portraits, enhanced by hieroglyphs
that interpret their rank, relationship, and affection for
one another. Other statues, such as one fashioned in
granite as a portrait of TUTHMOSIS III (r. 1479–1425
B.C.E.) demonstrated both the cubist and polychromatic
styles.
Sculpture was one aspect of New Kingdom art where
innovations were forged freely. In painting, artists
adhered to the canon set in earlier eras but incorporated
changes in their work. Egypt’s military successes, which
resulted in an empire and made vassals of many Mediter-
ranean nations, were commemorated in pictorial narra-
tives of battles or in processions of tribute-bearers
from other lands. A grace and quiet elegance permeated
the works, a sureness born out of prosperity and success.
The surviving tomb paintings of the era display banquets
and other trappings of power, while the figures are
softer, almost lyrical. The reign of AMENHOTEP III(r.
1391–1353 B.C.E.) brought this new style of art to its
greatest heights.
’Amarna
The city of Akhetaten at ’AMARNAwas erected by AKHEN-
ATEN(r. 1353–1335 B.C.E.) in honor of the god ATEN,
and it became the source of an artistic revolution that
upset many of the old conventions. The rigid grandeur
of the earlier periods was abandoned in favor of a more
naturalistic style. Royal personages were no longer made
to appear remote or godlike. In many scenes, in fact,
Akhenaten and his queen, NEFERTITI, are depicted as a
loving couple surrounded by their offspring. Physical
deformities are frankly portrayed, or possibly imposed
upon the figures, and the royal household is painted
with protruding bellies, enlarged heads, and peculiar
limbs.
The famed painted bust of Nefertiti, however, de-
monstrates a mastery that was also reflected in the mag-
nificent pastoral scenes adorning the palace. Only
fragments remain, but they provide a wondrous range of
animals, plants, and water scenes that stand unrivaled for
anatomical sureness, color, and vitality. The palaces and
temples of ’Amarna were destroyed in later reigns, by
pharaohs such as HOREMHAB(r. 1319–1307 B.C.E.), who
razed the site in order to use the materials for personal
projects of reign.
Ramessid Period (1307–1070 B.C.E.)
From the reign of RAMESSES I(1307–1306 B.C.E.) until the
end of the New Kingdom, art once again followed the
established canon, but the influences from the Tuth-
mossid and ’Amarna periods were evident. The terminal
years of the Twentieth Dynasty brought about a degenera-
tion in artistic achievement, but until that time the
Ramessid accomplishments were masterful. RAMESSES II
(r. 1290–1224 B.C.E.) embarked upon a building program
unrivaled by any previous Egyptian ruler.
Ramesses II and his military units were involved
in martial exploits, and the campaign narratives (popu-
lar in the reign of Tuthmosis III; r. 1479–1425 B.C.E.)
became the dominant subject of temple reliefs once
again. Dramatic battle scenes were carved into the
temple walls and depicted in the paintings in the
royal tombs. Queen NEFERTARI, the consort of Ramessesart and architecture 51